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Das Debütalbum von Geelong's starken Trio aus erfahrenen Punk/Alternative/Noise-Rockern feat. 'Lightning' Ben Watkins (ex- Warped), Buzz Munday (ex- Bored!) und Adam Doherty (ex- Spaghetti Westerns). GRYTT mischen OZ-Hardrock mit Proto-Punk-Attitüde und noisy Alternative. Das selbstbetitelte Debütalbum von GRYTT klingt, als hätte Lemmy die Amme für das Kind von Husker Du und Wipers gespielt. Buzz' unglaubliches und unnachgiebiges Schlagzeugspiel bietet eine klapprige Kulisse aus "Friedhofsschicht in der Gießerei"-ähnlichem Gepolter als Vehikel für Ben und Ads' solipsistisches und a-rhythmisches Gitarren- und Bassgefuchtel und eine kollektive, temperamentvolle Reihe fataler lyrischer Erklärungen, die mit einer solchen Intensität deklamiert werden, dass sie geradezu lebensverbessernd klingen; Ihr dreckiges, maritimes Stolzieren ist eine eingängige, von Verzerrungen getriebene melodische Schwere, d.h. diese Australier beweisen ein für alle Mal, dass ihr Sinn für Dynamik sowohl intensiver als auch immenser ist als der der anderen Kinder im Block! Inspiriert von Husker Du, Black Sabbath, Wipers und ZZ Top (neben vielen anderen), verbindet die aus Geelong stammende Rockband GRYTT die Sounds des harten Aussie-Rocks mit einer lärmenden Proto-Punk-Attitüde. Die Band wurde 2022 gegründet und besteht aus Sänger/Gitarrist "Lightning" Ben Watkins (Ex-Warped), Schlagzeuger Buzz Munday (Ex-Bored!) und Bassist Adam Doherty (Ex-Spaghetti Westerns). Obwohl sie angeblich Teil einer Szene sind, die Aggression und Lärm ebenso schätzt wie Hooks und Melodien, zeigen GRYTT eine auffällige Pop-Sensibilität. Der Gesang ist üppig geschichtet und doch knurrig, und die Texte schaffen es, eine Schönheit in den Banalitäten des Vorstadtmelodrams zu finden. Unterstrichen von schreienden Garagenrock-Gitarren und der kraftvollen Rhythmusgruppe der Gruppe, treiben GRYTT den Rock'n'Roll mit Vollgas voran. "Featuring members of international touring artists Bored! and Warped "Recorded, Mixed & Mastered at Goatsound, Melbourne Australia by Jason Fuller "Ltd 300 copies on white vinyl worldwide, artwork by the renowned Alex Hegyesi

“Recorded over just three days, with little more than two takes making up each tune, the album is an exercise in the immediate, capturing both Kilbey and his accompanying musicians performing tracks while they’re still fresh. The result is one of the most pure records you’ll find anywhere. From the opening notes of “Poppy Byron”, it’s apparent that Kilbey has delivered something transcendental; something that only someone with a musical dexterity and vision like he can provide. Serving as a musical kaleidoscope of sorts, the album switches genres frequently, shifting between the mandolin-driven sweetness of “Josephine”, the ’60s-inspired psychedelia of “Woman Number Nine”, and the hazy, dream-like nature of “Lillian in Cerulean Blue”. Meanwhile, the lyrics stay true to the concept of the title, with each track focusing on a feminine subject, whether it be via lyrics about Mary Shelley watching SBS in Mandarin on “Poppy Byron”, the story of evil witch “Doris McAllister”, or “Birdeen”, which, a press release notes, focuses on a greedy lorikeet with a sweet tooth. As Kilbey himself notes, Eleven Women is far from perfect record by any means, but in much the same way that even iconic renaissance painting have notable flaws, therein lies the beauty of this.” Tyler Jenke, Rolling Stone Australia A 01 Poppy Byron 02 Woman Number 9 03 Josephine 04 Sheba Chiba 05 Birdeen 06 Lillian In Cerulean Blue B 07 Queen Of Spades 08 Baby Poe 09 Doris McAllister 10 Where Gloria Meets Rachel 11 Think Of You (for Jessie Bellette)

The first release from the remastered catalogue campaign on Melanie’s own revitalised Neighbourhood Records label (via UKs Easy Action) features the song recently used on the cult TV show Black Mirror, backed with an unreleased version of the 60s hit ‘Bo Bo’s Party’. This year Shindig Magazine did a 3-page feature on Melanie as more and more people start to ask who is she? The 7” is limited to 350 coloured vinyl copies and comes in a spined picture sleeve. Melanie landed in the New York City music and radio scene in the late 1960’s. Her first single Beautiful People immediately became a turntable hit. Her first tour began with an impressive 40-day run of shows at Paris’ world-famous L’Olympia Theater at the personal invitation of Bruno Coquatrix. In the years to come she would entertain millions: at An Aquarian Exposition (the 1969 Woodstock Music Festival), at Carnegie Hall, and the Isle of Wight and Glastonbury music festivals, The Sydney Opera House, the South Korean DMZ, the Theatre Royal Drury Lane, the Royal Albert Hall, and other Venues around the globe. Melanie launched Neighborhood Records, making her the first American woman to open a mainstream record label. She recorded over 20 chart hits. Melanie received an Emmy after composing lyrics for the theme song of the hit television series Beauty and the Beast. “What Have They Done to My Song Ma” was re-recorded by Ray Charles with the Count Basie Band. Nina Simone delivered a remarkable rendition, as well. “(Lay Down) Candles in the Rain” was re-recorded by Mott the Hoople on their 1971 album Wildlife. Meredith Brooks and Queen Latifah later re-recorded the anthem. “Some Say (I Got Devil)" was re-recorded by Smith’s frontman Morrissey. Melanie has always known her calling in life was to entertain. Audiences have welcomed her to the stage for more than fifty years, and she continues to perform today.

finally available again on vinyl, note the new price. The most critically revered and commercially successful Eluvium album finally released on stand-alone vinyl for the first time ever. Originally released on CD and Digital formats only, Copia was eventually available on vinyl exclusively as part of the Life Through Bombardment Vol. 1 box set. With thatset long out of print – and Copia celebrating its 10-year anniversary – we are finally giving this landmark album the vinyl reissue that it unquestionably deserves. Remastered for vinyl by Francesco Donadello at Calyx Mastering in Berlin, this deluxe 2xLP set is packaged in a full-color wide-spine jacket with dual heavyweight full-color inner sleeves. // “The grandest, most sweeping Eluvium record to date.” Pitchfork // “A magnificent set, awash in textures, atmospheres, moods, and emotion.” AllMusic // “Copia is the sound of Cooper surpassing himself, combining his patented minimalist drones with beautifully rendered piano.” – Drowned In Sound // Following a string of increasingly remarkable albums, Eluvium's Matthew Cooper set out to broaden his instrumental palette, while maintaining the uncanny emotional resonance that has become his trademark. The result is Copia, an hour-long epic that applies Eluvium's heartache-inducing ether to a symphony of strings, brass, keyboards and piano. Noticeably absent but hardly missed are the washes of guitars that color most of Eluvium's previous material. The deliberate exclusion of traditional rock instrumentation serves as sufficient proof that the instrument is not Eluvium's driving force. At best it is a catalyst, a vehicle to that netherworld in the back of your head, where your life starts to uncontrollably reevaluate itself. Also Available From Eluvium: False Readings On CD, 2LP, Life Through Bombardment Vol. 2 7LP, Nightmare Ending 2CD, The Motion Makes Me Last CDEP, Leaves Eclipse The Light CDEP, Similes CD, Talk Amongst the Trees CD / 2LP, An Accidental Memory In the Case of Death CD, Lambent Material CD

Impulse’ was a band of Milwaukee, Wisconsin musicians whose members included Michael Reese (Rhodes Piano and background vocals), Cedrick Rupert (Lead and Rhythm guitar), Jeffrey Williamson (Drums and background vocals) and Robin Gregory (Bass and background vocals). They would become a group in their own right with the eventual addition of another local artist John Gee, who joined them as their lead singer. The Impulse musicians formed the backing/touring band for another Milwaukee outfit, a vocal quartet, The Quadraphonics who recorded the solitary 45 single “Betcha If You Check It Out/Prove My Love To You” for the Carl Davis/E. Rodney Jones owned ‘Innovation II’ Record label during 1974. This release would later be nationally distributed by the major Warner Brothers label. With import copies of “Innovation II” single finding their way into the UK the record became popular with the devotees of Blackpool Mecca’s Highland Room.

