Suche:turning man

DJ Tiddles' Acid Techno/Techno label returns with a second release of explosive female/non-binary fronted tracks from Tiddles herself - teaming up with Polish Acid Techno hero Ciuciek - plus Ireland's new female Acid icon Bubbless - 2 trax including the catchy reggae techno crossover 'Rudie' - and last but not least Jungle-tek legend Mandidextrous turning in something very different to their usual fare with the rip-roaring bouncy techno classic 'Oi Oi Oi'... a classic release that is gonna set harder dancefloors alight!!

Luigi Madonna's record label, Contempo welcomes a raw and hypnotic techno EP from Backbone.

Backbone is a Portuguese producer who has been turning heads with his driving style of techno with trippy
sounds and fast-paced rhythms.
He has previously featured on labels such as Ed Davenport's Counterchange and Nastia's NECHTO Records.

Contempo is a record label that Luigi Madonna has set up to express the underground side of his tastes,
and along with his own music the imprint's catalogue also includes tracks and remixes by the likes of Alarico, Manuel Di Martino and Lobster.

"Ceasefire" opens the release with its slamming percussion and modulating synth line, before "Twiddly Phases" takes control with hallucinogenic atmospherics that create ominous intensity.

"Just a Sunny Day" is third on the release, and it's got a warped bassline layered with muffled vocals and a pounding kick drum.

"Ciphered Realities" is a stripped-back track with eerie tension and fluttering melodies, then "Wanksta Yard" closes the release with breakbeat rhythms and a menacing bassline.

Few bands have burst quite so brilliantly onto the scene as Clap Your Hands Say Yeah. Fewer still can say their debut album defined a scene, a time, and marked a paradigm shift in the music industry. But the then five-piece, fronted by the enigmatic Alec Ounsworth, managed all this and more; no wonder their self-titled record is still considered one the finest, and most influential, indie releases of the 2000s.A heady blend of left-field pop and melodic, exuberant indie rock, the record repurposed a number of classic new wave references for a new generation of music fans. Fun-loving and quirky, the band achieved that rare alchemy - synthesising a dizzying array of styles and influences into something wholly their own. And that something was utterly glorious, full of buzzing synths, trebly guitars, bustling drums, and lilting, wailing vocals. The record's raw, ramshackle sound was an integral part of its appeal; time has merely magnified that charm. In `The Skin Of My Yellow Country Teeth' and `Upon This Tidal Wave Of Young Blood' Ounsworth wrote two of the most uplifting, celebratory tracks of this millennium, obvious highlights on an album of consistent excellence, and one rightly lauded for re-writing the rules of what indie bands could be.

Following the reissue last year of Fairuz's classic 1979 album "Wahdon", Wewantsounds pursue their exploration of great Lebanese music with the reissue of Fairuz's highly sought-after LP "Maarifti Feek," released in 1987. Recorded in Beirut around 1983-84, the album features the Diva's superb voice combined with Ziad Rahbani's jazz and funk orchestration, making it one of the most in-demand albums on the Arabic funk scene. The release will coincide with "Arab Divas," a major exhibition set in the prestigious Institut du Monde Arabe (IMA) in Paris, celebrating the greatest singers from the Arab World and starting 13 May 2020. One of the greatest singers of the Middle East, Fairuz started her career in Lebanon in the 50s and quickly established herself as the most renowned Diva in the Arabic world, playing the most prestigious venues in the world. At the end of the 70s, Fairuz was at a turning point both professionally and personally. Her Husband Assi Rahbani, who, with his brother Elias, had penned her biggest successes, has suffered a stroke a few years earlier. This setback ultimately led to both the demise of their marriage and the end of their professionnal partnership. Enters Ziad Rahbani, Fairuz and Assi's son, a young musician, playwright and producer who had cut his teeth writing a handful of Fairuz's song - including her 1973 hit "Sa'alouni El Nas" - at just seventeen. Ziad Rahbani swiftly took over from his father and uncle as the singer's musical director and composer and this fruitful association, which started in 1979 with the album "Wahdon," broke many new grounds for Fairuz with funkier rhythms and edgier lyrics. It was recorded at the same time as Rahbani's own 12 inch "Abu Ali" which became a sought-after disco classic in its own right. The association between the two continued with a second album, "Maarifti Feek" ("Our Encounter"), recorded between 1983 and 84 in Beirut but only released in 1987. The album was another groundbreaking mix of influences ranging from the traditional arrangements of "Oudak Rannan" and "Ma Kdirt Nseet" to the brazilan flavour of "Version 1" via the synth funk of "Ouverture 83" and its follow up "Reprise 83". Also featured on the album is a beautiful remake of Joaquin Rodrigo's "Concerto de Aranjuez" in the form of a tribute to the lebanese capital, "Li Beirut." This blend of Oriental grooves with jazz and funk orchestrations by Ziad Rahbani is a unique document of Fairuz's career development in the 80s and explains why "Maarifti Feek" is such a sought after album on the DJ and collector circuits which Wewantsounds is delighted to reissue for the first time since the album first came out.

Story Of Collapsed Dimention unfold in 4 tracks multi-genres musical accompaniment and 12 frame comics, as artwork. The EP symbolizes a journey of personal transformation, the courage to confront the unknown and fight against circumstances and suffering. In order to become something new, we need to give up what we are now.

The tracks span across various styles, including funky house with a live-band feel, featuring infectious rhythms and vibrant instrumentation. There is a breakbeat track infused with a groovy bassline seized from NBA Live 95 on Sega Genesis, accompanied by turntablism hard drops and scratchy sounds that add an edgy and gritty vibe.

B-side explores psychedelic frequency modulations of polyharmonic intertwined with jungle-oriented breaks, creating a mesmerizing fusion of intricate melodies and rhythmic complexity. Finally, the EP concludes with an electro banger that has been accidentally reinvented with its captivating energy and a profound message.

Overall, the EP showcases a diverse and dynamic musical journey through these genres, offering a rich and immersive listening experience or valuable universal DJ-tool.

The artwork features hand-drawn comics by the talented artist Larisa Shalyapina, script and production by CDA.

The unique texture, blurriness, and overall quality of the illustration are meticulously preserved through a process of manual assembly and duplication, resulting in a visually captivating and tactile experience.

Used gear: Roland MC-808, Roland MC-505, Moog Subphatty, Waldorf Wave XT, MAM33, Volca FM, Volca Bass, Tascam Midistudio 644, Jomox t-resonator II, Boss Digital Delay, Teletron SAQ-206B Amp, KME Sound GBA 80 Bassbox, Culture vulture distortion, Distress compressors. DAW Ableton.

conceptualization:

Tracks are written during frequent relocations, capturing experienced moments and raw emotions. As the physical changes in our living environment are comparable to the collisions and evolving paths within the domain of knowledge reflected in the trials of spiritual awakening.

In Berlin, a city of expats, it has a special relevance to people who came here to find themselves. It also resonates with those who have been brought here by circumstances.

Record id released with all Ukrainian brothers and sisters in heart.

