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The most beautiful themes of the famous science fiction universe Star Wars created by the American director George Lucas are now gathered in this exclusive vinyl record! First conceived as a cinematic trilogy in 1977, the franchise now counts films, series, novels and other goodies taking place «a long time ago in a galaxy far far away» in which a conflict between Jedi knights and Sith warriors remains.

The award-winning Star Wars soundtrack composed by John Williams and inspired by Wagner’s operas has influenced the greatest film musics. They are performed by The City of Prague Philharmonic Orchestra.

The visionaries at Bethesda, Arkane and Laced are bringing the twisted ’60s soundtrack for award-winning looper-shooter DEATHLOOP to wax.

The complete 59-track soundtrack has been specially mastered for vinyl and will be pressed onto heavyweight discs. These will come in spined inner sleeves housed in a rigid board slipcase. Tracklist curation and stunning original sleeve artwork is by the team at Arkane Lyon.

This Standard Edition quadruple LP box set features traditional black discs.

Lead composer Tom Salta has built an enviable credits list, with entries in the Prince of Persia, Tom Clancy and Halo universes to his name. For DEATHLOOP’s original score, he immersed himself in the music of Jimi Hendrix, Pink Floyd, Nelson Riddle and a host of other late-’60s influences. Layers of period-appropriate organs, synths and other instruments (including Rhodes, Wurlitzer and Hammond B3) help maintain the tension as Colt picks off Eternalists from the shadows. As things get dicey, or Julianna intervenes with extreme prejudice, tracks explode into furious guitar and drum grooves that propel the zany, supernaturally enhanced gunplay.

Ross Tregenza’s multi-genre diegetic cues perfectly complement the psycho-sophisticate stylings of Blackreef’s artistically aspirational inhabitants, while songwriter Erich Talaba and singer Jeff Cummings brought to life the vicious visionary Frank Spicer with catchy in-universe songs. Music agency Sencit teamed up with powerful yet soulful vocalists for trailer and credits songs, including Bond-ish banger “Déjà Vu” (featuring FJØRA), “Pitch Black” (featuring Lady Blackbird) and “Down the Rabbit Hole” (featuring Samantha Howard & Haqq.)

Erlend Apneseth is one of Norway's foremost Hardanger fiddle players and folk musicians. After being widely recognized with the award-winning and critically acclaimed Erlend Apneseth Trio, he now returns with an acoustic soloalbum. This is the first time since his debut album "Blikkspor" (2013) that he has put the soloistic performance in focus, and this time the unique acoustics in Emmanuel Vigeland's Mausoleum sets the scene for his improvisations and compositions. "The Hardanger fiddle is traditionally a soloistic instrument. For me, one of the most fascinating things about the instrument is its ability to fill a whole room with sound all by itself. Even though I've been working in an electro-acoustic universe the last years, I've never left the acoustic approach to the Hardanger fiddle, and I now felt the time had come to do something all alone again." Even though Apneseth is rooted in traditional music, he has immersed himself in improvisation and alternative sonic-and pizzicato-technics on the Hardanger fiddle, which makes him stand out with his very own musical expression. After incessantly exploring his instrument for many years, this album can be seen as a personal catalogue of the Hardanger fiddle's sonic possibilities. Erlend Apneseth has released eight albums, received numerous awards, among them "Grappas Debutantpris" and "Gammleng-prisen", and no less than five nominations for the Norwegian Grammy's. In 2019 he received the Norwegian Grammy's award in the Open Cathegory for his album "Salika, Molika", with Erlend Apneseth Trio and Frode Haltli. The album also received the NOPA-award and was nominated for the Nordic Music Prize. Apneseth has written commissioned works for Kongsberg Jazzfestival, Fordefestivalen and Ultima, and toured extensively in Europe the past years. Since 2021 he has collaborated with the composer Orjan Matre on new works for Hardanger Fiddle and The Norwegian Chamber Orchestra.

Revered indie trio The Staves' debut album 'Dead & Born & Grown' is celebrating its 10th Anniversary on the 12th November 2022. To celebrate 10 years of their debut album the band will be re-pressing Dead & Born & Grown on recycled colour vinyl.

The album was produced with Glyn and Ethan Johns, who have worked with a plethora of huge artists from past and present between them, including The Beatles, The Rolling Stones and Led Zeppelin, as well as the likes of The Vaccines, Kings of Leon and Kaiser Chiefs. The Staves are three sisters from Watford who share vocal duties in addition to some contributions on guitar and ukelele.

This special-edition recycled vinyl is made from 100% PVC recycled material, using waste material and clippings from previous pressings and are re-used. The result is that each vinyl is unique with its own colour combination therefore the colour you receive will be randomized.

Active since 2013, Paisley Fields is a singer, songwriter, and bandleader
splitting time between Brooklyn, New York and Nashville, Tennessee.A
touring member of the newly reformed Lavender Country, Paisley also
played keyboard on their album "Blackberry Rose"
On his new album, "Limp Wrist", he draws inspiration from queer icon Andy
Warhol and the myriad drag artists with whom he's collaborated. His years of
experience in Manhattan piano bars did not diminish his love for country music,
and he released two albums that pay homage to the music of his youth.
"Limp Wrist" is an exploration of where rural queerness intersects religion.
Paisley's family were devout Catholics, and he served as the official church
pianist in his parish throughout his teens, playing every Sunday.
The songs on the album are deeply personal, and often touch on what it was like
to grow up closeted and queer in rural Iowa in the early 2000s. "Black Hawk
County Line" tells the story of Paisley being outed by a former friend his senior
year in high school, "Dial Up Lover" is about logging on to gay AOL chat rooms to
find other queers in the area, and "Plastic Rosary" recounts the experience of
being told he'll never get into heaven while praying the rosary.
The most personal and biographical moment comes during "Iowa", which
recounts the tragic murder of Matthew Shepard, and the visceral fear he had to
wrestle with since he was already aware of how different he was.
The album ends on an uplifting note, sharing a message of friendship and hope
with "Tomorrow Finds a Way".
The stories are his, but the feelings they convey - love, loneliness, lust, fear - are
still universal.
Pressed on Red color vinyl.

