Buscar:anton x

"The Best Driving Music in the World Ever" was written and recorded during a 48 hour lock-in session, having never left the studio until completion. The artist stated, "This all came together due to a bout of loneliness and depression that swept over me one Friday evening. Being lonely sometimes can render positive results, something I am learning. I decided to go and make a guitar-based record and not leave the house until it was done. I succeeded and this is what was made." The tracks were then sent over to be mastered by Rafael Anton Irisarri at his incredible studio, Black Knoll in New York, US.

Originally released as a limited yellow vinyl LP in April 2021, this debut from Taiwan’s psych-heads Dope Purple quickly sold out and gained immediate cult appreciation. Now recut and reissued on swanky transparent lavender coloured vinyl. For fans of Acid Mothers Temple, Les Rallizes Denudes, Asian psych etc

'Grateful End’ in their own words ...

"Grateful End" is our album release in 2019 in the form of CD and cassette.

The title "Grateful End" clearly shows that this is our album with the theme of "End", such as "The Last Day of Humanity" and “Good Night, Good Death" are two of our songs with the theme of "End". However, this album also has another theme of " Live", in fact most of the songs on this album are based on our imagination of "Live". “End" is not the antonym of “Live”, "End" is just one of the stages of “Live”, in other words “End" is also our “Live”. “Grateful End" is a meaningful “End" for people struggling to “Live”. It is only when the “End" comes together with “Live” that we can find significance in it and pay attention to how people face the “End" of “Live”. The End of something enables us to understand “Live”.

Most of the tracks for Grateful End was recorded in 2018, before the epidemic, so our music doesn't reflect the situation of epidemic, but there was a time in 2020 when I thought about the reality that humanity was facing the last day of humanity. Thanks to the efforts of many people, humanity is not yet extinct, and thanks to the help of many people, we can now release this vinyl. We are very grateful to all of you.

But at the same time, the plight of the epidemic has re-emerged many humanity and morality issues that we have avoided looking at. Maybe we won't die out, but if we don't face our humanity squarely, we will lose our humanity in the future and will no longer be human. I don't know what our music can do about humanity, but it is true that music is one of the creations of humanity, and music cannot leave humanity. As music music lovers, our creations will always face humanity. I hope that in the future, after the epidemic is over, we can understand and inspire each other through our live and music.

Get yo ass in the house, robot-- you cyber-spectre, you outhouse prime minister, you hard-headed mirror ninja, snapping selfies, living in the pixelated seams between bursts the of flashing images, birthed in a pool of TV static and Tik Tok dust. BLACK ENCYCLOPEDIA OF THE AIR is here, not to save but to drown you. Heads better learn how to swim cause listen, this record is beat soup, hearty yet still minimal, a sonic mirage of prophetic soul that drop kicks your "chill beats to study to" Youtube playlist and hyper-intellectual rap podcasts into a hadron collider; it's only black matter on the other side-- 13 mesmerizing tracks about memory and imprinting and the future, all of them wafting through untouched space like the ghostly cinders of a world on fire, unbound and uncharted, vast and stretching across the universe. Moor Mother is a holographic figment of an Afrotopian dream, all at once goddess and warrior, mystic and cyborg, griot and future time traveller, etching noisy pieces of reverie into our consciousness for decades now. But check it: on BLACK ENCYCLOPEDIA she's joined by a wide-range of friends, collaborators and co-conspirators on a trip through the murky cosmos, navigating the black universe with stardust as currency. In these times, they'll say, as they click and mash their way through the same inter-webs that seek to strangle them, BLACK ENCYCLOPEDIA OF THE AIR is just what we need: a post-everything, 12:01 on the doomsday clock, anti-trip hop type of situation. "We ain't gotta fight no more," they'll say; the rest of us, we'll put this record on and imagine again that it's real.

Cinedelic Records continues on with the release of yet another Paolo Vasile gem, and that is his score to Antonio Margheriti’s 1975 poliziottesco, Controrapina (The Rip Off) starring Lee Van Cleef. This soundtrack runs the gamut from strumming guitar and vocal numbers, to straight up dancefloor heaters. This beautifully produced record incorporates smooth sax, disco strings, wah guitar, and a driving beat — all the essential elements of a first rate 70s Eurocrime soundtrack. This release will be pressed in a run of 400 copies: 400, All will also include a super cool promotional .45 caliber pistol cut-out! (Alfonso Carrillo)

The beast is back in black! And it‘s ready to crush the known boundaries of melodic metal!

Beast In Black, the international battalion of ground-breaking melodic metallers, is ready to blow your mind with their third album ominously titled ‘Dark Connection‘.
If you're into melodic and atmospheric heavy metal with an insanely catchy twist, this is the album you're looking for. There's no other creature like this walking the earth. None other bears these sharp edged riffs or piercing choruses. Not with these epic sci-fi, fantasy and cyberpunk stories to tell. Beast In Black is a wholly unique form of heavy metal evolution.
Dark Connection is an album which gathers all the elements from past, present and future of Beast In Black leader, Anton Kabanen. The raw melodic energy of early Battle Beast remains, but now Beast In Black are crafting their own sound within the genre thanks to the utilisation of wildly melodic guitars and multilayered synthezisers.

Remember the glory days of 80's metal? When you could spend hours and hours staring at the cover art of a heavy metal album as you start to discover what all the lyrics are about? Beast In Black is right there with you.Dark Connection is a deeply intricate heavy metal record. As you start to invest time into the songs, you’ll realise that there's something interesting happening at every layer, from the music to the cover art and also the lyrics. It's all tied up into one, to ensure the ultimate audio-visual metal experience.
”It's not a concept album in the traditional sense, but there are a few ongoing themes on the album. One of them might be familiar for fans of Beast-albums from even earlier than Beast In Black”, Anton teases.

”What if I told you that we're back in the world of cyberpunk? Indeed, there are tracks like Highway to Mars and Moonlight Rendezvous, which will let you into the cyberpunk worlds of the Armitage III anime-series and even some Blade Runner themes. In that sense we're back into the themes of the early Battle Beast albums.”
”Cyberpunk is all over the place on Dark Connection. You will feel it in the mood of the album, it's right there in the cover art and we have even carefully prepared a huge music video for you which is visually pure cyberpunk.”
Anton also gives his praises to insanely talented Beast in Black singer Yannis Papadopoulos, who delivers the best vocal performance of his career on Dark Connection.
”It's always a privilege to work with Yannis. He‘s one of those rare singers who can do anything! If he hasn't tried out something before, he figures out the perfect technique to do it in no time.He is a very physical and dedicated singer. He is ready to try 30 different takes on a song if he feels like that's what a perfect result requires. He doesn't just do one or two takes. He does as many as it takes!”
Thirteen songs, a mountain of irresistible melodies and influences from the retro roots of music to a plethora of futuristic themes and atmospheres. Every single song from Dark Connection could be a single. Beast in Black could create a music video for every last track. That's just how much dedication and passion has been immortalised in these songs.