During 1976 the members of Impulse migrated to Oakland California, they had hoped that, The ‘Quadraphonics’ would join them but instead The Quadraphonics chose to remain in Milwaukee and eventually broke up. It was fellow Brewtown producer/recording artist Harvey Scales who was responsible for inviting ‘Impulse’ to the west coast. Under the auspice of Scales, Impulse recorded their self-titled debut album project at Wally Heider’s Studio in San Francisco. The album was initially offered to Casablanca Records but no firm interest was to materialise, a subsequent approach to Jerry “The Ice Man” Butlers newly formed Chicago label, Fountain Records again failed to secure a release of the album, sadly leaving the project unreleased in the can. In the ensuing years, the former group members have continued with their respective careers, the late John Gee embarked on a solo career, recording the 1980 release “Not Enough Love Makin’/ you Are That Man (Why Don’t You Be That Man)” for Leroy Smith’s Oakland C.A, Pashlo label followed by his 1985 modern favourite “So Good To Me/Just Get On” recorded under the artist name of Jon Pierre Gee on his own newly formed Kandi Inc, Record label. Later Kandi projects included the 1995 Jon Pierre Gee & Touch album and the 2005 Ah’VantSoul cd album project, which featured Jon’s business and real-life partner, Kathryn Hannemann (a.k.a the performing artist Kat Webb).Throughout all the aforementioned projects Jon continued to use and enjoy performing with his former fellow ‘Impulse’ musicians of which the two surviving members Robin Gregory and Michael Reese can still be found jamming to this day in the renowned Milwaukee Restaurant/Coffee House by the name of ‘Coffee Makes You Black’. Sadly, drummer Jeffrey Williamson passed away during 2015 with Coley Jackson coming in to pick up the sticks! Lead and Rhythm guitarist Cedrick Rupert left the group in the 1970’s moving to Lake Charles, LA, sadly, he too passed away in 2020.

The Impulse album project having lain dormant since the 1970’s was resurrected during 2018 when Jon Pierre Gee in conjunction with Stephen Chin of Nice Choice Records (USA) and Soul Junction Records (UK) breathed new life into the project. Beginning with the release of the first of two ‘Impulse’ 45 singles on Jon’s Kandi imprint. Firstly “What’s that Sound/You Changed Me” followed in 2020 by a second 45 “I Really Love You/Get The Funk Off my Back” with all four soul and funk tracks receiving worldwide acclaim. Initial plans for the release of the whole album project had been set in place but we’re unfortunately brought to an unexpected halt with the passing of Jon Pierre in November 2020.

Undetered Soul Junction have finally been able to bring this amazing ‘Impulse’ project to life as a limited vinyl press I’m sure once heard, the old adage of “Good Things Come To Those Who Wait” will certainly ring true, enjoy.

Calm, introspective and minimal music for pondering and reflection. Inspired by
giants like Earth, early Santana and Bohren & der Club of Gore, their single-song,
self-titled debut lifts up its listeners onto divine rays of grandeur into infinity.
Gilded Form is founded by members of internationally acclaimed underground
bands such as Desertion Trio, Dead Neanderthals, Many Arms, MNHM, Plague
Organ, Cryptae and Imperial Cult.
FFO: later period Earth
Nick Millevoi: guitar
Otto Kokke: synthesizer
Rene Aquarius: drums

Repress!

NX Records is a collaboration between Matthew Herbert's Accidental Records and the Department of Music at Goldsmiths, University of London.

In May 2013, the label launched with an introductory mixtape and live performances as part of the Puregold Festival launch at the Southbank Centre. NX Records has continued to release new, critically acclaimed music, host numerous events and run an annual pop up record shop.

The label's mission statement is to create a new model for the music industry, connecting exciting talent from the renowned creative hub of Goldsmiths - and the wider community of South East London - with the ever-experimental Accidental Records.

Our aim is to build connections between emerging artists, education, the industry and audiences. NX is a professional label that works alongside, not in opposition with, DIY artists.

The first in our series of experimental split 12"s focuses on instrumental electronic music.

Goldsmiths student and modular wizard Sam Hostettler evokes a daydream meeting between Vangelis and Burial, with his impossibly lush synthscapes shot through with dubbed out percussion. Meanwhile, La Leif's blend of crunchy, electroacoustic techno and outernational field recordings should hit the spot for fans of Karen Gwyer or Shelley Prior.

NX12X is out on Feb 1, with a launch party at The Glove That Fits on Feb 14. Come grab a copy of the vinyl, and have a dance...

Sun Ra is better known to most as a musician than a poet, but he identified equally as both. My Words Are Music provides direct access to the sentiments of a poet who never called Earth home. The spoken word album hosts an inspired array of artists who personally chose their favorite Sun Ra poems to recite. Freed from the page, his poetry acquires an unexpected simplicity and poignance it possessed all along.

This all-star and intergenerational lineup of artists conjure wisdom from his words: spoken word elder Abiodun Oweyole of The Last Poets; rapper, and singer-songwriter Saul Williams; jazz experimentalist Melanie Charles; British-Trinidadian poet, novelist and musician Anthony Joseph; poet Mahogany L. Browne; poet, playwright, and conceptual artist Carl Hancock Rux; musician/digital composer L’Rain; singer, actor, and director Tunde Adibempe of TV on the Radio singer; British DJ and BBC radio host Zakia Sewell; ballistic hip-hop poet Jive Poetic; and longtime members of the Sun Ra Arkestra, Marshall Allen, Knoel Scott, and Tara Middleton.

Punctuated by impish electronic interludes composed and played by Marshall Allen, these voices bless Sun Ra’s poetry with new life My Words Are Music offers the opportunity to follow Sun Ra into a
better future. “Prepare for the journey,” he writes in his poem “The Cosmic Age”, “You have a rendezvous / With the living wisdom.” My Words Are Music is a project developed in conjunction with Living Sky, the all-instrumental Sun Ra Arkestra album released on Omni Sound in 2022

The Fall's fourth studio album Perverted by Language was released in 1983. The album was produced by the band's vocalist and songwriter Mark E. Smith and recorded at various studios in Manchester.

Perverted by Language features some of The Fall's most renowned tracks, including "Garden". The album's sound is characterized by its sharp and angular post-punk guitar riffs, driven by a heavy bass and drums rhythm section, all layered with Mark E. Smith's distinctive vocals.

Lyrically, Perverted by Language deals with themes of alienation, disorder, and the unpredictability of modern life. Smith's idiosyncratic and cryptic wordplay, including his penchant for inventing new words and phrases, adds to the album's overall sense of unease and dislocation.

Despite its challenging sound and lyrics, Perverted by Language is considered by many critics and fans to be one of The Fall's finest albums, showcasing the band at their creative and innovative peak. The album is available as a limited edition of 1500 individually numbered copies on pink coloured vinyl and includes an insert.

