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To celebrate tthe 60 years of the release of the first 7 inch of the greatest rock band of all time, rediscover all the tracks that influenced the sound of the Beatles in a double vinyl. With : Elvis Presley, Gene Vincent, Bill Haley, The Everly Brothers, Little Richard, Chuck Berry, Ray Charles, The Isley Brothers, Peggy Lee...

After a series of self-released vinyl singles, PM Warson emerged in 2021 with the album "True Story", combing elements of vintage R'n'B and Soul with an authenticity and energy that appealed fans and critics alike. Breakout single "(Don't) Hold Me Down" had surfaced initially among soul collectors, before finding a wider audience, first on a Fred Perry editorial, and then on mainstream European radio. Having tipped the album on his Funk & Soul Show, the BBC's Craig Charles also included the single on his popular "Trunk of Funk" compilation series. Not one to wait around, despite the various challenges of the pandemic, Warson returns, just over a year on, with his second offering: "Dig Deep Repeat".

While his debut record waited in line at the pressing plant, he began trying out ideas at a makeshift studio in an industrial storage space in Stoke Newington. As lockdown was lifted enough to bring in his rhythm section, a new set of tunes started to emerge. Despite a growing thirst following his first release, there was little opportunity to play live, with social and travel restrictions remaining in place on-and-off throughout the year. It became clear that his best way through was to make another LP. He expanded the operation, bringing in players, working to an 8-track recorder to forge a new record. Subsequent sessions at Gizzard Recording also produced a direct-to-tape session for Blues Kitchen.

On "Dig Deep Repeat" he further explores his vocabulary, with elements of 60s rock and soul, shades of New Wave, and some cosmic colors beneath the moody blues. It's a direct and focused LP, presenting an artist on the move, two albums deep, with time to make up for.

Milanese producer Nelson of the East sets out on a deeper exploration of percussive house/techno on Sub Erotic, the first release on Tartelet Record’s new dance floor-focused sub-label DANCEMPORIUM – out May 6th.

Following his 2021 album release of Kybele, Nelson of the East (Nicolas Meyer) is embarking on a new area of sonic exploration rooted in club music motifs. His forthcoming EP, Sub Erotic, builds on his accomplished artistic imprint, balancing the urgent pulse of dance music with the rhythmic sensibilities of non-Western cultures. “After the release of Kybele, it took me a while to figure out what would be a good sequel, and I found myself deconstructing tracks from the album,” says Nelson. “I came to the conclusion that the most important thing on the new EP would be the relationship between the different elements, while trying to use fewer layers.” While the lilt and sway of organic musicality remains at the heart of his sound, the Berlin-based producer applies these qualities in a variety of ways. On “Ellipsis”, for example, live percussive patterns were recorded and recreated using synthesis, which Nelson found to be more effective than the acoustic originals. The result is three tracks that pivot around danceable structures while moving well outside the established norms of house and techno. From the pinging textures and staggered beat impulses of “Ellipsis” to the Go Go-flavored funk of “Sub Erotic” and the trance-inducing acid incantation of “Memoria”; Nelson’s distinctive inspirations spill out of his music in intriguing formations.

Danish mainstay Kasper Marott rounds out the EP, applying a seductive pulse to push “Ellipsis” towards a psychoactive peak. The perfect brooding partner to the original, while reinforcing Nelson’s vision of an electronically minded album. Sub Erotic marks the first release on DANCEMPORIUM, Tartelet Records’ new home for dance floor-oriented music. Having grown to become a broad church of musical modes and expressions, the label is now breaking out into more focused sonic spheres. With his use of rich timbres and adventurous spirit, Nelson of the East is the perfect inaugural candidate.

Future Jazz Ensemble is a project from multi instrumentalist Nicola Penna. With Future Jazz Ensemble, Nicola is exploring of the intersected sonic paths of jazz, ethnic and electronic music; trying to recall the past and evoke the future. His previous two Future Jazz Ensemble releases; The Mankind's Place 12" LP and Art For Art's Sake 7" were limited runs and are now very sought after. We are very proud to have Nicola releasing music on Ten Lovers Music and look forward to future projects.

The Source - nearly 30 years in the tradition of the infinite peculiar. The Source is a quartet with a long history. Actually started in 1993, with the founding members Ingebrigt Håker Flaten (bass), Per Oddvar Johansen, Trygve Seim og Oyvind Brække, who all by then studied at the Jazz Course at the Trondheim Music Conservatory. The new quartet album; " ... but swinging doesn`t bend them down" will be published in October on the legendary record label Odin. The title is an excerpt from the poem "Birches" by the American poet Robert Frost, a title that encompass a child's dream of climbing the treetops and swinging birch branches. It could be read as a reflection over the conflict between the free play in nature and the boundaries of adult life awaiting on the ground_ But maybe the ground can wait? Just join the sheer joy of climbing the trees and the careful balance that is needed not to fall and be at one with the flexibility of nature. After several season-related albums, like "The Source: of Christmas" and "The Source: of Summer", it is now a pure quartet display out in the tube, only based on original music. The pieces are all signed by the quartet members and covers a vast register; raga, shuffle, swing, lyrical spots, improv and even a rough trombone/drum outing, and more.The Source: Oyvind Brække, trombone Trygve Seim, saksofon Per Oddvar Johansen, trommer Mats Eilertsen, bass.

We've always done things our own way and without any outside pressure,” says Paul Isherwood of The Soundcarriers. “Making music like this keeps things fresh, you always lose something and gain something as you go along but I think of it as just another chapter.”

