Cerca:100 records

What It Means To be Human is the second in a series of four albums from Jasper Høiby’s Planet B, featuring saxophonist Josh Arcoleo and drummer Marc Michel, that focus on global topics of vital importance - Humanity, Climate Change, Artificial intelligence and Monetary Reform. This album seeks connection. A connection between humanity and the planet, between the problems we all face and about an opportunistic optimism to fix them. The mastermind is Jasper Høiby, the esteemed and revered Danish bassist and the deeply reflective, expressive and visionary artist. Whilst there are many moments that display the virtuosity and hard-hitting grooves of Phronesis, the long-standing band that shot Jasper to the limelight, Planet B offers additional rewards of subtle expression. The music is captivating and highly absorbing, enhanced by soundscapes of electronics and interspersed with powerful, emotive speech by some unique and forward-thinking female minds including Grace Lee Boggs, Ruby Sales and Jane Goddall. They all share a profound understanding of the world, only achievable through practical wisdom, each offering their individual take on where we are as a species and what we can do to improve. At the heart of the album is the trio. A group of like-minded and creative souls where the focus is all about the collective sound. As a whole, the music is a powerful, mesmerising and poignant display of musicianship, integrity and storytelling. What it Means To Be Human is an album at the forefront of the creative European scene.

16)- return with their heaviest and most devastating record to date, Into Dust. The new album, a collection of cautionary tales of survival and redemption, is set to an amalgamation of sludge, punk, metal, hardcore, and stoner riffs, that could only be built through 30 years of commitment to their dark sonic craft, which -(16)- continues to improve upon. From the frantic opening of "Misfortune Teller" to the undeniable pounding and swagger of "Scrape the Rocks", Into Dust lives up to its name, as -(16)- beat the listener into submission through the lowest of ends and the sour, palpable malaise prevalent throughout the album's dozen tracks. "There's a story arc in the lyrics that start with an eviction notice served amid the ruins of Hurricane Irma in the Florida Keys, to running aground metaphorically and drowning in midlife, bearing witness to the modern suffering of hunger and poverty on the Mexico California border," guitarist and vocalist Bobby Ferry says. The negativity persists on tracks aptly titled "Null and Eternal Void", and the dizzying, pill-induced "The Floor Wins". Elsewhere, "Born on a Bar Stool" sends the listener off with a sobering album closer; ending on a foggy and rainy jazz-tinged San Francisco night, with an anti-drinking drinking song, proclaiming "Raise your glass all things pass".

Mit mehreren Milliarden Streams auf seinem Konto ist Maluma ein herausragender Künstler der Latin-Szene auf der ganzen Welt. Endlich veröffentlicht Maluma seine 6 Studioalben auf Vinyl

Mit mehreren Milliarden Streams auf seinem Konto ist Maluma ein herausragender Künstler der Latin-Szene auf der ganzen Welt. Endlich veröffentlicht Maluma seine 6 Studioalben auf Vinyl

Mit mehreren Milliarden Streams auf seinem Konto ist Maluma ein herausragender Künstler der Latin-Szene auf der ganzen Welt. Endlich veröffentlicht Maluma seine 6 Studioalben auf Vinyl

Mit mehreren Milliarden Streams auf seinem Konto ist Maluma ein herausragender Künstler der Latin-Szene auf der ganzen Welt. Endlich veröffentlicht Maluma seine 6 Studioalben auf Vinyl!

The origins of Cos date back to the second half of the sixties when Daniel Schell joined forces with Jean-Paul Musette, Pascale Son and Robert Pernet to form Classroom. When Classroom split, Daniel Schell and Pascale Son moved ahead and formed Cos together with Charles Loos, Alain Goutier and Bob Dartsch. They produced an experimental jazz rock sound linked to the influences above mentioned, but without being mere copycats since they always managed to keep to their own personality.



Postaeolian Train RobberyI is an obscure classic from the 1970's Belgian jazzy prog scene that has become a much sought after piece in the collector's market since it was originally released in 1974. Highly inspired by both the UK's Canterbury scene and the Zeuhl sound, the debut album by Cos has been compared to the likes of Soft Machine, Gong, Hatfield & The North, National Health, Gilgamesh, Egg, Placebo, Magma or Zao, with Pascale Son's unique wordless vocals and nonsense syllables singing in a voice that some sources have compared to Flora Purim's.The album was released on the small obscure label Plus, and has arised interest not only among prog-rock psych-heads and jazz experimentalists, but also among those looking for breaks and bits to sample.



The Wah Wah reissue comes housed in a beautiful reproduction of the original gatefold sleeve, featuring a 4-page image booklet and an insert with photos and liner notes. Mastered from the original tapes. We did the first official LP reissue with its original sleeve of this album some time ago and it sold out so soon that many of you has been asking for a reprint since - here is another 500 copies, again licensed from and with the collaboration of Daniel Schell.