Eraldo Bernocchi and Hoshiko Yamane have come together again to create their second album - inspired by the Japanese concept of ""Sabi"". The record is a unique blend of electronic and acoustic music - with Bernocchi’s pulsating textures and Yamane's haunting treated violin melodies weaving together to create a captivating and emotional sonic landscape. ""Sabi"" is a Japanese aesthetic that celebrates the beauty of impermanence and decay. It is often associated with the simplicity, austerity, and solitude found in nature, and is said to evoke a sense of melancholy, nostalgia, and reverence for the passage of time.

Bernocchi and Yamane's ""Sabi"" explores these themes through a collection of minimalist compositions that combine electronic and acoustic instruments immersing the listener in a deeply cinematic experience. The album takes the listener on a journey through a series of atmospheric tracks, sometimes melancholic pieces that evokes the sense of solitude and simplicity often associated with the concept, other times more energetic and uplifting, optimistic ones that celebrates the beauty of transience. The artwork again was created by the renowned designer Petulia Mattioli.

Eraldo Bernocchi and Hoshiko Yamane have come together again to create their second album - inspired by the Japanese concept of ""Sabi"". The record is a unique blend of electronic and acoustic music - with Bernocchi’s pulsating textures and Yamane's haunting treated violin melodies weaving together to create a captivating and emotional sonic landscape. ""Sabi"" is a Japanese aesthetic that celebrates the beauty of impermanence and decay. It is often associated with the simplicity, austerity, and solitude found in nature, and is said to evoke a sense of melancholy, nostalgia, and reverence for the passage of time.

Bernocchi and Yamane's ""Sabi"" explores these themes through a collection of minimalist compositions that combine electronic and acoustic instruments immersing the listener in a deeply cinematic experience. The album takes the listener on a journey through a series of atmospheric tracks, sometimes melancholic pieces that evokes the sense of solitude and simplicity often associated with the concept, other times more energetic and uplifting, optimistic ones that celebrates the beauty of transience. The artwork again was created by the renowned designer Petulia Mattioli.

An autumnal treasure, East Village’s Drop Out has spent the past thirty years finding new ears to bewitch and new hearts to melt. The only album from this British four-piece, recorded and released in the early nineties, it’s long been considered one of the hidden jewels of its time, and is talked of with hushed reverence by people who know. Bob Stanley of Saint Etienne once called it “an elegy for a particular brand of eighties guitar music, sweet minor chords and Dylanesque lyrics”, which captures what makes it so special; in summarising its era, though, it also effortlessly transcends it.

Like all great guitar gangs, East Village fell together as a four-piece; having relocated from High Wycombe to London in mid ‘80s, brothers Martin and Paul Kelly on bass and guitar, set on forming a group together, were joined by John Wood (guitar) and Spencer Smith (drums). Wood and the Kellys shared writing and vocal duties; it was an ideal combination, and one of the many charms of East Village is their various song writing voices, a tip of the hat, seemingly, to the 60s folk-rock groups who influenced them.

Originally influenced by garage-rock and freakbeat, the band eventually came through via the same scene as groups like Felt, The Go-Betweens, The Weather Prophets, and Primal Scream. They’d formed as Episode Four, releasing an EP, Strike Up Matches, in 1986, which has gone on to become one of most sought after releases of the C86 era. Their first two singles as East Village, ‘Cubans In The Bluefields’ (1987) and ‘Back Between Places’ (1988), were released on Jeff Barrett’s Sub Aqua label.

When it came time to record Drop Out, East Village found a supporter in Bob Stanley, who bankrolled the album sessions until Barrett re-signed the band to his new imprint Heavenly Recordings in 1990. The album that took shape is dusky, heartfelt, lamplit, full of chiming minor chords, close harmonies, rattling organs, all buoyed by a rhythm section that moves as one, steady and elegant. There’s melancholy here, certainly, on songs like ‘What Kind Of Friend Is This’, but also pleasure and freedom, on ‘When I Wake Tomorrow’ and ‘Silver Train’. The group were obsessed with Dylan’s Eat The Document at the time, and the album’s rich with references to the film; Drop Out’s character is also somehow close to the thin wild mercury sound of Blonde On Blonde, and the lambent light of the Byrds’ Notorious Byrd Brothers.

In one of life’s gentler surprises, ‘Silver Train’ became an unexpected radio hit in Australia when released there as a single in 1993. The story of East Village seems marked by such unexpected turns and surprising events. None was more surprising for their fans at the time, though, than their onstage split in 1991, leaving an unreleased album in the can. Encouraged by Jeff Barrett the band revisited the tapes two years on and while mixing the album for its posthumous release in 1993 invited Debsey Wykes (Dolly Mixture, Coming Up Roses, Saint Etienne, Birdie) to sing the quietly devastating album closer, “Everybody Knows”, a perfect, sad-eyed sign-off.

Listening now to Drop Out, its timelessness is clear. It could have been recorded by young folk-pop hopefuls in the late sixties, taking their shot at the big time; but it could just as easily have been recorded yesterday, by a group that’s both reverent to music’s past, but forward looking in spirit and temperament. It’s that kind of album. Drop Out’s pop poetry is fully formed, with a singular charm that takes in wistfulness, romance, and good times, and a clutch of deeply moving songs that are overflowing with melody and gracefulness. It’s pretty much everything you’d want from a guitar pop record.

It's also an album that’s slowly accrued its own legend. From its stunning cover art, photographed by Juergen Teller originally for a Katherine Hammett campaign, to the ten perfectly formed songs within, Drop Out’s significance in the scheme of things is such that, a decade ago, it was given a rare 10/10 rating in Uncut magazine, who called the album “the lost classic of its era”. Drop Out comes round every decade or so, each edition introducing new fans to its understated beauty, and this latest reissue is its most elegant and deluxe yet.

The 30th anniversary edition of Drop Out lands in two formats: an LP with tip-on style jacket and four-page insert, designed to partner with the 2019 vinyl reissue of their singles and rarities compilation, Hot Rod Hotel; and a double CD, featuring an extra disc compiling the group’s early singles and alternative versions. This CD edition previously has only been available in Japan, though it now features a new, superior mix of their second single, ‘Back Between Places’. Both feature new, typically eloquent liner notes from writer Jon Savage.

The members of East Village have all gone on to do inspired things: Martin Kelly joined Jeff Barrett at Heavenly and has managed label mainstays Saint Etienne since 1993; Paul Kelly formed Birdie with Debsey Wykes, and is now a renowned film director and graphic designer; both Paul and Spencer Smith played in Saint Etienne’s live band; John Wood moved to China to teach, and released a lovely, understated folk album, Quiet Storm, in Japan in 2006. But with the hazy perfection of Drop Out, they’ve all already etched their names in the firmament.

