Cerca:deliver

Two worlds collide to offer a brand new project. The lo-fi rock from Emilie Zoé and Nicolas Pittet blends perfectly with the sounds of the machines and samples of the leader of The Young Gods, Franz Treichler. The sound triangulates and takes the shape of an /A\. Zoé is an artist who converts the ghosts of everyday life into electric fulgurations on the extreme fringes of pop and rock; Pittet is her drummer, but above all he’s an all-round musician, as comfortable backing Lee ‘Scratch’ Perry’s primal dub as he is

fiddling with electronics (e.g. his project Kera); and of course, Treichler is the well-known leader of The Young Gods, and band that’s been setting the bar since 1986 when it comes to transforming rock by infiltrating its genome into machines.

This diversity of backgrounds, tastes and experiences might at first sight have appeared as a reason to stay apart from each other, but instead it’s proved to be a vector of mutual attraction. What /A\ offers contains no foreign matter: Treichler, Pittet and Zoé’s aesthetics are intertwined through subterranean links that strike by their clarity, like the pieces of a puzzle that is both unexpected and surprising.

It’s through this profound entanglement that the pieces, one after the other, succeed in materialising hitherto unseen faces. They create something new: Hotel Stellar delivers an otherworldly blues, a slow snake that oscillates between the abyss and redemption; We Travel the Light, with its guitars measured in megatons, invents the notion of a steamroller possessed by insane joy; Count to Ten is a wash of restrained melancholy infused with almost Birkin-like touches, which, as the minutes go by, bristles with scratches and sandy echoes, like synthetic dub; The Leaves is yet another strange beast which could be considered as the evolution of a trip hop theme that would have been left to mature for a few decades in the noblest of drums. “It’s red, it’s hot” says Zoé when asked to analyse the record. “You can feel like there’re waves coming at you, but you never really know when.”

eudemonia celebrates its ten release with a seven track Split-EP by Das Muster and Krypton 81. The ‘Intergalaktische Föderation’ EP joins forces of two very unique electro artist. On the A-Side Marcus Mumm aka Das Muster delivers his cold yet emotional style with four truly special and cinematic sounding tunes. The B-Side showcases Martin Stoffregen’s and Per Lind’s Krypton 81 project. The three outstanding tracks explore the darker shades of electro where german vocals meet dystopic elements.

Reinhard Voigt finally delivers the long-awaited continuation of his minimalist concept series on KX with RV 05/06. The series with the beautiful crest-like label and the extremely minimalistic Reinhard Voigt-typical a little surreal, psychedelic and always humorous concept , stands deep in the tradition of straightforward rave and techno productions of the glorious electronic founding era.

Ella Fitzgerald made her mark in the worlds of jazz and scat, and
during the Big Band era was collaborating with the likes of Louis
Jordan, Count Basie and Louis Armstrong. But it was in the
1950's that she really made her mark, with a series of 'Songbook'
albums spotlighting all the great songwriters of the day. It’s been
said that Ella's unique interpretations delivered with a voice so
rich it was like cream in your coffee. Small wonder then that
she'd take a ground-breaking approach when it came to
recording an album of Christmas songs. Ella's Christmas album
was revolutionary in that it wasn't about Christmas in the
traditional sense and would go on to influence pretty much every
Christmas album since, for two reasons: It's really joyful, and it
really swings.

Laura Nyro's third Columbia effort is easily the equal of her previous two. The overwhelming strength of her song writing and distinctive arrangements fuel Christmas and the Beads of Sweat. Her unmistakable style of delivery maintains the continual examination of herself as a performer. The results are uniformly interesting and provocative as she continues to draw upon her love of jazz, folk, and R&B. Conceptually, this album is as potent as her previous effort, New York Tendaberry, but in a much different way. Rather than hanging together thematically, Christmas and the Beads of Sweat features two inclusive and distinctive sides of music -- with different musicians and producers for each. The first five tracks feature Nyro backed by the Swampers from Muscle Shoals, AL, and include the talents of Roger Hawkins (drums), Eddie Hinton (guitar), Dave Hood (bass), Barry Becket (vibraphone), and Jack Jennings (percussion), with Arif Mardin producing. While this pairing might seem initially incongruous, the quintet had been concurrently working with the likes of Dusty Springfield and Cher and had gained a rightful reputation as a consummate backup band. The final four pieces are steeped in noir more atypical of her previous efforts. The all-star cast of New York City session heavyweights are led by Felix Cavaliere (producer) and features fellow Rascals member Dino Danelli (drums), Ralph McDonald (percussion), Chuck Rainey (bass), Cornell Dupree (guitar), Duane Allman (guitar), and Alice Coltrane (stringed harp), among others. As with all of Nyro's recordings, at the heart of this effort are her ageless compositions and arrangements. A motif connecting such disparate tunes as the upbeat "When I Was a Freeport and You Were the Main Drag" to the hauntingly beautiful "Christmas in My Soul" and "Beads of Sweat" is the aching hollowness that came with the disillusionment that Vietnam, Kent State, and racial relations brought upon America in 1970. As she had done with "Save the Country" some four years earlier, Nyro's cathartic expressionism is captured at its most fervent on this album.

