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Acclaimed Stirling-based group Constant Follower, led by Stephen McAll, and renowned folk guitarist Scott William Urquhart have today announced their forthcoming collaborative album, ‘Even Days Dissolve’, which will be released on 14 April 2023.

The album follows on from Constant Follower’s lauded debut long-player ‘Neither Is, Nor Ever Was’, which was released in 2021 and nominated for the 2022 Scottish Album of the Year (SAY) Award.

‘Even Days Dissolve’ is an enchanting, deeply absorbing, and meditative album, the product of a musical affinity between two thoughtful and uniquely talented Scottish songwriters and musicians.

The songs that make up ‘‘Even Days Dissolve’ were inspired by ‘the grand old man of Scottish poetry’, Norman MacCaig (1910-1996), whose work is characterised by its gentle humour, precise observation and love for the natural world, which forms another key theme for the album.

MacCaig’s poetry holds great significance to McAll, as it formed a major source of comfort and support to him during a long period of recovery following a violent and unprovoked attack that left him with catastrophic head injuries, partially paralysed and unable to write or play guitar.

‘Even Days Dissolve’ is McAll’s nod of respect to McCaig, and the great man’s unmistakable words and inimitable voice feature on two of the tracks - single ‘Wildlife Cameraman’, and ‘Comes A Silence (Basking Shark)’ – sensitively set over the backdrop of beautiful and exquisitely crafted songs.

Scott William Urquhart’s masterful acoustic guitar playing is a stunning centrepiece of the album, imbuing the songs with a moving sense of atmosphere, and sounding at once both elegant and robust. Urquhart’s unassuming yet compelling vocals also feature throughout ‘Even Days Dissolve’.

Speaking about ‘‘Even Days Dissolve’, Stephen McAll said: “The magic in music for me is all about collaboration. Finding people who inspire me to make better music, then working with them and creating something between us that’s better than what either of us could have made alone. It’s been an honour to work so closely with Scott William Urquhart on this album. He’s someone whom I’ve admired for some time - unquestionably up there with the best acoustic guitarists at the moment in Scotland, and such a beautiful writer of songs.

“Bringing two of these songs together with the voice of our beloved Norman MacCaig has been a real highlight of this project. His poetry was introduced to me by my high school teacher Mrs Tatarkowski, and it was the first prose I was able to read and understand when I was recovering from a traumatic head injury. So his work holds a deep space in my heart. I don’t think any poet or songwriter has matched his ability to capture the space and wonder of the natural beauty of Scotland.”

Wildflower is a trio comprising Idris Rahman (sax), Leon Brichard (bass) and Tom Skinner (drums).

The trio takes you on an intense, meditative and spiritual musical journey that embodies the spirit of freedom. Based around hypnotic grooves laid down by Brichard’s unswervingly solid bass lines, drummer Skinner plays around artfully with the beats, grooving hard in constantly shifting, unexpected turns of rhythmic play. Rahman’s contributions range from subtle conversational interplay to loudly expressed angry passion to the most delicate of whispers, conveying a depth of emotion and a deep sense of musical structure withIn an ever changing sea of musical conversation.

Using simple, arresting melodies as a starting point, the trio create freely improvised waves of emotion ranging from powerful climaxes to hauntingly beautiful breath-like passages and everything in-between, creating unique forms and structures that react to the acoustics and the atmosphere of the situation.

Taking inspiration from the spiritual jazz pioneers such as John and Alice Coltrane, Pharoah Sanders, Yusef Lateef and Sun Ra, compositional influences range from Gnawa music to modal jazz to Bengali folk music but the scope is wider still and the important unifying factor is the spontaneous communication and interplay between the three musicians. Rather than having a tight rigid structure, the tunes are allowed to breathe and develop into new unexplored forms, allowing fresh interpretations that make each performance a unique experience.

The album is a collection of live and studio recordings that have been recorded and mixed by the band.

8 years almost to the day after releasing his unique re-interpretation album of his field recordings made in the late 90's in Tanzania, Kink Gong is back with another volume of bushmen madness. Here’s what Kink Gong aka Laurent Jean-neau has to say about his end of millennium trip:

‘’My experience in Tanzania is now over 20 years and most of the so called remix was started in Tanzania and left un-finished, then eventually retouched in Vienna, Paris, Shanghai, Kunming, Dali or Vientiane. 20 years later I searched my Tanzanian files and rediscovered unfinished tracks which are being now refreshed on this new record.