In August she is releasing her solo debut "Changes Like the Weather in the
Mountain", consisting of her songs wrapped in electric guitar, wurlitzer, fiddles
and some high- pitched choir voices. Selma's music reveals an admiration for
Norwegian and English folk music, as well as containing an airy energy from
somewhere unknown – moving from an open space like big mountain into the
hidden rooms in one's heart.Selma is already known in the folk-scene in Norway
as a member of bands such as Norwegian Grammy nominated Masava and
Norwegian Grammy winner Morgonrode. She has toured and worked with artists
like Frokedal & Familien, Kristian Kristensen, Siv Jakobsen and the Switch. Her
musical work has been acknowledged by many, lastly featured as the theme song
in the Viaplay series Furia.
Growing up in the suburban university town of As, Selma French was exposed to
folk music from an early age, playing violin and Hardanger fiddle all her life, as
well as making songs on guitar. The list of musical inspirations is long, from
Linda Perhacs, Nick Drake, Fairport Convention and Judee Sill, to Frokedal,
Susanne Sundfor, Sandy Denn and The Roches.
Artists:
Selma French: vocals, acoustic guitar
Anja Lauvdal: synths, wurlitzer
Christian Winther: el-guitar
Andreas Winther: drums

On 'Cover to Cover', The Brother Brothers pay homage to those early
influences and other favorite songwriters with unique arrangements of
twelve beloved classics they want more people to hear
Among their eclectic picks: Tom T. Hall’s “That’s How I Got to Memphis,” Jackson
Browne’s “These Days,” James Taylor’s “You Can Close Your Eyes,” Hoagy
Carmichael’s “I Get Along Without You Very Well (Except Sometimes),” Robert Earl
Keen’s “Feelin’ Good Again,” Richard Thompson’s “Waltzing’s for Dreamers,” Judee
Sill’s “Rugged Road” and Tom Waits’ “Flowers Grave.” Their exquisite version of
The Beatles’ “I Will” holds special significance, because they created their own
harmonies over the solo-vocal original when they were six.

Re-release of the 2008 critically acclaimed record from Brian Blade & The
Fellowship Band
"Season of Changes" finds the dynamic performer and composer reunited with
his writing partner and muse, Jon Cowherd (Lizz Wright's Salt) and the critically
acclaimed guitarist Kurt Rosenwinkel.
Brian Blade is universally acknowledged as one of the finest drummers and
musicians in all of popular music. His resume is as diverse as it is impressive
having recorded and or/ performed with Bob Dylan, Daniel Lanois, Bill Frisell,
Emmylou Harris, Joni Mitchell, Joshua Redman, Seal, Wayne Shorter and more. 9
tracks.

High quality, 2 x 180g pink marbled vinyl, gatefold sleeve and download
code containing the digital album in multiple formats. Singer Nishla
Smith creates vivid, enigmatic stories through sound, her voice stretching
from melancholic sweetness through to dark intimacy
Her debut album 'Friends with Monsters' confirms Smith as a major new vocal
talent and sees the vocalist's affinity for inventive narratives extended over the
span of a full album. The Australian performer travelled via Berlin to eventually
settle in Manchester and is joined here by some of the city's most talented
improvisers. Richard Jones and Johnny Hunter cover piano and drums
respectively, whilst bassist Joshua Cavanagh-Brierley and trumpeter Aaron Wood
add graceful touches to complete the quintet's intimate feel. Smith's depictions of
night-time have an enigmatic quality, inviting listeners on an atmospheric journey
but all the while pointing to something greater.
Smith's work moves swiftly through genres, driven by her unique artistry. A City
Music Foundation artist, she has received commissions from Manchester
Collective and Opera North, as well as Manchester Jazz Festival and Jazz North.
As co-creator of theatre company Ulita, she also creates collaborative pieces that
blend theatre, music and visual arts. 'Friends with Monsters' continues that
theatrical drive - "I'm a very natural storyteller, I just love to tell stories. I find
myself weaving everyday events into tales that are very narratively pleasing."
Set over the course of a single evening, 'Friends with Monsters' explores changing
states of insomnia, informed by Smith's own sleepless nights. It's realised in four
distinct sections; each is introduced by a scene-setting interlude. Delving deeper
into the dreamy world of Smith's storyland rewards greatly.

Walter Smith III and Matthew Stevens are two musicians at the forefront
of developments in jazz and improvised music, listing the likes of
Terence Blanchard, Ambrose Akinmusire, Esperanza Spalding and
Christian Scott as collaborators
The pair started working together in 2017, and four years later, they're back for
the third iteration of their highly commended In Common project. Previous guests
include Nate Smith, Linda May Han Oh and Marcus Gilmore; on 'In Common 3',
Kris Davis takes the piano chair vacated by Micah Thomas, and completing the
lineup are two legends of the game - Dave Holland and Terri Lyne
Carrington.What's new, third time around? "It's longer, freer, and yet more
spontaneous," says Smith. The successful In Common formula - inventive 'onepage songs' written with specific musicians in mind - disguises the through-line
that uniquely shapes this record: "The spotlight is on the community of musicians
as a whole," Smith comments. "The general vibe is sculpted by the musicians'
interpretations of what we bring in." Davis' influential presence means the project
leans into the aesthetics of free improvisation for the first time; the resulting
soundworld lends itself to electronic manipulation, another first for the series.
The span of fifteen tracks showcases the duo's knack for reinvention, slipping
into unfamiliar contexts without losing sight of the album's focused essence.
Smith is keen to emphasise the standalone nature of the divergent In Common
recordings. Some aspects carry through though, like their commitment to
remembering lost influences - opener 'Shine' serves as both a thank you and an
acknowledgement to McCoy Tyner, Wallace Roney, Chick Corea, Jimmy Health
and Ellis Marsalis. That introduces the remaining fourteen tracks, that divide
nearly exactly into spontaneously constructed ideas that introduce fully
composed tracks.