* Lou Reed's final solo album finally available again * First time on vinyl * Produced in partnership with Laurie Anderson and the Lou Reed Archive * Booklet features unseen photography by Lou, Q&A with Laurie Anderson & Jonathan Cott, essay by Eddie Stern, and archival interviews with Lou and Hal Willner * Remastered by GRAMMYr-nominated engineer John Baldwin * Package designed by multi-GRAMMYr-winning artist Masaki Koike // "I first composed this music for myself as an adjunct to meditation, Tai Chi, and bodywork, and as music to play in the background of life, to replace the everyday cacophony with new and ordered sounds of an unpredictable nature. New sounds freed from preconception. ...over time, friends who heard the music asked if I could make them copies. I then wrote two more pieces with the same intent: to relax the body, mind, and spirit and facilitate meditation." - Lou Reed Light in the Attic Records in cooperation with Laurie Anderson and the Lou Reed Archive, proudly announces a definitive re-release of Hudson River Wind Meditations, the pioneering artist's final solo album. Originally released in 2007, the deeply personal project combines Reed's love of creating drone music with his passion for Tai Chi, yoga and meditation. The album's ambient soundscapes have been described as a counterpoint to his intense Metal Machine Music album-but they are similar outliers in Reed's 40+ year exploration of drone music and feedback harmonics. The album has been remastered by the GRAMMYr-nominated engineer John Baldwin with vinyl pressed at Record Technology Inc. (RTI). The Double LP set is presented in a gatefold jacket designed by GRAMMYr-winning artist, Masaki Koike and features new liner notes by renowned Yoga instructor and author, Eddie Stern, who guided Reed's practice for years. Also included in the physical editions is a fascinating conversation conducted earlier this year between author/journalist Jonathan Cott (Rolling Stone, The New Yorker) and Reed's wife, artist Laurie Anderson, who discusses the album, as well as her husband's devotion to Tai Chi - one of the album's primary inspirations. Hudson River Wind Meditations marks the latest release in LITA's Lou Reed Archival Series. Launched in 2022 in tandem with the late artist's 80th birthday, the ongoing series has celebrated one of America's most influential songwriters through such acclaimed collections as Words & Music, May 1965 featuring many of Reed's earliest (and previously-unreleased) recordings, including the earliest-known versions of "I'm Waiting for the Man" and "Pale Blue Eyes."

60
Highs and lows, anger and joy, belief and doubt reflected in raw and honest
observations of Martyn Joseph's sojourn and the state of play today. A stripped
back acoustic render reflects his weapon of choice that has provided hope and
solace and a commentary of companionship to a worldwide army of ardent fans
for decades through his passionate commitment to social justice, mystery, and
love.'From a vast goodbye to a small hello' he writes in 'Folding', the opening song
of surrender and resilience, and where else would you find an album calling for
the elimination of a tyrant alongside a call for greater love and empathy.
Embracing the contradictions and beauty with a fearless pen, Joseph continues
to cut an impressive path. If you're looking for truth, these songs will anchor you
to a horizon of hope.

This album was originally only released for the Japanese market and is now
available worldwide for the first time.
In the early 1990s, Makoto Kimata repeatedly asked Eugen to record the lullaby
"Berceuse" by the French composer Benjamin Godard (1849-1895) for his
grandson. This is how the 'Lullabies' project started. Since it was not possible to
record in Japan, Eugen Cicero rented the radio studio of the former SWF in Mainz,
Germany.
Here, he recorded twelve lullabies within three days together with Ringo Hirth on
drums and Decebal Badila on bass. It was to become the last studio recording of
his career. However, the 'Lullabies' were only produced for the Japanese market.
Eugen Cicero enjoyed cult status in Japan. The Japanese love jazz and classical
music equally, and do not tend to differentiate, as is the case in Europe, especially
in Germany.
When one speaks of lullabies, jazz enthusiasts immediately think of "Lullaby Of
Birdland" by George Shearing. The classically educated music lover, however, will
have the songs of Brahms, Mozart and Schubert in mind. Well, you may find both
genres combined on this album.
While many people do find their nightly rest with sleeping pills, head phones or
iPhone in hand these days, this music gives you an attractive alternative.

Imagine the realm of House music without the influence of the 90s! An epitome of that remarkable era in house and techno is embodied in the reissue of Gijs Vroom's work under his Beyond pseudonym. Originally unleashed by the renowned ESP, it's now back in circulation for all, courtesy of In The Future. As an extra treat, we've included the exquisite track 'Breathless,' a gem never before available on vinyl. Stay tuned for the upcoming release from ITF! Twice the record was released on the classy ESP from Amsterdam now back on vinyl with all versions + an original Beyond track which has never been released on vinyl.

LA BUSH TEAM SERIES

Let's dive straight into the heart of the matter: we're discussing a rare and unique series. A series that has made its mark not only on dance floors but also in people's minds. The La Bush Team, as its name implies, is connected to the legendary club LA BUSH and consists of three equally legendary members: Marino Stephano (CM - Dream Universe), Mauro Crisci (Hand's Burn - Good Shot), and Frédéric Dourlens.

This 4-vinyl release, launched in 1999 alongside a CD album (equally rare to find), indelibly etched its place in the history of Belgian Trance. Its collection of hits and a distinctive, instantly recognizable sound left an enduring impact. The vinyl records were an instant sell-out upon release, and in 25 years, they've never been re-released, remaining subjects of speculation.

Now, it's time to bring this series back into the spotlight. In celebration of the 25th anniversary of this iconic release, we've chosen to present you with a collection of the best tracks from the four vinyls of that era, along with exclusive bonus tracks from the CD album never before released on vinyl. All tracks have been remastered for this occasion, making these two samplers an absolute "must-have" for trance connoisseurs and vinyl collectors of all kinds.

You'll rediscover the famous Flanger (Vocal Mix), Renaissance, Backspace, First Day, and many others. Each sampler is a limited edition, so order before it's too late once again.

Epic, grooving, dazzlingly creative, perfectly attuned blends of complex mbalax drumming, field recordings, thumping kick-drum, and cosmic, bubbling, jamming synths and electronics.

The opening is suitably liminal, haunted by a diachronic sense of times past, present, and to come: ancestral ghosts, scratched playback, scraps of old recordings, voices strangulated or just out of range; puttering drums; futuristic, kosmische keys. Part II picks up the pace; III gives the drummers some, and heightens the atmosphere of enchantment. Jon Hassell’s Fourth World music courses through a kind of Dream Theory In Dakar.

Toco SOS, the second side, is a thumping, throbbing, mesmeric future-classic; perfect for fahr’n fahr’n fahr’n on the Autobahn… in a spacecraft. Expert hand percussion, call-and-response singing, bin-trembling foot-drum, spaceways keys. Sleekly funky as prime Popol Vuh.

Both sides range expansively by way of Berlin, where Lamin resided for a few years: you can hear something of T++’s brilliant, landmark HJ record on the A, and elements of Mark Ernestus’ crucial Ndagga project, on the B.

Half an hour of stunning music; in a beautiful sleeve, with mirror lettering, and an intricate spot-gloss rendition of salt crystals, laid over a photograph of the salt mines at Lac Rose, outside Dakar.

The official new edition from this rare and great Afrobeat & Soukous masterpiece from Nigeria !

"Vibro Success Intercontinental Orchestra was an extraordinary group from the Central African Republic, founded by the sax player Rodolphe 'Beckers' Bekpa, also known as Master Békers, in the late 60's. The band achieved surprising domestic success after Beckers introduced the first drums to the Congolese Rumba rhythm. His innovation proved to be wildly popular so they were hired as the resident band of “ciel d’Afrique au Km5”, a night club in Bangui. The club was renowned as the temple of the Olympic Réal football team's fans and that visibility propelled them into becoming the official national orchestra.

1970 marked beginning of the band's international fame . Their fame spread beyond national borders until they became so popular that invitations began to arrive from nearby countries like Cameroon and Chad, the former of which the band would then tour that same year. The success of their performances prompted a further tour in 1972. According to Rodolphe Bépka, the audience enthusiasm Vibro encountered was bewildering. "We filled the old military stadium in Yaoundé in 1970, in 1972 the new Amadou Haïdjo stadium ... We are running with great success in the cities.” Their popularity was also growing in Chad, where they would tour several times through the early and mid 70's.

Towards the end of 1976, Vibro Success decided to take their music global and introduce Central African music to listeners worldwide. It worked. The turning point came in Nigeria. There the group achieved extraordinary success, with live performances followed by contracts with local labels like Scottie and Ben/Clover resulting in hit releases. Most of their LP's were originally released on this later label, Ben Limited, owned by Ben Okonkwo.