Back to the early days of the XXI century, when I lost my health trying to survive with the HADZAs, the last bushmen in northern Tanzania. In 1999 James Stephenson from NYC invited me to join his Hadzas friends. I would leave the bush to rest in a place with enough food and electricity and start to edit, loop and work on the original recordings, to trans-form them into organic abstract compositions, the only instrument I had recorded a lot with the Hadzas was the malimba and I bought different malimbas in Arusha to take back with me to Europe, I used either the original record-ings or me playing malimbas on some tracks and applied some electronic treatment to it, at that time I used Roland synths for some tracks.

The original recordings are related to scenes at night by the fire with the Hadzas, but also 3 different types of celebra-tions, Epeme Men was recorded on a moonless night with men and women singing and dancing in complete dark-ness in Mangola, an Hadza camp. Irawk Drum Under the Rain was recorded during daytime at a Multi ethnic gathering at the Franciscan Spanish catholic mission with a crowd dancing and singing under heavy rain while an IRAWK large (and wet) drum was being played, Northern Tanzania. Makonde Island was recorded in southern Tanzania at the boarder with Mozambique and is a pure scene of trance taking place on an island where the MAKONDE fishermen off the coast of Mtwara, get wild, hitting plastic containers for the sound, drunk and stoned men and women are hysterical-ly jumping and falling on each other, ending up with a few wounded.
Once again I'm responsible for this act of multicultural sabotage, but don’t forget that you can always listen to the origi-nal recordings on the Kink Gong recs collection. ‘’
Laurent Jeanneau, Berlin 2023

Mouche (real name Tim Karmouche) returns to Australian label Research Records with another full-length of imaginary soundtracks, instrumentals and sun-kissed digital jazz. Active on the Melbourne scene in projects such as Crepes/The Murlocs/Swazi Gold/Dreamin' Wild, Tim's first album Live From The Bubble arrived back in 2020 as an ode to his aptly named studio space - The Bubble.

Lake Songs builds on those same atmospheres, showcasing the inward-looking craft of his one-man band. Cicada field recordings and light keys open proceedings, reflecting the warmer side of 80s new age, though before long we're introduced to a variety of stylistic shifts incorporating elements of cosmic funk, lounge and library-style compositions. There are traces of Steve Hiett, Max Groove or even the recently re-discovered Ronald Langestraat, though the strength of Mouche's talent for harmony shines through on its own level.

Shifting between moods yet reflecting an overarching sense of positivity, listening through the ten tracks gives off a real sense of place, though time is somewhat irrelevant. The warm climate and sandy beaches of Australia seem eternally embodied in 'Juice' or 'Crystal Water'. Perhaps where Live From The Bubble was dedicated to the very studio that birthed it, Lake Songs is dedicated to the vast land that surrounds it.

Once is not usual Chat Noir Tools is welcoming an established producer in the name of Robbenspierre for his tenth installment. Since 2017 the italian artist and Club Vision resident has released top notch music on labels such as Land of Dance, Alphaville records, Tone Dropout, Threads, Nugs on board or System Error. After a short break, we're glad to have him for his first vinyl release in three years. His Lacrimosa EP, five tracks filled with melancholic goodness, will stand as the first Tools record sitting halfway between homelistening & the club.

Since Interstellar Space, John Coltrane's posthumously released duo album with Rashied Ali, the combination of sax and drums has received an aura of sublime spiritual ambition. It is where tireless truth seekers come together to aim for something transcendental. Something too big for words. Of course, a lot has happened in the meantime.

The available options - philosophically, stylistically, temperamentally - are endless. Musicians are aware of those historical turning points, yet they also try to add their own twists and interpretations. Some of them succeed. One of reed player Mattias De Craene's many projects - MDC III - is a project involving drums and saxophone. A striking difference: De Craene invited two drummers (Simon Segers, Lennert Jacobs), that have been active in the worlds of jazz, pop, free improvisation and experimental music. They are the ideal foil for De Craene's vision, which seems to exclude no opposites. While the use of a recorder, electronics and percussion steers the music beyond the classic acoustic limitations, the result becomes strikingly rich with contrasts. What is abstract and introspective the first moment can switch - gradually or abruptly - to moments of fierce ecstasy the next.

The music feels free (free from limitations, free to choose its own logic), but also invites. Shifting moods and textures are combined with intricate rhythmical patterns, as the drummers lock together in dense, complex and/or ritualistic grooves. A minimal pulse, accompanied by murmuring hisses of brushes and a serenading sax is contrasted with moments of exuberance. The result is many things at once, but despite these wildly varying colors, sounds, textures, rhythms and moods, they are all linked, part of a generous, iridescent whole.