Progressive rock bent with a considerable amount of rock 'n' roll gospel
soul!
.Sanctuary's virtuosity is undeniable, and every song displays each
member's considerable talents
The album is abundant with soaring and passionate vocal arrangements that are
carried on high by the lively interplay of Norm Weinberg's percussive flurries as
they weave their way through a tapestry of flutes, strings, and guitars. Deeply
resonant keyboards set the foundation for the band's sound, and in fitting, albeit
unsuspecting, fashion, it is Eric Bikales' flute playing that shepherds the listener
through the album.
Beginning with "All In My Dreams," the flute's light and colorful timbre captures the
ear, serving as a clarion call for all to follow and creating moments of majesty, as
music and message seamlessly transform into one. Sanctuary's interpretations
of Yes's "Time And A Word" and Edgar Winter's "Winter's Dream" are not mere
covers. They are bright and bold musical statements, refusals to submit to the
negativity of the times. Their unique take on these compositions, as well as their
own, provides the kind of bright eyed anthems their generation's voice needed to
compete against the backdrop of war and social upheaval dominating the
headlines.

2003 DEBUT STUDIO ALBUM FROM ACCLAIMED NORWEGIAN POSTPROGRESSIVE ART ROCKERS MASTERED HALF-SPEED AT AIR STUDIOS
Formed in Oslo in 1996 by childhood friends Jon-Arne Vilbo & Thomas Andersen
along with Jan- Henrik Ohme (later joined by Mikael Krømer, Robert Risberget
Johansen & Roy Funner), Gazpacho have honed their unique sound over a string
of critically acclaimed albums & numerous tours, including several with long-time
supporters Marillion.
In 2002, Gazpacho entered a song contest on 'Make-A-Star' with the song "Sea Of
Tranquillity" & won. Their second entry, "Ghost" made it to second position, giving
the band the opportunity to release an album through MP3. This led the
band to release their first official album 'Bravo' in 2003 - which contained five of
the six tracks off the MP3 album plus six new compositions. Utilising the
possibilities of the Internet the band had teamed up with the American singer/
songwriter & fellow 'Make- A- Star' contestee Esther Valentine & New Zealand
producer Peter Kearns. Valentine sang a duet with Ohme on the song
'Novgorod' (which she also co-wrote) & Kearns produced two of the album tracks.
'Bravo' gained the band more international acclaim, with Dutch leading music
magazine 'Oor' stating "their debut album is a rare beauty".
The first in the 'Gazpacho Half-Speed Masters Series', this new Kscope release of
'Bravo' was mastered half-speed at Air Studios in London for a superior, sharper,
more direct & engaging sound. Other releases from the band's catalogue are to
follow throughout 2022 & 2023.

Heady with hooks and unforgettable melodies, gliding on deeply danceable grooves, always with Air Waves’ innate compassion, concision and uncanny pop sense shining throughout. A masterpiece that’s beautifully simple, instantly accessible and entirely addictive. Featuring Cass Mccombs, Skyler Skjelset (Fleet Foxes, Beach House), Luke Temple, Brian Betancourt (Hospitality, Sam Evian), Rina Mushonga, Frankie Cosmos, Lispector, David Christian, Ethan Sass, and Ben Florencio. ‘The Dance’ has waited three years to see the light of day and it comes to us now, blinking, smiling in the widening light of 2022 feeling more needed and necessary but also more joyous than ever before. It’s both a snapshot of these songs as they were recorded but crucially, in the intervening time those songs have had additional arrangements crafted by Nicole, created remotely and virtually, with a few like-minded collaborators. The result is simultaneously Air Waves freshest, most spontaneous yet finessed album yet. Nicole Schneit released their first independent album in 2009 under the Air Waves moniker, a name inspired by a Guided By Voices song - subsequent albums like 2010’s ‘Dungeon Dots’ (which featured a guest vocal from fellow Brooklynite Sharon Van Etten), 2015’s ‘Parting Glances’ and 2017’s stunning ‘Warrior’ crystallised Schneit’s vision of loose-but-focused, convivial but startling pop. ‘The Dance’ continues that trajectory but finds Schneit opening up their music to a more fluid sense of space and movement, while keeping their lyrical eye between the personal and the political, from the specific to the universal with a haiku-like directness and suggestion. You won’t find a better soundtrack for the solidarity, strength, romance and movement we all need right now than ‘The Dance’ - Air Waves’ best album yet // “There is a rawness, both musical and emotional, proving that the simplest ways to communicate feelings are sometimes the most effective” Pitchfork // “More varied and ambitious than ever” Stereogum // Track List A1 The Roof (feat. Luke Temple & Rina Mushonga) A2 The Dance A3 Star Earring (feat. Lispector) A4 Alien (feat. Cass McCombs) B1 Black Metal Demon (feat. Frankie Cosmos & Merce Lemon) B2 Treehouse B3 Wait B4 The Light B5 Peer Peer

The 'Privacy Angels' dwell in a liminal zone, a folk magical world sprawling within some remote nodes of the digital universe. An a-chronic plane of contradictions in which the spiritual and the machinic exist in a contrast that, instead of leading to mutual annihilation or subjugation, produces weird forms of life and uncanny forms of beauty. Like flowers sprouting from glitching fluxes of data transmissions, in the corrupted memory of a heavenly landscape. It is the vision of Italian (though London-based) musician and multidisciplinary artist Nicola Tirabasso, channeled through his usual musical avatar VISIO, a dimension he came in contact with while retreating in his native Sibillini Mountains in Marche, central Italy. A type of forced hermitage dictated by the global pandemic and whose idyllic premises were constantly unbalanced and contaminated by the constant presence of the digital world. But again, it is by means of this contrast that art is born. While channeling the magic, the fables and even the superstitions the locals have imbued the region with, Tirabasso developed them into audial spirits of electronic abstraction. A juxtaposition of mystic retreat and information-age alienation that, for some brief, ineffable and baffling moments, seemed to make him able to hear the angels. The album itself is a collection of digitally broken folk songs and logarithmic chants of praise. Acoustic instruments are broken down, replicated and re-materialization, while computer-generated ghosts and synthetic tones are allowed to exist and resonate in ancient spaces. Most of the actual recordings have been in fact made at desecrated XVI church in a town near Montappone, not far from the birth place of XX century painter Osvaldo Licini, whose influence echoes all throughout the region. Licini’s idiosyncratic mix of primitivism, futurism and orphic realism similarly echoes all throughout the record, with VISIO even paying tribute to his painting ‘Angelo Ribelle’ in titling one of the tracks. Collaborations made in person and through file-swaps have traversed the album’s conception and enrich its palette by presenting different versions of reality. Haunter co-founder Daniele Guerrini (Heith) co-produced every track with Tirabasso and gave a fundamental contribution to the album’s final form. Elsewhere, City and Kenichi Iwasa evoke their own privacy angels and let them dance with VISIO’s. Be it, in the depths of the earth or in the dissolution of a digital cloud, it is just as possible to (un)know the divine. Genre: Electronic / Experimental Listen: Track list: 1. Moonchild 2. Extasi Exile 3. Youth Grows Forever 4. Untitled X 5. Blessed Mystery 6. Years Of Silence 7. angelo ribelle