Following their critically acclaimed eponymous debut in 2018, international
jazz quartet SCOPES bring their blend of accessibility and adventure to
Whirlwind Recordings for their second album, ‘Age of Reason’.
Led by Austrian drummer Mathias Ruppnig, German bassist Tom Berkmann
and French pianist Tony Tixier, American altoist Matt Chalk makes his debut
with the quartet on this their second full-length release.
The group’s second release is a personal and philosophical reflection on the
pressing matters of a time, when all generations need to come closer together
and become more aware of their surroundings. That feeling of maturity emerges on Age of Reason too - it’s the first SCOPES recording to feature the compositional skills of each member, delivering some thrilling results.
Age of Reason opens with ‘Deep Water’, a Tixier composition that carefully balances drive and expansion in a “dive into the depths of our biggest unacknowledged dreams.” For Ruppnig, the album’s aims are encapsulated by this tune
“the songs have an easy feel, and they’re not too specific - every musician has
the space to have his own voice speak.”
The title track follows with its combination of melodic ease and structural
space, whilst other tracks include ‘Gift of Time’, a tune born from the idea of
how precious time is. Unable to tour or perform, SCOPES used that time constructively to create and explore the new sounds heard on Age of Reason.
Summarising, Ruppnig describes Age of Reason as a “transportation of feelings.
“It’s a very emotional album, and I hope listeners will find their own stories
when listening to it.” SCOPES make that task a pleasant one for audiences of
all dispositions.

The greatest diva of the Netherlands, Fay Claassen, joins forces with gifted
Belgian singer-composer-lyricist and longtime Parisian David Linx on ‘And
Still We Sing’, a magnificent collaboration with the WDR Big Band,
conducted by Magnus Lindgren.
The title of this reunion of Claassen and Linx (they sang together on 2005’s
‘One Heart, Three Voices’) is a paraphrase of one of Maya Angelou’s most famous poems: “...And Still I Rise.” Claassen brings her crystal clear delivery and
adventurous scatting chops to the program, blending beautifully and organically with Linx, a singular talent who has gained notoriety throughout Europe
while still flying under the radar on the United States jazz scene.
Produced by WDR tenor saxophonist (and Claassen’s husband) Paul Heller, ‘And
Still We Sing’ features stellar big band arrangements by Heller, Lindgren, Bob
Mintzer and Michael Abene.

For Alony, every box has long been too small. She proves this with her new
project HOLLYWOOD ISN’T CALLING.
Here she delivers her unique interpretation of “the Spirit of Jazz”, where she
renders poetic and engaging lyrics into energetic modern jazz.

(Deluxe Edition) (translucent tri-coloured vinyl LP + MP3 download code in spot-varnished sleeve)