Comes with a reproduction of killer original poster.

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.

12 of the heaviest early tracks by the master of rebetika music. Markos Vamvakaris sings from the hash dens of the Greek ports of the 1930s - mournful, poetic, bitter music of love and long nights. Rebetika is the sound of Greece and Asia Minor clashing amid civil war, mass population exchange, and the anarchy of the late 19th and early 20th centuries. Poetic, mournful, and bitter, rebetika music was born in the hash dens (tekes) of Mediterranean ports, its verses whispered in Greek prisons before spilling out to the greater population in the 1930s, propelled in no small part by a series of remarkable recordings by Markos Vamvakaris. Markos, as he’s known to this day, sang heady, drugged out songs of love, pain and yearning at brothels, bars and hash dens in the port of Piraeus. He arrived as a youth in 1917, working as a skinner in a tannery. By the time he picked up the bouzouki around 1924, he was fully taken by the life of the manges, the lowest rungs of the Greek social ladder. They lived by their own code and in total opposition to the rest of the population, and rebetika was their music. On these twelve early tracks, recorded in Athens between 1932 and 1936, Markos was already a master of the bouzouki. His forceful, clean playing compliments his hoarse voice and his stunning rhythmic sensibility, the result of his years as a champion zebekiko dancer. Tracks build and spiral outward, his open-note drones and melodic lines drawing calls of ecstasy and encouragement from his fellow musicians. Translations of songs like “Hash-Smoking Mortissa” and “In The Dark Last Night” provide a glimpse into the life and language of the manges - Ottoman cafe music, the calls of displaced Greeks of Smyrna, the chaos and suffering of port life, it all comes through Markos’ songs. These recordings, incredibly rare and expertly remastered, mark the height of rebetika, the brief period between the music’s emergence on the recording scene in the early 1930s and government censorship of all lyrics starting in 1936. During the Axis occupation there was no rebetika recording, and though Markos had some hits in the years after the war, he never again attained this level. These are the dizzying, entrancing, and heaviest works of one of the great artists of the 20th century. Pressed on 160gm vinyl, includes full size 8 page booklet with historical notes, rare photos, and lyric translations.

Repress in soon, note new price. For Fans Of:The Lawrence Arms, Into It. Over It, The Menzingers, RVIVR, Modern Baseball, Sundowner, Topshelf Records. Deanna Belos has been a fixture in the Chicago punk scene since she was in Junior High, attending shows, singing along, and raising hell in general. But she was more than just a face in the crowd, Deanna was a radiant friend to all, and at some point she picked up a guitar and made a different contribution the Chicago underground scene: her own music under the name Sincere Engineer. Over the last couple years we've encouraged her to keep writing songs and she surprised us all by assembling a great band and recording an impressive album. Her debut, "Rhombithian", was Produced by Matt Jordan (You Blew It!, Dowsing, etc.) and pairs the sounds of Chicago punk and the youthful Midwest "emo revival" movement. No one is more excited about music than Sincere Engineer, and Deanna plans to play a lot of shows and bring her infectious energy to the rest of the planet in support of "Rhombithian".

Back with new music for an updated version of their holiday release from
the four-time Grammy Award-winning Australian duo
Added for the new version is bonus track "Do You Hear What I Hear". The album
stems from a concept that originated near the start of the band, as rehearsals for
a Christmas tour sparked the musical imagination of Joel and Luke Smallbone.
Executive produced by Grammy-winning musician and producer Aqualung (Matt
Hales) and orchestrally arranged by Davide Rossi of Coldplay fame, A Drummer
Boy Christmas includes 13 tracks and features two original Christmas songs
entitled "Heavenly Hosts" and an emotionally moving ballad from Joseph's
perspective "A Carol of Joseph. " A Drummer Boy Christmas was produced by
Tedd T. and For King & Country and co-produced by Benjamin Backus.

The sun sets over the ranch, a can of beer cracks, and an acoustic guitar
wrangles the day's thoughts and memories into a semblance of orderDuring moments like these, California-born and Nashville-based singer
and songwriter Emily Nenni chronicles her life through delicate songcraft
rife with honky-tonk spirit and spiked with just the right amount of soul
In possession of a deep understanding of music stoked by a lifelong passion and
sharp chops shaped by endless sets in smoky bars and sizzling doublewides, she
asserts herself as the consummate country storyteller on her full- length debut
album, On The Ranch.

RADIO MOSCOW'S most loved second studio album
Radio Moscow does for Blue Cheer what the Black Keys do for 21st century
blues: stomps it. " Raoul Hernandez / AUSTIN CHRONICLE (2010).

Plant-based pop exploration inspired by Mort Garson's cult 1970s synth oddity - Plantasia

Mixed by John McEntire (Tortoise, The Sea & Cake).