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

The first live release from the There’s Something About Mary star, recorded at the Hammersmith Odeon Co-Produced by Beserkley Records founder Matthew King Kauffman and pop-legend and Rock ‘n’ Roll Hall Of Famer, Kenny Laguna Available CD & LP, with an exclusive yellow colour variant for Independent Retail While the U.S. might not have caught on to the magic of Jonathan Richman, the U.K. certainly did. Recorded at the Hammersmith Odeon, ‘Live’features Jonathan and the Modern Lovers performing classics from their first two releases to an enthusiastic crowd. (The eight-minute version of “Ice Cream Man” should inform that!) The set includes the recent Top 5 single “Egyptian Reggae,” as well as tracks from the Modern Lovers’ previously releases and new tracks. Captured on tape by Beserkley founder Matthew King Kauffman and Kenny Laguna (whose rock pedigree runs from Buddah Records through Joan Jett’s biggest hits)‘Live’ is a true, time and place document of the magic that is Jonathan Richman. The performer who The Farrelly Brothers chose to include in their classic 1198 film There’s Something About Mary, rather than simple licensing his music. A pivotal release in Richman’s catalog, ‘Live’ spotlights how captivating a performer he was, and continues to be. His original releases return on CD and LP, with a unique coloured yellow vinyl variant available for independent retail His true, Beserkley catalog is available once again. The way Jonathan intended.

Initially started as a a solo project until Deacon D. was joined by guitarist Åskväder in September 1999. After an hiatus HETROERTZEN resurfaced in Sweden in 2009 with the release of ‘Exaltation Of Wisdom’ issued on their own imprint Lamech Records. That album put forward the band’s early interest in the occult, Gnosticism and Illumination. 2016 saw the release of their critically acclaimed ' Uprising of the Fallen' previous album, HETROERTZEN are now releasing their brand new album entitled ' Phosphorus Vol 1' for a late Spring release on Listenable HETROERTZEN comment about ‘Phosphorus Vol 1' : " A new day has come to pass. A new ray pierces the veil of darkness and confusion. A new gem feeds the astonished sight and yet we walk through times of uncertainty before facing the switching Era… After five years of silence and lots of work, Hetroertzen finally give you the first Volume of ‘Phosphorus', which is the crown for our latest Opus or the new Sephira in our artistic/spiritual development. This is in fact a strong title, taken from the Vampiric-eucharistic ritual of the “Ecclesia Gnosticae” (Gnostic Church) which inspired the “Libation” passage in the Order of the Knight Templars; and even in the Catholic Mass later on. “Unless You Eat the Flesh of the Son of Man and Drink His Blood You Have No Life In You” The Royal Art or the Dragon’s Arts are present more or less in any occult teaching as Alchemy aims to conjoin separated ways into the quintessence of “Holy Marriage”. As one church focused on the feminine esoteric aspect of Communion and the other on the masculine; We use both sides unified as a more accurate representation of “unity” and “oneness”. (The One). 'Phosphorus Vol 1' consists of eight tracks plus one bonus track available on the CD version. They harvest the very soul of Wisdom and Salvation or Salvation through Wisdom as we see it. Each title encloses a key or “Clavicula” which reveals different passages to the Adept. Once more, the term “Eyes to see and Ears to hear” is fundamental when it comes to the listening experience to its fullest. As all of the previous works, this is a unique piece which complements our experimental / conceptual aura into its own mystic tree. Time will tell when the second volume faces the waves of turbulence. Certainly, it shall swallow the soul of the sleepers and haunt the dreams of those who knock at our door… Through plague and war, we survive the hand of destiny by the laws of cosmic thought and the bliss of this endless journey. Light of all Lights, blessed be ! "

Corrie Dick, a musician and composer specialising in euphoric, sonically-inventive drumming, is at the rhythmic epicentre of a new era of innovative British jazz. He is lauded for his dynamism, his melodic slant and for his playfully subversive take on style and genre. An artist of prolific and varied output, Corrie has long been an essential component of Laura Jurd’s music including Mercury Prize shortlisted Dinosaur; is a crucial co-pilot in Elliot Galvin Trio and Rob Luft Group; and co-writes music with an abundance of artists including alternative Indie band Ink Line. His 2015 release Impossible Things which skilfully fused Celtic folk and contemporary jazz with new takes on African rhythms culminated in sold out touring and concerts across the UK. Now Corrie resets for an album which further embraces the eclectic whims of a child of the iPod shuffle generation - finding cohesion among disparate elements. Concerning the idea behind Sun Swells, his latest project, Corrie explains: “I wanted to write a jazz album that had rock instrumentation at its core: guitar-bass-drums. Rob Luft (guitar), Tom McCredie (bass) and I have been improvising and writing together for years and years and we’ve forged a sound that is uniquely crunchy yet summery, so I wanted that sound at the centre but decorated with all sorts of elements. I basically wanted to make folk-rock-jazz but treat it how electronic music producer Mura Masa treats his tracks--chucking the whole damn fruit bowl at the thing but somehow keeping space and air in the arrangement and the mix.” The music on Sun Swells is highly unique in a way that is becoming a trademark for the highly gifted artist.