LP comes in gold foil lamination jacket housing printed record sleeve with 1x translucent gold, black & white insomnia effect vinyl, marketing sticker and free digital download card. The Sharecropper's Daughter Bonus Vinyl contains six new tracks serving as a companion piece to Sa-Roc's already acclaimed Rhymesayers debut, The Sharecropper's Daughter, released in October of 2020. These new songs further showcase Sa-Roc's sharp skills as a lyricist, and her gift for captivating melodies and engaging content, featuring production from Sol Messiah and Evidence, as well as a guest verse from MF DOOM. The lead single for the bonus vinyl, "Wild Seeds" is a lyrical testament to the beauty, mysticism, and wisdom of the elders and ancestors who've guided and bolstered generations of Black women through history's assault and neglect of them. With a title inspired by the sci-fi novel Wild Seed by visionary author Octavia Butler, the song serves as a celebration of women such as Queen Nanny, Harriet Tubman, Sojourner Truth and many others, whose legacies inform future generations of their propensity to bloom under the harshest of conditions. "Just like wild seeds, we remain unfettered and unbroken, adding beauty and immeasurable value to a world that chooses not to acknowledge us," Sa-Roc states, "but our very existence is the only acknowledgement we require." Throughout the songs of The Sharecropper's Daughter Bonus Vinyl, Sa-Roc maintains a concise blend of thought provoking commentary and razor sharp lyricism. On the opening track, "Options", she delivers a raw and searing testimony of the dedicated yet, all too often, underappreciated artist, reminding us to give our flowers to the living while we're still able. "The Great Escape" examines humankind's tendency to try to mask the unsavory elements of our past we're either unwilling or unable to confront head on. Echoing both sentimentality and sorrow, "Reconstruction of the Heart" recalls some of Roc's childhood memories and muses on the many ways in which our earliest experiences can scar, strengthen, and shape the very core of who we'll become. The Sharecropper's Daughter Bonus Vinyl chapter fittingly comes to a close with "The Rebirth", which remarks on the plight of the vulnerable artist and the quest for balance between creative transparency and overexposure. Here, Sa-Roc labors through her discomfort and commits to being brutally honest about the experiences that have informed her expression and made her a better artist. Featured guest, the late MF DOOM continues this line of thinking, offering his own unique observations, "Quick as a quitter will fold, some of what glitters is gold. Same story is old, getting left in the blistering cold. Broken souls get remold with little arbitration. Fortune favors the bold as does incarceration." This bonus vinyl pulls no punches in showcasing Sa-Roc's continual growth as an artist who, as NPR recently put it, "is a modern day griot whose aura radiates calm in a world of chaos."

Atlanta’s The Masamune presents his debut 12″ release on Ohm Resistance – 4 absolute dancefloor controllers, with a special guest appearance from DJ Hidden on remix duties. This self-titled EP is aimed squarely at the next generation of Drum & Bass DJs and listeners, competing for the top step on the production podium. A direct representation of the storied Drum & Bass history of the label, The Masamune wires together his signature traditional symphonic strings and orchestral elements with the hardest hitting modern dancefloor sound. His beats range from half time punishers, in his signature Neuro-hop style, to running and rolling steppers, with a strong hip hop/b-boy influence appearing throughout his produdctions. According to The Masamune: “This project was made almost specifically to serve as a prelude to the full length LP I’m currently writing for Ohm Resistance.” The EP showcases the numerous talents of the artist, as well as crucial amplifications from his collaborators. Including Jakob Klug on artwork (previously work includes Black Sun Empire and The Outside Agency) and The Netherland’s legendary DJ Hidden, who has remixed the closing track – Doomslayer. The Masamune comments: “I consider DJ Hidden a pioneer and an early influence of mine. He was gracious enough to lend his talents on the remix of my 2018 track “Doomslayer”. The Masamune is a multi-genre producer, remixer, & live act from Atlanta, GA. A composer and sound designer known for his niche style of blending orchestral elements into the chaotic palettes of hard drums and heavy synths, his tracks explore dark themes and deliver punishing consistency. A top-flight production ethic combines with rich exploration of the dark side of Drum & Bass, his works are an automatic dancefloor uplifter in the hands of skilled DJs. He has released on Harder & Louder, Mindocracy, Smackdown Recordings, and was a participant in the Ohm Resistance 7″ series, as well as an annual contributor to the Perihelion compilation series.




d B2 Doomslayer DJ Hidden Remix

Continuing to deliver Sounds From The Void, XVI Records are proud to welcome London based Producer Delonte Rivers back to the label, with his brand new EP ‘Delonte In Dub’ Having previously released his ‘Midnight Congas’ EP back in 2018 (as well as a slew of edits and releases with Banana Hill, Love Above Recordings and more) Delonte now channels an elevated state of consciousness into a new dubbed out, subterranean sonic offering.

Returning with the galvanising track ‘Rise Again’, Delonte enlists the vocals of Sir Moon (also the voice of local hellraisers Muckspreader) giving a furious manifesto on the state of the union. Psyched out guitar stabs reverberate ripple across a turbulent sea of low end frequencies, as a rock-steady rhythm section holds the line. ‘Dub Again’ unsurprisingly strips back the original into a state of ethereal and reverb soaked hypnosis. ‘Cosmic Frequencies’ bring a cosmic slice of bass weight, whilst ‘One For Road’ injects a surreal, eerie atmosphere into the proceedings. This record is one for a hazed-summer in a strange dystopian world.