While we find comfort in our safe spaces, it is inevitable that some stress will eventually provoke us to take action. We may long for that period of comfort and feel a sense of anger or sadness for what once was. Once the truth is revealed, much like the unveiling of light, there is no turning back — a path to enlightenment shall be accepted.

Within the EP, each track serves as a chapter for this path.

A1

First track encapsulates escapism by chasing a feel-good sense in the run from responsibilities into fantasy-land. In the moment of careless life in careless time, where the future is sacrificed in the name of immediate pleasure.

A2

Robotboy incorporates a superficial state of mind with a reactive personality rooted in a narcissistic ego, dishonestly denying the righteous path. Subconscious struggle from hedonistic lifestyle with no relief.

B1

A deeply intimate and personal, embodied introspective sentiment kept hidden from the world, revealing when we’re alone and usually stifled with distraction and entertainment. Nostalgic feeling of loss follows us during the abandonment of a beloved place. Overwhelming weight of regret in presents.

B2

Taking action of the first step makes us unstoppable and disclosure of knowledge leads to destruction of the illusory world. Finding out the truth, same as seeing the light, excludes the retreat into darkness. As comprehension is the way to enlightenment.

The official new edition from this rare and great Afrobeat & Soukous masterpiece from Nigeria !

"Vibro Success Intercontinental Orchestra was an extraordinary group from the Central African Republic, founded by the sax player Rodolphe 'Beckers' Bekpa, also known as Master Békers, in the late 60's. The band achieved surprising domestic success after Beckers introduced the first drums to the Congolese Rumba rhythm. His innovation proved to be wildly popular so they were hired as the resident band of “ciel d’Afrique au Km5”, a night club in Bangui. The club was renowned as the temple of the Olympic Réal football team's fans and that visibility propelled them into becoming the official national orchestra.

1970 marked beginning of the band's international fame . Their fame spread beyond national borders until they became so popular that invitations began to arrive from nearby countries like Cameroon and Chad, the former of which the band would then tour that same year. The success of their performances prompted a further tour in 1972. According to Rodolphe Bépka, the audience enthusiasm Vibro encountered was bewildering. "We filled the old military stadium in Yaoundé in 1970, in 1972 the new Amadou Haïdjo stadium ... We are running with great success in the cities.” Their popularity was also growing in Chad, where they would tour several times through the early and mid 70's.

Towards the end of 1976, Vibro Success decided to take their music global and introduce Central African music to listeners worldwide. It worked. The turning point came in Nigeria. There the group achieved extraordinary success, with live performances followed by contracts with local labels like Scottie and Ben/Clover resulting in hit releases. Most of their LP's were originally released on this later label, Ben Limited, owned by Ben Okonkwo.

Ben, also known as Clover Sounds, brought a great number of the biggest bands from the country to market, bands like The Apostles, Akwassa,The Doves, Aktion, The Visitors, Mansion, Folk 77 and many others. Nearly all those groups started their recording careers in the label's studios based in the commercial heart of Aba, Abia State, one of Southeastern Nigeria’s largest cities. Aba at that time was a flourishing city, an important crossroads of people and culture with an intensive and active and cutting edge live music and nightlife.

But after that golden era the group began to lose its popularity. In the 1980's they returned to Bangui and resumed their old-time gigs in dance halls there - only to realize that their music didn't have the appeal it used to. Making matters worse, the domestic economic downturn accelerated, forcing the orchestra to slowly end its activities . Vibro Succès Intercontinental Orchestra disappeared at the end of the 80s and most of its members died in the 90s.

We discovered this LP during our first trip to Nigeria in 2016. While traveling in the east to meet up with a musician, we stopped for a night in a village. As often happens in Nigeria, information has a way of traveling fast. The news that a couple of white guys looking for records had arrived in the village the day before spread like light. When we awoke, we found a couple of elderly music lovers in the hall of our hotel with a little pile of records for sale. The nice cover of the “Drunkard” album was right on top!

At first we thought it was just another really good soukous album made by Vibro Success but after we heard “Drunkard” - we knew we had stumbled onto something very special. That was the “easy” part. Soon after, we had the idea of reissuing this LP and that was a bit harder. There were no credits on the cover and not much information about Vibro Succès. We started to ask to our friends to ask around, see if somebody knew them or the producer. That's when sadly we discovered that Ben Okonkwo had passed. So with no leads to follow and seemingly without any possibility of making progress on the matter, we "gave up" and returned to Italy.

A couple years later, in the summer of 2019, we found ourselves again in Aba. This time we had the chance to meet Nnamdi Okonkwo, the eldest son of the late Ben Okonkwo. After Nnamdi's mother and family agreed, he was glad to cooperate with us for the re-release of this special album."

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

For the better part of the last 15 years, the duo of Max Dameron (guit/vox) and Sam Ford (drums/vox) have been too weird and too wild for this lame-ass planet. After enjoying vagabond stints living in Portland, Los Angeles, and Brooklyn, they now call Detroit home. Here they rebuild, out of the scraps and wreckage of the 21st century, something which casts aside any rules or adherence to banal tropes. Specializing in the unexpected, Max and Sam have wrought an individual sound that’s as much post-Melvins sludge punk as it is futurist prog metal. Their forthcoming self-titled debut, recorded in 2022 at High-Bias in Detroit, puts on display the fruits of their metamorphosis. From the soaring triumphal fuzz of “Uncanny Valley” or the sweep and thrust of “House of Butterflies” their craft is precise, they’re just making up their own shapes to sculpt. Times change and artists mature: now under the name PSYCHIC TRASH, Ford and Dameron come to Riding Easy Records as veterans turning a fresh page, reinvigorated at the prospect of forging a new path and the beneficiaries of about a decade and a half’s slog through the underground. Psychic Trash’s self-titled debut is unmistakably uncompromising, a little theatrical, intermittently manic, and deceptively broad in style for just how much punk rests beneath.

Circular patterns morphing through time, loop and ritual form the fabric of Proserpine, the latest work by Leeds-based musician, Teresa Winter. Recorded from a summer to a winter through 2021 and 2022, Proserpine is Winter's most cohesive, focused music to date: confidently revelling in space, fixating on isolated sounds and giving way to satisfying, swirling waves of vocal and electronic buzz. Proserpine is Teresa Winter's debut recording for Glasgow-based label, Night School.

On Proserpine, musical patterns revolve and intersect with each other, transmogrifying the music's narrative. Over-arching themes emerge: continual change, elusiveness. Insubstantiality emerges into concrete reality in the form of recognisable field recordings: the purring of a pet cat, the hum of a live cable. The loops and patterns are sometimes just out of sight, the click and whirl on Child Of Nature is the backdrop to hymnal vocalisations by Winter, who intones spell-like text in conversation with herself. On opener Circles, Winter's vocal is pre-linguistic, detached syllables falling into flowing streams, before Plume's field recordings seem to juxtapose nocturnal and diurnal wildlife. "You said I was a Flower Of The Mountain" sings Winter, as James Joyce's Molly Bloom does but the carpe diem desire in Ulysses is dissipated here, spread out by gauzy, droning organs. Here desire is blown up and out, changed into something undefinable but no less powerful.