There have been many chapters in the life of the band to date and each one is defined by the singular approach and style of the group. Since forming in 2007 the band - comprised of Isherwood, Adam Cann, Dorian Conway and Leonore Wheatley - have released three albums that position them as a distinct and unique force in British music. Eschewing fads and trends that come and go, they have instead focused on honing their own sonic world that glides between woozy psychedelia, immersive grooves, subtle pop and rich, enveloping soundscapes. They’ve consistently moved at their own pace and on their own terms and on their fourth album, Wilds, they return after seven years since their last. “The sessions started in a cottage in the wilds so there's a literal meaning,” Isherwood says of the title. “But figuratively we've pretty much been in the wild for the last few years as far as a lot of people are concerned.”

The recording was staggered over a few different locations, from cottages to primary schools, before finishing in an art gallery. “The beauty of recording in non-studio studios is you have the time for the unexpected to happen,” says Isherwood. “Which is really what keeps you coming back for more.” As a result of the timeframe of the album, it’s one that has changed and grown a lot over the years. “The record has been through a lot of stages,” says Isherwood. “It's almost been circular. We started off wanting to do an album of more shorter, concise tracks and then sort of sidestepped into some more spacey ambient ideas so in a way the album is kind of a synthesis of the two phases, overall carrying on with many of the themes and influences of the first three but with a more focused approach.”

The opening ‘Waves’ leaps out the gate with an infectious hook kissed by a touch of French pop before leaping into a devilishly catchy chorus and into a mini prog-like flute breakdown. It sets the tone for an album that is rich in adventure and unpredictability that manages to balance experimentation with accessibility. ‘At The Time’ is almost unrelenting in its grinding charge, managing to create a groove that cracks and pulses at the same time, ‘Wilds’ is a gorgeously floating piece of music that skips along with strutting bass as Wheatley’s vocals merge melody with texture magically. The closing ‘Happens Too Soon gently stirs to life with an almost pastoral folk air to it, as it slowly builds into swirling psych pop rich in texture before reaching a rousing crescendo. “I feel this album sums up a lot of our influences,” says Isherwood. “There’s a strong folk influence in the sense of the actual songwriting but musically we wanted to create songs that were like those rare oddities you find on a bizarre charity shop record. A collection of "one offs" capturing a moment rather than trying to make a hit song.”

This sense of it being an album of unique songs is clearly apparent throughout but it also maintains a natural flow and cohesion. This is something that stems from the band’s approach to songwriting for the record. “A lot of the tracks started with a feel or groove,” says Isherwood. “Then building it into a more concise arranged piece. We were conscious that we didn't want the recording to sound too over-polished so although a lot of the tracks were quite painstaking in how they evolved we wanted the actual recording to be quite raw and not be reliant on cutting things up or overly editing things. We wanted it to sound natural rather than perfect.”

Mall Girl: «Superstar» Jansen Records 2022 «Superstar», the debut record from Norwegian art-pop outfit Mall Girl, represents an exciting new chapter for the buzzed-about band. The release follows a string of successful singles, including their 2018 track “Slay Queen,” which introduced them as an act to watch in the alt-pop arena. The chaotic year of 2020 brought a string of infectious, vibey singles, including “My Sweet Mall Girl” and the fierce “Bad Girl." Members Iver Armand Tandsether, Hannah Veslemøy Narvesen, Eskild Myrvoll and Bethany Forseth-Reichberg were forced to get creative when the pandemic hit, sidelining best-laid plans to flesh out some songs before heading into the studio together. "Because of COVID regulations and the four of us living in two different cities, we changed the way we worked with the songs quite radically in the months leading up to the studio recording,” Narvesen says. "We’ve always been very oriented towards the live performance of the songs, including when we compose them together in our rehearsal space. That way of working has led to some challenges when recording, as you end up listening to the songs in a different manner and might figure out you should have done everything differently." While others put their creative endeavors on hold, Mall Girl opted to try something different. Many of the songs on «Superstar» were tracks that the band regularly performed, but they wanted to seize the opportunity to evolve their sound even more. “We actually ended up ‘remote composing’ big parts of the album, with everyone working from their own home studio and bouncing ideas back and forth,” Narvesen explains. "This was a very welcome change of workflow for us, and it lead to us making some songs which probably wouldn’t have turned out that way had we been together in the same room." This experimental shift in their creative process led to the creation of songs bursting with infectious hooks, hypnotizing grooves and punchy lyrics.

Limited to 250 copies worldwide.

Croatia's Fiume delivers a full length eight track lp for L.I.E.S., following his cult 2019 Bunker Records release.

Jasmin Mahmić, (who is also known for his Le Chocolat Noir project) returns with his absolute blackened industrial onslaught straight from the depths of the Balkans. Fiume takes us into a netherworld of short circuited electronics, scrap yard soundscapes and foreboding, stark ,straight from your worst nightmare vocals. Barren wastelands, tropical depression, vast nothingness of the modern age, pillaged republics and metropolis' that have gone wrong, this is world downfall music. Let your own irrelevance stare you down in the mirror, minutes crawl like days, horror of life goes on. These are the sounds in your head, try to claw your way out. Recommended!

Working closely with two time Grammy winner Victor Rice (Easy Star All- Stars, Bixiga 70, Ticklah), JonQuan fashions brand new tunes that evoke the majesty of the golden age of reggae.

The digital version is 20 tracks with instrumentals and vocal versions while the vinyl version features all 10 of the vocal versions on black vinyl.

