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FIVE CLASSIC ARETHA ALBUMS PRESENTING AN EARLY-’70S PORTRAIT OF THE QUEEN!

Also Includes A SIXTH BONUS LP of Session Alternates, Outtakes & Demos!

Original Albums Remastered From the Analog Master Tapes by Grammy® Award-Winning Engineer, Chris Bellman at Bernie Grundman Mastering Produced by Grammy® Award-Winner Cheryl Pawelski with Liner Notes from Billboard’s Gail Mitchell & British Ambassador of Soul, David Nathan Includes the hit Young, Gifted, & Black, released in 1972, which hit #2 on Billboard’s R&B albums survey and #11 on the Billboard Top 200 as well as being certified GOLD.

Aretha won the 1972 Grammy Award for Best Female R&B Vocal Performance the album ranked at number 388 on Rolling Stone’s 500 Greatest Albums of All Time.

Also includes This Girl’s In Love With You which features the first commercial release of “Let It Be,” and came out 2 months ahead of The Beatles. Both this album and Spirit In The Dark feature the Muscle Shoals Rhythm section and an appearance by Duane Allman. Along with production on both from Jerry Wexler, Tom Dowd & Arif Mardin.

Limited

Michael Forshaw is a techno, breakbeat and experimental producer and DJ from Blackpool, U.K. who’s known for his mastery of producing gritty, rough ‘n’ tumble techno music where every sound is almost overdriven to the edge of chaotic distortion. He refuses to abide by any rules, playfully smashing his music around like a cat toying with a mouse. He’s the ultimate example of why parents hate techno.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve got our Wonk-O-Vision meter turned up to FULL WONK and we’re wearing our spankin’ new, made especially for dancin’ and prancin’, high heels and big boys boots on, because Michael Forshaw ‘& His Dance Floor Disaster Show’ is about to smash into a night club near you.

On this ‘Big Titted Hit’ of a release you’ll learn how to ‘Shake What Your Mama Gave Ya’ in more ways than one as not only have Forshaw’s ‘Amish Numanoids in Space’ trax finally been printed on vinyl, but those Swedish farting wasp keepers TSR and Scotland’s own melodious mental menace Fear-E, along-with the vocal talents of he that should be King, Tunnan, have well-wonked out a pair of the most uncarpeted surface-slippin’ remixes you’ll have a difficult time not to do a group wonkin’ Watusi too. WONK ON.

Vibraphone presents another huge release. This time it's Silicon Minds - IHY (Interstellar Hypnotic Yama -Biko) With an timeless Mayday Tribute Mix by the one and only Derrick May!
Highy recommended!

Denovali presents the second cooperation album of Italian composer, arranger, producer and guitarist ERALDO BERNOCCHI with Berlin-based Japanese violinist, composer, electronic producer and TANGERINE DREAM member HOSHIKO YAMANE.

Eraldo Bernocchi and Hoshiko Yamane have come together again to create their second album - inspired by the Japanese concept of "Sabi". The record is a unique blend of electronic and acoustic music - with Bernocchi’s pulsating textures and Yamane's haunting treated violin melodies weaving together to create a captivating and emotional sonic landscape.

"Sabi" is a Japanese aesthetic that celebrates the beauty of impermanence and decay. It is often associated with the simplicity, austerity, and solitude found in nature, and is said to evoke a sense of melancholy, nostalgia, and reverence for the passage of time. Bernocchi and Yamane's "Sabi" explores these themes through a collection of minimalist compositions that combine electronic and acoustic instruments immersing the listener in a deeply cinematic experience.

The album takes the listener on a journey through a series of atmospheric tracks, sometimes melancholic pieces that evokes the sense of solitude and simplicity often associated with the concept, other times more energetic and uplifting, optimistic ones that celebrates the beauty of transience.

Throughout the record, Bernocchi's electronics work provides a powerful, quite physical, backdrop for Yamane's violin melodies and harmonies , which are at once mournful and hopeful. Together, they again created a sound that is both beautiful and haunting, evoking the sense of nostalgia and reverence that is at the heart of the "Sabi" aesthetic. "Sabi" is a unique and powerful work of art that explores the beauty of impermanence and the passage of time. With its blend of electronic and acoustic elements, it is a record that is both modern and timeless, and is sure to appeal to a wide range of fans of electronic, ambient and experimental music. The artwork again was created by the renowned designer Petulia Mattioli.