All these moments on Dark Connection won't be lost in time, like tears in rain. Beast is Black has created a lifetime heavy metal exprience. Are you ready to face this eternal beast?

The beast is back in black! And it‘s ready to crush the known boundaries of melodic metal!

Beast In Black, the international battalion of ground-breaking melodic metallers, is ready to blow your mind with their third album ominously titled ‘Dark Connection‘.
If you're into melodic and atmospheric heavy metal with an insanely catchy twist, this is the album you're looking for. There's no other creature like this walking the earth. None other bears these sharp edged riffs or piercing choruses. Not with these epic sci-fi, fantasy and cyberpunk stories to tell. Beast In Black is a wholly unique form of heavy metal evolution.
Dark Connection is an album which gathers all the elements from past, present and future of Beast In Black leader, Anton Kabanen. The raw melodic energy of early Battle Beast remains, but now Beast In Black are crafting their own sound within the genre thanks to the utilisation of wildly melodic guitars and multilayered synthezisers.

Remember the glory days of 80's metal? When you could spend hours and hours staring at the cover art of a heavy metal album as you start to discover what all the lyrics are about? Beast In Black is right there with you.Dark Connection is a deeply intricate heavy metal record. As you start to invest time into the songs, you’ll realise that there's something interesting happening at every layer, from the music to the cover art and also the lyrics. It's all tied up into one, to ensure the ultimate audio-visual metal experience.
”It's not a concept album in the traditional sense, but there are a few ongoing themes on the album. One of them might be familiar for fans of Beast-albums from even earlier than Beast In Black”, Anton teases.

”What if I told you that we're back in the world of cyberpunk? Indeed, there are tracks like Highway to Mars and Moonlight Rendezvous, which will let you into the cyberpunk worlds of the Armitage III anime-series and even some Blade Runner themes. In that sense we're back into the themes of the early Battle Beast albums.”
”Cyberpunk is all over the place on Dark Connection. You will feel it in the mood of the album, it's right there in the cover art and we have even carefully prepared a huge music video for you which is visually pure cyberpunk.”
Anton also gives his praises to insanely talented Beast in Black singer Yannis Papadopoulos, who delivers the best vocal performance of his career on Dark Connection.
”It's always a privilege to work with Yannis. He‘s one of those rare singers who can do anything! If he hasn't tried out something before, he figures out the perfect technique to do it in no time.He is a very physical and dedicated singer. He is ready to try 30 different takes on a song if he feels like that's what a perfect result requires. He doesn't just do one or two takes. He does as many as it takes!”
Thirteen songs, a mountain of irresistible melodies and influences from the retro roots of music to a plethora of futuristic themes and atmospheres. Every single song from Dark Connection could be a single. Beast in Black could create a music video for every last track. That's just how much dedication and passion has been immortalised in these songs.

All these moments on Dark Connection won't be lost in time, like tears in rain. Beast is Black has created a lifetime heavy metal exprience. Are you ready to face this eternal beast?

The label Control Room presents it's first vinyl only release "Mind Travelers EP" in which the three artists have teamed up to create an abstract story for your ears.

What started as an underground techno label in the early 90's, Juice Records typified the head in the clouds ambition of the techno generation by both sound and action. Anything was possible and similar minds would be reached through the vinyl medium. By the mid 90's, Juice Records established itself as a southern beacon to the techno and house music movement.

… but many people would have little knowledge of where the label sits in todays music sphere. Juice Records, wether by choice or default have remained free from the uber industry of dance music but continue to represent with our Adelaide based music activities.

What started as casual discussions about Antony's studio activities with label owner, Donato, soon progressed to talk of an album. A couple of years and many iterations would follow till the vision was clear. Juice 020 highlights the musical existence that Antony commits too. It goes beyond the drum machine and synthesiser sounds the label would be known for and embraces a wider spectrum with use of a Yamaha baby grand, Fender Rhodes, Washburn bass and Yamaha Electone E-75.

With a definitive genre hard to pin on the album, Juice 020 remains very much a traditional Juice Record. It is a clear example of what Adelaide happenings have been missed by the global industry while it plays with a techno formula that goes beyond our underground imaginings.

The Altered Hours have just announced details of their second full length album ‘Convertible’. The Irish group have just signed with Pizza Pizza Records and the 8 track album is set for release in May 2021. Following on from some successful headline tours across Europe supporting their debut album & some blistering EP’s along the way, the group found themselves looking for the next step in their ever- evolving journey. Having previously recorded in Anton Newcombe’s Berlin studio for their debut singles & ending up in the infamous Funkhaus studios to lay down what would become their debut album ‘In Heat Not Sorry ’, the band decided once again to



change the approach & take their new songs back to the privacy of their own studio space on the outskirts of Cork City. The new LP ‘Convertible’ is the result of countless late night/early morning sessions that took place over the past 2 years. Choosing to self produce and engineer this record was a conscious choice as the band felt an urge to take what they had learned on the road & in various studios previously, and condense all of this energy back into the boiling pot of their own rehearsal space.

The group have been a part of some exciting movements since the beginning and their path has been an organic one. They quickly became known in their hometown for taking over an ex-government building in the heart of Cork city, turning into a studio and creating a hub for the scene that surrounded them. The years that follow shine a light on the relentless energy of this group and unwavering love for playing shows anywhere & everywhere. Having been invited to perform at Liverpool Psych Fest numerous times, supporting the Brian Jonestown Massacre, selling out venues, churches & clubs, playing rip-roaring DIY shows in friends’ basements, getting joined by members of Spacemen 3 on stage and more recently, being invited by fellow Irish rockers Fontaines D.C to join them on their 2019 European tour playing sold out shows in venues like The Bataclan, Paris & Paradiso, Amsterdam. It’s been a wild ride for The Altered Hours so far & their music keeps evolving & growing as the experiences build. This is a group with the spirit of music deeply ingrained in them and a passion for making rock music something that you can believe in.

Their second full length album ‘Convertible’ is a window into the band’s idiosyncratic tendencies, a closer look into how their writing & sound continuously moves forwards while somehow remaining rooted in their own unique world all at once. The Altered Hours seem born to be an underground affair, something that they wear with pride and this album is a wonderful culmination of their DIY upbringing, their unfiltered rock ‘n’ roll spirit along with a confident stride into personal songwriting.

due.sound introduces the first catalog of the label releasing an EP by NDR including remixes from Neel and Antonio De Angelis.