Ron Carter and Richard Galliano decided to risk intercontinental
collaboration for the second time after 1990, when they recorded their
acclaimed album "Panamanhattan" in Paris
Here the French accordion master, whose fingers fly over the keyboard with
acrobatic ease and can make the instrument weep in melancholy or rejoice with
joy. There the American bass wonder, whose deeply tuned strings enhance more
than 2,500 (!) recordings and are among the cornerstones of the complete artistic
works of Miles Davis, Eric Dolphy, Archie Shepp, Herbie Hancock, Aretha Franklin,
Roberta Flack and Antonio Carlos Jobim. Two who have already gained hero
status in their own worlds and can actually only lose when they transgress into
each other's terrain. "Believe me, there is nothing more real than to go on stage
with a gambler," Carter raved about the refreshed liaison with his Gallic buddy.
The two rediscovered the once lost central thread in March 2016 at Jazz Week in
Burghausen as a short intermezzo during a joint appearance with the WDR Big
Band. The provisional climax was then the recording made in Theaterstu?bchen
in Kassel on October 29. Galliano recalled: "Before we got going, I said to him:
"Can you believe it? Twenty- seven years have passed, we are still the same and
I'm still playing the same accordion. To which Ron just responded: "And we have
still same fingers!" With these 20 nimble tools, the two protagonists of the
musical joint venture interact without fear of contact. Neither remains in his
accustomed position. Like two intrepid mountaineers, they balance over a
yawning abyss, perform daring maneuvers and clear the way for each other time
and again. The longer the intimate wanderings of subtle nuances and sensitive,
dancing elegance last, the greater the familiarity seems to be. "Richard really
seizes every rhythmic and harmonic chance," the American marveled about his
French partner. And he replies gallantly: "Ron still looks so young, fresh and
elegant like three decades ago. And he is still enthusiastic, straightforward and
comes straight to the point." An often thoughtlessly used image rarely fits better
than on this very special evening: Ron Carter and Richard Galliano create a
universal musical language, whose vocabulary consists of notes. Risk- free
enjoyment

Fifth album by Leipzig based drummer, composer and band leader Eva
Klesse, with featured guest musician Wolfgang Muthspiel, Klesse has
assembled a strong quartet of talented German musicians, who all
contribute to her striking compositions
Eva is working as a drummer and a composer in various musical projects, among
others with Julia Hülsmann Octet, Sarah Chaksad Large Ensemble, Trillmann,
Jorinde Jelen Band and her own quartet (with Evgeny Ring, Philip Frischkorn and
Marc Muellbauer), furthermore she plays with - among others - musicians like
Ethan Iverson, Marilyn Mazur, Wolfgang Muthspiel and Nils Landgren.Several
concert tours led her to China, Chile, Malaysia, Mexico, Honduras, El Salvador,
Guatemala, Nicaragua, Switzerland, Turkey, Spain, Belgium, Serbia, the Dominican
Republic, the United States, Argentina, Egypt and France.
The debut album of the "Eva Klesse Quartett" ("Xenon") was released in 2014 on
Enja Records and won the Jazz Echo 2015 (German Music Award) in the category
"Newcomer of the year". The second album "Obenland" was released in 2016, the
third one called "miniatures" in 2018, the fourth one called "creatures & states" in
2020.
"A rising star on the German jazz scene." - London Jazz News

Following up their initial 1969 release Crow Music, Crow turns up the heat
with Crow By Crow! Recalling bands like Eden's Children and Crabby
Appleton, Crow By Crow was released in May of 1970
Though the album only charted at #181, it spawned two minor hits- the Larry
Williams cover Slow Down, and an original, Cottage Cheese. Performed live,
Cottage Cheese was a crowd favorite. It's raunchy blues boogie and skin-beating
drum break, compliments of ex-Castaways drummer Denny Craswell, was sure to
get fans movin' and shakin'!
Despite their success on the airwaves, Crow had declining commercial sales.
Their records were rarely kept in stock, if they were in a record store at all, which
dampened their sensational live shows. If their record couldn't be found, no
matter how great it was, Crow would be forgotten.
Thankfully, Crow By Crow can be found in the bins once again! It's dynamic, gutsy
blues rock will be sure to have you on the dance floor in no time! Pressed on
Green Color vinyl.

Started in 2010, tricot have developed a unique sound that utilizes
captivating guitar interplay and stop-and-start percussion over complex
polyrhythms while harnessing the emotional vocals of singer Ikkyu
Nakajima - The end result is somehow neatly packaged and delivered as
dense, and invigorating pop songs

Started in 2010, tricot have developed a unique sound that utilizes
captivating guitar interplay and stop-and-start percussion over complex
polyrhythms while harnessing the emotional vocals of singer Ikkyu
Nakajima
The end result is somehow neatly packaged and delivered as dense, and
invigorating pop songs.