Indie pop quartet Melenas hail from Pamplona, Spain, a picturesque region nestled just south of the Pyrenees. Such beauty can't help but inform the band's songwriting, but Melenas aren't content to just sit placidly & take in the scenery. Since they burst onto the scene in 2016, the band has hit the ground running, playing incessantly both locally & on the stages at national festivals like Primavera Sound & Eurosonic as well as releasing a debut full length (2018's "s/t" album) and a 7-inch single both triple-released on local labels Elsa, Nebula & Snap! Clap! Club. Trouble In Mind is honored to be releasing their new album Dias Raros and is the first label outside of Spain to release Melenas music to the world.Dias Raros hums right from the get-go, peppering their garage-pop punch with elements of lysergic dream pop, melancholic indie rock and strident guitar jangle. The album title translates to "Strange Days" an acknowledgement - according to the band - of "...those days where you spend more time inside than outside. Inside your own self, inside your bedroom and your own universe thinking about your wishes, dreams, memories, obsessions or fears." The lyrics - sung entirely in their native Spanish - reference "those interior dialogues where sometimes you fight to escape from a situation, you wonder what another person will be thinking about or feeling, you gotta say goodbye, or you just enjoy the time by yourself. Days that, for different reasons, you're feeling different, they are strange". Opener "Primer tiempo" buzzes with an urgent organ drone, unfolding into a yearning ballad of modern guitar-pop bolstered by the group's lush harmonies & sets the tone for the rest of Dias Raros. Songs like "No puedo pensar" "3 Segundos" and "Despertar" follow suit, with the rhythm section galloping headlong into an insistent guitar strum, while ballads like the tender "El Tiempo ha Padsado" rely on the band's melodious voices bolstered by a lilting guitar riff and gentle organ swells. Elsewhere mid tempo rockers like the stomping "Los alemanes", the simmering "Ciencia Ficción" and "Ya no es Verano"s insistent jangle recall underground greats like The Pastels, R.E.M. and Shop Assistants. "Vals" ("Waltz") closes the album in 3/4 time, named for the ballroom dance as well as the last name of a close friend - a dedication to her. Its dreamy sway alluding to classic Brill Building songwriting; dusted with melancholy, but lifted by cascading voices, and organ and guitar waves and guitars that twinkle and shimmer over a cracking backbeat. Dias Raros is the perfect introduction to a band bursting with promise, confidently inhabiting their own space built upon the foundation of their influences both geographically and culturally, as well as musically.

Big Thief's music, rooted in the songs of Adrianne Lenker, paints in vivid tones "the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else's, and being okay with the inevitability of death," says Adrianne.

Masterpiece, Big Thief's debut album, is -lled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne's voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake o­ the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they're grounded in simple things.'

Adrianne met her longtime musical partner, guitarist and singer, Buck Meek, in Brooklyn a few years ago, and they quickly formed a creative bond tempered by the experience of traveling and performing for months on end in old dive bars, yards, barns, and basements together. They recorded a pair of duo albums (A-Sides and B-Sides), and Adrianne showcased her songs on a solo album, Hours Were The Birds.

Now, as a full rock and roll band, with Buck on guitar, Max Oleartchik on bass, and James Krivchenia on drums, they bring a steady wildness, giving the songs an even deeper layer of nostalgia. "These guys feel like a pack of wolves at my back," says Adrianne, "they make the songs howl and bark with a fierce tenderness that gives me courage."
After spending last July in an old house that they turned into a studio on Lake Champlain with producer Andrew Sarlo, the resulting collection soars on what Big Thief fan Sharon Van Etten calls "...a real journey, with intelligent stories and twist-and-turn melodies.