Far Out Recordings presents the peerless and criminally undervalued Quartin catalogue, beginning with the reissue of Jose Mauro’s forgotten masterpiece Obnoxius. Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade’s first year, with Victor Assis Brasil Plays Antonio Carlos Jobim and the aforementioned Obnoxius. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.

Today, very little is known about Jose Mauro and as a result those searching for some kind of insight on the man behind the music must attempt to glean what they can from the music itself. One rumour claims he died in a car accident shortly before the album’s release, a fact that could have lent his brief musical career a touch of mythology were it not for how scant the details concerning any other aspects of his life are. The political turmoil from which the album emerged is significant also; recorded during an era of oppressive state censorship, the album, like all the Quartin catalogue, is the result of steadfast defiance in the face of a crushing military dictatorship. While many musicians of the era fled the country, preferring their prospects in the affluent, liberated USA, rebellious, young musicians like Mauro chose to stay and reflect their anger at the authorities through thinly veiled protest songs such as the stirring ‘Apocalipse’. Herein lies the basis for a more dramatic theory; that Mauro was in fact abducted by the military! Whatever the truth, the mystery remains unsolved, and all that remains is his bewitching music, all of which is composed by Mauro and Ana Maria Bahiana. Production on the record was cancelled after Mauro’s death and it was never sold commercially until its rerelease decades later. What appeal does Mauro’s music hold to today’s listeners, forty-something years removed from its conception? Simply put, there is very little else that sounds much like it all. Take the title track of ‘Obnoxius’. A wholly singular piece of music, blending string-drenched melancholia with orchestral pomp, sunny psychedelic strumming with propulsive percussion, topped off with Mauro’s yearning vocals. The result is indicative of Mauro’s unique blend of sounds from Latin Jazz and samba to psychedelic folk and baroque orchestration.

Today, Obnoxius retains its strange, otherworldly appeal – A firm favourite amongst a small circle of deep diggers including Madlib, Gilles Peterson, Floating Points. Jose Mauro’s mournful and melancholic vocals create a dark, brooding atmosphere that stands in contrast to the usual joyfulness and high-spirited rhythm of the more prominent Brazilian music of the era. Despite this air of foreboding, Mauro’s confident baritones, chord patterns and sumptuous arrangements have the ability to induce in the listener an almost trance-like state of ecstasy. Mauro’s long hidden masterpiece, a complex and uniquely stunning work is being offered the chance to be heard by the wider audience it has always deserved. A second Jose Mauro release, A Viagem Des Horas, compiling more incredible tracks unreleased in Mauro’s lifetime, will follow, alongside other unreleased jewels from the Quartin catalogue, from the likes of Piri and Victor Assis Brasil…

Diana Ross sings “Thank You” to the world. “This collection of songs is my gift to you with appreciation and love. I am eternally grateful that I had the opportunity to record this glorious music at this time,” said Ms. Ross. Her new album, “Thank You” is scheduled for release this fall through Decca Records / Universal Music Group. The title track and first single,” Thank You,” will be available for streaming and download on June 17.

Recorded in her home studio, “Thank You" offers a powerful, inclusive musical message of love and togetherness. With its songs of happiness, appreciation and joy, it wholeheartedly acknowledges that we are in this all together. Her family, friends and loyal and loving audiences all around the globe have been an integral part of her wonderful life’s story. In this special moment, it is time to step into the light.

Ms. Ross co-wrote and collaborated on the 13 songs along with award-winning songwriters and producers including: Jack Antonoff, Troy Miller, Triangle Park, Spike Stent, Prince Charlez, Amy Wadge, Neff-U, Freddie Wexler, Jimmy Napes, Tayla Parx, Fred White, and Nathanial Ledgewick.

Let us come together in harmony and gratitude with Diana Ross now and for the future. “I dedicate this songbook of love to all of you, the listeners. As you hear my voice you hear my heart. "Let Love Lead the Way”

Mannequin Records is elated to present for the first time on vinyl the reissue of Giovanotti Mondani Meccanici’s first video soundtrack, originally released in 1984 as an audiotape in less than one hundred copies. Giovanotti Mondani Meccanici (literally Mundane Mechanical Youth) or GMM was one of the most unclassifiable audiovisual experiences to emerge from Italy in the 1980s. Maurizio Dami a.k.a. Alexander Robotnick, a pivotal member of GMM, was responsible for the group’s music output.

Founded in 1984 by Antonio Glessi and Andrea Zingoni in Florence, GMM was an art collective whose production represents the quintessential expression of postmodern transmedia hybridity. GMM pioneered the genre of computer comics, created video installations, developed “multiple identity” performances, and was involved in fashion, media, and music productions, and later on produced cyberdelic environments, artificial reality projects, and proto-memes.

Alexander Robotnick’s first contribution to GMM was this soundtrack for the group’s eponymous first video, the animated version of a computer comics they coincidentally published on legendary Frigidaire magazine. Restored by Dami and reissued here for the first time by Mannequin Records, the composition was also split into two “suites” and released as an audiotape distributed by Materiali Sonori, also responsible for other releases by both Robotnick and GMM.

Determining in this work is Dami’s adoption of the alphaSyntauri, also known as the first affordable digital synth (priced less than $2000 when it was released in 1980), which was playable through its own software, “alphaPlus,” on the Apple II computer. The same computer was used by Glessi to “draw” the 3-bit strips scripted by Zingoni recounting the joyrides of the Giovanotti Mondani Meccanici, three merciless cyborgs in black suit and sunglasses dividing their time between nightclubs, rapes and murders.

As Robotnick, Dami developed an innovative formula of Italo disco that was attractive to the dance floor yet at the same time highlighted the expressive properties of the instruments he used, notably Roland drum machines and Korg synthesizers. For the soundtrack of GMM’s videos and installations, he left aside the danceable synth rhythmics in favor of ambient sounds that produced rarefied atmospheres, psychological tensions, and enhanced states of consciousness.

Dami’s scores for GMM’s artworks could be associated with Italian avant-garde music of the 1970s and 1980s, ranging from composers who adopted electronics flirting with pop and songwriting to minimalist musicians exploring seriality and drones, including Franco Battiato, Roberto Cacciapaglia, Francesco Messina, and Riccardo Sinigaglia. Analogies could also be traced with the playful and humanizing approach to personal computers that characterizes the music output of Marcello Giombini and Doris Norton.

The futuristic escapism of minimal synth and ambient music’s psychological nature is infiltrated by drifting harmonics typical of new age, as if in search of a spiritual dimension of technology. Characteristic of the postmodern ethos of GMM Suite, in line with the humanizing approach to technology that is at the base of GMM’s computer comics, is the melancholic take at speculative dystopias in which human beings would find themselves increasingly trapped into identity crises: a true cyborg’s melodrama.