The music that would become Conversation Peace began with a trip to KPM’s London HQ in late January of 2020. I had just finished wrapping up post production on my album Ocean Bridges with Archie Shepp and Raw Poetic. I actually received the invitation during the summer of 2019 during studio sessions for Ocean Bridges and scheduling for the top of 2020 made the most sense. So I packed up a few records and a few drum machines then embarked on my first trip to England. We had a quick meeting about expectations, then it was time to see the archive. As a record collector, I’m very familiar with the legacy of the KPM brand. I had been lucky enough to find a few over the past decade during my digging trips up and down the east coast, but looking at the complete vinyl catalogue was a great privilege. I anxiously began combing through records from morning to night looking for the right sounds. The whole experience was surreal.



Listening to the entire catalogue was a history lesson and the amount of great composers and compositions in the recordings was endless. I’d be lying if I said it wasn’t somewhat overwhelming. As a producer looking for textures, inspiration and grooves, the abundance of those things made it extremely difficult to narrow down what I wanted to use. From drums to sound fx to orchestras to small rhythm sections to ambient noises, I heard a wide variety of things and they were all so well produced and recorded. Every instrument you can think of was there! I spent a little over a week capturing sounds knowing that my work was cut out for me when I returned to my home in DC. Once I got home, I got to work. I captured so much, that it took me about a month just to organize all those ideas. Little did I know the world would drastically change in the next month following my return. My flight to and from London would indefinitely be my last time traveling for a while. I worked diligently with the material and took my time making sure I had strong ideas. The history of KPM and the opportunity to collaborate with the prestigious lineage made the stakes very high for me and I knew I needed to deliver a quality product. It’s an honor to be the first artist to release a KPM Crate Diggers title. - Earl Davis (Damu the Fudgemunk)

Furious debut from Kesa Getame. Precision drum programming and remorseless, uncompromising swing across four battle-ready tracks. It's music situated within dystopia, no doubt, but associations with only cataclysm and dread seem superficial. Vicious euphoria feels more appropriate, and it delivers this within a cutting-edge framework that manages to balance meticulous detail and raw expression whilst making it all sound effortless. Serious business.

Recorded over five nights at Nashville’s historic Ryman Auditorium, Los Angeles’ cutting edge Ace Theatre and the legendary Newport Folk Festival in Rhode Island, the songwriting superstar delivers a masterclass in Roots music -- from Rock, Pop, Gospel, Blues that is psychedelic in places and Country in others -- as well as friendship and the joy of being alive. Joined by friends, influences and rising stars such as Brandi Carlile, Emmylou Harris, Jason Isbell, Lucius, Maren Morris, Natalie Hemby, Amanda Shires and Stevie Nicks, LIVE FROM THE RYMAN & MORE captures a zeitgeist of knowledge, power and the rapture of utter freedom stretched over some of the tersest playing this side of The Rolling Stones. RADIO: BBC Radio 2 Play, Absolute Country, Chris Country, Downtown Country, Smooth Country. TV: ITV This Morning. PRESS: Country Music Publications. TW: TW: 327.9K, FB: 2M, IG: 297K. Available as a 2 CD and a 4 LP in double capacity gatefold jacket vinyl (available 03/09/21).

Nu-Disco hero HP Vince delivers the goods once again with his new disco house workout ‘Came Here To Party’.

The beat grooves along with its rump shaking funky bass line, soaring strings, hooky brass section and female vocal.

Trademark HP Vince quality assured. Made to play, play to dance.

Taken from the album “High Fashion Dance Music Vol. 5.

marbled 12" Vinyl

Seamless to our first release of the Stone Techno series we are presenting the second edition of this unique concept. Each artist has been given a sample library consisting of recorded minerals from the Ruhr Area. The task was pretty clear, to create a track exclusively out of those sounds. The results are remarkably differing from each other and showing the huge creative potential of this project, which is a collaboration between the world famous Ruhr Museum foundation and The Third Room collective.

While Matrixxman delivers us an ambient driven masterpiece, RODHAD shows us his impeccable skills to create an ever-evolving tension in his dub techno influenced approach. Yan Cook on the B-Side is exploring the full potential of those samples to honor the industrial era and its machines, while T3R-Resident VNNN. is hailing with his hypnotic grooves the late hours of an extensive musical journey.

We hope you enjoy this imposing line-up of artists and its different styles within the release. There is more to be coming. Stay tuned!