Change is at the heart of the album. The Roman goddess Proserpine, herself a reimagined version of the earlier Greek goddess Persephone, is always between: between summer and winter, the land of the living and the underworld, constantly emerging into new states of being. It's a fitting metaphor for Winter's work. Like an Apple feels like it soundtracks this in-between state, long, trailing reverb smudging synth keys and Winter's achingly beautiful vocal performance. The effect is stirring but flitting in and out of perception, sometimes Winter's presence feels of this world, of musical instruments and practises and at others it feels like the music is about to phase into a different plane, a different universe.

While Proserpine references the myths and cults of the classical, pre-Christian era, Winter's restless preoccupation with the mechanics of religion informs the album in other ways. Ritual is present through out, either in the mantra-like vocalisations or even the private rituals we are invited to witness: on Fireworks the listener eave drops into the protagonist's private bonfire. On the stunning Lamento, layers of Choral vocal interlock in celestial patterns that recall catholic mass: it's an overt effect that simulates the ecstasy of religious fervour and also reminds the listener of the use of vocal that runs through Proserpine. Winter's vocals often echo with the euphoria of obliteration, of disintegrating in an awful bliss. It's an effect achieved with finality by the closer New Water as the piece begins with voice before burning up in the atmosphere of elegiac violins and enveloping undertows of whirring synth patterns and ghostly pads. Proserpine is forever turning, changing, always elusive and quietly revelatory.

The live reunion of Bob Dylan and The Band during 1973-74 yielded one of the decade's most celebrated, dynamic, and astonishing tours. Captured on Before the Flood, the results portray the two artists' shared chemistry as well as Dylan's instinctive ability to challenge audiences, his group, and himself via inventive rearrangements of classics that simultaneously ward off nostalgia and renew with meaning. Said by noted critic Robert Christgau to be "at its best, the craziest and strongest rock and roll ever recorded," Before the Flood crackles with intensity, relevance, and unhinged performances.

Arriving at a crucial time for both Dylan and The Band, Before the Flood is the furthest thing possible from a nostalgia trip. It's where Dylan begins his now-trademark feat of turning songs upside-down, taking risks, challenging expectations, and leaving audiences riveted to the edge of their seats in anticipation of what might come next. He sings with unabated passion, the moods spanning bitterness to jubilation. And his willingness to play fast and loose with the music gives way to compelling shifts, under-the-surface textures, complementary intricacies, and a sense of newness and discovery on par with that of an adventurer embracing total freedom.

Before the Flood buries any notion of limits, safeguards, or borders. It is an open map, each song a route begging for exploration without need or concern for exactness or an appointed leader. Collaborative in every sense, it's a portrait of six inimitable musicians feeding off one another, trusting in their past history as they hurdle towards uncharted territory, using soulfulness as a compass and opportunity as their vehicle.

Wholly different than the live episodes heard on Bob Dylan Live 1966, The "Royal Albert Hall" Concert, Before the Flood is equally seminal and, from the perspective of witnessing an artist dare not only his audience but himself to break through to a new plane, even better. Utterly astounding.

Originally released in Canada in 2006, and worldwide by 2007, Patrick Watson's breakthrough album has sold over 100,000 copies. Wooden Arms is Patrick Watson's highly anticipated follow-up to the critically acclaimed Close to Paradise, which vaulted the man and his band to international stardom in 2007. The Montreal band toured non-stop for two years following initial Canadian release of Close to Paradise in 2006, and in many ways Wooden Arms is the story and sound of a band waking up in strange places all around the world.

Whether it's the bicycle-city sound of Beijing,' or the warmth of a hole in the wall' in sweet New Orleans' on Big Bird in a Small Cage,' or the haunting European waltz of the title track, you can't help but feel in listening to Wooden Arms like you're on the road with the band. Sometimes it's dirty, sometimes it's wild, but it's never, ever boring.

Close to Paradise won Canada's prestigious Polaris Prize in 2007, turning more than a few heads in beating out offerings from Arcade Fire and Feist, among others. By the time it saw release in the United States, Europe and Japan, the band was flying all over the world, garnering rave reviews for the album and their blistering live show alike.

Public Possession turns 10. What holds it all together?
Comedy & Rhythm. Find us in between the sun and the moon. Onward, forward, don’t step backward.
The source is everywhere.
• Where (Who) Am I? An angel with an UFO.
• Toot, Toot, Beep, Beep....
• Maintain a child’s mind
• Listen, talk, see
• Archeaology (dig it)
• WOW (curiosity)
• Easy & Diffifficult
• Mix It Up
• Soft Education
• Love Unlimited
We are not doing this alone.
The biggest thank you goes to the P.P. Team & all label artists.
To many more years!!

Considered one of the most innovative groups on the Colombian musical circuit in 1973, Columna de Fuego forged its sound by creatively and organically mixing elements of heavy rock with rhythms rooted in the music of the Pacific and Caribbean coasts of the country. Columna de Fuego, the first Colombian rock band to tour outside South America, was the supporting act for Leonor González —La Negra Grande de Colombia— for months and featured members of Los Young Beats, Los Speakers and Siglo Cero. Their only LP, recorded in Spain and released in Colombia only in 1974, was a turning point in the history of Colombian rock, an album full of funk, soul, cumbia and currulao that maintains a fast pace from start to finish. After unsuccessful attempts to establish themselves in Europe, the group parted ways; some members returned to Colombia and others stayed in Europe as part of La Banda Salsa, a vibrant and little mentioned chapter in the history of Latin rock. Roberto Fiorilli, the stand-out drummer of Colombian rock, returned to his native Italy. Over the following five decades, the myth of Columna de Fuego, that wonderful Bogota rock band that dared to experiment with the music of the Colombian coastline, grew. The curiosity of musicians interested in the traditional music and folklore of the coasts since the late 80's, the consequent mixture of different musical genres (modern and roots) at the end of the 20th century and the almost impossible desire of collectors to find a copy of the album or one of the band’s singles, gave it the status it should always have had as a pioneer, milestone and beacon. After remaining unavailable for five decades, we are proud to now present the first-time reissue of this obscure gem with its original artwork, including an insert with notes and rare photos. Sleeve

The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era – he is, simply put, free jazz royalty.

In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven."

Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."

The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era – he is, simply put, free jazz royalty.

In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven."

Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."

180g Vinyl, Gatefold, includes two inserts. Rediscover the epic sound of "Earthquake", the groundbreaking album by Electric Sun, reissued and better than ever. Crafted by guitar legend Uli Jon Roth, "Earthquake" takes you on a musical journey that still stands as a trailblazer today. In this opulent masterpiece, hard rock meets psychedelic elements to create an unforgettable, earth-shaking soundscape. Now, remastered from the original master tapes and for the first time available as Vinyl Gatefold, it's time to be swept away again by the power of this musical quake. Prepare to shake the earth once again with Electric Sun's "Earthquake"!