Ray Charles' 'Modern Sounds In Country & Western Music' plus bonus
track pressed on limited edition 180g blue coloured, comes with it's own
unique sticker

1962 live recording of Ahmad Jamal Trio 'At The Blackhawk' pressed on
limited edition 180g orange coloured vinyl, comes with its own unique
sticker
For me this is the crowning achievement of Ahmad's recording career. Ahmad
plays with a gusto he usually hides. Crosby is miraculous and Fournier on drums,
nothing short of perfection." - John Hammond

Sun Ra's 'Angels And Demons At Play' pressed on limited edition 180g red
coloured vinyl, comes with its own unique sticker

Ernesto Djedje is rightly known as the king of Ziglibithy and has been since not long after he first made his mark back in the 60s. He started out as a guitar player and leader of Ivoiro Star, before eventually going it alone and moving to Paris. He later returned to his native Cote d'Ivoire in 1974 and created his own musical mix of funk, soul, Makossa and disco before dying in odd circumstances in 1983. This Roi Du Ziglibithy, LP was first released in 1997 and now gets reissued on Analog Africa. One of his best-known works, it's a perfect example of his unique fusion sound.

At the time of this performance Miles Davis was on his final lap but he was still utterly unique. Stalking the stage in futuristic Issey
Miyake couture, his red lacquered trumpet poised for action. Kenny Garrett's searing alto sax and Foley's 'lead bass' share solo
duties but the rhythm section take the honours here. Miles was renowned for his determination to keep moving forwards and in this
band Ricky 'Sugarfoot' Wellman's go-go beat and Darryl 'The Munch' Jones' high energy playing drive the music forwards
relentlessly. No other band has ever sounded like this. In 1987 Miles was still playing funk and rock the be-bop way.
Performed on 25th July, 1987 at Yomiuri Land Open Theatre East, Tokyo, Japan and broadcast by NHK-FM. A 2LP set pressed on
180g Black Vinyl and presented in a gatefold sleeve sealed with Japanese obi strip. With extensive liner notes and archival photos.
Miles Davis - trumpet, keyboards; Kenny Garrett - alto saxophone, flute; Foley (Joseph McCreary, Jr.) - lead bass; Adam Holzman -
keyboards; Robert Irving III - keyboards; Darryl Jones - bass; Ricky Wellman - drums; Mino Cinelu - percussion.

Durty Geeks are a band at the boundary between Soul, Funk and Hip Hop born in 2013. The lineup is quite uncommon in the Italian
music scene, despite the usual four elements: Federico “Piezo” Pezzotta, on the electric piano, keyboards and synths; Francesco “Frenz” Crovetto, founding member and drummer of OTU; Gregorio "Greg" Conti, bass player also part of Verbal and Bangarang!; Edoardo “DJ Edo” Fumagalli, on the turntables and samplers.

The Durty Geeks sound universe is an illegitimate son of Hip Hop, but without the main element ‐ the voice ‐ replaced by scratches and
samples. This produces an instrumental form that winks at the American soul and funk of the 60s and 70s, as well as the Italian compo‐ sers who in those same years signed cult movie soundtracks: Piccioni, Nicolai, Bacalov, Trovaioli to name a few.

From “La Dama Rossa uccide sette volte" to "The Mack", the sound flows like a second feature film screening. A sequence shot that
does not indulge in the past but that leads straight into modernity thanks to the more contemporary interventions of synth and scrat‐
ches, and to sporadic experimentations in electronics.

The first EP "We Gun Make It" was released in 2014, an exploration of the american imaginary linked to weapons, between urban and
rural contexts, containing 3 tracks, self‐produced and printed by CORPOC.

The first full length album is "Also Starring", 9 tracks plus 5 skits mixed by Tommaso Colliva (Muse, Afterhours, Caliber 35 etc.) which
constitutes an instrumental journey through B‐movies filmography, citing cinema subgenres such as wuxia, blaxploitation and italo hor‐
ror.

The super group Deltron 3030 is composed of producer Dan the Automator, rapper Del tha Funkee Homosapien and DJ Kid Koala and sometimes features guest artists who also take on varying futuristic pseudonyms. Originally released in 2000 on the now-defunct 75ARK record label, this hip hop concept album was released the same year as the Gorillaz' first 12" and is on a similar plane. Following the release of Deltron 3030, all three members participated in the Gorillaz' self-titled debut album. With Del aka Deltron Zero on vocals, Dan the Automator aka The Cantankerous Captain Aptos on production, and Kid Koala aka Skiznoid the Boy Wonder on turntables, this album takes the listener on a paranoid journey set in a dystopian year 3030 dealing with viruses, the apocalypse, an oppressive government, and a war waged against a huge company called the Corporate Bank of Time that rules the universe, all to the well-crafted and consistent musical backing of the Automator. Appearances by Damon Albarn (The Gorillaz, Blur), Prince Paul, Peanut Butter Wolf, DJ Money Mark, Paul Barman, Mark Bell (Bjork, production), Sean Lennon, and Mr. Lif compliment Del's vocal style and add the right amount of flavor to this classic period piece.

New pressing on Opaque Natural Vinyl. For Fans Of... Durand Jones & The Indications, Tame Impala, Temples, Lee Fields. Monophonics cordially invite you to attend the grand re-opening of the once thriving, once vibrant establishment, the legendary Sage Motel. A place where folks experience the highs and lows of human existence. A place where big dreams and broken hearts live, where people arrive at without ever knowing how they got there. It's where folks find themselves at a crossroads in life. So join us as we examine where the stories are told and experiences unfold..... and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel. Sage Motel, Monophonics' fifth studio album since 2012, tells its story. Once again produced by brilliant bandleader Kelly Finnigan, the album captures a timeless sound that blends heavy soul with psych-rock. With their previous album, It’s Only Us, selling over 10,000 physical units and garnering over 20 million streams, Monophonics have built a reputation over the past decade as one of the most impactful bands in the country. If these walls of the Sage Motel could talk, this is what they'd say. So join us as we examine where the stories are told and experiences unfold.....and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel. Tracks 1. Check In 2. Sage Motel 3.Let That Sink In 4.The Shape of My Teardrops 5. Broken Boundaries 6. Love You Better 7. Never Stop Saying These Words 8. Warpaint 9. Crash & Burn 10. Check Out