The music that would become Conversation Peace began with a trip to KPM’s London HQ in late January of 2020. I had just finished wrapping up post production on my album Ocean Bridges with Archie Shepp and Raw Poetic. I actually received the invitation during the summer of 2019 during studio sessions for Ocean Bridges and scheduling for the top of 2020 made the most sense. So I packed up a few records and a few drum machines then embarked on my first trip to England. We had a quick meeting about expectations, then it was time to see the archive. As a record collector, I’m very familiar with the legacy of the KPM brand. I had been lucky enough to find a few over the past decade during my digging trips up and down the east coast, but looking at the complete vinyl catalogue was a great privilege. I anxiously began combing through records from morning to night looking for the right sounds. The whole experience was surreal.



Listening to the entire catalogue was a history lesson and the amount of great composers and compositions in the recordings was endless. I’d be lying if I said it wasn’t somewhat overwhelming. As a producer looking for textures, inspiration and grooves, the abundance of those things made it extremely difficult to narrow down what I wanted to use. From drums to sound fx to orchestras to small rhythm sections to ambient noises, I heard a wide variety of things and they were all so well produced and recorded. Every instrument you can think of was there! I spent a little over a week capturing sounds knowing that my work was cut out for me when I returned to my home in DC. Once I got home, I got to work. I captured so much, that it took me about a month just to organize all those ideas. Little did I know the world would drastically change in the next month following my return. My flight to and from London would indefinitely be my last time traveling for a while. I worked diligently with the material and took my time making sure I had strong ideas. The history of KPM and the opportunity to collaborate with the prestigious lineage made the stakes very high for me and I knew I needed to deliver a quality product. It’s an honor to be the first artist to release a KPM Crate Diggers title. - Earl Davis (Damu the Fudgemunk)

‘Concordance’ is Susan Howe’s and David Grubbs’s fifth album in the
fifteen years of their unexpected and richly satisfying collaboration. Here
they’ve pared down their materials to voice and piano, aspiring to the
hushed intensity of their live performances. What had previously resulted
from Grubbs’s recomposition of recorded materials now arrives as
unadorned duo performance.
“Howe is a poet who has spent her career reminding us that our
experiences of meaning and sound are synchronous.” - Tess Taylor, The
New York Times
‘Concordance’ is Susan Howe’s and David Grubbs’s fifth album in the
unexpected and richly satisfying collaboration that began with ‘Thiefth’
and includes ‘Souls of the Labadie Tract’, ‘Frolic Architecture’ and
‘WOODSLIPPERCOUNTERCLATTER’. Where these works feature the
fragmentation and multiplication of Howe’s recorded voice - in a style
akin to her celebrated text collages - with ‘Concordance’ they’ve pared
down their materials to voice and piano, aspiring to the hushed intensity
of their live performances. After fifteen years of working together, the
subtleties of inflection and interaction that previously resulted from
Howe’s nuanced delivery and Grubbs’s composition using recorded
materials now arrives as unadorned duo performance.
One of America's greatest living artists, Bollingen Prize-winning poet
Susan Howe’s text for ‘Concordance’ originates in a collage poem of the
same name published by Grenfell Press, which then became the title
work in her most recent book, published to acclaim by New Directions in
2020. She has continued to rework the text for this performed version,
incorporating material from her 2015 book of essays, ‘The Quarry’. Her
source material is scissored from print concordances of the poetry of
Milton, Herbert, Arnold, Browning, Dickinson and Coleridge, as well as
old field guides to birds, rocks, trees, moths and mushrooms; Howe’s
fiery commitment to placing these echoes of the past in dialogue with the
present speaks to her position as one of America’s essential artists.
David Grubbs is Professor Of Music at Brooklyn College and The
Graduate Center, CUNY. He is the author of ‘The Voice in the
Headphones’, ‘Now that the audience is assembled’ and ‘Records Ruin
the Landscape: John Cage, the Sixties, and Sound Recording’ (all
published by Duke University Press) and, with Anthony McCall,
Simultaneous Soloists (Pioneer Works Press). Grubbs has played in
Gastr del Sol, The Red Krayola and Squirrel Bait and performed with
Tony Conrad, Pauline Oliveros and Will Oldham, among many others.

Fresh one on Music With Soul - a channel for hot 7"s that always fly out here. TIP!

"Two and a half frenetic minutes that sound like Aphex Twin and The Incredible Bongo Band dancing Capoeira in the early hours of an illegal rave, somewhere in the deep amazon forest. After the success of his first solo 45, Alex Figueira comes back to the aesthetics of the early Fumaça Preta, with an utterly bonkers 45 that can only be described as an “in-your-face acid macumba techno breakbeat funk freakout”.