Bjarki’s bbbbbb records welcomes its first-ever non-electronic project as Icelandic rock band Skrattar joins the label to unveil their thirteen-track album, ‘Hellraiser IV’.

Four-piece outfit Skrattar can be described as cigarette rock with an electronic vibe that makes your upper lip sweat. Having already developed a loyal fanbase in Iceland as a powerful live act with an energetic and provocative stage presence, the band now look further afield to global horizons as they reveal their latest album, ‘Hellraiser IV’.

With the release of ‘Hellraiser IV’, bbbbbb broadens its catalogue beyond dance and electronic music. While the label’s primary focus will remain electronic, several other genres will also feature - the connecting factor being that the music is Icelandic, experimental and fresh... the best that grassroots has to offer.

‘Good music should be heard, and this is my take on delivering probably the best music coming from Iceland at the moment. It’s an honest, wild love story of true friendship and creativity coming together in one album’ - Bjarki

‘Hellraiser IV’ contains thirteen tracks written over three years, with the oldest songs composed the year the band was founded, 2016. In 2019, when a good foundation for an LP had been laid as the band gained followers and honed its sound, they locked themselves in the studio until they completed the album. With many of the tracks composed in the dead of night, containing both lyrics written over a long period as well as improvisation, the final product is a record made by them from A to Z, in line with the band’s endearing DIY ethos.

‘Skrattar’ is Icelandic for a specific type of demon that you can’t control, but in Swedish, it means ‘to laugh’ - with laughter involved across many of the tracks on ‘Hellraiser IV’ as if to mock the dualism of seriousness. Their subject matter is chaos and anarchism - but their humour and satire are never far away. The music is an ode to the eternal void, while at the same time laughing in its face.

In addition, a remix album will be released digitally alongside Hellraiser IV, reimagined and reworked by a host of fellow musicians, producers, and artists. Among them, label regular Kuldaboli, bbbbbb boss Bjarki, DJ Flugvél og Geimskip, russian.girls, KGB and Anton Newcombe - the founder of The Brian Jonestown Massacre.

"On August 13th, the first-ever vinyl reissue of UK top 5 album 12 Memories from Travis continues the reissue streak from the Scottish rock band. Cut at London’s Metropolis Studios & features all original packaging replication including photography by Anton Corbijn. As well as the standard black vinyl, a limited white vinyl edition will be available exclusively at Travis’ official store & Independent record shops.
None other than Sir Elton John raved that 12 Memories would “take you on a real journey… like The Beatles’ Revolver”. And, just like The Beatles in 1966, Travis were at a critical juncture when it came to recording their fourth album & the follow up to the multi-Platinum international breakthrough The Invisible Band. 12 Memories is the third vinyl reissue from Travis so far in 2021, it follows 2007’s The Boy With No Name vinyl re-release May 28th & the first ever vinyl reissue for debut album, Good Feeling released April 2nd via Craft Recordings. "

Limited edition LP - 180g virgin vinyl - deluxe gatefold sleeve
original artwork.
Produced by Creed Taylor, engineered by Rudy van Gelder, arrangements
by Eumir Deodato and featuring among others: Joe Farrell, Hubert Laws,
Ron Carter, Hermeto Pascoal, Airto Moreira, and Joao Palma.
Reissue of the 6th studio album by Brazilian jazz legend Antonio Carlos Jobim.
Released in 1970 on A&M Records, this instrumental Bossa Jazz masterpiece
was produced by Creed Taylor and engineered by Rudy Van Gelder. It features
the arrangements of Eumir Deodato (who also conducted the band) and includes a plethora of sidemen from the U.S. jazz scene, such as Joe Farrell, Hubert Laws and Ron Carter, as well as Brazilian stars like Hermeto Pascoal, Airto
Moreira and Joao Palma.

A desperate, desert-baked Midnight Highway of Lost Souls, Cuckolds, Wastrels, blistering Righteous Anthems and delirious Apocalyptic Fever-Dreams. This sublime collection of knowns and unknowns, battered Nashville legends and forgotten backwoods-poets features tales of Grisly Barroom Homicides, Jilted Lustmords, Grim Divorcees in Bedlam and Fiery Suburban Infanticides. Often originally waxed and distributed in unrewarding amounts, these Troubled Troubadours sing of Cowardice, Infidelity, Spurned Lover's Suicide Pacts, Tortured Jailbirds, Vengeful Inebriates and dubious Parenting Skills.
Years in the making – ‘Hillbillies In Hell’ (Volume XII) presents 16 timeless tribulations - Sinful Seductresses, Grinding Poverty, Nihilistic Murderous Horrors, Satan's Eternal Maze of Hardships and Temptations and God's blazing Light of Redemption.
A dank yet at times uplifting stash of marginal 45s - some of these sides are impossibly rare and are reissued here for the very first time. All for your prurient listening pleasure…

. Elton Britt - Lost Highway
, Porter Wagoner - Fairchild
, Justin Tubb - The Great River Road Mystery
, Sanford Clark - It's Nothing To Me
, Johnny Paycheck - You'll Recover In Time
, Stonewall Jackson - Somebody's Always Leaving
, Porter Wagoner And Dolly Parton - The Party
, Buddy Starcher - When Payday Comes
, Tommy Curtis And Bill Taylor - Devil's Stumbling Block
, Jody Reynolds - Devil Girl
, Henson Cargill - Going Backwards
, Lorrie Collins - Another Man Done Gone
, Bobby Braddock - Revelation
, Stonewall Jackson And The Brentwood Children's Choir - That's All This Old World Needs
, The Speer Family - You Can't Run Away From God
, The Singing Rambos - When Payday Comes",Witness...

Various Artists ‘In Bed With Marina’
Classic Indie/Chamber-Pop
2LP MA90 (Marina Records) £15.50
Deal: B/C: 4015698905656

THIS ONE MISSED THE DEADLINE FOR THE OFFICIAL RSD LISTINGS BUT WILL BE AN **UNOFFICIAL RSD DROP 2 ** RELEASE...LIMITED +NON-RETURNABLE..

Celebrating its 25th anniversary, this classic Marina compilation from 1996 makes its first appearance on vinyl. Packaged in a deluxe gatefold cover, In Bed With Marina features track-by-track notes, lots of photographs, two vinyl-only bonus cuts and a gorgeous poster.
Enjoy 24 stunning tracks on two groovy LPs incl. many unreleased cuts and exclusive contributions by Edwyn Collins, Shack, Teenage Fanclub, The Pearlfishers, Cowboy Mouth, The Bathers, Harpers Bizarre, Sugartown, Paul Quinn & The Independent Group, Jazzateers, Antonio Carlos Jobim, Malcolm Ross, The Secret Goldfish, and many others.