Driving electro tracks by Detroit Grand Pubahs and UR member Bileebob. Comes with a solid acid infused Derek Plaslaiko remix. "Bileebob was living in the lofts at 1217 Griswold when I first met him, this is one of the seminal places that the post Music Institute Detroit scene grew out of. People who lived there performed or threw parties in their lofts for rent money, other people living at 1217 included Buzz Goree, the founders of Paxahau, De3n System. Bileebob's an amazing and unique part of the Detroit scene, having created music and art for years, performing locally and internationally as a member of the Detroit Grand Pubahs and UR, releasing on Underground Resistance, and had a regular zine for so many years. When he sent us the promo for "Star Cross" from his personal Bandcamp page, we loved it, and for the second No Way Back stream both BMG & Derek ended up playing it. We just loved the song, so we asked him if we could give it the full release, and we had Derek Plaslaiko remix it. We've included an unreleased amazing tough electro mix of "Network", a song currently on his Bandcamp page. Digitally we've included another more raw mix of "Network" and an after the after party 1217 kind of comedown jam "Club Kid Up All Night"."

Emeralds _ musicians John Elliott, Steve Hauschildt, and Mark McGuire _ emerged from the rust-pocked, post-millennial Midwest drone/noise scene seemingly unable or uninterested in keeping up with themselves. Their proliferation of material was intimidating; mountains of improvised, home-recorded music were released on limited-edition tapes, CD-Rs, and split LPs. There is and was a sense that the Ohio trio was after something beyond physical mediums. By 2008, their sprawling live sets were a known can't-miss at any underground experimental event. Tiny Mix Tapes reviewed that year's appearance at No Fun Fest: "No one's sawtooths, sines, and other various waveforms were so beautifully sculpted and beamed out into the Plejades as Emeralds'." These basement dwellers were shaping meditative, psychedelic, arpeggiated electronic music in the veins of German kosmische forebears like Ash Ra Tempel, Klaus Schulze, and Tangerine Dream. Made primarily with synthesizers and guitar, Emeralds' music possessed the same astral psyche with a home-crafted punk edge, a distant descendant of that pioneering era, and a bridge to someplace new, someplace scorched. Released on Aaron Dilloway's (Wolf Eyes, etc.) Hanson imprint, Solar Bridge was the first Emeralds album to receive any kind of proper distribution and represents the first attempt to archivally preserve their fluid craft. The first of an inimitable five-LP run before the band dissolved in 2013, Solar Bridge is a moment of glistening primacy that boots up a catalog and legacy that the heads still grapple with. Emeralds begin to make sense of it in the fall of 2022 with a remas- tered Solar Bridge LP release on Ghostly International. Emeralds materialized as a fully formed entity radiating cosmic potential. Their discography evolved and incorporated different qualities and vocabularies, but hearing where it started will always feel different. The density, the patience, and the sheer refinement presented on Solar Bridge legibly demonstrates how and why Emeralds has become a legendary part of the contemporary electronic music canon.

By the late 1980's Ton Lebbink was a well respected figure in Amsterdam's alternative scene: he was the drummer for the Amsterdam post punk group Mecano, a true punk poet and worked as a bouncer at Amsterdam's main music venue Paradiso. He released two solo albums, both in his unique narcotic style: laying absurd Dutch wordplay over stripped down frigid instrumentals. As the decade came to an end, Ton - already well in his forties - moved away from the often destructive and dangerous nightlife. After a series of odd jobs Ton started as a fitness instructor at an Amsterdam gym called Splash. Meanwhile, the 90's brought the latest musical craze to Amsterdam: House music began to flourish through clubs like RoXy, iT and Mazzo. With House being the ideal score for his fitness classes, the once well known cult figure faded into anonymity at a 120 beats per minute. His musical endeavours were focusing more on finding the right beats for aerobics exercises with self-devised exercise - eventually leading Ton to bootleg some of them on cassette tapes himself. In parallel to this radical shift, Ton did not stop making music. On the contrary, piles of demos showed high activity but in a direction no one was looking. Inspired by music to move to, Ton recorded hours of music that activated the body while staying true to his playful mindset. Discarding his voice as an instrument, the Roland W-30 sampler became his tool to communicate. Gathering vocal snippets from close friends, barflies and pets, a repertoire developed where witty repetitiveness could exist. Going through a vast collection of demos, pictures and many anecdotes, Rubber has been able to create an EP that gives insight into Ton's overlooked 90's era. Three playful dance tracks by Ton Lebbink taking his complete own take on the Amsterdam House revolution of the 90's. Full of inventiveness: hip-shaking grooves, hypnotic beats and rousing vocals. Tracks to move to and tracks to groove to. Essential dancefloor workout tunes for you and me. Ah yeah!

Like Sun Ra's Arkestra and John Coltrane are to jazz, the Mystic Revelation of Rastafari are to reggae – the ultimate expression of roots music and Rastafarian ideology in reggae music, music functioning at a high level of spiritual consciousness combined with an equally avant-garde and forward-looking approach to sound.
The group's stunning, unique and groundbreaking 1973 album ‘Grounation’, a mighty conceptual triplealbum (the first ever reggae triple!) is, similar to Marvin Gaye's 'What's Goin' On', a definitive allencompassing cultural statement of its time and place. A sprawling album of raw and unique cultural expression that combined Rastafari consciousness with deep spiritual jazz music – an absolute and essential classic of Reggae music.

The Mystic Revelation of Rastafari group came into existence at the start of 1970s, the union of two artists (and groups) of equal repute – Count Ossie and his African Drums and saxophonist Cedric ‘Im’ Brooks’ and his group,

The Mystics. Both Ossie and Brooks were alumni from the great Studio One Records. Master drummer Count Ossie and his collective of Rastafarian drummers performed for Haile Selassie on his
momentous visit to Jamaica in 1966. Cedric Brooks came out of the Alpha Boys School – the fertile breeding ground of musicians who dominated the Jamaican music scene from the 1960s onwards; Tommy McCook,

Don Drummond, Johnny Moore, Headley Bennett, Johnny Osbourne, Yellowman, Leroy Smart, Bobby Ellis, Joe Harriott, Eddie Thornton, Vin Gordon, Rico Rodriguez, Owen Gray, Leroy ‘Horsemouth’ Wallace and more.