Ben, also known as Clover Sounds, brought a great number of the biggest bands from the country to market, bands like The Apostles, Akwassa,The Doves, Aktion, The Visitors, Mansion, Folk 77 and many others. Nearly all those groups started their recording careers in the label's studios based in the commercial heart of Aba, Abia State, one of Southeastern Nigeria’s largest cities. Aba at that time was a flourishing city, an important crossroads of people and culture with an intensive and active and cutting edge live music and nightlife.

But after that golden era the group began to lose its popularity. In the 1980's they returned to Bangui and resumed their old-time gigs in dance halls there - only to realize that their music didn't have the appeal it used to. Making matters worse, the domestic economic downturn accelerated, forcing the orchestra to slowly end its activities . Vibro Succès Intercontinental Orchestra disappeared at the end of the 80s and most of its members died in the 90s.

We discovered this LP during our first trip to Nigeria in 2016. While traveling in the east to meet up with a musician, we stopped for a night in a village. As often happens in Nigeria, information has a way of traveling fast. The news that a couple of white guys looking for records had arrived in the village the day before spread like light. When we awoke, we found a couple of elderly music lovers in the hall of our hotel with a little pile of records for sale. The nice cover of the “Drunkard” album was right on top!

At first we thought it was just another really good soukous album made by Vibro Success but after we heard “Drunkard” - we knew we had stumbled onto something very special. That was the “easy” part. Soon after, we had the idea of reissuing this LP and that was a bit harder. There were no credits on the cover and not much information about Vibro Succès. We started to ask to our friends to ask around, see if somebody knew them or the producer. That's when sadly we discovered that Ben Okonkwo had passed. So with no leads to follow and seemingly without any possibility of making progress on the matter, we "gave up" and returned to Italy.

A couple years later, in the summer of 2019, we found ourselves again in Aba. This time we had the chance to meet Nnamdi Okonkwo, the eldest son of the late Ben Okonkwo. After Nnamdi's mother and family agreed, he was glad to cooperate with us for the re-release of this special album."

The Exciters began as the Masterettes, a girl group formed by high school friends Brenda Reid, Carol Johnson, Lillian Walker, and Sylvia Wilbur. A single was cut for Brooklyn’s Le Sage label before Wilbur was replaced by Brenda’s husband, Herb Rooney, and after auditioning for Leiber & Stoller, the Exciters recorded the international smash ‘Tell Him’, a song so popular that it spawned foreign language renditions. Our edition of this marvellous debut LP includes the spectacular follow-up hit, ‘Do Wah Diddy,’ another immortal nugget of irresistible pop soul. Bright, light grooves for your dancing feet!

Trailblazing instrumental synth pop experiments created to soundtrack Japan’s booming 1980s cartoon and comic industries. The brightly futuristic instrumentals on this collection reflect the mindset of composers and musicians who believed in a technological future where everything was possible.

In the late 1980s Japan experienced a brief but heady period where societal changes combined with new-found wealth to open up a world of possibilities. A huge influx of cash - artificially created by slashed interest rates after an agreement with the US to weaken the dollar relative to the yen - resulted in the inflation of real estate and stock market at a rapid pace. While the economic bubble it created was unprecedented and impossible to sustain, for a while money was in plentiful supply.

The musical genre City Pop reflected the aspirations of the country’s booming leisure class. Video games flourished with Nintendo's 1983 launch of their Family Computer (or FamiCom). Studio Ghibli was founded 1985 to later became one of the most famous and respected animation studios in the world, and Anime and Manga were established as major forms of entertainment for all generations of the Japanese public.

Music was no mere footnote to the anime and manga boom: the two forms of media often went hand in hand, and not simply through the presence of background melodies. With generous budgets available, even two-dimensional static manga comics could be released with an accompanying soundtrack of original music known as an ‘Image Album’.

Composer and arranger Kazuhiko Izu was one such beneficiary of this open budget approach. Written to accompany artist Katsuhiro Otomo’s manga comic Domu, the composer and arranger took advantage of the world-leading (and wallet-busting) Japanese synthesiser technology available at King Records’ fully equipped studio. Featured on this compilation, A3: Act 2 Scene 26 reflected the story’s sci fi themes with a blazingly futuristic yet warmly funky slice of synth pop that presents a joyful celebration of synthesisers and their seemingly endless possibilities.

Kan Ogasawara was another composer who made early mastery of the litany of synthesisers, drum machines and sequencers that had become available. Two tracks written to accompany the 1985 period manga Yume No Ishibumi are featured here; Honowo’s experimental electronic textures add spice to a jaunty electro pop melody that recalls the Rah band’s 1983 hit Messages From Stars; the jazz-tinged Utage rounds out Ogasawara’s shimmering synth textures with beautifully crafted backing from legendary musicians Yuji Toriyama (guitar), Pecker (percussion) and Jun Fukamachi (piano).

Before becoming one of the pioneers of Japanese Kankyo Ongaku (Ambient Music), Takashi Kokubo worked on the proto techno track Kiki (Jungle At Night). It was put together for the 1984 anime film Shonen Keniya (Kenya Boy) using some of the most expensive music technologies available at the time. This Africa-Inspired dance track offers a contemporary parallel to the early techno music that young Detroit based producers were then creating using cheap Japanese Roland drum machines and synthesisers.

This is the first compilation of Japanese anime and manga soundtracks curated by Kay Suzuki and Rintaro Sekizuka from Vinyl Delivery Service (a Tokyo based online record shop which also operates in East London's renowned wine and hifi shop Idle Moments). With a cover by artist Kazuki Takakura and two pages of liner notes, this vinyl only compilation of music never before released outside of Japan, captures a vital aural snapshot of an era whose forward-thinking sounds went hand in hand with cutting edge technology.

Blind Prophet returns to Dub-Stuy with a 12'' featuring the mystical voice of Daweh Congo, the renowned roots reggae singer from Jamaica. Good Morning Zion is an uplifting cut blending deep dub vibes with positive roots lyrics from Daweh, a heavyweight steppers cut backed by two dub versions. All tracks were mixed live by the engineer McPullish to give this release a deep analogue resonance.

Early DJ Support:

Iration Steppas, OBF, Ras Kwame, Don Letts, and RSD

In 2006, THE DRAFT was formed by Hot Water Music members Jason Black, George Rebelo, and Chris Wollard shortly after singer/guitarist Chuck Ragan's departure. The three remaining members of the band wanted to continue making music together but chose not to continue under the Hot Water Music name, opting for a fresh start instead. The initial writing and demo sessions included the legendary punk rock guitarist Brian Baker (known for Minor Threat, Dag Nasty, Bad Religion). However, due to conflicting schedules, Baker couldn't commit as a full-time member, leading fellow Florida resident and former Discount member Todd Rockhill to join the band. After releasing their debut album "In a Million Pieces" (produced by the esteemed Brian McTernan) on Epitaph Records in 2006, the band embarked on extensive tours with acts like Samiam, The Gaslight Anthem, and Paint It Black. They also released several singles on the renowned No Idea Label before disbanding in 2008. With both "In a Million Pieces" and all 7" records being out of print for years, THE DRAFT has now teamed up with End Hits Records and Equal Vision Records to release a deluxe vinyl version on double vinyl. For the first time, you can find every track ever recorded by THE DRAFT: Included are the twelve album tracks, six songs featured on three 7" records, two unreleased demo versions, as well as four songs recorded during a radio session in the UK that have never been released before. Not only were all songs remastered specifically for vinyl by Brian McTernan, and detailed liner notes have been added to tell the band's history from beginning to end, but the packaging has also been completely overhauled. A special feature for collectors: the European and American versions come in different gatefold covers, which together form a complete work of art.