Clairo veröffentlicht ihr neues Album „Sling“. Nach Ihrer atemberaubenden Live-Performance von „Blouse“,
der ersten Single des Albums, verkündete sie bei der Tonight Show Starring Jimmy Fallon die Veröffentlichung des anstehenden Albums. Die Single wird bereits groß gefeiert, und die Pop-Welt kann ihr
neues Album kaum erwarten. V Magazine schreibt “...an almost renaissance affair effect....The layered
vocals, the consistently building music, the pleasant strings, all hallmarks of a strong record to come”.
Damit will sie beim großen Erfolg ihres Debutalbums „Immunity“ (2019) anknüpfen, welches Platz 51 der
amerikanischen Albumcharts erreichte und sogar den Boston Music Award für „Album of the Year“ gewann.
Bis heute zählt sie insgesamt über 3 Milliarden Streams und ihre Fans warten bereits gespannt auf neue
Musik der erst 22-jährigen, die unter anderem schon auf dem Coachella und Lollapalooza auftrat.
Mit „Sling“ zeigt sich Clairo nun von einer einfühlsamen Seite, die in Richtung von sanfter Folkmusik
geht: viele Akkustikinstrumente gepaart mit harmonischem, vielsagendem Gesang.
Das Album wurde gemeinsam von Clair und dem Grammy- und Golden Globe-prämierten Jack Antonoff
(Taylor Swift, Lana del Rey) produziert und enthält auch eine Kollaboration mit der ebenfalls Grammyprämierten Lorde, die beim Track „Blouse“ in den Background Vocals zu hören ist.
Das Album wird sowohl digital als auch physisch als CD und LP erhältlich sein.

LIMITED UCKE YELLOW VINYL.

Xardinal Coffee is a debut album that is a strikingly contemporary record of slick hip hop, rich textures, idiosyncratic grooves and electronic-tinged wonky R&B. It’s an album that feels intricate and busy but also manages to retain a sense of space and looseness, allowing hypnotic rhythms to unfurl with grace. EXUM, aka Antone Chavez Exum Jr. credits the 'genius' of his two producers, Erik Samkopf and Dex Barstad, who he works closely with.

Samkopf being the producer responsible for Xardinal Coffee respectively. 'Sam and I don’t really like doing anything that doesn’t have an ückean effect. We’re not from here you know, we’re just getting adjusted’, says EXUM of the album’s eclectic sonic palate. 'We love to push the envelope on what is considered quirky, but try not to think about it too much. If me and another are walking down a street, who's going to be first to try something spectacular? Them. My walk will speak.’

However, any sense of weirdness is also married with an infectious and accessible quality. Tracks such as Arrest the Dancer - 'a David Bowie/Lady Gaga-type beat we got from YouTube by a producer named Raixsa' - comes alive with an irresistible funk strut, almost recalling Prince in the swaggering bounce of it. On top of this, EXUM’s vocals offer versatility and flexibility, moving from caramel smooth croons to tight rap flows and to enthusiastic bursts of singing.

A sense of texture is palpable throughout too. Portabella Mushroom was recorded on a rare magic mushrooms trip and retains a lysergic and psychedelic quality, sucking the listener up into its swirling atmospheres. Whereas the sparse, minimal and slightly eerie beats of Wolves Eat Wolves was recorded in pitch black and the song takes on that kind of crepuscular vibe, which interspersed with the song’s dark lyrical content - touching upon sex trafficking - further cements this. ‘I take no form’, the artist says, and his formless nature speaks to his willingness to constantly recreate himself as an artist.

A love of words is also clear in EXUM’s delivery, with them being carefully placed and sequenced amidst the ambitious soundscapes of the record. 'Writing is precious to me', he says. 'The vulnerability to bleed on paper. While playing with words, styling the same outfit for the 7th day in a row.'

Initially EXUM looked up producer Erik Samkopf to work with when he’d had a temporary falling out with his previous producer Barstad. In love with Samkopf’s work with Pen Gutt, EXUM took a punt and flew from his hometown of Richmond, Virginia to Oslo, Norway to work with him. As EXUM and Barstad patched things up, EXUM and Samkopf were building chemistry, creating something truly unique. 'Dex and Sam never cease to amaze me', he says. 'They’re versed and creative beyond measure, they both have an immense amount of musicality, and most of all, their love for music is sweaty.’

However adding to the legend, EXUM took a little detour on his musical journey, spending years as a professional footballer in the NFL, for teams such as the San Francisco 49ers and the Minnesota Vikings. Now leaving that chapter of his life behind, EXUM has returned to the true love held dear to him ever since he can remember: music.

EXUM is not simply trying his hand at music though; he is crafting every part of his artistic journey, from carefully selected contributors (such as string composer Christian Balvig) and overseas producers, to shaping his own brilliant music videos with directors such as Allison Bunce and Rosabel Ferber. Both of whom occupy creative space in his art world, which goes by the name of ücke. He has effectively created his own musical ecosystem. 'You’ve got to create your own world and live highly in that first', he says. 'Making it inevitable for other worlds to not be touched by what’s vibrating through you. In my world I’m already a massively iconic artist.'

The connection between Dr. Atmo and Mick Chillage goes back to one of the finest labels to ever grace this planet, FAX records. Many will remember the defining collective for their deep, extended excursions into the far-reaches of ambient mysticism - a style that is still revered to this day.

Ruhleben sees a welcome return for Dr. Atmo who, after appearing on some of the very first FAX releases under his own name and different guises throughout its tenure, has been somewhat elusive of late with side-steps into other genres. Now, partnering with another FAX alumni and a foundational figure within today’s ambient music genre, Mick Chillage, the pair have returned to their roots and a defining style of ambient music.

Taking Dr. Atmo’s distinctive hooks, haunting loops, and graceful melodies, Mick Chillage improvised on these foundational elements further with fine-tuned details such as delicate bass additions, rhythmic looping signals, or more organic fixtures like a finely woven Harp and extended Piano loops. Across its four extended tracks, Ruhleben is an infinite flight into mystical formations that yearn for dramatic soundscapes. A time-lapsed, slow-motion soundtrack, where Mother Nature breathes destructive fire from the depths, breaking the Earth’s surface to form dramatic cathedrals, scarred by super-natural atmospheres and eventually flooded with the life we know today.

Featuring artwork by Tomas Jirku and mastered by Rafael Anton Irisarri.