Started in 2010, tricot have developed a unique sound that utilizes
captivating guitar interplay and stop-and-start percussion over complex
polyrhythms while harnessing the emotional vocals of singer Ikkyu
Nakajima
The end result is somehow neatly packaged and delivered as dense, and
invigorating pop songs.

Recorded at CBS Studios in San Francisco in 1976, before they were
signed to the legendary Beserkley Records, The CBS Tapes captures the
Rubinoos as the scrappy, bratty kids they were
It also shows the huge talent and energy of a young band near the beginning of
their career, who believed they were unstoppable. This never before released
recording is the perfect way to kick off the band's 50th anniversary celebration.
Songs performed include Jonathan Richman's "Government Center," "The Pepsi
Generation," commercial jingle, and several Rubinoos originals. This is the black
vinyl standard edition.

'Find A Better Way', by Canadian classic four-piece rock roots band, The
Commoners, possesses a sound tapped from the oaken belly of a
whiskey barrel
Described as "a classic rock and roll affair," the nine songs on 'Find A Better Way'
take the listener on a sonic voyage through the lives of the band, from the dusty
back roads of rural Ontario to the bright lights of the big city. Offering their own
blend of rock and roll, southern blues, and roots music, the Toronto-based fourpiece band are known for their high- energy riffs, soulful vocals, and rich
harmonies. The result is an authentic Southern-style rock experience.
The group was cobbled together over the course of a decade, adapting through
numerous obstacles to form the unit as it exists today: Chris Medhurst (vocals/
guitar), Ben Spiller (bass), Ross Hayes Citrullo (lead guitar), and Adam Cannon
(drums). Often joined by their friend, organist Miles Evans- Branagh, The
Commoners unite under a shared dream: to write, perform, and share music that
is an authentic nod to the greats who paved the way before them.
"The new album authentically embodies the rock and roll, soul, and blues rock
experience," says the band's lead singer, Chris Medhurst. "That's something we
really wanted to bring back. That's the roots. That's what we listen to."

This record is a representation of everything that has led me to this point
- It's been a long, bizarre path, says Zenizen's Opal Hoyt of both her life
and her journey to make this record
Like Peter and the Wolf, the Russian symphony Hoyt used as a creative
framework, P.O.C. (Proof of Concept) is a series of vignettes "the collection of
which mirrors Hoyt's long journey, from her adoption in Alaska to her many moves
between DC, Jamaica, Vermont, and New York.Along this unconventional path,
Hoyt met the talented cast of musicians who would go on support her in the
recording of P.O.C: variegated bass by Jonathan Maron (Erykah Badu, D'Angelo);
drums by Vishal Nayak (Nick Hakim, Empress Of); moments of magic on horns by
Sly 5th Ave (Prince); guitars by Benamin (IGBO); intricate mixing by Nick Herrera
(Hiatus Kaiyote), Benamin, and Jon Bap; with mastering by Heba Kadry and Davy
Levitan. Then there's Hoyt herself, whose rich alto pierces through with poetic
lyricism, supported by her contributions of Rhodes, synths, and sample
arrangements (think: babbling brooks and birdsong). In other words, Hoyt isn't
just a songwriter in the classic sense. She's also a skilled producer with an ear for
excellent arrangements "the kind of musician who enjoys meandering and
allowing her artistic vision to percolate. Likewise, P.O.C is a record that blooms in
beauty over time "the kind of record that you can take anywhere in any season, as
any version of yourself.

On her debut album Alone at Last, Tasha celebrates the radical political act of being exquisitely gentle with yourself. For years, the Chicago songwriter has dreamed hard of a better world_she's worked with the local racial justice organization Black Youth Project 100 and has been on the front lines at protests around the city. But as she returned to the guitar, an instrument her mother first taught her to play when she was 15 years old, she began exploring the ways music can be a powerful force for healing. Across Alone at Last's seven tracks, Tasha sings mantras of hope and restoration over lush guitar lines inspired by the stylings of Nai Palm and Lianne La Havas_both artists who, like Tasha, opt for a sweetness in their playing over the masculinized bravado that often accompanies the electric guitar. Alone at Last is a powerful talisman in a demanding world, and a reminder that kindness toward the self can help unlock the way to a world a little more livable than this one.