It's been a little over ten years since Hailu Mergia reemerged on the international music scene. Following the first in a series of his classic recordings reissued in collaboration with Awesome Tapes From Africa, Mergia assembled a band and began performing live again after many years driving a cab in Washington, DC. His first show back appeared on the front page of the New York Times along with a stellar review and he took off from there performing his flavor of Ethiopian jazz all over the world in the years since, including Radio City Music Hall and Montreal Jazz Festival. Finally, we have a recorded document of the keyboard player's powerful DC-based trio _ which practices each weekend in his basement _ featuring Kenneth Joseph on drums and Alemseged Kebede on bass. Beautifully captured at one of their fiery live shows at the venerable Brooklyn non-profit cultural center Pioneer Works on July 1, 2016, the concert was recorded by PW staff and mixed by Ted Young with mastering by ATFA's expert audio extraction collaborator Jessica Thompson. The performance clarifies what many people across the globe already know: in his fifth decade of music-making Hailu Mergia continues to push the boundaries of his remarkable abilities. Mergia and his veteran band energetically and playfully unpeel layer after layer of harmonic and rhythmic interest out of a spectrum of Ethiopian repertoire. Modern jazz demands constant reinvention and improvisation, night after night creating new works out of known modes and classic standards. This band is unstoppable when it comes to turning age-old melodies (like "Tizita" or "Anchihoye Lene") upside down and inside out until they emerge as molten new works, often spontaneously. Mergia's original compositions (like "Yegle Nesh") shine brighter than ever here as well. Moving from keyboard to organ to accordion to melodica, he deftly switches instruments _ often during the same song. Mergia at 77 years old seems to be working harder than musicians half his age. "Pioneer Works Swing (Live)" brings into focus the kind of onstage group improvisation and deadly solo passages that reach for places Mergia and the band have never gone, on festival and club stages across four continents. Now that Mergia has released two new recordings along with four classic reissues, he is eager to let everyone hear what he's been doing on the road since he re-took the global stage for his victory laps. So much more than an old act from yesteryear, Mergia balances his legendary Ethiopian recordings with good old fashioned sweat-soaked live concert triumphs such as the one we have here.

It's been a little over ten years since Hailu Mergia reemerged on the international music scene. Following the first in a series of his classic recordings reissued in collaboration with Awesome Tapes From Africa, Mergia assembled a band and began performing live again after many years driving a cab in Washington, DC. His first show back appeared on the front page of the New York Times along with a stellar review and he took off from there performing his flavor of Ethiopian jazz all over the world in the years since, including Radio City Music Hall and Montreal Jazz Festival. Finally, we have a recorded document of the keyboard player's powerful DC-based trio _ which practices each weekend in his basement _ featuring Kenneth Joseph on drums and Alemseged Kebede on bass. Beautifully captured at one of their fiery live shows at the venerable Brooklyn non-profit cultural center Pioneer Works on July 1, 2016, the concert was recorded by PW staff and mixed by Ted Young with mastering by ATFA's expert audio extraction collaborator Jessica Thompson. The performance clarifies what many people across the globe already know: in his fifth decade of music-making Hailu Mergia continues to push the boundaries of his remarkable abilities. Mergia and his veteran band energetically and playfully unpeel layer after layer of harmonic and rhythmic interest out of a spectrum of Ethiopian repertoire. Modern jazz demands constant reinvention and improvisation, night after night creating new works out of known modes and classic standards. This band is unstoppable when it comes to turning age-old melodies (like "Tizita" or "Anchihoye Lene") upside down and inside out until they emerge as molten new works, often spontaneously. Mergia's original compositions (like "Yegle Nesh") shine brighter than ever here as well. Moving from keyboard to organ to accordion to melodica, he deftly switches instruments _ often during the same song. Mergia at 77 years old seems to be working harder than musicians half his age. "Pioneer Works Swing (Live)" brings into focus the kind of onstage group improvisation and deadly solo passages that reach for places Mergia and the band have never gone, on festival and club stages across four continents. Now that Mergia has released two new recordings along with four classic reissues, he is eager to let everyone hear what he's been doing on the road since he re-took the global stage for his victory laps. So much more than an old act from yesteryear, Mergia balances his legendary Ethiopian recordings with good old fashioned sweat-soaked live concert triumphs such as the one we have here.

It’s been a little over ten years since Hailu Mergia re- emerged on the international music scene. Following the first in a series of his classic recordings reissued in collaboration with Awesome Tapes From Africa, Mergia assembled a band and began performing live again after many years driving a cab in Washington, DC. His first show back appeared on the front page of the

New York Times along with a stellar review and he took off from there performing his flavor of Ethiopian jazz all over the world in the years since, including Radio City Music Hall and Montreal Jazz Festival.

Finally, we have a recorded document of the keyboard player’s powerful DC-based trio—which practices each weekend in his basement—featuring Kenneth Joseph on drums and Alemseged Kebede on bass. Beautifully captured at one of their fiery live shows at the venerable Brooklyn non-profit cultural center Pioneer Works on July 1, 2016, the concert was recorded by PW staff and mixed by Ted Young with mastering by ATFA’s expert audio extraction collaborator Jessica Thompson. The performance clarifies what many people across the globe already know: in his fifth decade of music-making Hailu Mergia continues to push the boundaries of his remarkable abilities.

Mergia and his veteran band energetically and playfully unpeel layer after layer of harmonic and rhythmic interest out of a spectrum of Ethiopian repertoire. Modern jazz demands constant reinvention and improvisation, night after night creating new works out of known modes and classic standards. This band is unstoppable when it comes to turning age-old melodies (like “Tizita” or “Anchihoye Lene”) upside down and inside out until they emerge as molten new works, often spontaneously. Mergia’s original compositions (like “Yegle Nesh”) shine brighter than ever here as well. Moving from keyboard to organ to accordion to melodica, he deftly switches instruments—often during the same song. Mergia at 77 years old seems to be working harder than musicians half his age.

Pioneer Works Swing (Live) brings into focus the kind of onstage group improvisation and deadly solo passages that reach for places Mergia and the band have never gone, on festival and club stages across four continents.

Now that Mergia has released two new recordings along with four classic reissues, he is eager to let everyone hear what he’s been doing on the road since he re-took the global stage for his victory laps. So much more than an old act from yesteryear, Mergia balances his legendary Ethiopian recordings with good old fashioned sweat-soaked live concert triumphs such as the one we have here.