Black Truffle is pleased to announce the first LP documenting master khene player Sombat Simla, the label’s first collaboration with Japanese sound artist, field recordist, and researcher Yasuhiro Morinaga. Simla is known in Thailand as one of the greatest living players of the khene, the ancient bamboo mouth organ particularly associated with Laos but found throughout East and Southeast Asia. His virtuosic and endlessly inventive renditions of traditional and popular songs have earned him the title ‘the god of khene’, and he is known for his innovative techniques and ability to mimic other instruments and non-musical sound, including, as a writer for the Bangkok Post describes, ‘the sound of a train journey, complete with traffic crossings and the call of barbecue chicken vendors’. Aided by a group of Thai friends, in 2018 Morinaga travelled to the Maha Sarakham province in the Isan region, arranging to meet Simla in a remote spot surrounded by rice fields. Then and there, Morinaga recorded the solo performances heard on the LP’s first side. At Morinaga’s request, Simla began with a rendition of the train song ‘Lot Fay Tay Lang’. Beginning with long tones that seem to mimic a train horn, the performance soon moves into a rapid chugging rhythm, interrupted at points by vocal exclamations and the remarkable timbre Simla produces by singing through the khene. To listeners unfamiliar with Thai music, the pentatonic scales and rhythmic chug of many of the pieces can have surprising echoes of the rawest American blues. The range of Simla’s performance is astonishing, moving from compulsive rhythmic workouts on single chords and rapid-fire runs of single notes to gentle sing-song melodies, and using a fascinating array of techniques, including a rapid tremolo that sometimes sounds almost electronic. Later the same day, Morinaga followed Simla to a cattle shed where he met percussionist Mali Moodsansee to play some molam (folk songs found in Isan and neighbouring Laos), with Pattardon Ekchatree joining in on cymbal. At times, these molam songs have a wistful, romantic character quite different from the solo pieces. Backed up by the propulsive hand drums, Simla again dazzles with his melodic fluidity, rhythmic drive, and wild displays of unorthodox technique. As Morinaga writes, ‘It felt like they had been playing together so long that their breathing was perfectly in sync, and it was like listening to the precision of James Brown’s funk’. Accompanied by extensive liner notes by Morinaga detailing the day of recording, this is a stunning document of a master musician, seamlessly integrating tradition and innovation.

Straight outta Williamsburg, Sababa Sounds come correct with their first ever vinyl release. Seven inches of face slappin' Hebrew funk.

Led by the legendary pianist and composer Chick Corea - the venerated 27-time Grammy winner and National Endowment for the Arts Jazz Master - The Elektric Band stormed onto the jazz scene in the mid-1980s, making an immediate and lasting impact on the genre. With their electrifying performances and innovative blend of jazz fusion, the group produced a series of albums that set the bar for excellence in contemporary jazz. Featuring a core lineup of virtuosic musicians - John Patitucci on bass, Dave Weckl on drums, Eric Marienthal on saxophone and Frank Gambale on guitar - the group created a dynamic and electrifying sound that came to define the jazz fusion style. Their collective musicianship was on full display on each album, as they seamlessly blended complex compositions with captivating improvisations. With each outing, the band explored new sonic territories, incorporating elements of funk, Latin and Afro music, and pop sensibilities. Their 5-album studio discography is a masterful tapestry of multi-layered music, showcasing their creativity, innovation, and musicianship. A restlessly creative, eternally youthful and uncommonly generous spirit, Armando Anthony “Chick” Corea left behind an incredibly rich legacy of recorded music when he passed away on February 9, 2021. The music of the Elektric Band continues to inspire and influence musicians to this day, cementing their legacy as one of the most important and iconic jazz fusion bands of all time