Celebrating a year of Hagan’s critically acclaimed debut, Python Syndicate releases a limited double vinyl edition of Textures - Textures is an homage to global sounds and influences, an expression of his journey of self-discovery and reflection on his British-Ghanaian heritage, and showcases his keen love for collaboration. Recorded between London and Accra, the project draws out a range of Afro-influenced sounds while listing the collaboration of emerging talents across the vibrant landscape of contemporary African music, Aymos, Bryte, Meron T, Ayeisha Raquel, Griffit Vigo and more. Speaking on the album, Hagan says, “Making this album has taken me on a journey of mixed feelings. I’ve spotted areas of development in my production process but also fine-tuned my strengths to produce a well-rounded Hagan sound. The development of the album opened my mind to previously untapped styles and pushed me out of my comfort zones. At its core, the ‘Textures’ LP is about being proud of retaining heritage and culture through music but also exploring dual identities through fusing sounds. Embracing the power of rhythm and collaboration, ‘Textures’ is a fine benchmark for the next.” With support from DJ Mag, Crack, TRENCH, Trippin, Mixmag, GRM Daily, Pan African Music, Rinse FM, BBC 6Music and around previous singles ‘My Love’, ‘Pray For Me’ and ‘Sise Ntweni’, Textures demonstrates exactly why Hagan is widely celebrated and renowned as a fusionist - perfectly blending elements of Amapiano, Afro-house, UK Funky, Jazz, Neo-Soul, Broken beat and all that's in between with ease on the record.

Gibt es etwas, was Iren und Franken gemeinsam haben? Eine ganze Menge! Da wäre wohl zuallererst eine ganz besondere Heimatverbundenheit und die Liebe zu seit vielen Generationen überlieferten Traditionen, mit der man sich sowohl auf der Grünen Insel, als auch im rot-weißen Frankenland seinem Brauchtum widmet. Hinzu kommt eine gewisse sympathische Eigenwilligkeit, die Dinge auf seine Weise in die Hand zu nehmen. Und nicht zuletzt eine fast todesverachtende Geselligkeit, mit der Iren und Franken gleichermaßen unerschütterlich das Leben mit all seinen Höhen und Tiefen feiern Eigenschaften, die Fiddler`s Green seit mehr als drei Dekaden in ihrem mitreißenden High Power-Sound vereinen. Seit seiner Gründung im Jahr 1990 hat sich das Erlanger Sextett den Status als eine der beliebtesten, erfolgreichsten und beständigsten Formationen innerhalb der europäischen Folk Rock-Community erarbeitet. Eine bestens geölte Irish Speedfolk-Maschine, die sich nun mit ihrem neuen Studioalbum „The Green Machine“ auf dem Zenit ihres Schaffens zeigt! Schon während der Arbeiten an ihren letzten drei Alben begann sich die Idee zu „The Green Machine“ parallel zu entwickeln, zu reifen und schließlich ein Eigenleben zu führen. Gemeinsam mit dem bewährten Produzenten Jörg Umbreit (In Extremo, Grave Digger, Die Toten Hosen) entstand so in den vergangenen 36 Monaten in der Abgeschiedenheit des renommierten Principal Studios bei Münster ein lebendiger Organismus, der Fiddler´s Green nun von ihrer abwechslungsreichsten und vielschichtigsten Seite präsentiert. Zwölf Songs lang spannt die Band den stilistischen Bogen von ihrem liebgewonnenen Vollgas-Party-Sound über berührende Balladen und poppigere Stücke bis hin zu treibenden Midtempo-Rockern und sogar Country- und Western-beeinflussten Tracks, die man in dieser Form bisher noch nicht von den Erlangern gehört hat. 50 Shades of Green sozusagen, in denen die Fiddler jede Menge Energie mit einer beispiellosen Detailverliebtheit und einem hochprozentigen Storytelling verbinden. „Irish Speedfall“-2023: Ab Anfang November gehen Fiddler`s Green auf kurze Tour in Deutschland, bevor das Sextett das neue Album im Frühjahr 2024 auf ihrer großen „The Green Machine“-Tournee live präsentiert.

Muireann Bradley is a young blues, ragtime, roots and folk guitarist and singer based in Ballybofey in County Donegal Ireland. “This is my first album. Most of these tunes were originally recorded by the great blues men and women who were making records from the 1920s and 1930s right up in some cases to the early 1970s. I have also found inspiration for the renditions recorded here in the playing of some of the musicians who began recording this music in the 1960s and later, and who in some cases learned at the feet of the greats. Many of these guitarists played pivotal roles in the 1960s blues revival and subsequent “rediscovery” of many of the greats of country blues. I grew up steeped in these old blues in the hills overlooking the valley of the River Finn just outside the town of Ballybofey in County Donegal. My father would play this music constantly at home and wherever we went in the car and talk about it endlessly whether anyone was listening or not, telling stories about the lives of these musicians as if they were legend, mythology or the evening news. My father could of course play all this stuff on guitar, I remember watching him when I was very young and thinking “I want to be able to do that”. When I was nine he agreed to teach me and bought me my first little travel guitar. I worked hard to learn how to play but as time wore on I seemed to have less and less time to practice as I became more and more invested in the combat sports I was regularly training and competing in. Then in March 2020 the first Covid lockdowns happened and all contact sports were shut down. I was lost for a while but soon found my way back to the guitar. I was now listening, playing and practicing with a new intensity and focus. In a very serious moment, I wrote out a list of tunes I was going to learn. The first tune on that list was Blind Blake’s “Police Dog Blues”. I’m not sure now how long it took to get that arrangement together but when it was ready we videoed me performing it and posted it on YouTube. It ended up getting a lot of attention, I remember my parents being quite shocked and soon after that Josh Rosenthal got in touch… and here we are! Each individual track on this album was recorded live in the studio and represents one entire take with me singing and backing myself up on guitar simultaneously. Most are either first or second takes. Nothing has been added or taken away, no overdubs or modern recording tricks of any kind have been used at all so at least in some respects this album has been recorded in the same way as those classics of the 1920s and 1930s

Bring back my Bass Butches! They’re bossy & they mean business. Rag-tag rhythm riders Maara and Roza Terenzi come together for a freaky friday sound swap; trading auditory secrets only a mixologist would know to conjure up a 2 track tek-trailblazer. Not for the faint hearted deejay, the record flaunts their distinct signature sounds as they reincarnate the status quo of experimental club music one snare at a time.

Percussively penetrating the core ethics of composition, the A side flirts and squirts all over a rhythm so raucous, the bass battens down the hatches. Stir the pot, rock the boat, roll the dice and ride the bass, surrender to the unruly structure as the groove gets full custody.

The bareback B side breaks rules and regulations; leading you to high-tech temptation, fast and furious with an explosive temper that can’t be tamed.

Tickling the rim of electro and bass yet ditching the doctrine, Loose Lips Sink Ships is a take-no-prisoners secret source of dancefloor dopamine, the sleek modern rendition of a ritualistic beatdown destined to weave motifs together and breed atmosphere.

It takes 2 to techno, but these are the number 1 drum degenerates of the future wave party starters.

Emerging from the heart of Brussels, Azo is poised to set the electronic music world ablaze with her latest EP, "Astroculture," scheduled for release on SNC Recs. Featuring four vibrant original tracks and a stellar remix from Offenbach Frankfurt's very own Maruwa, this EP takes listeners on an ecstatic journey through the realms of acid, trance, and high-energy drums.

Azo has consistently captivated her audience with a rich tapestry of influences. Renowned for her rock-solid radio shows and dazzling productions, she skillfully blends a myriad of musical elements to create a sound that is uniquely her own.