The trance-inducing trio MDCIII is back. And that equals yet another delicious load of modular drums, wildly processed saxophone sounds, improvisation & pulsating grooves.

After their first EP, MDCIII ft. Sylvie Kreusch, and their subsequent first (internationally) acclaimed album 'Dreamhatcher', the 'double drums' saxophone trio with Mattias De Craene, Simon Segers & Lennert Jacobs is all set to show what angle rock 'n roll can really come from. On their new album 'Drawn In Dusk' (release: end of September via W.E.R.F records) the trio delivers a whole new palette of sounds that are just as mystical, energetic and wild as 'Dreamhatcher'.

Nachdem er in den späten Sechzigern als Frontmann des beliebten jamaikanischen Gesangstrios The Paragons eine Reihe von erfolgreichen Rocksteady-Singles aufgenommen hatte, wurde John Holt zu einem der beliebtesten jamaikanischen Solokünstler, der eine Reihe von Reggae-Hits für viele der führenden Plattenproduzenten der Insel produzierte.

Der internationale Durchbruch gelang ihm 1974 mit dem äußerst populären Album "1000 Volts of Holt", das raue Reggae-Rhythmen mit raffinierten Orchesterarrangements verband.

Der Höhepunkt des Albums war die Bearbeitung von Kris Kristofferssons Country-Hit "Help Me Make It Through The Night", der im darauf folgenden Jahr zu einem weltweiten Hit wurde und als Single Platz 6 der britischen Charts erreichte.
In den folgenden Jahren blieb Holt ein Gigant der Reggae-Szene mit weiteren Bestsellern und zahlreichen ausverkauften Shows auf der ganzen Welt.

Das Beste aus seinem Solowerk wurde auf dieser "Essential Artist"-Compilation zusammengestellt, der neuesten Veröffentlichung in der neu eingeführten Reihe von Trojan Records, die die Arbeit von Jamaikas beliebtesten Foundation-Künstlern vorstellt. Erhältlich als
28-Track-Doppel-Vinyl-LP und als umfassende 2CD-Compilation, veranschaulicht die Sammlung auf hervorragende Weise das Talent, das John Holt zu einem der beliebtesten und beständigsten Sänger der Reggae-Musik gemacht hat.

Das Debut Album der 2019 gegründeten Thrasher SINTAGE!

High Roller Records, black vinyl, ltd 250, insert, includes a download code & poster

MOOD CHILD is the new artistic platform of DJ/Producers, SIRUS HOOD & MANDA MOOR.

Evolving from a collective idea during our difficult pandemic period, MOOD CHILD is, at its centre, about community, collaboration, friends and family. Working together, feeding each others creativity and forging fresh and exciting new sounds and projects.

MOOD CHILD is an invitation to a journey that blends different feelings, emotions and desires. To activate your inner child. Reinvigorate the wild, primitive and unfiltered state of being and create an almost divine sense of unity. All through the power of music and art.

Their collective sensibility is nurtured upon the dancefloor and last summer they were blessed to have presented a first MOOD CHILD experience in collaboration with Hï and Café Mambo in Ibiza. The mood then took them to Bagatelle in Zürich and Lovefest in Serbia and they now prepare to launch their 2023 campaign alongside the elrow family for a sold out event in Andorra 1st of April.

However, what is a party without its soundtrack? Their first release, as its title suggests, brilliantly displays the labels primal perception… ‘Homo Sapiens’ is the mood child of Sirus Hood and Malikk. Four carnal creations, all guaranteed to ignite a rabid dancefloor response.

‘Booty Side’ uses its compass to expertly navigate its way through bubbling acid and rolling snares as we go in search of Jack, while the title track will have us going ape to its chest-beating bump and knuckle-dragging groove.

Silverback beats swing low on the flip too as ‘King MTF Kong’ bites hard with its heavy Chicago hustle and detuned synth, while the feral Juke-infused finale, ‘Gorilla Walk’, is a break-neck bass-driven and bruising encounter that is more Jersey club than Empire State building.

The ‘Home Sapiens’ EP is released on the 14th April and will be available on vinyl and digital formats, alongside a series of exclusive NFTs.

MOOD CHILD’s official online store will launch soon and feature not only the music and digital art projects, but also an official clothing brand, sample packs and exclusive content from their artists.

It’s time to connect with your MOOD CHILD.