The Mystic Revelation of Rastafari’s ‘Grounation’ is a massive opus, a work of profound musical genius that tells the story of Jamaica through music and words. The album is a cornerstone in the history of reggae, a unique and other-worldly album the like of which has never been made since.

Soul Jazz Records are releasing this long-revered album release in two unique vinyl formats: a one-off pressing limited-edition deluxe box set triple-vinyl edition complete with a free 45 single + art print + an exact-replica reproduction Mystic Revelation 1977 mag/zine + download code; And secondly as a triple album + download
code. There is also a deluxe 2 CD version
complete with large format booklet encased in
double-walled slipcase. All editions come with
extensive new sleevenotes, photography, exact
reproductions of the original text and artwork

Completely unknown album by Salah Ragab's Cairo Jazz Band vocalist Maha, recorded in Cairo in 1979. Features productions by Hany Shenoda of Al Massrieen. Maha’s “Orkos,” originally released on cassette, is one of these standout musical diamonds that combines Jazz and Egyptian vocal traditions with Funk, Latin and Soul. Out via Habibi Funk October 10th.

Maha’s “Orkos” immediately catches your ear as a unique album. A strong and energetic voice, equally grounded in jazz as well as Egyptian vocal traditions, Maha sings over instrumentals that offer a wide palette of influences, sonically emblematic of the cultural changes that were occurring in the country. The album features rich compositions and productions by renown Egyptian musician Hany Shenoda, who’s group, Al Massrieen, Habibi Funk worked with in 2017 (the release led to sync placements in Hulu’s “Ramy” TV Series).

At the time of its release, however, the “Orkos” cassette quickly faded away among the growing number of releases populating the Egyptian musical soundscape. For more than 40 years, it sat in near obscurity before being given new life in the form of a properly licensed vinyl release. Habibi Funk and Disco Arabesquo are honored to play a part in sharing Maha’s story. Below is a bit more context around the release as well as the campaign schedule.

The arrival of the cassette brought a seismic shift in how music was produced and consumed around the world. Smaller bands and labels were able to release music without the logistical and financial barrier present in vinyl manufacturing. At the same time, in Egypt, a new crop of musicians and composers made their way into the scene, seeking to bring something fresh to what was perceived as the widely monophonic musical traditions of Egypt. Hany Shenoda, Mohamed Mounir, Magdy El Hossainy, Omar Korshid, Salah Ragab and Hamid El Shaeri are some names that come to mind. Many built their sounds combining their own musical upbringing with influences coming from the outside. The success of these projects varied widely, but for each there were numerous lesser-known bands and singers. Many of these often-short-lived projects would release their music on cassettes on tiny labels only to fade into the musical ether.

Maha’s “Orkos” album fits this category. Put out in a small run of cassettes, it’s fair to say that the singer’s sole recording outing was not a financial success when it was originally released by Egyptian label Sout El Hob in 1979. While it may not have found an engaged and open-eared audience upon its release, the first few bars of the album indicate this is a special, timeless album that transcends the musical boundaries that many artists were seeking to break through at the time.

From the funk sounds of “Law Laffeina El Ard” (Single 1, out September 1 with Pre-Order announcement); the moody, mellow sounds of “Kabl Ma Nessallem We Nemshy” (Single 2, out September 23) or “We Mesheet;” to excursions into Latin sounds in the title track “Orkos,” and disco with “Ana Gaya” (Album Focus Track, out October 10) the album is an amalgamation of genres that stands out from the immense creativity present in Egypt at the time.

We connected Maha in late 2021 and she was clearly surprised to have someone call about music she recorded more than 40 years ago. She also seemed interested in the idea in bringing her music back to people’s attention. A few weeks later we were speaking with our friend Moataz, who runs the Disco Arabesquo project and showed him this great new album we found and to our surprise he knew the album, having found a copy of it a year or two before, in Cairo. It was then obvious to team up for a collaboration for this project. You can find Moataz’s story about Maha and her music, as well as extensive interviews with Maha herself, in the booklet accompanying the release.

As always, both vinyl and CD come with an extensive booklet featuring interviews with Maha as well as unseen photos.

Kampana put together arguably their hottest 7" so far, with two heavily in demand tracks from Brazilian producer Ruas, who shows his creativity, blending unique samples with live musicians.

"All the Way Down" is a monster jazzy disco-house number, with freshly recorded drums and up-front bassline, taking the groove levels off the chart on a retro soul vocal.

On the flip, "Like You" sees Ruas digging deep to find the unmistakable voice of a true 'royal' legend hyping the crowd in a rare live interlude. Ruas went into the studio with his crew of Brazilian musicians to record a full instrumental to blend with the vocals. The result is a jazz-heavy track that sounds like it could easily have been discovered in the artist's lost archives and will cause a riot on the dancefloor.

Funky and abstract atmospheres, dark and dramatic moments, exotic solutions and soul drifts - everything contributes to create a unique music soundscape - 70s library music by the Italian soundtrack composer Paolo Renosto, who released his library music compositions under the alias "Lesiman".