The singles released from this album have caught the ear of the tastemakers of the reggae world, including David Rodigan, who has spun multiple songs on his weekly BBC show

While most ensembles are driven by personalities, the Necks are powered by an idea. A very large and simple idea - which now seems completely obvious…. but only because the Necks thought of it and made it work. Now their pleasure (and ours) is sequentially to re-imagine and explore that idea – the prime directive of which seems to be to be that each unfolding step and every passing detail of any performance be allowed to evolve organically out of the musical conditions established at its moment of departure. In other words, we are in the territory of chaos and catastrophe theory; of hurricanes and butterfly wings… And, since one can never step twice into the same river, each beginning has led to wildly unpredictable and variant outcomes; and imperceptibly: you never hear the changes until somehow they have already happened. “We end up, Lloyd Swanton writes, ‘in a very different place from whatever our initial notion … had been.” In the case of Vertigo, we are dropped straight into an almost Feldmanesque musical universe, in which sounds - seemingly disconnected - are already there; creating space rather than inhabiting it. Then, without trying, they mutate. Not mechanically and not according to any pre-determined process - because it’s always clear that what we hear is being played by human beings; that it’s music. A special kind of music that is not pushy or demanding or demonstrative, but rather co-operative, spatial, ambiguous. A music that leaves room for its listeners.

The Line Is A Curve is about letting go. The core of the record is that the pressures we face do not always have to be heavy burdens, but can be reframed; the more pressure a person is under, the greater the possibility for release.

The album plays like a chronicle of pressures - the mind-numbing pursuit of a comfortable life, the eternal striving for more, the pressures of the city, the country, the times. The pressures of maintaining relationships, of battling illness, addiction, poor mental health, the vacuous life of our online selves. As we move through these chronicles though, the mood brightens. The musicality becomes more expansive as the lyrical horizon broadens and we glimpse coastlines, high streets, scrap yards, train stations in the rain; the entire album begins to let go. We encounter the contributions of artists who I love and admire, guest vocalists and instrumentalists, and so we defeat the sense of isolation felt in the opening track with a sense of deeply connected community. More Pressure, the penultimate song, is the essence of the whole album and the epiphany that leads to Grace, which is a prayer, a surrendering; ‘Please move me, please move through me, please unscrew me, please loosen me up.’ But once we get to the end of Grace, and the album, we loop back to the start – to ‘Kiss off the day with a mute mouth. Pass the commute like I can die faster than you.’ Because no matter how much a person grapples with, realises, deeply understands, about life and their place in it, we still wake up in the morning back to square one. Life isn’t solved the minute you figure something out about it. It’s a daily operation to increase your resilience, cultivate a deeper acceptance, let go of what’s chasing you and lean in to the pressures. It’s cyclical, as I believe all things are. And instead of trying to fight the cycles, this album asks us to surrender to them. To let go.

These general themes, of acceptance, resilience, surrender are also about where I’m at in my personal life, in my journey towards a greater acceptance of myself as an artist and as a human being. Being more honest with the world and my community about who I am and letting go of some heavy heavy shame, which is a glorious thing.

This album has a beautiful heart, there is so much love running through it and I can’t wait for people to experience it.

One of the plus points of being in the reissue business, is that some records are easier to license then to try and find a copy of! Sky's The Limit's incredible "Don't Be Afraid" is a case in point.

Released on the tiny J.M.J. label in 1976, this was essentially a private pressing by the group and was more likely to have been given away at gigs rather than sold through record shops. It's incredibly rare - an original these days is around the £750-£800 mark and that's if you're lucky enough to see one. All for good reason though. "Don't Be Afraid" is a prime slice of vintage Jazz-Funk. The vocal side shows off Sky's The Limit's vocal prowess with gorgeous harmonies over an insistent groove.

However, the big attraction on this double-sider, is the incredibly hypnotic instrumental workout with a fantastic Patrick Adam's like free-form synth making the instrumental almost another song. One of the dreamiest Jazz-Funk instrumentals you'll ever hear. As per usual, this will be a very in-demand release from the word go. This can be played on progressive dancefloors everywhere and will almost certainly appeal to different crowds and audiences.

Philadelphia, PA's finest rock & roll up-and-comers, Big Nothing, have announced their sophomore full-length, Dog Hours, due out February 18th from Lame-O Records. Dog Hours finds the four-piece incorporating new dynamics and textures into their timeless songwriting to make ten songs of warm and welcoming guitar pop that's as comforting as it is catchy.

To mark the album's announcement Big Nothing have shared Dog Hours' lead single "A Lot of Finding Out" a slice of up tempo, alt-country tinged power-pop that's sure to please fans of Evan Dando and Tom Petty alike.

Big Nothing (guitarist/vocalist Matt Quinn, bassist/vocalist Liz Parsons, guitarist/vocalist Pat Graham, and drummer Chris Jordan) have a sound that's rooted in big guitars and big hooks, but unexpected circumstances forced them to try a different approach making Dog Hours. “With the pandemic, we were all writing separately and stuck playing quietly in our apartments,” Quinn explains. “And so it was pretty natural that we started making more stripped-back music.” The result is a more intimate version of Big Nothing that brings the acoustic guitar and layered harmonies to the forefront without sacrificing the palpable camaraderie that makes their music so endearing. It's an album that explores all of the uncertainties and existential dread of adulthood, but counters it with a Westerberg-esque sense of humanity and warmth.

Kate Bollinger's songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don't feel likeher own, more like shapes that form in the mind's sky. Bollinger's musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter's knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. Her new EP, Look at it in the Light, her first project on Ghostly International, is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. The title Look at it in the Light is a reference to the aspects of Bollinger's life that she knows need examining. For one, there's her persistent resistance to change _ she chooses to ignore it on the title track ("I try not to notice / I deny my fate"), as wiry strums sync with crisp drums. She surrenders to comfort on "Who Am I But Someone," a light and softly psychedelic number. "Yards / Gardens" finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. The string-backed "Lady in the Darkest Hour" is the set's most luxuriant statement, recorded during a session at Matthew E. White's Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. From the hushed abstractions of "I Found Out" to the biting suspicions of closer "Connecting Dots," Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life.