The flip side contains a haunting Psychedelic ballad, with the sweet vocals of Maddie Ruthless, from NY’s leading Lovers Reggae sensation, The Far East. Equally trippy and beautiful, the soothing sounds of the Wurlitzer piano and the electric sitar will be bouncing in your head for hours after first listen. The kind of song that finds collectors dropping eye-popping sums, decades after the original release. Guarantee your retirement now by getting a few copies! The song “Maracas” is the main theme of the movie “Maracas, tambourines and other hellish things” directed by fellow record nerds Matteo Fava and Dave Potsma. They managed to convince Figueira to play the main character, and later on, to do the complete music score. The movie tells the story of a struggling underground musician / part time record store clerk, whose music career is basically going nowhere until an improbable encounter gives his life a dramatic turn. They asked Figueira to give them something with “a fresh tropicalized take on Blacksploitation”. One might argue, after listening to the insanity carved on the grooves of this piece of vinyl, that he certainly did deliver.

The characteristic mix of synthesizers and heavy percussion used by Figueira in almost all his projects, gains here a somewhat freer dimension, embracing the chaos openly, without ever neglecting the groove, nor the ancestry axis. Values that are at the core of the label. Even while laying down all the instruments himself, Figueira has managed to capture the same out of control tropical psychedelic spirit of his former band, Fumaça Preta. Fans of the group’s outfit will certainly be rejoiced by this new release.

The flip carries “Grasping & Wishing”, an evocative Psych ballad that retains the same tripped-out flair of the A side, while slowing down the tempo considerably with a decidedly african 6/8 beat. Sung by New Orleans’ own “Rocksteady Queen”, Maddie Ruthless, stepping out of her classic Reggae background, to grace the track with her beautiful voice, permeating the issues of belonging, doubt and introspective reflection portrayed in the lyrics, with a thin layer of exquisite fragility that will comfort your ears.

The production includes a significant number of sound effects, ranging from different types of percussion performed with liquids to bamboo flutes of different sizes and several layers of multiprocessed electric Sitar tracks. Listen carefully and you will discover new sonic nounces every time you put the record on."

repressed !

Perfect Big/Room Techno, I am pleased to introduce our new member Cleric for ARTS007,
He delivered something very special and unique for our seventh release, 4 weapons that will change the cards on the table, anytime and anywhere.

According to the artist himself, zake's first solo album of 2020 was recorded and produced during "a four-day excursion in several secluded areas" in South Carolina. As a result, listeners can expect to hear babbling brooks, birdsong and the gentle rustling of leaves beneath Zake's alluring mixture of enveloping ambient chords, unearthly drone tones, opaque electronics and slowly-shifting, heavily processed neo-classical movements. The results are hugely immersive and undeniably enjoyable, with each of the four tracks delivering a head-in-the-clouds journey that ripples with becalmed, atmospheric intent. In other words, it's the kind of ambient music you can get lost in. More please!

Grey Marbled Vinyl

Two well-known Techno producers team up anonymously with the vinyl-only project ROMPAX, delivering an all-pervasive.

Repress

Second release on Nina Kraviz (pronounced 'trip') label is another double-EP compilation this time entitled 'De Niro Is Concerned'.

'The idea of this compiled album/concept compilation is about one of those moments when you suddenly realise that you can't continue as you did before and there is no way back. I was in a 4am facebook chat with Reynier (Deniro) and we both thought Robert De Niro might have had a moment like that. Most of the tracks in TRP002 are live recordings, which is a key part of the label's concept: to release music that is abstract and very specific in texture, yet very human, unplanned and organic, because I really believe in music that captures the emotional moment of when it was made." Nina Kraviz

Featuring a great introductory track from the Icelandic wunderkind Bjarki, a superb collaboration between Nina and the seminal Exos, the legendary Steve Stoll delivers a brilliant acid groover, two classic techno tracks from Amsterdam based Reiyner Hooft AKA Deniro, the wonderful trance induced 'L'Importance De Doute' by Parrish Smith, a slice of melancholic techno from Nikita Zabelin and a welcome re-release of the legendary, highly sought after secret weapon Barcode Population - Barcode Population (which will be on the vinyl only) . An eight-track no-holes barred barnstormer of a double-pack.. !!