Coltrane, Shorter, Hubbard, Davis & Perkins from a Latin perspective! The Mantecas represent one of the finest concentrations of experience and talent in Latin and Jazz music ever to be based in the UK. A pure uplifting Latin Jazz music celebration. NOT-TO-BE-MISSED!! Recorded at different locations in London during 2022/23. Mixed at Abbey Road Studios in March 2023. The Mantecas (formerly known as "Manteca") is an eight piece, London-based, Latin Jazz, Soul and Boogaloo band well known for creating a party mood at festivals and gigs everywhere they go, from Glastonbury, Ealing Festival and Tropical Pressure Festival to The 606 Club and The Jazz Café in London. They have a particular ability for bridging the culture gap with any audience getting all crowds up hitting the dance floor in a jive. The Mantecas will blow your mind with a mesmerising mix of salsa, Cumbia, Funk, Latin jazz and Boogaloo. For this new release album, the band is exploring the legacy of some of the Jazz giants through a Latin lens, reworking timeless pieces by Coltrane, Shorter, Davis, Hubbard and Perkins, giving them the infusion of Latin rhythms while remaining true to the Jazz language. The band is made up of some of the best musicians in the Latin, Jazz and Pop scenes in London: TRYPL HORNS: Paul Booth (Incognito/Brand New Heavies), Trevor Mires (Jamiroquai/Incognito), Ryan Quigley (Gregory Porter/Beverly Knight) Dave Oliver: Keys (Lisa Stansfield/Snowboy) Satin Singh: Percussion (Jazz Jamaica/Roberto Pla/Pucho and the Latin Brothers) Javier Fioramonti: Bass and arrangements, MD (Alex Wilson/Jack Costanzo/Joe Bataan/Salsa Celtica) Flavio Correa: Vocals (Omar Puente/New Regency Orchestra) Will Fry: Percussion (Tom Misch, Tony Allen) Rob Luft: Guitar (Dave O'Higgins, Byron Wallen) "Expect loads of hard-hitting salsa, exploding drums and outrageously funky boogaloo". Time Out * "Ripping new Latin Jazz band from the finest musicians of London". Fact Magazine * "One of the best Latin Jazz-funk bands working the scene today". The Jazz Café, London Ltd Ed.

Recorded on the island of Aruba, Farmer Marcus joins Fontoyard for this special dedication to the Healing Of The Nation. Originally off of the "Farmer Marcus Inna Yard Diversity" album, this meditative, cautious & jumpy style of a riddim is now available for distribution on 7". You've got to feel this strain!

Vocals by: Farmer Marcus (M.Tromp)
Mixed by Fontoyard (T.Gibbs)
Mastered at: Earth Works Amsterdam (B.King)

Repress in Blue Vinyl

If there's one specific component that grounds 'Sky Flesh', it's focus. Italian musician and sound designer Marta De Pascalis flexed her technical muscle on 2020's 'Sonus Ruinae', layering various sounds and processes in an attempt to touch the sublime. In contrast, 'Sky Flesh' is a single thought, composed using just one instrument: the Yamaha CS-60. A slimmed-down sibling to the gargantuan CS-80 - the analog synthesizer used by Vangelis to create his iconic 'Blade Runner' score - the CS-60 was released in 1977, a few years before the MIDI protocol was introduced to help standardize production methods. MIDI would change the electronic music landscape completely, offering a level of control that De Pascalis consciously relinquishes, preferring to highlight expressiveness and timbre, elements more readily associated with acoustic instruments. The album arrives as much of the wider experimental scene busies itself with algorithmic composition and AI-assisted modeling; De Pascalis chooses to work instead like an organologist, harnessing the CS-60's mercurial magic to suggest deeper truths about our evolving relationship with machines.

Currently based in Berlin, De Pascalis grew up in Rome, where she was surrounded by atrophied ruins that piqued her interest in decay and memory. Over her last three albums, she used tape loops and advanced synthesizer techniques to create a unique sound world that's guided by her musical philosophy, rather than a specific aesthetic. As she's developed her technique and confidence, her music has become even more idiosyncratic, and at this stage in her career she's stripped her sound down to its core elements, focusing on emotion, narrative and mystery. Using timbres that recall a time when electronic music still waved towards the future