Kate Bollinger's songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don't feel likeher own, more like shapes that form in the mind's sky. Bollinger's musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter's knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. Her new EP, Look at it in the Light, her first project on Ghostly International, is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. The title Look at it in the Light is a reference to the aspects of Bollinger's life that she knows need examining. For one, there's her persistent resistance to change _ she chooses to ignore it on the title track ("I try not to notice / I deny my fate"), as wiry strums sync with crisp drums. She surrenders to comfort on "Who Am I But Someone," a light and softly psychedelic number. "Yards / Gardens" finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. The string-backed "Lady in the Darkest Hour" is the set's most luxuriant statement, recorded during a session at Matthew E. White's Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. From the hushed abstractions of "I Found Out" to the biting suspicions of closer "Connecting Dots," Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life.

Nach der Wiederveröffentlichung von „Back To The Light“ letztes Jahr erscheint nun auch endlich Brian May´s „Another World“ am 22. April!
Diese Neuauflage kommt genau zur richtigen Zeit, denn lange war das Album überhaupt nicht erhältlich. Brian May kümmerte sich zusammen mit dem Co-Produzenten Justin Shirley-Smith, dem Queen- und BM Pro Tools-Experten Kris Fredriksson und dem langjährigen Queen-Artdesigner Richard Gray um die neue
Reissue-Version.

Nach der Wiederveröffentlichung von „Back To The Light“ letztes Jahr erscheint nun auch endlich Brian May´s „Another World“ am 22. April!
Diese Neuauflage kommt genau zur richtigen Zeit, denn lange war das Album überhaupt nicht erhältlich. Brian May kümmerte sich zusammen mit dem Co-Produzenten Justin Shirley-Smith, dem Queen- und BM Pro Tools-Experten Kris Fredriksson und dem langjährigen Queen-Artdesigner Richard Gray um die neue
Reissue-Version.

10 brand new recordings from the legendary Jamaican singer and longtime Massive Attack collaborator, Horace Andy, produced by Adrian Sherwood.

Midnight Rocker has been approached in a similar fashion to the late-career quality that Sherwood coaxed out of Lee "Scratch" Perry with the Rainford and Heavy Rain albums, assembling a crack team of players and spending many months perfecting performance, arrangements and mixing. The result is a remarkable suite of tracks that sparkle with superb musicianship, carefully crafted production and Horace’s beautiful vocals.

The material includes revisiting and updating a few classic Horace Andy songs such as “Mr. Bassie”, but the bulk of the tracks are brand new compositions with contemporary messages, such as “Watch Over Them” and “Materialist”. The pair have also versioned “Safe From Harm”, a much-loved early single by the group that Andy is most associated with – Massive Attack.

“On-U Sound are very proud to present a truly wonderful album with one of the all-time great singer-songwriters in the rich history of Jamaican music, Horace Andy. This is a true gold star performance, and I’m very proud of it.” Adrian Sherwood.

Donny Hathaway (arr, voc, keyb, b); Johnny Board (ts); Clifford Davis (as); Robert A. Lewis (tp); King Curtis, Phil Upchurch (g, b); Louis Satterfield (b) Ric Powell (perc, dr); Morris Jennings (dr) & The Vashonettes (voc) u. a.

Von den vielen Kirchenchor-Karrieren der schwarzen Musik ist die von Donny Hathaway eine der steilsten. Dabei mag der Rang 49 von 100 der besten Stimmen aller Zeiten, die ihm das Lauscherteam des Rolling-Stone-Magazins bescherte, zahlenmäßig abstrakt wirken. Doch bereits die ersten Takte des Starters »Voices Inside« versprechen ein Programm, in dem instrumentale wie menschliche Stimmen gleichberechtigt zu Wort kommen: So beeindrucken satt klingende und durchsichtig gestaffelte Bläsersätze, die sich von dezent bis brassy in Szene setzen.

Mit pfeffrigen Clavinet-Salven gewürzt bricht sich Hathaways Seelensound harmonisch frisch geschlagene Blues-Bahnen (»I Believe To My Soul«), erhebt sich in leidenschaftlichen Tönen (»Misty«) und ackert sich durch perkussiv trockenes und fröhliches Durcheinander im Titel »Sugar Lee«. Jedes Arrangement schöpft aus dem Vollen des exzellenten Musikerpersonals und bleibt für sich einzigartig. Weich abgefedertes und wohlklingendes Miteinander (»Tryin' Times«) wirkt ebenso natürlich wie gebetartiger Gospel (»Thank You Master For My Soul«), der zum Gotteslob Höhenflüge in freie Jazzharmonien wagt.

Zum guten Schluss wieder Hathaways bis ins hohe Register geschmeidig schwebender Solo-Gesang, dessen kurzer Titel »A Dream« treffend für das gesamte Album steht.

Diese Speakers Corner Produktion wurde unter Verwendung von analogem Masterband und Mastering 100% rein analog gefertigt. Alle Lizenzen und GEMA-Beiträge wurden abgeführt.

Das Album ist eine skurrile Jazz/Hip-Hop-Fusion (Miles Davis' On The Corner meets J Dilla's Donuts) und enthält eine Reihe hochtalentierter Gesangsgäste wie Saba, Phoelix, Braxton Cook, Femdot und Malaya. Cisco Swank ist ein 21-jähriger Multi-Instrumentalist, Sänger und Produzent aus Brooklyn, NY, der sich schnell zu einer festen Größe in der R&B-, Jazz- und Hip-Hop-Szene seiner Stadt entwickelt hat. Cisco hat mit Künstlern wie Brasstracks, Maurice Brown, Kenneth Whalum, Malaya, Julius Rodriguez und CARRTOONS zusammengearbeitet. Luke Titus ist ein 24-jähriger Multi-Instrumentalist, Sänger und Produzent aus Chicago, der derzeit in LA lebt. Er ist der jüngste Musiker der Blue Man Group (Schlagzeug) und hat für Noname (Room 25), Ravyn Lenae, KAINA, SMINO, SABA und viele andere produziert. Das Magazin FADER hat Titus als einen "brillanten" Schlagzeuger und Produzenten tituliert.