Inspired by the enigmatic and pulsating vibes of Electro, Trance, and the expressive melodic flavors associated with Rave culture, Azo's "Astroculture" EP promises a sonic exploration like no other. Each track invites her audience to embark on an exhilarating adventure, guiding them through a musical landscape that defies boundaries and expectations—just as the scientific endeavor of astroculture explores new possibilities for cultivating plants beyond the boundaries of Earth.

The EP wouldn't be complete without the hypnotic remix by Maruwa, a vital contributor to the scene. Maruwa's reinterpretation adds a fresh twist to Azo's sonic canvas, enhancing the EP's already electrifying atmosphere.

Azo's "Astroculture" EP is set to ignite dancefloors and inject a surge of energy into the new club season. With its intoxicating beats and boundless creativity, it's a must-listen for electronic music enthusiasts worldwide.

Don't miss out on this sonic adventure. Join Azo on her "Astroculture" journey as she delivers an EP that's as unique and mesmerizing as the artist herself. Experience the magic of Azo's musical journey and get ready to dance like never before.

Clear Vinyl

On Rock Island, their second LP, Palm produces evidence of a distinct musical language, developed over time, in isolation, and out of necessity. On the island, melodies are struck on what might be shells or spines. Rhythms are scratched out, swept over, scratched again. Individual instruments, and sometimes entire sections, skip and stutter. There is the sense of a music box with wonky tension or a warped transmission in which all the noise is taken for signal.

Like other groups so acclaimed for their compulsive live show, Palm has been burdened by the constant comparison between their recorded material and their touring set. On Rock Island, they render this tired discussion moot, using the album form to present that which could never be completely live, reserving for performance that which could never be completely reproduced.

Despite appearing behind the instruments typical of rock music, Palm trades in sounds of their own making. On these songs, one of the guitars and the drum kit are used as MIDI triggers, producing an index that can be combed through later and replaced with new information. The percussion is sometimes augmented so as to suggest a multiplication of limbs. The strings are manipulated to choke, crack, and hum like other instruments, or other bodies, might.

Working again with engineer Matt Labozza, the band spent the better part of a month in a rented farmhouse in Upstate New York. With the benefits of time and space, Palm recorded the various elements piecemeal, only rarely playing together in groups larger than two or three. While some members tracked, others holed up in the next room, experimenting with quantization, beat replacement, and other methods borrowed from electronic music. Even accounting for the many labors that brought them to be, these materials seem produced by an organic logic. Their complex friction forms a habit of thought, scores a network of grooves on the floor of the mind.

This is music with dimensionality. Sonic objects are deployed, developed, and dissected in various states of mutation. The listener flits about between the field and the lab. The tone is warm in a way only the sun could make, the pace as forceful and as variable as a gale. Whether one locates Rock Island in a sea or in a refinished attic (as in Greg Burak's album cover), whether one escapes to there or is banished, its psychic environs are charted clearly enough. Only at this remove from the mainland can we sense the conditions necessary for such a strange species of sound.

ORT ist ein Trio aus Dortmund, bestehend aus Hellmut Neidhard (alias Guitar-Drone-Großmeister "N") und der Rhythm-Section Simon Dümpelmann und Dennis Müller, die zuvor bereits in einem berüchtigt lauten Sludge- Metal-Kamikazeunternehmen zusammen spielten. Bestehend aus zwei langen Instrumentalkompositionen zeigt "Maschinenhafen" die Band von einer noch epischeren und atmosphärischeren Seite als vorangegangenes Material, lässt dabei allerdings dennoch auch Passagen von schwergewichtiger Massivität und krachiger Aggressivität wie eine Symphony aus Drone, Sludge-Metal und schroffem Nosierock nach vorne marschieren. Jemand beschrieb ORTs Musik mal als etwas, "das so lange ins Hirn gemartert wird, bis Du das Atmen vergisst". Spurenlemente von frühen Earth lassen sich im Sound und Stil von ORT wahrscheinlich genauso finden wie eine Geistesverwandtschaft zur dystopischen Aura von Killing Joke, und zur instrumentalen Schubladenlosigkeit einer Band wie Blind Idiot God ist es genauso nicht mehr ganz so weit weg wie zur Kompromisslosigkeit von Sleep's "Dopesmoker". Maschinenhafen - Musik zwischen epischer Atmosphäre, schroffer Direktheit und massiver Schwere, live in der renommierten "Tonmeisterei" in Oldenburg aufgenommen.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Changing Mindset is an EP developed around Tuber's title track,

This work is presented as a work of sonic craftsmanship, with a distinctive character that will make you delve towards the limits of electronic music. This sound fuses atmospheric, hypnotic and mental elements, creating a listening experience that goes beyond listening to become a total immersion into the cosmos.

-On the first remix, it denotes a special flavor thanks to the presence of Orbe, a true master in the creation of textures and enveloping sounds. Known for his skill in weaving complex sonic layers, he dives into the core of Tuber's main track, displaying an ability to transform and enrich every musical element.

-The second remix, created by HD Substance, promises to be an experience that will take listeners on a vibrant musical journey, inviting them to surrender to the beat with an infectious energy. The presence of HD Substance, backed by an extensive and outstanding trajectory in the music world, augurs a remix that goes beyond simply being listened to, it is a direct invitation to immerse oneself in the intensity of the sound and let oneself be carried away by the melody.

-The last remix, by Dinamite, adds a touch of elegance and forcefulness, completing the "Changing Mindset" EP. Dinamite, renowned for his ability to fuse musical sophistication with pulsating beats, brings with him an experience-laden perspective.

Airto Moreira and Flora Purim, the legendary King and Queen of Brazilian Jazz, have captivated audiences for over six decades with their vibrant albums and exhilarating live performances. With a dedicated global fan base including the UK's jazz funk and jazz dance scene to Japan's concert halls, the power couple continues to make waves in the industry – Flora's 'If You Will' (2022) album was even nominated for a Grammy! The duo met and came together musically in Sambalanço and the Sambrasa Trio. The mixture of Airto's rural Brazilian background and percussion talents and Flora's classical training and involvement in the underground Bossa Nova movement, created a unique blend of sounds that resonates across generations. They have not only collaborated with music legends like Miles Davis and Chick Corea but have also produced ground-breaking music alongside the likes of Hermeto Pascoal. Despite facing numerous challenges, including Flora's arrest and incarceration in 1974, the duo's close connection with friends-musicians like Thelonius Monk and Cannonball Adderley, their persistence and absolute passion for music have propelled them to the pinnacle of success. They worked with renowned musicians like Wayne Shorter, Jaco Pastorius, Herbie Hancock, Joe Henderson, McCoy Tyner, George Duke and producers such as Orin Keepnews and Creed Taylor. Having been a part of numerous prestigious ensembles, including Dizzy Gillespie's United Nations ensemble, Airto and Flora's journey is a testament to their innovation and devotion to their craft. This collection offers a glimpse of that incredible journey, showcasing their extraordinary talent and unique sound and it’s also the first comp scanning their 60 year careers Compiled by Straight No Chaser editor/publisher Paul Bradshaw & Totally Wired Radio presenter Roberta Cutolo. Àṣẹ.

In celebration of the 40th anniversary of U2s Under A Blood Red Sky (1983), the iconic live album has been newly remastered on 180g red vinyl exclusively for RSD Black Friday 2023. Consisting of live recordings from three shows on the bands War Tour, the album helped to cement U2s reputation globally as one of the greatest live acts of all time. Featuring legendary live versions of Gloria, I Will Follow and Sunday Bloody Sunday, the album remains faithful to the original track list but is newly remastered at the renowned studio Bernie Grundman Mastering. Includes double sided insert with credits and lyrics, plus a large 2-sided poster.