History has shown that the greatest bands–bands with that certain, ever elusive quality called lasting power–neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band’s new stand-alone single, “All Lined Up,” comes alongside the announcement of their signing to Third Man Records–their first partnership with a larger independent label–who will also be physically and digitally re-releasing the entirety of Sheer Mag’s back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag’s sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag’s oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010’s underground, time has attested to Sheer Mag’s singular cultural mutability: though never straying too far from their home-town Philadelphian origins

History has shown that the greatest bands–bands with that certain, ever elusive quality called lasting power–neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band’s new stand-alone single, “All Lined Up,” comes alongside the announcement of their signing to Third Man Records–their first partnership with a larger independent label–who will also be physically and digitally re-releasing the entirety of Sheer Mag’s back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag’s sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag’s oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010’s underground, time has attested to Sheer Mag’s singular cultural mutability: though never straying too far from their home-town Philadelphian origins

Bill Seaman is a musician, media artist and media researcher int the field of interactive and generative music (he calls this recombinant music). He has been working on a series of works that combine elements of ambient, noise, experimental, new classical and more. He describes these works as being alt.genre. He has recorded five solo albums (on Eilean Rec. and Fluid Audio) and a numerous of collaborative albums with some music artists such as Craig Tattersall, John Supko, Offthesky, Rutger Zuydervelt, Stephen Vitiello, between others. Seaman has also often created video works to accompany a number of his solo and collaborative pieces. Seaman is self-taught as a musician and composer, and is a Professor in the Music Department at Duke as well as Art, Arth History & Visual Studies.

Since releasing a track on the RND034873349921 compilation on the Pause_2 label in 2001, Tim Diagram has released over thirty-five albums as a solo artist or as part of collaboration projects. he has appeared on many well-respected labels, such as; False Industries, Static Caravan, Nomadic Kids Republic, Fluid Audio, Time Released Sound, Chemical Tapes – to name but a few. Tim runs the Handstitched* label in the UK which specialises in bespoke, handmade packaging for the more electro-acoustic and drone-like elements of his and other artists work, and he is involved in audio-visual commissions, including art gallery installations and music videos for a global clothing brand. As well as Maps and Diagrams, Tim also records music under the Atlantis name and works in collaboration with Genoveva Kachurkova as Bluhm, with Charles Sage as Hessien, alongside Rob Lyon as Somme & with Arbee under the name Emba.

Stephen Spera is a New York based artist working in sound, photography, and plastic arts. His works have been released on some labels such as Handstitched, Tesselate, and Editions Vaché. In 2020 he began a series of collaborations with Bill Seaman, as the two artists admired each other’s work and found much in common. Their work together was graced with an ease which kept them composing an album- “Architectures of Light” -which was released on Britain’s Handstitched label. The project was very well-received. The two stay in touch and kept working, joined now by Tim Martin whose work as Maps and Diagrams was long-admired by Stephen and Bill. They too found instant understanding of each other’s work, and “ The World was turning Before” is the result of their collaboration. The three artists possess an almost uncanny communication that enables them to work whilst still enjoying each other’s individual voice, and this trio has come together so well that, in Spera’s words, “We no longer know who played what…”

Modernists loved the latest R&B, blues and soul sounds coming from US cities such as Chicago, Memphis and Detroit and when British groups started playing their own interpretations in clubs and dancehalls they gained their own mod followings, their music remaining popular on the mod scene today.

Side 1 of this bespoke collection spotlights the British R&B scene and features a founding father of British blues Alexis Korner with the rare ‘Taboo Man’ alongside ace mod tracks from The Bo Street Runners, The Others, Mickey Finn and The Blue Men (featuring a youthful Jimmy Page on harmonica) and more.

Side 2 starts with British R&B groups developing their own sound by turning up their guitars, employing distortion, feedback and fuzz pedals to take the music in a new direction. Highlights include the Joe Meek produced ‘Crawdaddy Simone’ by The Syndicats (described as proto punk because of its ferocity), The In Crowd’s snarling ‘Things She Says’ and The Artwoods’ fuzz drenched mod favourite ‘I Take What I Want’ featuring future Deep Purple organist Jon Lord on organ.

Denny Laine (later of Wings) sings with The Moody Blues calming things down with some soulful beat.

Side 3 focuses on UK soul music - Rod ‘the mod’ Stewart backed by The Brian Auger Trinity takes on Sam Cooke’s ‘Shake’, the godfather of ska Laurel Aitken proves he’s also a natural soul man with his floor filling version of The Mar-Keys’ ‘Last Night’ and the amazing Barry St. John sings the funky ‘Gotta Brand New Man’. Popular club acts Lucas & The Mike Cotton Sound and Carl Douglas & The Big Stampede would regularly bring the house down at mod clubs and also feature.

Side 4 includes mod club dancefloor smashes from The Spencer Davis Group and Rupert’s People (AKA mod group Fleur De Lys) while mod heroes The Action go psychedelic with ‘Look At The View’. A moonlighting Jeff Beck of The Yardbirds plays on John’s Children’s ‘But She’s Mine’ and there are brilliant singles revered by freakbeat and psych collectors such as Double Feature’s ‘Baby Get Your Head Screwed On’ and The Drag Set’s ‘Day And Night’.

Rarities from The Trendbender Band and The Union (featuring Elmer Gantry) appear on vinyl for the first time.

History has shown that the greatest bands–bands with that certain, ever elusive quality called lasting power–neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band’s new stand-alone single, “All Lined Up,” comes alongside the announcement of their signing to Third Man Records–their first partnership with a larger independent label–who will also be physically and digitally re-releasing the entirety of Sheer Mag’s back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag’s sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag’s oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010’s underground, time has attested to Sheer Mag’s singular cultural mutability: though never straying too far from their home-town Philadelphian origins

Die Heavenly Remixes-Reihe präsentiert weiterhin die besten Remixe, Versionen, Meditationen, Re-Rubs und Dubs von Künstlern aus der ganzen Welt, die auf der Liste des aufregendsten Plattenlabels des Landes stehen. In den meisten Fällen handelt es sich bei den Alben um die erste physische Veröffentlichung eines Remixes, die sie von den Streaming-Playlisten in ihr rechtmäßiges, spirituelles Zuhause auf superschwerem Vinyl (oder glänzender, supergepackter Compact Disc) befördert.

Heavenly Remixes Volume 8 beginnt mit Space Afrikas üppiger, ambienter Neuinterpretation von BEAM/S der Orielles, bevor Justin Robertson Amber Arcades' Turning Light zu acht Minuten elektronischem Dub dehnt.

The Madlib Invazion Music Library Series Entry #4: Dan Ubick (Connie Price & The Keystones, The Lions) explores the realms of Canyon Funk. This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.

The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).

Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan", originally issued in Japan on his own School label in 1984.

The reissue will replicate the original Japanese release which offered two versions: a normal edition featuring the LP with a bonus 2-track 7" EP (WWSLP71), and a limited edition which includes a 3-track 12" EP in place of the 7" (WWSLP72)

Remastered by Saidera Mastering in Tokyo the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta



The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's "Merry Christmas Mr. Lawrence" (a film in which he had also acted), had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album "Naughty Boys".

Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, "Ongaku Zukan" ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. Sakamoto began with no particular plan in mind, recording 30 basic tracks over the best part of 1983. It was on his return to the studio the following year that the album truly began to take shape. Accompanied by a newly acquired Fairlight CMI sampler, the musician made extensive use of the revolutionary equipment to create a wide palette of sound textures which he added to the tracks, a creatively fertile process that was captured on film for the French documentary "Tokyo Melody, A Film about Ryuichi Sakamoto".)