Even in trying times, “there is no love without electricity.” Electricity is the fourth and most progressive album from Ibibio Sound Machine, and like all good Afrofuturist stories, it begins with an existential crisis. “It’s darker than anything we’ve done previously,” says Eno Williams, the group’s singer. “That’s because it grew out of the turbulence of the past year. It inhabits an edgier world.”

Electricity was produced by the Grammy Award and Mercury Prize nominated British synthpop group Hot Chip, a collaboration born out of mutual admiration watching each other on festival stages, as well as a shared love of Francis Bebey and Giorgio Moroder. The fruits of their labor reveal a gleaming, supercharged, Afrofuturist blinder. Electricity is the first album Ibibio Sound Machine have made with external producers since the group’s formation in London in 2013 by Williams and saxophonist Max Grunhard. True, 2017’s Uyai featured mixdown guests including Dan Leavers, aka Danalogue, the keyboard jedi in future-jazz trio The Comet Is Coming, but Hot Chip and Ibibio Sound Machine worked together more deeply throughout the process, collaborating fully. Along the way, the team conjured a kaleidoscope of delights that include resonances of Jonzun Crew, Grace Jones, William Onyeabor, Tom Tom Club, Kae Tempest, Keith LeBlanc, The J.B.’s, Jon Hassell’s “Fourth World,” and Bootsy Collins.

The hook of opener “Protection From Evil” has Williams wielding a massive synth line from Hot Chip’s Al Doyle like a spiritual shield against unspecified, malign forces unspecified because Williams is speaking in tongues. Her lyrics are onomatopoeic: their meaning is defined in her energetic delivery. As Electricity takes off, so do Williams’ words towards a brighter future, alternating between English and Ibibio, sometimes within verses, and propelled by Joseph Amoako’s unabating afrobeat. She digs into this sentiment further on single “All That You Want,” coolly assuring her romantic interest while also requesting reciprocity. Meanwhile, Scott Baylis’ playful Juno synth guides the listener’s feet along the dancefloor.

Electricity is a deep and seamless realization of Williams’ and Grunhard’s ambitious founding manifesto to combine the singularly rhythmic character of the Ibibio language which Williams spoke growing up in Nigeria with a range of traditional West African music and more modern electronic sounds. While the band enjoys veering further into electronic territory with the help of mutuals like Hot Chip, Grunhard emphasizes, “For us, it’s not just a matter of embracing new technology. What’s key is to keep the music grounded in African roots.” Ibibio Sound Machine best exemplify this on Electricity’s “Freedom.” That track was inspired by the water-drumming rhythms of Cameroon’s Baka women, which in turn fueled its lyrics, which in turn prompted Hot Chip and Ibibio Sound Machine to layer joyfully kinetic electronic counterparts on top in the studio. As the track culminates with the mantra of “rage, hope, cope, soul,” it’s clear that Ibibio Sound Machine have channelled, harnessed, and distilled these words as guiding principles, both for the album and for the turbulent world that awaits it.

Munich’s most flexible shapeshifter comes equipped with three new weapons. Needless to mention he’s got full support of the RFR squad for his subversive revolutionary plans.
„Don’t try this at home“- a warning that has always been more of an encouragement to do forbidden things than inspire cautiousness. But basically correct, and for want of a booming club life, you better enjoy this Detroit burner with a proper car system or in an abandoned warehouse that is gettin cut into pieces by stroboscope lightning. Of course, under the correct appliance of all hygiene measures.
No, this ain’t a Trumpesque call to arms in order to charge for the Reichstag. On the contrary, it shows how any stable foundation can be undermined with a healthy dose of 90s acid. If you don’t believe it, just listen to Rakim’s „Stay in bed remix“ of „How to bring down your government“.
For the end of our adventure we are given a nice „Sidequest“. As for the reward, there’s a shiny loot box with legendary items, beautifully wrapped in trancey techno. Lovers of Aril Brikha might find some valuable treasure here.

Dark Green 12" Vinyl Limited to 1000 Vinyl Includes Exclusive bonus track 'Restless'

“The things you hear when you’re alone. Walking through Mount Royal or other wooded areas you might notice a branch break. As much as I value my alone time and the subtle things you can pick up around and within yourself in those moments, a certain loneliness and anxiety permeates the quiet at some point. The past couple years created ample opportunity for that anxiety and loneliness to stretch its legs and make itself comfortable. This record was born out of weeks of willing a form of peace and inspiration into my surroundings. A large part of that came from working with Leanne Macomber on some vocals. Through a desire to form new connections and throw more humanity into the work. We made a variety of song sketches that I mostly reworked into the final recordings here. We spoke a lot about where our heads were at, certain key phrases, triggers and emotions. Joel Ford, whom I worked on Dawn Chorus with, mixed the record and helped me wrangle a few cats to get this across the finish line. Restless at home in Canada, feeling the restlessness of all my friends and loved ones I kept in touch with as much as possible, trying to make something that made the quiet a bit more peaceful."

Neue Farbauflage des begnadeten Horace Andy-Albums "Midnight Rocker" aus 2022 auf On-U Sound. Die streng limitierte Auflage wird hauptsächlich im Label-Webshop und in Japan angeboten, die Exemplare im europäischen Handel sind somit sehr begrenzt. Alle vorherigen Vinylauflagen sind ausverkauft.

LTE presents its debut release titled Long Term Evolution, a 6-track compilation bringing together pieces from six artists from around the world. Music we fell in love with, sounds we find appealing, paths to explore. Between now and then.

LTE is a newly-born music label from Prague. Its goal is to build a platform for local and foreign musicians, producers and sound artists. Label's focus lies on contemporary electronic music and a wide spectrum of genres. Learning, trying and experimenting. Putting love, time and effort.