Für Fans von: (frühe) Paradise Lost, My Dying Bride, Anathema.
Die dänische Band Empire Drowns, die eine geschmackvolle Mischung aus Doom/Death-Metal der alten Schule und düsterem Gothic-Rock bietet, ist
nach der 2013er EP "Bridges" endlich bereit für die Veröffentlichung ihres Debütalbums.
Auf "Nothing" hat die Band eine härtere Herangehensweise an ihren Doom Metal angestrebt, und Marco Angioni von den Angioni Studios (Tygers
Of Pan Tang, Detest, Thorium etc.) wurde beauftragt, einen Sound einzufangen, der den frühen Neunzigern nahekommt, als das Academy Studio in
Großbritannien der Ort war, an dem Bands dieses Genres bevorzugt aufnahmen. Zu den Alben, die den Sound von "Nothing" inspiriert haben, gehören "As The Flower Withers", "Gothic" und "Serenades".
"Nothing" zeichnet sich durch eine intensive Rhythmussektion und aufsteigende, melodische Gitarrenarbeit, atmosphärische Keyboards aus, die
zusammen mit dem gleichzeitig düsteren, knurrenden Gesang eine schwere und fesselnde Stimmung erzeugen.
Als Songwriter zeigen Empire Drowns eine erfrischende Vielfalt. Jeder Song hat seine eigene, unverwechselbare Identität, doch das Ausloten verschiedener musikalischer Wege führt zu einem ganzheitlichen und nachdenklichen Sound, den Empire Drowns mit Stolz ihr Eigen nennen können.
Empire Drowns besteht aus erfahrenen Musikern von Bands wie Aurora, Decorate. Decorate, Urkraft, Withering Surface, Meridian & A Sun Traverse.

The fifth release of the CiM re-issues is his debut EP for the deFocus-label dating back from 2000. With 'Service Pack' Simon Walley subtly moved away from the dancefloor, creating a pack full with ear tickling and mind twisting electronica. Pure bliss. Now re-mastered and re-cut on Delsin Records.

Dear Friends,
Do you know that tipping point, when an average gathering at a bar turns into a dancing party? A few seconds ago, you´ve been mixed up in boring small talk, then you suddenly get distracted by unobtrusive but cheerful sounds that unwittingly make your head bob, let you turn around and at least let you unintentionally find yourself in a bunch of smiling and dancing people…. so, music can save the night- Freudenthalers “Bar Rescue EP” definitely does. It appears nonchalant and unexcited, but always with a compelling spell.
With a touch of swing, a wobbling bass line and all the jazzy elements and cheering voices “The Swingers” gives that perfect vibe to really get a party going. “Worthy” is nearly cracking that harmony with raw, almost careless cut Afro Latin jazz samples, deep chords and spherical particles embedded, but a funky bass always keeps the easy vibe. “Lingerie” opens the flip-side with a tight beat, perfectly complemented with a noisy piano lick, strings, horns and some hip hop cuts. “Overseas Phone Number” then rounds out the release by featuring a swinging rhythm, lovely string pads, pleasant saxophone parts and paying tribute to a French rap classic. Altogether, you will answer it with a smile, for sure. With this in your bag, you´ll be prepared for toughest rescues!

P.S.: Physical release comes with handcrafted, screen printed artwork by fabulous graphic artist Zatina Kessl.

20/20 Vision have enlisted disco overlords Crazy P to curate a brand new series of records for the label, with exclusive tracks produced by some of their favourite artists on the cards. Designed to stretch beyond the world of disco and showcase the band's wide ranging and eclectic musical tastes, there'll be Balearic moments, downtempo beats, indie dance and electronica spread over four vinyl records.
Volume One kicks things off in style with a brand new track from Crazy P themselves, 'People (We Can Transform)', a slinky medium paced groove run through with a slowly opening acid line, funky guitars and an uplifting vocal. Elsewhere, Ashley Beedle declares 'War On The Bullshit (Revive)' with a barnstorming dancefloor stomper and Felix Dickinson remixes ASHRR's 'Fizzy' into a classy noir instrumental where jazz funk keyboards swirl around a rock solid b-line. Change Request & Saucy Lady close the whole affair with soul drenched diva-fest 'Be Dramatic', definitely the most old skool of the lot. It all bodes very well for the next three instalments.

QC Records bring their next big thing with a tribute on the A and groover on the B by Reece Walker (fka Carmel) & Qnete

Melodic, powerfull and very deep classic tracks by Mike Huckaby. Originally released on Cross Section Records in 1997.

A psychedelic masterpiece from prolific producer and pioneer of the genre Jake Stephenson. Originally released on his own Ambient Space Acid records in 1994, both tracks offer an unparalleled celestial listening trip. Licensed in collaboration with the artist's family and faithfully remastered.

Akae Beka's inimitable style of rich, deep, multi-layered songwriting, uncompromising devotion to RasTafari and soulful healing melodies developed over decades performing with St. Croix based band Midnite and countless recordings. At the point of his untimely passing in 2019, he had released over 70LP's. He is without a doubt one of the most prolific reggae artists ever known.