Released in August 1984 the album "Ongaku Zukan" proved a huge success, providing Sakamoto with his first top 5 hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Asiatic electro pop nuggets ("Tibetan Dance") share space with futuristic ambient pieces ("Hane no Hayashi de"), and brilliantly creative fusions of jazz, funk, techno and reggae ("Etude" and "Tabi no Kyokuhoki.")

Two simultaneous editions of the album were released in Japan: the regular one featuring a bonus 7" EP with two extra tracks: "Replica" and "Ma Mère l'Oye" while a limited edition added a 12" EP (in lieu of the 7") which included a third track, "Tibetan Dance (Version)." An international version was released two years later in 1986 by 10 Records/Virgin under the title "Illustrated Musical Encyclopedia," but with a very different track list. Five tracks from "Ongaku Zukan" were dropped, namely "Self Portrait," "Tabi no kyokuhoku," "Mori no Hito," "A Tribute to N.J.P" and "Tibetan Dance (Version)", to be replaced by two non-album singles from 1985, "Stepping Into Asia" and "Field Work."

This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced, paying tribute to one of contemporary music's undisputed geniuses.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan", originally issued in Japan on his own School label in 1984.

The reissue will replicate the original Japanese release which offered two versions: a normal edition featuring the LP with a bonus 2-track 7" EP (WWSLP71), and a limited edition which includes a 3-track 12" EP in place of the 7" (WWSLP72)

Remastered by Saidera Mastering in Tokyo the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta



The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's "Merry Christmas Mr. Lawrence" (a film in which he had also acted), had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album "Naughty Boys".

Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, "Ongaku Zukan" ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. Sakamoto began with no particular plan in mind, recording 30 basic tracks over the best part of 1983. It was on his return to the studio the following year that the album truly began to take shape. Accompanied by a newly acquired Fairlight CMI sampler, the musician made extensive use of the revolutionary equipment to create a wide palette of sound textures which he added to the tracks, a creatively fertile process that was captured on film for the French documentary "Tokyo Melody, A Film about Ryuichi Sakamoto".)

Released in August 1984 the album "Ongaku Zukan" proved a huge success, providing Sakamoto with his first top 5 hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Asiatic electro pop nuggets ("Tibetan Dance") share space with futuristic ambient pieces ("Hane no Hayashi de"), and brilliantly creative fusions of jazz, funk, techno and reggae ("Etude" and "Tabi no Kyokuhoki.")

Two simultaneous editions of the album were released in Japan: the regular one featuring a bonus 7" EP with two extra tracks: "Replica" and "Ma Mère l'Oye" while a limited edition added a 12" EP (in lieu of the 7") which included a third track, "Tibetan Dance (Version)." An international version was released two years later in 1986 by 10 Records/Virgin under the title "Illustrated Musical Encyclopedia," but with a very different track list. Five tracks from "Ongaku Zukan" were dropped, namely "Self Portrait," "Tabi no kyokuhoku," "Mori no Hito," "A Tribute to N.J.P" and "Tibetan Dance (Version)", to be replaced by two non-album singles from 1985, "Stepping Into Asia" and "Field Work."

This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced, paying tribute to one of contemporary music's undisputed geniuses.

Original self-released by Malik king this lp has been on many peoples lists of holly grail private-press jazz wants for years , very rarely turning up on ebay and the like.. selling for up to $500.

Malik King was an important part of the St Louis jazz scene of the 70's & 80's.

He studied under Albert Ayler in NY in the early 70s before returning to the Midwest. He was a member of; The Human Arts Ensemble, the Shirley Le Flore's ensemble "Free N' Concert". He also served as musical director of The Creative Arts & Expression Lab, The African Peoples Continuum, & The Black Arts Alliance, The worrier poets, as well as various Emerging Force Ensembles.

Zimbabwe Nkenya (1953-2022), a creative artist and innovative musician, was brought up on army bases in the USA and Spain. He spent 30 years traveling and performing in New York, New Mexico, Arizona and St Louis. playing with a who's who of jazz. In New Mexico he became an integral part of the scene, producing and hosting the KUNM'S radio show "THE HOUSE THAT JAZZ BUILT" .

Luckily Malik self-released "Time & Condition" in 1982, capturing his work together with Qaiyim Shabazz. It's not just a crate diggers Holy Grail, but an important artistic and historic document of the St Louis scene. Time & Condition stands alone as a (very) individual, spiritual jazz classic.

We hope this reissue will finally grant these musicians the wider acknowledgement & credit they deserved during their life time.

Original self-released by Malik king this lp has been on many peoples lists of holly grail private-press jazz wants for years , very rarely turning up on ebay and the like.. selling for up to $500.

Malik King was an important part of the St Louis jazz scene of the 70's & 80's.

He studied under Albert Ayler in NY in the early 70s before returning to the Midwest. He was a member of; The Human Arts Ensemble, the Shirley Le Flore's ensemble "Free N' Concert". He also served as musical director of The Creative Arts & Expression Lab, The African Peoples Continuum, & The Black Arts Alliance, The worrier poets, as well as various Emerging Force Ensembles.

Zimbabwe Nkenya (1953-2022), a creative artist and innovative musician, was brought up on army bases in the USA and Spain. He spent 30 years traveling and performing in New York, New Mexico, Arizona and St Louis. playing with a who's who of jazz. In New Mexico he became an integral part of the scene, producing and hosting the KUNM'S radio show "THE HOUSE THAT JAZZ BUILT" .

Luckily Malik self-released "Time & Condition" in 1982, capturing his work together with Qaiyim Shabazz. It's not just a crate diggers Holy Grail, but an important artistic and historic document of the St Louis scene. Time & Condition stands alone as a (very) individual, spiritual jazz classic.

We hope this reissue will finally grant these musicians the wider acknowledgement & credit they deserved during their life time.

The master sleuths at Dark Entries bring us Forbidden Overture, another tantalizing mystery from the hidden depths of sleaze. It all began years ago when Bijou Video’s Jules Zinn introduced the label to the soundtracks of the pornographic films of legendary filmmaker Steve Scott and gay superstar Al Parker. It wasn’t until The Magazine’s Bob Mainardi gifted a cassette copy of the soundtrack to the film TURNED ON—a bathhouse fantasy from 1982—that the wheels started turning. The steamy, hypnotic sounds were credited only to “Forbidden Overture…” but who was that? This question remained unanswered for some time, and countless hours of research, Venn diagramming, and elaborate flow charts all proved fruitless.
It wasn’t until a chance screening of BAD GIRLS DORMITORY, a 1986 women-in-prison movie from gay porn director Joe Gage that happened to reuse some of the same music did the answer become clear: Forbidden Overture was none other than the mighty Man Parrish!​

The soundtrack to TURNED ON consists of two epic side-long pieces, both of which employ classic Man Parrish production techniques. “Primal Overture” slinks along with brooding pads and ominous chords, building and oozing throughout its 27 minute runtime like a sultrier Goblin soundtrack. “Strictly Forbidden” takes a similar groove to a major key, but it’s optimistic chirp conceals a wry, mysterious wink. Says director Steve Scott: “It took us about two weeks to find the right piece for the jockstrap scene. But it's like anything else—you know when it’s right.”