Bad times, good timing.

Planet Mu presents ‘ADDLE’ – Bogdan Raczynski’s first album of new music in 15 years. Marking a change from the high-octane jungle tekno braindance for which he is most commonly known, here we find the Polish American musician in a more melodic and zen-like place of peace, which is ergonomic and decluttered, whilst also bittersweet and tinged with melancholy. ‘ADDLE’ is closest in spirit to 2001’s tender ‘myloveilove’, or the light-hearted ditties of this year’s ‘BANANS’ EP, but is also a markedly new milestone. A robust and bottom-heavy rhythm section juxtaposes with sad electronic tear jerkers, at points laced with the soft cooing wail of his vocals, which are loaded with a haunting, heavy and almost wounded emotion. Bogdan comments “Calm is great. You need to take a breather in the eye of the storm now and then. But the real growth happens in turbulence, when your feelings oscillate in and out of sync. It’s not dry land you’re after. You’re trying to build a new island while on a piddly raft. Beleaguered and weary you lay the foundation with your bare hands while the rain lashes your back; a new place for you and yours to moor yourself to until the next storm hits. ‘ADDLE’ is about that storm, its adjacent periphery, and what you look like, in and out, when you set foot. As space and time push against you, that process of adapting becomes an anchor. Among that state of being addled, out of flow, seemingly untethered, there is beauty.”

Although less unhinged and riotous than some of his previous work, ‘ADDLE’ is no less impactful. Lean, punchy and purposeful, this seemingly simple combination of beats and melody belies a razor sharp skill, which bursts with verve and virtuosity. Across its eight unique and moving tracks the listener experiences tenderness, feelings somewhere between unease and comfort, and a sense of reflection, with Bogdan seemingly gazing at twinkling stars, but with his view distorted by welling-up. Sonically, spaces range from razor-sharp choppage, juddering heavyweight head-nodders, bit-crushed siren squall and something akin to Philip Glass’ ‘Candyman’ score played through a high-tech-fairy-tale music box. There’s also a warming, life-affirming moment as close to deep house as Bogdan will ever comfortably get, neck-snapping metallic percussion, Casiotone on steroids and reverberant warehouse throb. Booming drum machines are a prominent factor too – reminiscent of early hip hop instrumentals – but spirited off somewhere, lost in purgatory. Bogdan Raczynski (born 1977) is a Polish-American electronic musician. Raczynski’s work draws inspiration from the chaotic breakbeats of jungle and hardcore rave as well as traditional Polish music and other sources. He has collaborated with Bjork, remixed Autechre, CLPNG and Jonsi from Sigur Ross, and toured with Aphex Twin, who commented how “his records are so underrated.” Bogdan was also a roster mainstay of Richard James’s seminal Rephlex label, with additional releases on Warp, Ghostly, Disciples and Unknown to the Unknown. A keen proponent of tech, he created a sample pack using pollution and recently collaborated with Polyend on a custom made banana-themed tracker.

'Other Dimensions Lp', Terrence Dixon's latest work and the new adventure in 30D's ExoPlanets sublabel, comes for the very first time released in full length format, split in two sides, showing Terrence's two faces. As everyone knows, words can not describe the music of this Detroit visionary, but we'll try. Futuristic, avant-garde-esque, mesmerizing, trippy and minimalistic / reduced techno funk as expected in A side, but highly emotional and evocative, as only he can do. On the flip side, Terrence redefines and takes to another level the concept of dark, experimental, abstract, atmospheric, alienated and dystopian music, a true musical trip (perhaps a nightmare???) to dive into. An extremely personal and intimate album.

This album is a tribute to Pastor Wylie Champion, who died while we were in the process of releasing this, his first record, and his wife, Mother Champion, who died a few months earlier. We met Pastor Champion a few years ago while we were putting together another release, The Time for Peace Is Now: Gospel Music About Us. We found him in a collection of YouTube videos from the 37th Street Baptist Church in Oakland, California, put together by the pastor there, Bishop Dr. W.C. McClinton. There was quite a lot of talent in those videos, and among them was Pastor Champion whom we liked so much that we decided to make a record with him. Pastor Champion wasn’t like any other pastor you’ve ever met. As an itinerant preacher, a carpenter, and a father of five, he made a name for himself traveling up and down the California coast with his electric guitar. He traveled alone and he played alone, well into his seventies. The easiest way to describe him would be as an outsider gospel artist. Other than these bare facts, we never learned much about him—except that he was also the brother of the well-known soul singer Bettye Swann. In fact, most of what we knew about him we got from his sister’s Wikipedia page. We decided that because we met Champion through the 37th Street Baptist Church, we would record him there too. We recorded him live on a two-track Nagra reel to reel, as we wanted the album to be analog in the style of traditional gospel recordings. Over the course of two evenings (when the workday was done), Champion taught his band—musicians who had never played together before—a handful of songs, a small selection of the nearly 2,000 fragments of songs and sermons that he regularly performed. We listened in as they all got more familiar with the material and each other over time. At some point, we mentioned to Champion that he would have to be interviewed by someone to write notes for the album. He wasn’t too pleased with this idea, saying he’d had a hard life and he didn’t want to talk about it. Over the next few months, we kept asking Champion to talk to someone about his life. He told us that he didn’t want to talk about growing up in Louisiana, his mother being accosted by the Klan, or that his father was a gambler. He didn’t want to talk about being jailed for 90 days for using a whites only bathroom, being in gangs or having a street name. We told him that was fine—he could talk about what he wanted to talk about. And he told us that he didn’t want to talk about anything. You know, there are times when you make a record where it’s already made in your mind before you start. But then in the end, the record you thought you were making is not the record you made. We spent years puzzling over this one, trying to figure out what it was saying, who it was for, and how to get people to pay attention to it. But Champion knew that this record wasn’t going to be for everyone. He didn’t really care. The important part for him was just getting the message out there in the same way that he always had, travelling alone with his electric guitar. “I want to say what I mean,” he said, “be practical, precise, to the point, and, at the same time, diplomatic.” In other words, he just wanted to be a good man. God bless Pastor Champion and Mother Champion, peace be with them and their family. Love to all.