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

Powerhouse R&B/Soul vocalist and Canadian Idol finalist. Gary Beals, is thrilled to be releasing his new album, The Melody Within. The Melody within is a musical journey that unfolds across two sides, much like a story that reveals new layers with each turn. The album is more than just a collection of songs; it's an emotional guide that beckons us to explore the depths of our own feelings and explores navigating emotions, self discovery, and nostalgia through soulful melodies. "This album serves as the aftermath to my previous album, "Bleed My Truth". It's a continuation of my musical journey, a fusion of soulful melodies and diverse influences that mirror both my personal and artistic evolution," said Gary Beals. "Each song is a chapter, a piece of my heart and soul, inviting listeners into my world of emotions, experiences and connection. It uncovers the melody that resides within. The anticipation is building as I look forward to sharing this collection of new music, and I hope it resonates deeply, offering a meaningful and memorable musical experience enriched with a multitude of emotions." With this new body of work, Gary had the opportunity to work with two talented primary producers,Beatchild (Drake, Justin Nozuka, Glen Lewis) and Myles "Losh'' Schwartz (Allan Rayman, Tobi, The Game, Pretty Lights). Additional production credits on the album include, Chris Guirguis, Frizzy Astro (Raz Fresco, Daniel Son), Jordan "Tempo" Farmer, Kobebeats (Rodwave, Kcamp, Sevyn),Sid Aakowa, Ty Danelley (Popcaan, Tory Lanez, Pressa) and Warren Williams, who all helped to shape the makings of the album while maintaining a consistent synergy. Side A of the album draws inspiration from the likes of Al Green, Aretha Franklin, Otis Redding, Marvin Gaye, and James Brown, and pays homage to artists who have played an integral part in shaping Gary's musical roots. This side includes Gary's previously released singles, "Good People, Good Vibes" and "All of Me," and the album's title track "The Melody Within," that commends the process of self-discovery and introspection. Also included is the album's 5th single, "Self Revolution," which will be released on October 27th along with the official music video. On Side B, you'll encounter a fusion of R&B and pop elements while still staying true to the album's soulful essence. Included on this side, is Gary's third single "I Like That," featuring JRDN and KAYO ,and the new single "How Do I Say (I Love You)," released September 22nd. "How Do I Say (I Love You)" dives into the inner conflict of conveying affection, showing vulnerability, and the bravery needed to expose one's heart to someone else. About Gary Beals: Two decades ago, Gary embarked on his musical journey when he, a small-town kid from Nova Scotia (now calling Toronto home), made a remarkable entrance onto the national stage as a part of Canada's inaugural season of Canadian Idol. This month marks the 20th anniversary of the finale where Gary was crowned as the "runner up" on the show. The experience ignited a transformative period of self-reflection and discovery that propelled Gary toward personal growth, shaping his life and musical career in lasting ways.

Fast forward through three albums and twenty years, Gary's work and talent have made a remarkable impact and received widespread critical acclaim. Among his accomplishments are debuting in the top 10 of the Canadian sales chart, being nominated for a JUNO Award for "Best R&B/Soul Recording," winning an East Coast Music Award and seven African Nova Scotia Music Awards, as well as scoring nominations for an Urban Music Award and a Canadian Radio Music Award. These accomplishments led to his home province's Premier officially designating November 22nd as Gary Beals Day in acknowledgment of his achievements.

With his return, Gary is poised to make a positive impact on the ever-expanding global community as he prepares to release his new album The Melody Within. The album will stand as a tribute to the strength that resides within all of us and a reminder that true fulfillment comes not just from achieving goals, but from discovering the intricate beauty that lies within our own hearts and souls.

Craig Charles is a big supporter of Gary Beals and spun his single 'All Of Me' for three weeks in a row on his Funk and Soul Show on BBC Radio Six

"Robert Johnson" of Indonesia's Orkes Melayu music finally comes out from the shadows. Between 1961 and 1964, Kelana Ria recorded 48 songs that were spread over four records, Kafilah, Yam El Shamah, Ya Mahmud and Ya Hamidah, which become the primary sources for this compilation.

Some Songs Of A Dumb World

'The light at sunset is mysteriously pinkish.'

After Trip Trap, TRIP's sub-label GALAXIID releases the debut album by the Species Of Fishes duo. The record, originally released by the Dutch experimental label Korm Plastics in 1994, has influenced two generations of post-Soviet musicians. 'Some Songs of a Dumb World' is like a quest that you can either take up or appreciate as a mosaic of different music styles.

Igor Kolyadny and Vitaly Stern initially worked separately but later shared ideas during home sessions to build their own psychedelic world. They used a large number of cassette samples, including the voices of physicists, paranormal researchers, astronomers, and wildlife TV show hosts, combining them with pulsating rhythms inspired by various electronic music genres. The result, as the duo
described it in an Inverted Audio interview), is 'a sort of alienated, extraterrestrial, studying view on the sound component of human activity.'