Jorja Smith returns to announce a new 8-track project. ‘Be Right Back’ is due May 14th and is the first body of work from Jorja since her 2019 critically-acclaimed, Mercury Prize nominated debut album ‘Lost & Found’, for which she won her second BRIT Award for ‘Best
Female’ and earned herself a nomination for ‘New Artist’ at the GRAMMY Awards.
The project finds Jorja delivering some of the most emotive and imaginative songs of her career. Over string-heavy production, she unveils a collection of songs that are diverse in their range but still extremely cohesive as a body of work - “It’s called be right back because it’s just something I want my fans to have right now, this isn’t an album and these songs wouldn’t have made it. If I needed to make these songs, then someone needs to hear them too.” - Jorja says of the project.
To coincide with the announcement, Jorja is sharing new single ‘Gone.’ Highly anticipated,
Smith states that “There’s something about being able to write about one thing and for it to mean so many different things to others. I love that this song, well any of my songs really, will be interpreted in different ways, depending on the experiences of the people listening.
This one is just me asking why people have to be taken from us.”
‘Gone’ follows in the footsteps of Jorja’s stunning March release ‘Addicted’, which also appears on ‘Be Right Back’, alongside 6 additional unheard tracks including a feature from
rising South London rapper, Shaybo on track 3, ‘Bussdown’.
Over the past three years, Smith has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through the world. Smith has graced multiple magazine covers,
performed at awards ceremonies and on late night TV, and sold out shows across the globe, now surpassing over one billion global streams. Her 2019 hit single ‘Be Honest’ featuring Burna Boy has become her biggest song to date at almost 250M streams worldwide. Smith continues to hone her craft and ‘Gone’ serves as a much-anticipated prelude for the release of ‘Be Right Back’ on May 14th.

New York City 4-piece deliver a modern blues rock masterclass on their feisty debut album.

“A timeless classic rock sound that revels in lean riffs and raw emotion.” – Afropunk

In an age where artistic merit is awarded to those who shout the loudest, Dakota Jones pride themselves on an unwavering ability to leave a lasting impression. Spearheaded by Tristan Carter-Jones fierce and unashamedly uncensored songwriting, the band’s fast-growing reputation as formidable live act has stamped Dakota Jones with the hell-hath-no-fury power of Chaka Khan, the wild spontaneity of Janis Joplin, and the honey-dripping sensuality of Marvin Gaye. Their debut album’s message of proud black heritage and triumphant queerness manifests itself in Carter-Jones’ ability to challenge norms of adulthood and femininity as she takes a deep dive into some of life’s most visceral emotions.

Tristan Carter-Jones: “I’m a black, queer woman expressing myself through love and music. Some folks still find that to be a transgressive act in and of itself. I work to fight that idea. I write a lot about my
Continued over…
sexuality and the ways in which I express it. Songs about sex and love bounce back and forth between songs about heartache, hangovers and self-medication, and the pleasure and pain of truly finding yourself. I don’t think we get to hear these things from a woman’s mouth as often as we should.”

Serving as an instant tone setter, the album opens with the line "Stretch marks from growing pains" with Carter-Jones lamenting the woes of adjusting to adulthood on lead single ‘Did It To Myself’ - her husky and commanding vocal instantly asserting its place in the spotlight. The atmosphere soon turns steamy on the flirtatious title track ‘Blacklight,’ whilst fantasising over a modern-day Bonnie & Clyde love affair the funk-laden ‘We Playin Bad Games’ packs a punch with its tale of free spirits entwined in a haze of late-night revelry.

Elsewhere, stories of caustic heartache twist the knife into wounded blues guitar riffs on ‘Like That’ and ‘Black Magic (That Power)’, in which Carter-Jones’s stoical voice never once faulters as she mourns the memories of a previous flame. Personal prayer ‘Lord Please’ recites empowered words of reassurance, and solidarity in the face of injustice erupts into a rallying cry for change on the classic sounding ‘Noise’ – written as a reaction to the 2016 US election. “I woke up after the election feeling pure panic and fear in my body,” remembers Tristan. “I wanted people in a place of privilege to stand up for what I was feeling, stand up for injustice, stand up for all of the things we need to change as a country. I wanted their rage, and I wanted their noise.”

Finally, the band’s tender tropes of togetherness eventually boil into gritty, guitar-slung balladry on hidden bonus track, ‘California,’ where, knees buckling under the weight of past trials and tribulations, Carter-Jones sets out on one final journey of self-discovery, hastily pulling out from reality and leaving only a dust cloud in her wake.