Originally composed around 1994-1999, James Bernard's Unreleased Works have lie dormant bar a select group of friends who were lucky enough to experience the release through an extremely limited CDr. Over 25 years later, James and A Strangely Isolated Place have repackaged this deeply personal collection of acid-infused ambient-breaks into two LPs and one extended digital album: Volume 1 (Acid Dreams) and Volume 2 (Elemental Dreams). Arriving at a time when James was primarily producing Trance and Acid under his Influx or Cybertrax aliases on Rising High Records, these compositions came to life when James felt most vulnerable and his style most malleable. The music was never intended to be heard by the outside world and was a remedy for his own private centering - a personal journal through tough times. Encouraged by close friends to rip copies to CDr after a few tracks were posted online, the album has since been long-sought-after and confined to the Discogs want lists. Originally spanning 3 CDs and themed in styles ranging from 'Beatless', to 'Beats' and finally 'Beats and Modular', it was a descriptive yet humble description for the tantalizing journey that lies within. The recordings combined elements of what is only now (over twenty years later) evident within James' extensive production arsenal over the years. Be it pure melodic modular synthesizer work, emotional chords, chugging trip-hop basslines, euphoric acid-lines, ambient-leaning trance, or a simple combination of all of the above; trying to further categorize the extensive work at play here is ultimately irrelevant past these notes.To help present the album in an updated and digestible concept, the full 28 tracks were reduced to 20 and further sequenced between two thematic vinyl editions. Volume 1 (Acid Dreams) on transparent yellow vinyl, takes its cues from the 303 with acid-soaked basslines, epic breaks, and more futuristic-leaning escapism. Whereas Volume 2 (Elemental Dreams) on transparent orange vinyl, brings more organic elements to the trip, with samples from unexplored fantasy worlds, deeper dives down the rabbit hole, and a nod to the chill-out rooms of the '90s. Featuring artwork by Steve Hyland (Geometric Love) and fully remastered by Rafael Anton Irisarri, James Bernard's Unreleased Works is available as an extended Pre-order in two Gatefold 2LP editions and one full digital album.

Back in print ! Inascoltable is the first album from Bolognese group Skiantos, the band that added a completely different flavor to the italian underground with their delirious performances and over the top lyrics. Released through Oderso Rubini's Harpo's Bazaar label (later Italian Records) in 1977 on cassette format, the album was recorded in one night in November 1977 in a session that was almost improvised. It was later printed on LP in 1979. This reissue from the original master does full justice to the insanely creative playing of the band fronted by Freak Antoni, who were true forerunners of demented rock and virtuous artists capable of colorfully interpreting all the non-standard rock movements from the British and American underground. This record wouldn't be out of place in the Zappa discography, although the whole turned out a little bit more punk...

Polo & Pan's debut album Caravelle reached the heights of professional recognition by being certified platinum in the international market, gold in France, with three singles exceeding the threshold of gold certification outside of France, consecrating Polo & Pan as the new French Touch ambassadors. Now, our two explorers invite us with Cyclorama to a journey through time, along the steps of human existence. After a year of lockdown introspection, the duo decided to create music that weaves themselves into the backgrounds of our lives. From birth to death and transcendence, Cyclorama offers a colorful score to the "comedy of life" as Celentano sang, this existential theatre that is played-out by every human being.’’ Out everywhere on 6/25.

The four Scottish-Irish musicians Conor Dalton, David Donaldson, Greame Reedie and Ian Maclennan are Island People. After their highly acclaimed debut from 2017, they have now finished their second album with the simple and consistent title »II«. Compared to their debut, »II« sounds more mature and complex. The arrangements unfold like the long tracking shots of an early Antonioni film - time seems to stand still, circling the moment. Impressionistically, one feels transported into the Scottish island landscape with its contrasting lights and harsh elements. Gloomy, darker, richer textures have conquered their space on »II« as much as the more present acoustic components. As much as its predecessor, also this record was skilfully produced, the musicians’ entire experience is audible (Conor Dalton is a sought-after mastering engineer; David Donaldson a Grammy Award-winning producer) – but anything fashionable or sensationalist has been intentionally waived. The musical serenity, holding up a craft that neither has to show itself off every minute nor wants to respond to the latest trends impressed us the most. The cover photo was contributed by the Scottish artist Helena Ohman. She also provided the video for the track »Crash«. Furthermore, singer Alice Hill-Woods was invited to contribute the lyrics and vocals to »Stalling«. Island People »II« will be released as gatefold double LP as well as on CD and digitally. In advance we asked Island People about the creative process behind the album and quote as follows: This album reflects on the destination we have in common before us, and celebrates the longer road while also considering paths not taken and journeys that ended too soon. It has been said that »art is how we decorate space; music is how we decorate time.« For us the writing of this album has been a great journey through both, shared with friends. While our first album acknowledged our own spaces and borders as individuals, the new album seemed to grow very quickly from our travels together as a band. Periods spent on the road playing live afforded extra time together and while we didn’t feel constrained to a concept at the start, more and more of the tracks evolved to reflect these journeys and experiences together.

Macro will be out on May 28th on transparent orange vinyl, meticulously mastered by Rafael Anton Irisarri at Black Knoll Studios.
Macro is the sophomore album from Milan-based ambient trio PCM. Francesco Perra, plus Matteo(s) Cantaluppi and Milea, have returned with a shimmering majestic offering that sidesteps their previous album Attraveso's use of drone and more crystal clear classic ambient motifs to display something more texturally visceral.

From the lush widescreen ambient of the title track to the more experimental detail of the album closer Zoom, Macro billows with gratifyingly detailed fibrous ambient punctuated by collaborations with Eraldo Bernocchi and Calibro 35's Massimo Martellotta.

Razor-N-Tape Reserve presents a very special new package of remixes of the band BaianaSystem, bringing together one of Brazil’s most exciting contemporary sounds with modern dancefloor-minded production.

The standout track of their 2018 LP 'O Futura Não Demora', Água is a lyrical poem to the people of their native Bahia, featuring the legendary Antonio Carlos & Jocafi, with orchestral melodies, an incendiary vocal chant, and traditional organic Brazilian rhythmic approach.

On the A side, Freerange boss Jimpster delivers two exceptional takes on the song, augmenting percussion and adding synth layers to create deep and hypnotic tribal house textures within a sublime sonic soundscape.

On the flip side Brazilian producer Diogo Strausz joins forces with RNT boss JKriv to highlight the symphonic and melodic elements with their vocal mix, and then go into dark and driving percussive electronic territory on their fiery dub. With stunning visual art realized by Costa Rican designer The Myno, this package is as essential and smooth as water!