The stellar production trinity that is Zion I Kings have been involved collectively and individually in creating some of the most highly regarded contributions to the vast Akae Beka catalogue. The timeless songs of 'Mek A Menshun' amply reward the listener who can penetrate into the mystical musical realms of Rastafari. Longtime fans of Midnite and Akae Beka will note that Vaughn Benjamin's singing on 'Mek a Menshun' reached new heights of melodic delivery and emotional intensity. Coupled with his always poetic and insightful lyrics, these 10 original songs rank among his best recordings to date. The title track 'Mek A Menshun' includes vocals by Protoje Grammy (R)-nominated artist.

Mek A Menshun features the stellar musicianship of the ZIK distinguished in typical fashion by the rock-solid drumming of Lloyd "Junior" Richards. On this album, his playing is complemented by Aston Barrett Jr. ("By Day", "Only Now") and Kirk Bennett ( "Kagm Mystory", "Mek A Menshun"). The signature stylings of the other core ZIK musicians are augmented by horns (Andrew "Drew Keys" Stoch -trombone, Donald "Jahbless" Toney -saxophone), flute- Sheldon "Attiba" Bernard, kette- Andrew "Bassie" Campbell, and the guitar of Chet Samuel. ZIK guitarist Andrew "Moon" Bain contributes a string arrangement on "Only Now". Throughout the album, Laurent "Tippy I" Alfred's spot-on organ shuffle bubbles the rhythm forward. Many of the 'Mek A Menshun' tracks were among the last recordings done by the veteran engineer Gary Woung.

Originally released digitally and on CD, this LP is now being released for the first time on as a 12" vinyl LP courtesy of Before Zero Records.

Grammy Award-Winning UK Electronic artist, producer, & songwriter Tourist releases his deeply personal fourth studio record Inside Out .

Prior releases include collaborations and remixes for The Weekend, Swedish House Mafia, Christine and The Queens, Wolf Alice, Deftones, CHVRCHES, Sophia Koutesis, & more. Recently sold out two nights at Village Underground in October 2021, previously played Coachella, & supported Bonobo on tour. After three EP’s and three albums, Inside Out marks ten years of releasing music as Tourist.

Beatservice Records are thrilled to present the hotly-anticipated third album from Oslo-based production maestro, Third Attempt. 'The Novel Sound' follows on from the widely acclaimed 'Beats From The Quarantine' album released in April 2021, and further compliments the young artist's deserved reputation as one of the dance underground's most exciting talents to emerge in recent years.

Third Attempt (aka Torje Fagertun Spilde) has been dazzling us with his far-reaching music since arriving in the Beatservice fold with 'Shoreline' back in 2018, and since then his ever-evolving repertoire has continued to serve up immaculate sonic surprises. The fast-rising 23-year old artist has wasted no time making his indelible mark, displaying a frenetic work rate alongside an impeccable ear for constructing compelling leftfield grooves.

'The Novel Sound' opens with the rolling deviance of 'Freak Out', where a dusty string sample makes way for vocal samples, scratches, and searing sirens permeating a bass-heavy groove, setting the tone magnificently for the music that's primed to unfold. Next, we arrive in the mid-tempo chug of 'Age Of Steam'. Evolving over a crisp, club-ready rhythm, heavy funk guitars, dancing keys and distant vocal stabs cascade over driving bass before soaring strings herald the arrival of a slick breakdown section. The icing on the cake arrives as bubbling acid joins sensational horn motifs, breaking down once again for a starry-eyed beatless passage that leaves us yearning for a reprise.

'My Girl' features amorous vocal samples hovering over an irresistible disco beat, with alluring rhythm guitars and dreamy e-piano chords setting the scene for rousing horns to blast off into blissful summer skies. Before we've found time to catch our breath, 'Nu Funk' arrives with snappy hip hop samples scratched over tight beats and a delectable bass guitar hook. The groove pauses for dubbed-out space delays to echo into the night before a singing lead guitar joins the rhythm elements to burst back into life, with flute motifs, elegant strings, and otherworldly sweeps elegantly meandering across the panorama.

Set over a groove that arrives like a cool summer breeze, 'Sunbeam Symphony' drifts over soul-soothing chords, weighted bass and slick, rolling beats. Hypnotic keys guide us into position as the drums build energy and the bass notes power us forward. Third Attempt's dextrous keyboard solo dazzles momentarily before subsiding for a dub-infused break, with spaced-out vocal chops and rising sweeps building tension before the groove resumes and the virtuoso solo once again majestically soars. Maintaining the sun-kissed meditations, 'Definite' effortlessly floats through waves of thick bass, funk guitar chops and elegantly fused samples, with seductive chords, hypnotic horns and laser-tight drums combining to create a near overpowering dream state.

The heavy trip-hop rhythms of 'Nightfall' enrapture the listener as rich chords discreetly beckon, with cascading congas, mysterious melodies and exotic refrains building before the glorious lead vocal appears like a hyper-luminous flash of light. The chords disappear into the nothingness, before the carefully selected sample of 'Working Man' drifts in to fill the empty space. Smokey drums soon arrive, joined by weighted bass, foggy chords and an enigmatic whistle lead, fusing to conjure a half-lit world lifted from the pages of an evocative film noir novel.