The following quote from Placebo frontman Brian Molko will surely endure: "if the song serves to irritate the squares and the uptight, so gleefully be it." Such a statement pairs neatly with its originator's new album; 'Never Let Me Go' is a folky and alternative indie tirade against political tyranny, climate catastrophe and overhyped new tech. With Molko making the album after discovering that his "neighbours were spying on me on behalf of parties with a nefarious agenda", we can be sure this one'll feel a little more transgressive than the band's former dreamier output, 'Sleeping With Ghosts' springing to mind.

Vinyl Edition of 300 copies

Aesthetical in collaboration with Sync presents "Detect" by Marco Monfardini.

Originally developed as an audio/video live performance, Marco Monfardini based his research for Detect on the decoding of inaudible sounds, sound generated by electromagnetic emissions left from electronic devices and inaudible to the human ear. By using various electro-smog detectors Marco Monfardini creates a sort of detection mapping where electromagnetic emissions are the starting point for the sonorous development of each single composition.

A path that creates a parallel with our lives by questioning how much these emissions affect unconsciously our choices, tastes and perceptions, seeking a relationship between the massive use of technology in everyday life and our emotional state.
The album Detect is developed in 15 tracks in continuous play, an imperfect, faulty mosaic inhabited by invisible beings manifesting themselves in the form of sound streams, mutable entities that find a definitive form in the pattern of the compositional structure.

The album opens with “aR1 detection", sounds of pure detection place themselves in the sound space giving the initial coordinates for the exploration of unconscious parallel areas. The boundaries transform and gradually expand until they flow into the structure of "kernel variations", a growing rhythmic pattern decodes the impulses projecting a perspective that dissolves in the unstable and fluctuating electromagnetic emissions of the subsequent "[a]3020t detection", "binary defect "and "core[2] ". “[A.box]emission” confronts the use of sound downloaded random from internet sample banks and the emissions generated during the download itself, micro sound fragments arrange themselves in an organized and regular pattern, shaping a rhythmic structure. The first part ends with the short “[sa]6030” and “[det]x1a”, absence and presence provide an alternation of movements, inaudible and elusive signals all trying to establish a contact with our perception. “det : scan” opens the second part of Detect, a sort of scanning, leaving EMF (electromagnetic field) textures, a static multilayer that progressively expands until it dissolves into the rhythmic emissions of a common smartphone “[4s]detection”.The track “[rs]zone” " is pushing itself deeper, two minutes of sound speleology that reveal the existence of sound artifacts that seem to vanish getting in contact with the light accented by the bass drum of "[det] 0100+" a constant, rhythmic pumping, a luminous pulsation that reveals an apparent void, which seems to subside entering in the winding and waving atmosphere of "conductive [area]" and "[s3] microfunktion". Detect comes to the end with “[emf]terminal” a mirror of the unarrestable technological acceleration intercepting the flow of data that feeds the system of communication , digital micro waste suffocates the living space by centering up the invisible in an unconscious map.

[a] A1

[c] A3

[e] A5 core[2]
[f] A6 [A.box]emission (2)
[g] A7

[i] B2 [4s]detection
[j] B3
[k] B4 [det]0100+
[l] B5 conductive[area]
[m] B6 [s3]microfunktion
[n] B7 [emf]terminal

It begins with a rustle of noise, equally reminiscent of distorted factory noise and a cassette recording of cathedral bells unspooling, before a near-robotic beat and stuttering bassline enter the fray. Initially, you could be forgiven for thinking you’ve stumbled across the lost tapes of Joy Division’s early Warsaw incarnation, but the atonal blast of strafing guitars fading in and out soon make you realise this is a very different proposition. This is The Drin, and ‘Engines Sing for the Pale Moon’ is their debut album. It’s also one of the best things you’ll hear all year. Helmed by Dylan McCartney, drummer of the rock band Vacation, The Drin originally released this album as a hyper-limited cassette via Future Shock. It’s as much of a departure from McCartney’s usual output as it is for Drunken Sailor Records; songs don’t so much explode out of the gate as drift towards you like a creeping fog that turns your skin inside-out and leaves you sloshing organs all across the carpet. Second track ‘Guillotine Blade’ shows the pieces all coming together, a dubbed-out riot of claustrophobic noise that feels like Pere Ubu trapped in a cupboard one minute, and ‘Warm Jets’-era Eno trying on Bauhaus’ trenchcoats the next. Meanwhile, ‘Down Her Cheek A Party Tear’ unfolds across jittering, skittering rustles of drums and an undulating bassline, making you wonder why post-millennial post-punk so often settles for dickheads shouting non-sequiturs over landfill indie, when it could be entering these dark, unsettling territories instead. The Drin like to get weird. The Drin like to get wild. The Drin rarely cut loose, but that’s because the trip is already intense and haunting enough without things getting raucous in here as well. Hey kids, turn off those shite band name redacted records and get into this; you deserve so much better, and better’s right here. Fall into it, immerse yourself and step forward into a brave new world. I love this record

Lost somewhere between the mysterious alleys of 70s Istanbul and the scorching sun and crystal blue sea of Jaffa, Tel Aviv, Şatellites self-titled debut album is set to be released on Batov Records on April 1st.