180g Vinyl LP (+ Obi) José Mauro's 'A Viagem Das Horas' finally set for reissue with three previously unheard tracks

There's no denying the hype surrounding Anton 'ScruScru' Bogomolov is fuelled by a string of celebrated singles, demonstrating an extraordinary prolific prowess all throughout 2020.
His ability to blend jazz-funk classics with the sweet sounds of disco-powered house grooves is always on point.
It's music that blurs the boundaries between the serious yet playful and takes the listener on a truly unique-sounding ride

ScruScru's appearance on Omena is one of his finest so far. These six tracks makes a fine mini-album called 'South Wind, Clear Sky'.

There's jazz, disco, big warm rhodes chords and sparkling synth sounds of course, the bustling grooves takes you as far as outer space and back.
It's a wild ride and you should not be afraid to take it twice.

Gold Marbled Vinyl

Homoagent’s 3rd EP ‘European Extreme’ operates on the fringes of industrial techno and rhythmic noise. Once again combining the exquisite sound design of Triames and the vintage drum machine worship of Antoni Maiovvi, European Extreme is a four track trip through the dungeons of your mind. Relentless and naked, complex and pure, perfect for dance floors and private films alike.




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"Pay Your Way In Pain" is the first single ahead of St. Vincent's highly anticipated new album Daddy's Home, produced by pop producer and long term collaborator Jack Antonoff. "I was inspired by the classic records of the 70s. Stevie, Sly, Stones, Steely Dan, Chords, Groove. The days when sophisticated harmony and rhythm didn't sound heady - they just sounded, and felt good. Lots of guitar. But warm sounds, not distortion and chaos. Hopefully a turn nobody will see coming" - Annie Clark.

Demon Records is proud to present a new series of vinyl reissues from American singer-songwriter Black Francis / Frank Black
• First released in 2005, Honeycomb is the tenth studio album by Frank Black. For almost a decade, Frank Black discussed
making a “Black On Blonde” album with producer Jon Tiven. In 2005, Black travelled to Nashville and recorded with legendary
local session musicians including Steve Cropper, Reggie Young, Anton Fig and Spooner Oldham.
• Now available on vinyl for the very first time, this reissue features the complete album pressed on 140g translucent-honey vinyl,
housed in a printed inner sleeve featuring photographs by Michael Halsband.
• Stand out tracks include ‘I Burn Today’, ‘Lone Child’ and the title song ‘Honeycomb’.

Eurovision Song Contest: The Story of Fire Saga is a 2020 American musical comedy film directed by David Dobkin and written by Will Ferrell and Andrew Steele. The film follows Icelandic singers Lars Erickssong and Sigrit Ericksdóttir (Ferrell and Rachel McAdams) as they are given the chance to represent their country at the Eurovision Song Contest. Pierce Brosnan, Dan Stevens, and Demi Lovato also star.

“Volcano Man” was the first song released from the album and features vocals from Will Ferrell and Swedish singer Molly Sandén (credited as My Marianne). Towards the middle of the film, as the characters of Lars and Sigrit get fully immersed in the Eurovision magic, the audience is treated to a “Song-A-Long”: producers mash-up iconic pop classics into a celebratory party anthem. Cher transitions into Madonna, which transitions into homages to the aforementioned ABBA and Celine Dion, capped off with a little bit of The Black Eyed Peas. The cherries on top are vocal cameos from former Eurovision champions: Conchita Wurst, Netta, Jamala, Loreen, and Alexander Rybak. The album also features the cult hit “Jaja Ding Dong”, also performed by Ferrell and Sandén.

Fold Unfold is the debut album by violinist Katrine Grarup Elbo from the Danish collective We like We. As a solo artist she steps out from the safety of group performance and presents a vulnerable portrait using only her classical training and analogue electronic setup.

Peaceful scenarios of natural beauty that hover like calm mist over cold streams are interrupted by spine chilling forces. Naked passages and electroacoustic electronics together create ripples in time as the pieces mold into flowers reaching for the outer edge. Elbo summons the most time stopping affairs using only the most basic of ingredients, as a true master. Clouds of uncertainty and reason echoes infinitely into the ether as she moves in and out of acoustic and manipulated sonic landscapes. Imagine Jocelyn Pook´s captivating Masked Ball piece from Kubrick´s Eyes Wide Shut with its clouds of mystery, suddenly turning unmasked and fragile, as if abruptly standing vulnerable in the shadows listening only to the reverb of the room and ones own breath.

The album was recorded and mixed at Saal 3, Funkhaus, Berlin with Antonio Pulli. In the 29 minutes runtime, we are presented with transportations through silent, almost Baroque sounding pieces towards overpowering, processed alterations of her violin that vibrates like echoes springing off the stars. A stunning debut with all its natural purity and intimacy.

The world of Italian Library music surprises us again with an extremely evocative record. Released with the name of Maria Teresa Luciani but really produced and composed by her brother Maestro Antonino Riccardo, Situazioni del Terzo Mondo ranks among the most important abstract soundscape records. Spontaneous tribalisms tainted with concrete sounds support the looming psychedelic vein, with different solutions from track to track. Recorded in 1972 it is reissued in a limited edition by Cinedelic Records.

- Rare 1987 Detroit experimental Funk/Soul album - Solo album by Tony Newton (Motown, Funk Brothers) - First ever vinyl reissue - 180g Black Vinyl Edition - Limited to 500 copies // Antonio L. Newton AKA Tony Newton (born 1948) is a multi-instrumentalist from Detroit, MI who began his professional career at the age of thirteen, playing bass guitar with blues legends like John Lee Hooker and T-Bone Walker. Discovered by Motown executive Hank Cosby while playing the Detroit blues circuit at the age of 18, he became the touring bassist with Smokey Robinson and the Miracles on the famed 1965 European 'Motown Review' tour. Within two years, Newton became the Miracles' musical director. Tony Newton also toured and recorded with other Motown artists such as The Supremes, Marvin Gaye, Stevie Wonder, The Jackson 5_and countless others. Earning the nickname "the Baby Funk Brother" he left his trademark of solid, hard-driving and deftly clever grooves on such timeless hits as "Where Did Our Love Go," "Baby Love," "Stop In The Name Of Love," "Nowhere to Run," "ABC," "Never Can Say Goodbye," "Don't Leave Me This Way," and many others. Next to his impressive body of work for Motown, Newton can be heard on several hit singles from labels like Invictus-Hotwax and Stax. Later, Newton gained recognition as a member of both the acclaimed jazz-rock fusion group: The New Tony Williams Lifetime (headed by Miles Davis' drummer Tony Williams) and the British hard rock group: G-Force (with veteran guitarist Gary Moore). Tony Newton also recorded several solo albums during his impressive career, including the two total classics: 'Mysticism & Romance' (1978) and 'Novaphonia' (1987). On the album, we are presenting you today (Novaphonia from 1987) the listener is treated to something UNIQUE (and this is not an overstatement). Newton really puts the 'multi' into multi-instrumentalist, playing the synthesizers, the electric bass and the drum machine. Experimental is the keyword here, sounds vary from psych/trance (almost like a soundtrack from a space movie), to funk, fusion, rock, R&B, soul and jazz. Novaphonia has both elements of Tony Newton's impressive musical past and his vision for the future. Spacious synths, unusual instruments and an all-around cosmic approach make this an 'out of this world' and VERY intriguing album. Resonant, sonically rich, sonorous, colorful, mind-expanding sounds are what one should expect from the 20th century Novaphonic sound developed to its greatest extent. These harmonies are innately pleasing to the human ear, mind and nervous system.