The enlivening tablas, glitchy effects and saucer-eyed sweeps of 'Greed' hide subliminal messages casting a knowing eye over the consumer-driven society and self-help culture that pervade our society, before we arrive at the album's charmed finale. 'Last Winter Of My Childhood' yet again manages to transport the listener into a gently hallucinatory realm, with drowsy bass notes, tripped out pads and emotive strings building to a profound and rush-inducing crescendo.

'The Novel Sound' once again sees Third Attempt dextrously merging expansive musical aesthetics that fuse trip-hop, funk, soul and disco to deliver a sound that – although endowed with vintage sensibilities – feels proudly up to date. Continuing his breathtaking development in dazzling style, the album feels destined to echo over blissed-out sunsets, back-room excursions and twilight skies for many years to come.

Sunda Arc are brothers Nick Smart and Jordan Smart. Best known as key members of folk and jazz influenced minimalists Mammal Hands, their Sunda Arc project takes inspiration from the likes of Jon Hopkins, Rival Consoles, Moderat and Nils Frahm as well as their own music world. Their debut EP 'Flicker' was released in December 2018 and now the duo are set to release their debut LP, 'Tides' on 7th February 2020.

Named for a volcanic arc in the Indian Ocean, created by the process of massive tectonic plates colliding, Sunda Arc strives to mingle electronic and acoustic sounds until they become almost indistinguishable from each other. It's a process where they draw the acoustic properties and quirks out of electronic sounds and find the electronic potential in acoustic sounds. "Finding the ghost in the machine or blending the human elements of playing live is something we are always trying to explore in our work.

Experimentation is a large part of our process and we tend to combine carefully composed material with chaotic ideas to find the balance between the two" — Sunda Arc 'Tides', their debut album, takes its name from the idea of unseen forces that can affect our lives in myriad ways, being pushed and pulled and at the whim of powerful forces outside of our control as well as offering a nod to things such as the tides on our planet, tectonic plate movements and weather systems. There are often chaotic elements in these systems that function in a way that produce a type of controlled randomness on a large scale. This is something they try to reflect in their music by adopting some of the ways these systems work into musical sequences, and using ideas such as chaos theory to control musical parameters. "Tides is a reference to themes we were thinking a lot about during the making of this album. These include the similarities between macro and micro systems, or the circulatory and nervous systems in the body. Things that produce a type of controlled randomness on a large scale". — Sunda Arc 'Hymn', the first single from the album, uses Nick's voice sampled and played back through a keyboard to create a human yet electronic feel.

It mixes soft vocals with heavier electronic elements to create a danceable yet human sound world. 'Dawn', is best described as uplifting-techno, its use of repeated phrases building in intensity and variations to put you into a hypnotic state whilst also being industrial and danceable. 'Daemon' is one of the tracks that really resonates live. Drawing on the sound of UK dubstep it's intense but fun and the bass clarinet blends with synths at the end to create a sound almost like a vocal. 'Secret Window' brings forward another side of the band, focusing around a lo-fi recording of felted piano and bass clarinet.

These are blended with granularised and processed versions of themselves which emerge like ghosts of the instruments throughout the track. 'Cluster' is another key track. It utilises a small group of notes looped in an unusual way to create a sense of cascading patterns over a solid danceable drum groove. It emphasises soprano sax blended into the sound world half-way through to lift into the final section.

A meeting of the minds between two Israeli DJs and producers. Adam Ten & Mita Gami release a combined two-tracker in September on Crosstown Rebels, dipping into dark and hypnotising waters while maintaining a club-cut aesthetic.

The pair pen a slow-burning chugger on the title track, merging tones of tech house, progressive house and techno. A high-pitched vocal weave’s throughout, in tandem with a distorted synthline and oddball sound FX—one for a wavey dancefloor. On the flip, Night Shift glistens with emotion as tribal-tinged percussion collides with long, drawn-out piano notes. A cosmic creation that blurs the line between melancholia and warmth.

Adam Ten is a Tel Aviv-born producer and resident DJ of institutional club The Block, located in his home city. Ten is a key artist on the Israeli scene, recognised for his all-night sets that blend a myriad of moods in electronic music. He’s played worldwide, spanning stints in Miami, Cape Town and Mykonos, amongst several other regions, and he’s channelled his compelling sound on labels like Diynamic, Multinotes, Disco Halal and Selador. As a co-founder of the event series TERRA, Ten curates some of the finest nature-orientated parties in Israel. Mita Gami hails from Tel Aviv. A multi-instrumentalist from a young age, he goes beyond the trope of entertainer. Instead, Gami invites his audience into immersive and almost trippy journeys during his performances via a hybrid set-up and enticing energy on-stage. Releases on REALM Records and Diynamic display his metaphysical approach. Beyond producing, Gami co-runs the label Blue Shadow Records and the Sunrise Kingdom area in Midburn Festival, based in the Negev Desert in Israel.