​Also included is a 20 page booklet featuring photos, archival material, a pull-out poster, and interviews with Steve Scott and stars Al Parker and Scott Taylor. TURNED ON is an exciting musical rediscovery as well as a vital document of queer history.

‘Lindstrøm returns with his sixth studio album Everyone Else is a Stranger, and the first since 2019’s On a Clear Day I Can See You Forever. The title of the album was inspired by John Cassavetes’ original title for his 1984 film Love Streams, and contains four tracks of his signature chord-stacking disco epics and freeform cosmic voyages, stretching across nearly 40 minutes. An album that in many ways sums up his career, and gathers his different musical paths into one sound and one album.

Where his previous album had a slower and more mellow feel, 2023’s Everyone Else is a Stranger sees Lindstrøm take on a much more rhythm-oriented and uptempo approach, containing tracks that fit perfect with the artist’s revered live sets. That said, this album also contains the unexpected twists and turns that has become the Norwegian producer’s trademark, including recordings of him playing a cheap Chinese cello and violin for the first time alongside the old Solina String-Ensemble he has used on essentially every track since his debut.

Named «the king of space disco» by The New Yorker, Lindstrøm has always made a virtue of his obsessive work ethic, turning his city center studio into a factory floor for churning out monster tracks. He has collaborated with the likes of Todd Terje, Prins Thomas and Todd Rundgren, has remixed a slew of acts including LCD Soundsystem, Lana del Rey, Haim, Grizzly Bear, Flume, RAC, London Grammar and more.’

Five years after the release of ‘Luyando’, Zimbabwe’s most celebrated music export returns with their long-awaited follow-up album ‘Tusona: Tracings in the Sand’. The six musicians from Victoria Falls are refining their unique sound: infectious Afro grooves deeply connected to Zimbabwe’s cultural DNA. ‘Tusana’ is their most danceable album to date, a DIY production recorded in Zimbabwe. It features horns by Ghanaian highlife outfit Santrofi.

Every Sunday, there is a gathering in the sweltering heat on grounds of an old local beer hall in the Chinotimba township in Mosi-o-Tunya (Victoria Falls). Entertainment is provided by various traditional groups including the Luvale Makisi masquerade. It is a day full of singing, drumming, dancing and storytelling. Mokoomba’s lead vocalist Mathias Muzaza can often be found here singing with a voice both soaring and vulnerable. In the course of the afternoon the other band members - guitarist Trustworth Samende, bass player Abundance Mutori, keyboard player Phathisani Moyo, percussionist Miti Mugande and drummer Ndaba Coster Moyo - often join in with singing. The drum driven song “Bakalubale” featured on their new album invites you to this gathering.

Mokoomba recorded ‘Tusona: Tracings in the Sand’, the follow-up album to ‘Luyando’ (2017, Outhere), in Zimbabwe during the pandemic. Instead of working with outside producers like Manou Gallo or Steve Dyer as they have in the past, this album was entirely recorded in a DIY fashion by Mokoomba. The collective from Zimbabwe put in all the experiences made over the previous years and have forged their music into a unique Zimbabwean sound. On popular demand from their fans in Zimbabwe they have even re-recorded three songs from their last more acoustic album ‘Luyando’ turning them into dancehall bangers (featured on the CD and digital versions of the album). In short, this album is more Mokoomba than any of the ones before.

On the album Mokoomba are singing about love, loss, courage in a changing society. The first single “Nzara Hapana” means “no money” in Shona. The song talks about a man who wants to ensure the future of his wife and family and is trying to protect them against the greed of his relatives. The danceable up-tempo song “Nyansola” praises the goddess of harvest and asks her for rain. “Makisi” is sung in Luvale. It celebrates the beauty of the initiation ceremony for which the whole community comes together. “Manina” is a song about losing a loved one. It was written during the pandemic and features the young singer Ulethu from Harare. Mokoomba sing in many different local languages. Their songs are in Tonga, Luvale, Shona, Nyanja and even Lingala used in “Makolo” when they team up with Congolese singer Desolo B. (The album also features horns by Nobert Wonkyi Arthur (trumpet), Bernard Gyamfi (trombone) and Emmanuel Arthur (sax) from Ghanaian highlife outfit Santrofi.)

The title of the album is a nod towards their immense respect for tradition. ‘Tusona’ refers to an ancient system of signs and symbols, drawn in the sand and used for instruction during initiation ceremonies by the Luvale in Southern Africa. Another important part of the Mukanda initiation ceremony is the incredible Makisi masquerade. Since 2008 the Makisi dances are on the UNESCO list of intangible heritage. The Makisi are masked characters, representing the spirit of deceased ancestors. During the yearly initiation ceremony the Makisi return to the living world to teach the young children to become responsible adults among the Lubale people of Southern Africa. In the last decade the interest - especially among the young people – has faded and the Makisi dances have nearly died out.

“Our inspiration comes from these gatherings”, Trustworth Samende explains, “from listening to and playing pure traditional music with everyone in the township. We then add influences from music that we listened to in our homes growing up and the sounds we experience travelling around the world.” It is the connection with the cultures around them that gives Mokoomba’s music its spiritual power. When you hear Mathias Muzaza singing and you watch closely, you will see the music carrying him away to a different sphere, a place where he is singing with the ancestors. Only a split second later though Trust Samende’s sparkling guitar riffs kick in, blending Congolese influences from neighbouring Kasai with Zamrock and Mbira inspired Chimurenga music, making you want to hit the dancefloor. It is this unique blend of local musical styles with contemporary dance music that is at the heart of Mokoomba’s music. The strong reference to tradition is also reflected in the cover illustration by young Zimbabwean visual artist Lomedy Mhako.

It has been nearly 10 years since this young energetic band from Zimbabwe has exploded onto the international music scene. Since then they have shared their music with fans all over the world: Mokoomba have performed in over 40 countries, rocking audiences in places like Roskilde festival (Denmark), WOMAD festival (UK), Sziget festival (Hungary), SXSW (USA), Apollo Theatre (New York) to name but a few.

Like anywhere in the world Africa’s musical output has become more and more producer based. Mokoomba are the living proof that Africa’s great guitar band heritage is well alive and ready to set any dancefloor on fire. Most important though is that deep below the surface of Mokoomba’s sound - flowing like the Zambezi River - you can still hear the heartbeat and the rhythm of a community connected by its music. Like ‘Tusona’, it is a source of rejuvenation, resilience and strength in these changing times. May the tracings in the sand not fade.