For the very first time, the tracks from the debut album by Species Of Fishes are now available on vinyl. The double LP reissue with the refreshed version of the original artwork includes the original tracks, mixed between 1993 and 1994, but re-edited and remastered by Igor Kolyadny in 2021. Two tracks were released on the lesser-known follow-up 'Songs of a Dumb World Part 2', while "Salmon Hunting/Kaluga-Mars" is being released for the first time.

KingUnderground & Delicious Vinyl present a lovingly re-issued version of this sought after & seminal hip-hop record, with all beats by J Dilla, featuring Common, Talib Kweli, Posdnuos, T-3 & Guilty Simpson, and the first time re-issued on vinyl since 2013.

Back in 2008, just two years after James Yancey aka J Dilla’s passing, Mike Ross, founder of Delicious Vinyl, presented J Dilla’s mother Maureen Yancey (aka Ma Dukes), with a vault of unreleased beats from her late son. Following Dilla’s childhood friend (and longtime collaborator) Frank Nitty (Of Frank N’ Dank) was a part of a group of confidants, who lovingly went through the treasure chest of music, formulating a tribute to their departed friend the best way they knew how. With hundreds upon hundreds of instrumentals to choose from, Nitty and Dilla’s brother Illa J narrowed the pile down to a collection of about 50 tracks, some of which would become the building blocks of their debut 2013 Yancey Boys album, ‘Sunset Blvd’. Upon its release in 2013, the LP (which featured appearances from Hip-Hop royalty including Common, Talib Kweli, Posdnuos, T-3 & Guilty Simpson) became an instant classic, gaining recognition from tastemakers across the world.

Even without J Dilla’s presence during the record’s creation, Frank & Illa J were able to harness Dilla’s omniscient creative energy during the production process of making Sunset Blvd. His contributions and spirit couldn't help but permeate the beats, the undeniable foundation for the tracks on the record. “Beyond the beats, his fingerprints were all over the record, in the guest artists we chose to ask for a feature, to the guys mixing and mastering. Most of whom he (J Dilla) worked with before he passed”, said Frank.

Through Delicious Vinyl, ‘Sunset Blvd’ and the accompanying instrumentals were both released on wax in 2013, but have not been reissued since, until now. Thankfully, UK based label King Underground (AKA KU) have once again made this seminal record (and instrumentals) available.

KingUnderground & Delicious Vinyl present a lovingly re-issued version of this sought after & seminal hip-hop record, with all beats by J Dilla, featuring Common, Talib Kweli, Posdnuos, T-3 & Guilty Simpson, and the first time re-issued on vinyl since 2013.

Back in 2008, just two years after James Yancey aka J Dilla’s passing, Mike Ross, founder of Delicious Vinyl, presented J Dilla’s mother Maureen Yancey (aka Ma Dukes), with a vault of unreleased beats from her late son. Following Dilla’s childhood friend (and longtime collaborator) Frank Nitty (Of Frank N’ Dank) was a part of a group of confidants, who lovingly went through the treasure chest of music, formulating a tribute to their departed friend the best way they knew how. With hundreds upon hundreds of instrumentals to choose from, Nitty and Dilla’s brother Illa J narrowed the pile down to a collection of about 50 tracks, some of which would become the building blocks of their debut 2013 Yancey Boys album, ‘Sunset Blvd’. Upon its release in 2013, the LP (which featured appearances from Hip-Hop royalty including Common, Talib Kweli, Posdnuos, T-3 & Guilty Simpson) became an instant classic, gaining recognition from tastemakers across the world.

Even without J Dilla’s presence during the record’s creation, Frank & Illa J were able to harness Dilla’s omniscient creative energy during the production process of making Sunset Blvd. His contributions and spirit couldn't help but permeate the beats, the undeniable foundation for the tracks on the record. “Beyond the beats, his fingerprints were all over the record, in the guest artists we chose to ask for a feature, to the guys mixing and mastering. Most of whom he (J Dilla) worked with before he passed”, said Frank.

Through Delicious Vinyl, ‘Sunset Blvd’ and the accompanying instrumentals were both released on wax in 2013, but have not been reissued since, until now. Thankfully, UK based label King Underground (AKA KU) have once again made this seminal record (and instrumentals) available.