Real Feel Records looks to blend old and new in paying tribute to the roots of U.S. house music. Real Feel is the vehicle intended to bring it back to basics and create a platform to boost US-based artists in an inclusionary way. The label is run out of DC, pressed in the US, and will look to elevate Black, Latinx, AAPI, women and TLGBQ artists—new and OG—in the US. The intention is not to come in and Columbus anything--we all know vets in Detroit, Chicago etc have been self-releasing material for a long time; but rather give a channel for new artists while blending in established names.

For its first release, NY DJ, producer and multi-instrumentalist Toribio baptizes Real Feel Records with the Brown Cocoa Skin EP. The record is chock full of lush, swingy tracks built for the dancefloor. The legendary DJ Spinna contributes the finishing touches with a monster remix.

Mondays at The Enfield Tennis Academy, x2 LPs of long-form, lyrical, groove-based free improv by acclaimed guitarist & composer Jeff Parker's ETA IVtet. Recorded live at ETA (referencing David Foster Wallace), a bar in LA’s Highland Park neighborhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, & alto saxophonist Josh Johnson to convene in extraordinarily depth-full & exploratory music making. Gleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 & 2021 by Bryce Gonzales, Mondays at The Enfield Tennis Academy is a darkly glowing séance of an album, brimming over with the hypnotic, the melodic, & patience & grace in its own beautiful strangeness. Room-tone, electric fields, environment, ceiling echo, live recording, Mondays, Los Angeles. Jeff Parker's first double album & first live album, Mondays at The Enfield Tennis Academy belongs in the lineage of such canonical live double albums recorded on the West Coast as Lee Morgan’s Live at the Lighthouse, Miles Davis' In Person Friday & Saturday Night at the Blackhawk, San Francisco & Black Beauty, & John Coltrane's Live in Seattle.

While the IVtet sometimes plays standards &, including on this recording, original compositions, it is as previously stated largely a free improv group —just not in the genre meaning of the term. The music is more free composition than free improvisation, more blending than discordant. It’s tensile, yet spacious & relaxed. Clearly all four musicians have spent significant time in the planetary system known as jazz, but relationships to other musics, across many scenes & eras —dub & Dilla, primary source psychedelia, ambient & drone— suffuse the proceedings. Listening to playbacks Parker remarked, humorously & not, “we sound like the Byrds” (to certain ears, the Clarence White-era Byrds, who really stretched it).

A fundamental of all great ensembles, whether basketball teams or bands, is the ability of each member to move fluidly & fluently in & out of lead & supportive roles. Building on the communicative pathways they’ve established in Parker’s -The New Breed- project, Parker & Johnson maintain a constant dialogue of lead & support. Their sampled & looped phrases move continuously thru the music, layered & alive, adding depth & texture & pattern, evoking birds in formation, sea creatures drifting below the photic zone. Or, the two musicians simulate those processes by entwining their terse, clear-lined playing in real-time. The stop/start flow of Bellerose, too, simulates the sampler, recalling drum parts in Parker’s beat-driven projects. Mostly Bellerose's animated phraseologies deliver the inimitable instantaneous feel of live creative drumming. The range of tonal colors he conjures from his extremely vintage battery of drums & shakers —as distinctive a sonic signature as we have in contemporary acoustic drumming— bring almost folkloric qualities to the aesthetic currency of the IVtet's language. A wonderful revelation in this band is the playing of Anna Butterss. The strength, judiciousness & humility with which she navigates the bass position both ground & lift upward the egalitarian group sound. As the IVtet's grooves flow & clip, loop & repeat, the ensemble elements reconfigure, a terrarium of musical cultivation growing under controlled variables, a tight experiment of harmony & intuition, deep focus & freedom.

For all its varied sonic personality, Mondays at The Enfield Tennis Academy scans immediately & unmistakably as music coming from Jeff Parker‘s unique sound world. Generous in spirit, trenchant & disciplined in execution, Parker’s music has an earned respect for itself & for its place in history that transmutes through the musical event into the listener. Many moods & shapes of heart & mind will find utility & hope in a music that combines the autonomy & the community we collectively long to see take hold in our world, in substance & in staying power.

On the personal tip, this was always my favorite gig to hit, a lifeline of the eremite records Santa Barbara years. Mondays southbound on the 101, driving away from tasks & screens & illness, an hour later ordering a double tequila neat at the bar with the band three feet away, knowing i was in good hands, knowing it would be back around on another Monday. To encounter life at scales beyond the human body is the collective dance of music & the beholding of its beauty, together. – Michael Ehlers & Zac Brenner