This session was originally intended to be released on Mike King's highly regarded Reel Recordings label. Sadly, Mike passed away before the project was completed and consequently the session has instead sat on a shelf of the esteemed British jazz collector and historian Philippe Renaud for the past decade. UNTIL NOW.

Album includes extensive notes by Philippe and renowned Canterbury music expert Aymeric Leroy.

Original mastering by Mike King. additional mastering by Matt Parker.


Very special thanks to: Marino Dean, Philippe Renaud, Aymeric Leroy, Ricardo Bergerone.


Produced by Matt Parker for British Progressive Jazz in association with Improjazz.

Dedicated to the memory of Mike King.

Third studio album from leading French reggae band Ryon, featuring Na man and Tiken Jah Fakoly brass section. Since 2015, the band has been on the road playing festivals and club shows across Europe, sharing its poetic and committed inspirations.
Driven by Cam’s charisma and powerful voice, the quintet gives life to a highly positive and powerful music, between reggae, rock, french variety and even pop music. Inspired by the solar reggae music of Clinton Fearon or Steel Pulse, the band draws its inspiration from modern reggae too. In 2018, they released their second album, Z phyr, which was awarded best French Reggae Album by the renowned “Victoires du Reggae” committee.
Ryon is now back with their third studio album ‘Esperanza’, with the famous French singer N aman and Tiken Jah Fakoly’s powerful brass section as special guests. With this record, the band will spread its sunny and positive vibes as long as possible!

With its tenth record from Fortunato Durutti Marinetti, Quindi continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he's found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022's Memory's Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi's renewed approach is instantly apparent as album opener 'Lightning On A Sunny Day' unfurls, informed greatly by producer Sandro Perri's input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can't help but think of John Martyn's slide into the digital sound of Sapphire or Kraftwerk's bittersweet synthetic tenderness.
Within this sound, there's still space for the energy to fluctuate according to the whims of songs. 'The Flowers' turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. 'Misfit Streams' and first single 'Clerk Of Oblivion' savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener's heart. It's at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer's inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - 'Smash Your Head Against The Wall' snarls its rhythm section before the strings sow their aching beauty to cool the song's temper, winding up as a track of distinct halves jabbing at each other. "I Need You More' leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi's unique exploration of his muse.
The artist himself dubs his musical expression as "poetic jazz rock" with a sideways glance - it's not exactly poetry, far from trad jazz and it doesn't really rock, yet the tag feels uncannily like it fits, just like the curious music it's used to describe.

Sourced from the Original Master Tapes and Presented in Audiophile Sound for the First Time: Mobile Fidelity’s Numbered-Edition 180g SuperVinyl LP Plays with Riveting Detail
Three decades before he released The Philosophy of Modern Song — an insightful book devoted to 66 tunes that both impacted his career and the music world at large — Bob Dylan issued Good As I Been to You. The under-heralded 1992 album, Dylan’s first solo acoustic album in nearly 30 years and first all-covers effort in nearly 20 years, can be seen as a prophetic prelude to what has become the Nobel Laureate’s celebrated late-career arc. It’s also an absorbing continuation of the custom Dylan has embraced since he first picked up a guitar.


Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton jacket, Mobile Fidelity's numbered-edition 180g SuperVinyl LP of Good As I Been to You reveals the immediacy, detail, and stripped-down nature of recording sessions that took place in Dylan’s garage studio in California. Simple, raw, and unplugged, the record presents Dylan in peak form — and showcases a diversity of vocal phrasing, soulful chording, harmonica accents, and close-up ambience that on this reissue emerge like never before. As the first-ever audiophile edition of this almost-lost classic, this LP also benefits from SuperVinyl’s extraordinary properties: a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces among them.

Recorded and mixed by Micajah Ryan, and supervised by Debbie Gold, Good As I Been to You took shape at Dylan’s home shortly after the singer-songwriter completed sessions in Chicago with a full band. Unaccompanied, he again gravitated to existing works — in this case, traditional folk music — and, with Gold serving as a trusted advisor, performed the songs in multiple keys and tempos until he arrived at what he desired. That careful, determined albeit loose, organic approach emanates from this reissue, on which each note, movement, and space come across more directly, fully, and immediately than on the original formats. It helps draw a through-line to Another Side of Bob Dylan (1964) as well as the similarly themed follow-up, World Gone Wrong (1993) and immersive old-world storytelling of Tempest (2012) and Rough and Rowdy Ways (2020).

Well before Dylan made those renowned 21st century LPs, however, he needed to find a way out of a funk that — save for his 1989 collaboration with Daniel Lanois, Oh Mercy — followed him for years. As author Clinton Heylin reported Dylan admitting in 1997: “My influences have not changed — and any time they have done, the music goes off to a wrong place. That’s why I recorded two LPs of old songs, so I could personally get back to the music that’s true for me.”

Truth: Few, if any, concepts better encapsulate Good As I Been to You. It resonates with the same originality, honesty, resolve, and age- and time-defying relevance as the seminal Anthology of American Folk Music that fired Dylan’s imagination as a kid in small-town Minnesota and, later, per Greil Marcus’ That Old Weird America book, informed Dylan and the Band’s Basement Tapes sessions. This record also contains the type of music Dylan was playing during his acoustic sets at his period Never Ending Tour shows; within a year of the record’s release, Dylan would play half the album’s songs live.

As for those songs: Rife with strange mystery, common circumstance, and epic adventure, the stories appeal to our base instincts. Their themes — jealousy, temptation, sacrifice, love, revenge, identity, opportunity — operate on a fundamentally human level immune to trends, generations, or eras. They’re ancient and modern, serious and comical, open and disguised, simple and multi-layered. They talk of vengeance and justice (“Frankie & Albert”; “Jim Jones”), romance and tenderness (“Tomorrow Night,” “Froggie Went a Courtin’”), the troubled and trouble-free (“Hard Times,” “Sittin’ on Top of the World”). They lend voice to lovers scorned and freed (“Blackjack Davey”), the used and users (“Diamond Joe”), the powerful and powerless (“Arthur McBride,” “Canadee-I-O”), the followed and followers (“Little Maggie”). And akin to much of Dylan’s finest output, things are not always what they appear to be.

Spanning country, folk, sea shanty, bluegrass, and blues motifs, Good As I Been to You re-confirms Dylan’s position as an elite interpreter and sculptor — not of just structure but emotion. Dylan delivers the tunes as if he’s known them forever. He plays with a subtle sense of mischievousness and retains a largely upbeat demeanour; his eyes seemingly twinkle as he sings and picks. His guitar serves as the guidepost for shuffles, boogies, ballads, and mess-arounds while his innate feel for each specific arrangement and melody helps inform pacing, tone, attack.

Like a great author, he understands the importance of adhering to concision, luring an audience, holding their attention, and maximizing the impact of details, actions, and unexpected turns. Though already coarse and ragged, his voice feels ideal for the subject matter and his phrasing — from the clever ways he stretches syllables to underline meanings on the surprise twists of “Canadee-I-O” to the sheer delight he gets from singing “rowdy-dow-dow” on the protest song “Arthur McBride” — outstanding.

Renauds schönste Lieder in bisher unveröffentlichten Versionen von den Streichern eines doppelten weiblichen Streichquartetts. Ein Album, das uns die melodische Kraft seiner seiner größten Hits neu entdecken lässt.

In kraftvollen, zeitgenössischen Arrangements, die eine intensive und bewegende Interpretation der schönsten Lieder des ikonischen Künstlers darstellen, entfaltet sich die volle Pracht seiner Kunst.