The Şatellites’ sound shimmers between traditional Turkish folk and instrumentation, ethereal psychedelic guitar leads and groovy dance floor baselines. The resulting concoction of songs draws on cross continental influence yet at its core is a desire to illuminate the vivid qualities of classic Turkish music, honouring the Anatolian folk and psych artists from this golden era of music. From the funky disco beat of Disko Arabesque to the celestial lead guitar in Yağmur Yağar Taş Üstüne, the band add fire and flair to time-honoured pieces of Turkish music giving them new meanings. Covering important tracks such as female singer Kamuran Akkor’s track Olurmu Dersin, and musician and guitarist Zafer Dilek’s Yekte, the album covers an array of original pieces of different musical styles and sounds, that once have and continue to flow out of Turkey. The band boasts six members; Ariel Harrosh (Bass) Lotan Yaish (Drums), Yuli Shafriri (Vocals), Tsuf Mishali (Keys and Synths), Tal Eyal (Percussion) and Itamar Kluger (Diwan saz, both electric and acoustic, electric baglama, Greek 4 double string bouzouki). They came together some years after band leader Itamar Kluger discovered the saz whilst travelling the Kaçkar mountains in Turkey’s eastern region. The saz being a long necked, plucked stringed instrument native to the rural areas of the country, which remains an integral part of Şatellites’ union, and plays predominance throughout the bands’ album and music.

In the same way the guitar was electrified in the 1930s, the electrification of the saz in the 1960s led to an explosion of rock music dredged in middle eastern influence, a musical genre fittingly called “Anatolian Rock” and based on the principles of Anglo-American and psychedelic rock music, yet incorporating the style, rhythm, and scales of traditional Anatolian folk music.

As such, throughout the creation of the album, the band conceived the idea of intertwining differing elements such as the groove of funk, the rhythm of disco, and reverb of psychedelic, with traditional middle-eastern rhythm and structure, opening up the wealth of Turkish music to the western world, so that anyone and everyone can relate to something from the album. With that said, Şatellites emphasise that their music is not fundamentally Turkish music, on the contrary, they merely try to sound as close to the genre as possible. Their sole aim is to honour this amazing culture and to present it to the world in a more accessible and attainable form.

Dutch producer returns to Boogie Angst for instrumental sophomore LP

Rotterdam, The Netherlands - Boogie Angst proudly presents Music Ruined My Life, the brand new instrumental LP from Rotterdam-based artist and producer Moods.

Dropping in the wake of front runner singles 'Talk About It,' and 'Music Saved My Life',' the Dutchman's notorious fusion of soul, R&B, and alternative influences takes a whole new dynamic courtesy of his first fully live recorded offering.

Recorded live in the city of Leiden during the peak of the pandemic alongside a full band, the LP taps effortlessly into the balance of soulful and jazz-inspired undertones that have hallmarked the project since breakthrough single 'Love Is Real.' A tastemaker favorite and label staple, the LP shows a more intricate and uncaged spin on the Moods sound, which has been consistently hailed by tastemakers globally and sampled by the likes of Logic.

The supple guitar plucks and resonating brass of 'Deeper Water' sets the LP in motion, building towards the funkier and perkier swells of album cuts such as 'Ecstacy' and 'Push Pull.' Capped by 'Return To 4ever,' a sultry and deeply atmospheric fusion of jazz and contemporary soul sounds, the eight-track endeavour shows that for all his streaming and collaborative success, the rich musicianship of the Moods project has not waivered.

"There really wasn't a huge concept or target for this record, it was more about tapping into the pure joy of making and creating music," he explains. "The pandemic was such a weird time, there was a lot of uncertainty in all aspects of life. So it almost felt like the perfect time to try something new. Having the band together in one room was a real rush, I liked how the record came together and how each artist brought their own energy to the project.

"I enjoy working with vocals, and I think the vocalists I have worked with on projects so far have been amazing. But when you take that element out and focus more on the instrumentation and arrangement, it's a really different experience, and that's something I really enjoyed for Music Ruined My Life.

Moods garnered more than 30m+ streams globally for debut LP Zoom Out, and has continued to leap from strength-to-strength courtesy of his soulful take on the boundaries between electronic and contemporary R&B.

23H23 is back in town... a superb Crystal Distorsion tune... One of the rare of a kind... Full out love of a music style creator... and all the other tunes trying, tiding and overfooding for more : Ixindamix in her funky live exercise... always surprised me and I luv that sound... Kindaz and his style too... Gravos bugging the tribe for more experimental groove : big 3rd type encounter ! Attention the extract we builded up does not show the end of the tune .. but finally you get 3 minutes of a round confortable kick... ahaha big I say again... 25D, Redge, Assolm System, Gravos... some other 23 heads of all kind will joice you up to the nirvana of the magic clock ! 23H23 of march or november 2023 !... ouuups... 2022 !

Ahead of the release of his much awaited debut album « blablablue » , Belgian singer-songwriter Delv!s just shares a new single, the dreamy “Human Trumpet”.

It’s no secret that Belgium owes much of its cultural prestige to its vibrant music scene. Lately, with much of the attention turned to Flanders, the Flemish side of the country is playing host to many exciting, genre-bending projects, including a tremendously innovative rap scene and a lively pool of electro bands walking in the footsteps of pioneers such as Soulwax: A tradition that Delv!s, one of the country’s most exciting newcomers to the soul, blues, disco-funk and pop genres, is set on honouring.

Delv!s is now ready to introduce “blablablue" to the world: a soul album infused with electro, funk and rock sounds, blended with a score of field recording samples; twelve tracks all penned by himself, unveiling a whirlwind of emotions that fuel the singer’s unique voice. The nostalgic brass arrangements and vintage-sounding harmonies may evoke Billie Holiday, Nina Simone or even James Brown at times, but “blablablue” nevertheless triumphs as a current and socially relevant record thanks to its topical commentary and diverse influences. Addressing many of the great issues plaguing the world today, including the sense of urban solitude, this is the first offering by a great artist, a sensitive soul also fluent in the language of love. Something to reflect on, unite us and even comfort us at times when we need it the most.