"Here and Now Vol.1" was originally releasesd on Vedette Records in 1973

On his fourth solo album, much as in Oh! (2020), the French composer, pianist and vocalist follows his ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses and contemporary sounds. Inspired by the rhythms, effects and speech patterns of urban music, he also delivers, with a warm and moving voice, the texts of three poetesses from the past.
Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums, he switched between songs inspired by poetry, instrumental ballads and electronica with hummed
choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and "Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th and
19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786- 1859) and Renée Vivien (1877-1909).
Poetesses from the past...
From classical music to songs, poetry adaptation is an old French tradition. "My universe has always embraced the musicality of this literary genre," the artist recalls. He actually started this project in 2017 with poems and sonnets by William Shakespeare, Pablo Neruda, Victor Hugo and above all Marceline Desbordes-Valmore, who can be heard again on songs such as "Dors-tu?" (Are you sleeping?),
"Élégie" or "L'attente" (The wait). A figure of romanticism, the author left her mark on the early 19th century through the quality of her texts and her formal inventions, particularly praised by Balzac, and
apparently a decisive influence on Verlaine and Baudelaire. "Marceline's poetry is very musical," says Ezéchiel admiringly. "Her use of rhythm and repetition sounds great and takes on a new perspective when set to music. In fact, she wrote some of her texts with singing in mind.”
“Ces longs secrets dont l'amour nous accuse, Viens-tu les rompre en songe à mes genoux ? Dors-tu, ma vie ! ou rêves-tu de moi ?”
“These long secrets for which love accuses us, Do you come to my knees to break them in a dream?
Are you sleeping, my life! or do you dream of me” (“Dors-tu ?”, after “Les pleurs” (the tears), 1833)
Besides her, we find the more famous, and rebellious, Renée Vivien, whose texts inspired three songs, "Regard en arrière" (Looking backwards), "Mélopée" (Melopoeia) and "La fille de la nuit" (The
night girl). Sometimes nicknamed "Sapho 1900", this figure of lesbian culture and, more broadly, of female genius, combined in her work the themes of desire, dreams, melancholy and the relationship with nature.
“Ta forme est un éclair
Ton sourire est l’instant Tu fuis, lorsque l’appel
T’implore, ô mon Désir !”
"Your shape is a spark of lightning
Your smile, the very moment
You flee, when the calling
Begs you, O my Desire!"
(After “Parle-moi, de ta voix pareille à l’eau courante” (Speak to me, with a voice like flowing waters) and “Ta forme est un éclair” (Your shape is a spark of lightning), Renée Vivien, 1901)
Lastly, with "Tant que mes yeux" (As long as my eyes), Ezéchiel was inspired by a 1555 poem by Renaissance poet Louise Labé, whose main topic explored female love, physical and spiritual desire,
and the torments and pains they generate.
" At the start of the project ", Ezéchiel continues, " I was interested in many poets, men and women, past and present, before my selection was narrowed down to these three female authors. Their works,
often written in difficult or secret conditions, express a raging romanticism, a passionate soul, fuelled by desperate and tormented love. I found it interesting, as a man coming from another world and time, to face this otherness, to trade viewpoints. Obviously, I could loudly claim that the album was the result of a concept, that it reflects today's world, and that it allows me to explore the notion of gender,
giving visibility to the work of a few women, while at the same time pairing these ancient texts with a more modern and rhythmic music, and obviously, there is some truth in that. But more than anything, I
wanted to serve the text itself, to express the emotion and connection I felt with these works.”
Today's rhythms and prosody...
Ezéchiel Pailhès combines texts from French literature with electronic music, its effects and rhythms, as well as a form of scansion that echoes rap, R&B or the current fusion between hip hop and pop,
which is part of our musical background and that of younger generations. "I wanted to cross-reference texts from the beginning of the century with this type of music. I wanted to use today’s techniques to tell the tale of different daily lives and experiences.
The album is thus marked by contemporary electronic orchestrations, in which he drops his favourite instrument, the piano, and his digital collage technique to use more extensive synth melodies, enhanced by drum machines, bringing a gentle and bright vibe to the romantic texts. Lastly, we can hear slight digital tones of Auto-Tune, which Ezéchiel uses sparingly and inventively.

Beyond its sophistication, the term "melopoeia" means a "sung declamation", a "recitative song", sometimes interpreted in a monotonous way. On this album, it could also refer to a sense of phrasing, which does not come from rap, but rather from jazz, Ezéchiel's first love. " In the past, I tried to hide my jazz culture, but it naturally came back on this new album, as can be heard, for instance, in Regard en arrière.” With its verses anchored in our literary memory, the following track "Mélopée", perfectly illustrates the album's vision. It manages to transcend eras, mixing past romanticism with a modern
prosody, fuelled by the nonchalance of hip hop and the warm chords of jazz.
“Qu’un hasard guide enfin mon désespoir tranquille
Vers l’eau d’une oasis ou les berges d’une île,
Où je puisse dormir, mon voyage accompli,
Dans la sécurité profonde de l’oubli”
"May chance guide my quiet sorrow, at last
To the water of an oasis, the shores of an island,
Where I may sleep, having traveled my way,
In the safe depths of oblivion".
(After “Sillages” (Trails), René Vivien, 1908)

This volume “Indian Rare Groove”, discover the artists that redesign
the musical universe of Bollywood. During the 70’s and the 80’s, funk, soul and disco are invited inside most productions. From comedies to horror movies or thrillers through romantic films, the groove is not so far. Have a good trip!

Repressed !

Raised on Colombia’s Caribbean coast and united by it’s capital, Bogota, Ghetto Kumbé combine the rich musical heritage of their home, to invoke the spirit of digital rumba in audiences all over the world. The secret behind their irresistible electronic sound lies in their powerful percussion base; Caribbean house beats and traditional afro-Colombian rhythms inherited from West Africa. The album’s co-producer, The Busy Twist, adds all the legacy of the UK’s Bass scene to the Afrofuturistic sounds of the 3 Colombians.

Inspired by the different revolutionary movements emerging all over the world, their self-titled debut is visceral, committed, and rebellious, denouncing through frantic rhythms the inequalities and abuses imposed by corrupt governments, while simultaneously enticing listeners to join in the fight. Dance mingles with awareness to create a global community, where family, friends, and strangers come together through our shared love of music and activate change amongst themselves.

Using musical motifs from Africa and Colombia’s Caribbean coast such as the gaita, call-and-response vocals, and an array of hand drums and rhythms, coupled with the elegant electronic production of Techno and House, Ghetto Kumbé creates an Afro-futurist soundscape with lyrics to motivate, elevate, and inspire. This has not gone unnoticed and they’ve played Barranquilla’s world-famous Carnival, Boiler Room, and have even opened for Radiohead.

Martyn joins the Ninja Tune family to present his third long player. Universally respected for his ever-evolving, but inimitable sound, the Dutch-born, Washington DC-based producer brings an entirely new sonic direction with The Air Between Words. This is an exploration of the essence of all of Martyn's music: a rugged four-to-the-floor groove, intelligently sculpted and artfully composed