Antonio L. Newton AKA Tony Newton (born 1948) is a multi-instrumentalist from Detroit, MI who began his professional career at the age of thirteen, playing bass guitar with blues legends like John Lee Hooker and T-Bone Walker. Discovered by Motown executive Hank Cosby while playing the Detroit blues circuit at the age of 18, he became the touring bassist with Smokey Robinson and the Miracles on the famed 1965 European ‘Motown Review’ tour. Within two years, Newton became the Miracles’ musical director.

Tony Newton also toured and recorded with other Motown artists such as The Supremes, Marvin Gaye, Stevie Wonder, The Jackson 5…and countless others. Earning the nickname “the Baby Funk Brother” he left his trademark of solid, hard-driving and deftly clever grooves on such timeless hits as “Where Did Our Love Go,” “Baby Love,” “Stop In The Name Of Love,” “Nowhere to Run,” “ABC,” “Never Can Say Goodbye,” “Don’t Leave Me This Way,” and many others. Next to his impressive body of work for Motown, Newton can be heard on several hit singles from labels like Invictus-Hotwax and Stax. Later, Newton gained recognition as a member of both the acclaimed jazz-rock fusion group: The New Tony Williams Lifetime (headed by Miles Davis’ drummer Tony Williams) and the British hard rock group: G-Force (with veteran guitarist Gary Moore).

Tony Newton also recorded several solo albums during his impressive career, including the two total classics: ‘Mysticism & Romance’ (1978) and ‘Novaphonia’ (1987).

On the album, we are presenting you today (Novaphonia from 1987) the listener is treated to something UNIQUE (and this is not an overstatement). Newton really puts the ‘multi’ into multi-instrumentalist, playing the synthesizers, the electric bass and the drum machine. Experimental is the keyword here, sounds vary from psych/trance (almost like a soundtrack from a space movie), to funk, fusion, rock, R&B, soul and jazz. Novaphonia has both elements of Tony Newton’s impressive musical past and his vision for the future.

Spacious synths, unusual instruments and an all-around cosmic approach make this an ‘out of this world’ and VERY intriguing album. Resonant, sonically rich, sonorous, colorful, mind-expanding sounds are what one should expect from the 20th century Novaphonic sound developed to its greatest extent. These harmonies are innately pleasing to the human ear, mind and nervous system.

Explore new musical frontiers intended to catapult the listener towards new dimensions…this is an album that just begs for a special place in your record collection!

Tidal Waves Music now proudly presents the first-ever vinyl reissue of ‘Novaphonia’ since its release in 1987. This rare & private-pressed album (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork.

For volume 86 in the Brazil45 series, we return with a pair of stellar 1970s Brazilian-Funk / Black Rio nuggets by two of the greats of the genre, Toni Tornado & Zeca Do Trombone.

'Sou Negro' (I'm Black) is taken from Toni Tornado's (aka Antônio Viana Gomes) sought after 1970 four-track compacto EP on Odeon Records. Already having had some experience in show business as a dancer in the 1960s, Toni started his musical career in 1970 and adopted the stage name 'Toni Tornado'. The influence of James Brown flowed through his music, with Toni becoming one of the first Brazilian artists (alongside Tim Maia) to introduce the soul and funk sound into Brazilian music. Together with other contemporary musicians and bands such as Banda Black Rio, Gerson King Combo and Cassiano, this new sound led to DJ's throwing soul parties. This unique Brazilian take on soul and funk (and later on disco) became coined as 'Black Rio'. A movement that celebrated pride in its Black identity and consciousness.

Zeca Do Trombone has an impressive repertoire which has seen him releasing a handful of solo albums and working with some of the greats of Brazilian music, such as Tim Maia, Ivan Lins, Joyce, and Luis Vagner. The track 'Coluna Do Meio' is taken from his 1976 collaboration project 'Zé Do Trombone E Roberto Sax' with saxophonist Roberto Sax, which additionally features the heavyweight Wilson das Neves on percussion. This catchy Wah-Wah guitar-led dancer has become a favourite with DJ's over the years and will continue to be championed for years to come.

Songs of Comfort & Hope is inspired by the series of recorded-at-home musical offerings that Yo-Yo Ma began sharing in the first days of the COVID-19 lockdown in the United States. Throughout the spring and summer, Ma’s #SongsofComfort grew from a self-shot video of Antonín Dvořák’s “Goin’ Home” into a worldwide effort that has reached more than 20 million people.

Ma and longtime collaborator Kathryn Stott mark the next chapter in the project with this brand new album, offering consolation and connection in the face of fear and isolation. The album includes 21 new recordings, which span modern arrangements of traditional folk tunes, canonical pop songs, jazz standards, and mainstays from the western classical repertoire. Among the new takes on old favorites are Pulitzer Prize® winner Caroline Shaw’s artful and eloquently arranged “Shenandoah”; Australian composer Harry Sdraulig’s “Fantasia on Waltzing Matilda”; pianist Stephen Hough’s lush arrangement of “Scarborough Fair”, and two-time Academy® Award-nominated icon Jorge Calandrelli’s re-imagining of a pair of songbook treasures: “We’ll Meet Again” by Ross Parker and Hughie Charles, and Violeta Parra’s “Gracias a la Vida.”

Yo-Yo Ma and Kathryn Stott share the warmth of decades of music making again with Songs of Comfort & Hope, offering audiences new paths into treasured musical memories and a few notes of hope for a better future.

“Jazzrausch Bigband is making jazz sexy again” -
Bayerischer Rundfunk
The ensemble’s ingenious mix of techno and big
band jazz has proved to be just as accessible to
people listening to the band from the comfort of
their seats in a concert hall as it has to those
sweating it out on the dancefloor.
Since 2015 Jazzrausch Bigband have been in
residence at Harry Klein in Munich, a club
renowned for its house and techno acts as well as
for its stunning live visuals; this cooperation
between a techno club and a big band is a truly
unique one.
DownBeat magazine singled out not just the
band’s “high-voltage performances” and “party
atmosphere” but also the amount of
experimentation going on.
LP pressed on 180g vinyl.