Lindstrom returns with his sixth studio album Everyone Else is a Stranger, and the first since 2019's On a Clear Day I Can See You Forever. The title of the album was inspired by John Cassavetes' original title for his 1984 film Love Streams, and contains four tracks of his signature chord-stacking disco epics and freeform cosmic voyages, stretching across nearly 40 minutes. An album that in many ways sums up his career, and gathers his different musical paths into one sound and one album. Where his previous album had a slower and more mellow feel, 2023's Everyone Else is a Stranger sees Lindstrom take on a much more rhythm-oriented and uptempo approach, containing tracks that fit perfect with the artist's revered live sets. That said, this album also contains the unexpected twists and turns that has become the Norwegian producer's trademark, including recordings of him playing a cheap Chinese cello and violin for the first time alongside the old Solina String-Ensemble he has used on essentially every track since his debut. Named "the king of space disco" by The New Yorker, Lindstrom has always made a virtue of his obsessive work ethic, turning his city center studio into a factory floor for churning out monster tracks. He has collaborated with the likes of Todd Terje, Prins Thomas and Todd Rundgren, has remixed a slew of acts including LCD Soundsystem, Lana del Rey, Haim, Grizzly Bear, Flume, RAC, London Grammar and more.

2024 will be the 50th Anniversary of Radio Birdman. To celebrate that milestone, Citadel is pleased to announce the recutting / repressing of all their albums. Radios Appear was Radio Birdman's first full length album. Recorded piecemeal over 1976 and early 1977, on weekends and nights when their home base (Trafalgar Studios Sydney) had no paying customers, it was finally released on the Trafalgar label, created specifically to release their records. In addition to mail order, the album was literally distributed by hand and out of the back of cars. The band thus wrote the Australian handbook on DIY independent music. It was hailed as a breakthrough album in Australian music, a turning point after the scene's early and mid seventies stagnation. Radios Appear was given a 5 star review in Rolling Stone, and the album gave the band a needed boost to depart Sydney as a national touring entity, while still maintaining their renegade status

Malian and French duo Siraba drop the second single from their debut album on Secret Teachings, ‘Kômo Fôlly’, backed by a rare remix from electronic music icon St Germain.

A new alias from Malian hunter Boubacar Samake and Damien Vandesande, one half of French electronic band dOP, Siraba is a unique and expansive project set to merge ancestral music passed down by Malian hunters with electronic-leaning spheres with nods towards the future. Recently debuting on the label with their debut single ‘Ngana Fôlly’, the first single from their forthcoming album set to arrive in September this year, the pairing return to Damian Lazarus’ alternative imprint Secret Teachings for their follow-up single, ‘Kômo Fôlly’ - once again unveiling a tapestry of traditional and modern soundscapes as they deliver a tribute to Boubacar’s father, Sibiri Samake.

With Boubacar returning to the Ngoni and uncovering further lyrics and words in Bamabra, ‘Kômo Fôlly’ builds from traditional Malian tones into an expansive trip through shimmering synths and crisp, organic percussion. It’s a spellbinding and captivating trip into the minds of typically contrasting worlds while uniting the two effortlessly to provide and produce a slice of electronic excellence. A true pioneer of the electronic realm, Ludovic Navarre, known to many under his legendary St Germain alias, is an artist who needs little introduction, having been responsible for some of house and techno’s most iconic productions across a 30-year career on labels such as F Communications and Blue Note. Turning his hand to the track and providing an extremely rare remix, the renowned talent brings his typically vibrant sound palette to the fore as he harnesses the original’s vocals and weaves excellently worked drums, subtle snaking grooves and resonant chords effortlessly for typically classy interpretation while rubber-stamping the fascinating and exciting project in the process.

Catorce reflexiones sobre el fin (Fourteen Reflections on the End) originated from an installation exhibited at the Museo de Arte Contemporáneo de Oaxaca, Mexico, in 2019. Fourteen magnetic bodies of tape that dialogued with the fourteen pieces of electroacoustic music now contained in this album composed from the sound anthology of Angélica Castelló. Thus, Catorce reflexiones sobre el fin is a complex piece consisting of multiple parts that, although articulated with each other, hold a life of their own.

Like every body, these have a unique history made up of mixed fragments spun by Angélica, ranging from field recordings, references, and self-references to previous pieces, experiences, and voice recordings made specifically for these compositions re-recorded in various formats, from lo to high fidelity, analog and digital, composed, decomposed and recomposed (Castelló, A., 2019). Likewise, as any body, they also reflect on their end, whether absolute or temporal, of the many ways of being finite and of saying goodbye.

During the Catorce reflexiones sobre el fin, Castelló takes you on a journey that is difficult to locate. An ethereal space between shattered glass, stridulation of cicadas, war drums, murmurs in French, Italian maledictions, and soft recitations in Spanish. From uproar to solace, all wrapped in a soft abstraction that only allows access to the subtle whisper of these expressions. A gesture between invitation and sharing because who does not recognize oneself in this emotional storm?

First, the approach of the winds, the first breeze that caresses the body. Then the bewilderment announced by the scent of uncertainty condensed in the air’s humidity. The prelude to the storm, to something that will shake you from head to toe, something from which there will be no return.

To the acceleration of the winds comes the percussions, the tremor of the storm with its lightning. la Ira (1). A vibration running through the whole body, unstoppable. This reverberating sound, resulting from its re-percussion with our body acoustics, owes its tones and echoes to the cavities and organs of different masses. From what is hollow and what is full; what is void and what is matter. There is no turning back. It is a dive into the void; to fight and resist because there is no other way to go. It is a matter of survival.

Ma fin est mon commencement Et mon commencement ma fin (2)

After this, the cicada resumes at the crack of dawn, a gentle breeze, and solitude, that temporarily musical silence of embraces (3) with hints of harpsichord and bells.

The breaking of the waves in Sicily is accompanied by the antenna that picks up radio transmissions that already invite other tastes. The Mediterranean and its currents mingle and divide tense routes of escape, exchange, and struggle between Blutorangen, tides, and birdsongs.

An immersion into deep waters.

And in the end, we all commit sins! Queste maledette! (4)

Lorena Moreno Vera, 2023

It all begins here.

Alba Gitana, Gipsy dawn, is a commencement, a turning point of particular importance in the career of a guitarist labelled as “manouche”. Because despite the universality within that word, (“manu” meaning “man” in Sanskrit), it is often reduced to the almost mystical musical legacy of the genius Django Reinhardt. Steeve Laffont’s dawn sees his artistry break away from the confines of this tradition.

In his original compositions we find the ingredients for an unexpected recipe. There is a manouche feel to it, but the fragrance of flamenco mixes with Indian spices, the bossa nova breaks and klezmer rhythms are coloured by Spain ; Steeve finds comfort in both the journey and it’s unexpected turns. Such is the very essence of Tzigane culture. This album tells the story of an emancipation and the joy of no longer being held to respect a legacy, a tradition, of finally having so many more roots to grow with.

Freedom is key to this project which never compromises on the essential : sharing the pleasure of playing together. In the company of such virtuosos as Costel Nitescu on violin, Dominique Di Piazza on bass and of course the ever-faithful Rudy Rabuffetti on rhythm guitar, the compositions are never shows of strength, rather finely crafted magic tricks.

With such vivid, liquid playing Alba Gitana is an invitation to let go, to submit to a harmonic wandering as deep as it is wide. A high-wire walk between structures and freedom, here is the spirit of jazz at its most elegant and universal.