Production comes courtesy of the Grammy-winning John Wooler, ex Virgin Records A+R and founder of the Blues label Pointblank who has worked with everyone from John Lee Hooker and John Hammond to Isaac Hayes and Van Morrison. The album also features a wealth of hugely talented and accomplished musicians, including backing vocalist Kudisan Kai, former backing vocalist for the likes of Elton John, Chaka Khan, Anita Baker, Natalie Cole, Beck, Sting, Mary J. Blige and Jill Scott. Also present; Grammy winning keyboardist Jon Gilutin, who has spent years working with some of the industry’s most respected and iconic artists including Linda Ronstadt, James Taylor, Lady Gaga, Willie Nelson, Aretha Franklin, Diana Ross, Jackson Browne, Celine Dion, Bonnie Rait and Carole King. You’ll also hear the talents of acclaimed guitarist Michael Toles. Most well-known for being a part of the Stax Records group The Bar Kays, and for his contributions on famous records by Issac Hayes, Al Green, BB King, Johnny Taylor, Rufus Thomas, Albert King to name just a few.

Dakota Jones are a rising funk, soul and blues rock band from Brooklyn, New York City. Comprising of Tristan Carter-Jones (vocals), Scott Kramp (bass) Steve Ross (drums), and acclaimed musician Randy Jacobs (guitar) - former member of Was(Not Was) who has recorded for Seal, Bonnie Raitt, Tears for Fears, Elton John and many others. Though Carter-Jones and Ross first met in 1999 whilst at primary school, the band formed years later following a series of home jam sessions in 2016. The band’s collective alias originates from Carter-Jones’s middle name, ‘Dakota’. Dakota Jones have since released a string of acclaimed singles and EPs as well as received international attention for their track, ‘Have Mercy’ after it featured on Netflix’s 2019 film, Always Be My Maybe starring Ali Wong and Randall Park – and now after years of hard work and determination, the band are finally set to reveal their long awaited debut album. “We’d been regularly releasing EPs, waiting for our chance to come, and wondering what that would look like,” says Carter-Jones. “We didn’t realise until we started making this record that we needed to stop waiting for some break to come along, and just do it ourselves, independently.”

“Black Light really dives into a place of funk soul and everything that comes with it. There’s joy and dancing, sleek guitar licks and funky bass slaps. There’s pain and longing, and there’s the feeling of relief when you come out of that place and find your joy and purpose again. Black Light is my story.”

Grey Vinyl

Nous'klaer presents their summer sampler of 2021! Eight hot tracks by new and known names on the label, to celebrate their 50th vinyl release. Starting with the haunting opener Faded Red by Djoser, to a deep techno cut of Pugilist and straight onto RAFF's banger Yeye. Floid debuts with his pumping 4x4 tune PJEE, and Panda Lassow delivers her signature trippy wonkiness that evolves into an addictive rave climax. The last tracks see Konduku and Oceanic making a return to the label with what they do best - and closing is the dubby debut track from Animalia's label owner Kia. Comes in silver vinyl and artwork, designed by Woody92.

Two powerduos in charge for SPT005: Norwegian artist Filip Storsveen alias Oprofessionell teamed up with local buddy Mikkel Rev - as Omformer - and Vienna based producer Alpha Tracks - as Kineta - to deliver four cosmic Trance tunes for intense dancefloor moments.

The trackname B2 Kineta - Clone Drone has been changed to Carbon Based - Cyclone (Kineta Remix) for copyright reasons.

This very one Lost Boy from Brazil washed ashore the Lowlands' 'Finis Terrae', a produce of first-generation 'Shock Doctrine' and a real 'carioca' borne on the New World's 'Bossa Nova' and 'Esplendor Geometrico' of old 'Ancien Regime' para-military junta hat delivers quite some maximally dark and manic minimal wave of late, at times even slightly reminiscent of Siouxsie and the Banshees and of Joy Division, and all sung through old and charming, slightly dissonant 'Samba' melody lines vaguely hailing from certain sinister up-hill 'Cicade de Deus' margins of a distinctly distant 'Vagamundo' Purgatory past in either the Portuguese, the English or the Spanish tongues, rendering the paranoia 'facsimile in Limbo' of the coming Futurist Global Orderly State, this deep-state 'Novo Estado Novo' within the current 'Nova Bossa Nova', this 'Guerra Nova Prometheida por uma Terra Nova Prometida', the World's Electronic New Wave 'Fado' of Digital Panopticon and similar forms of purely A.I.-bot-generated (nothing personal!) Totalitarian Torture 'Technique du coup d'Etat' in genuine random numbers as already foreseen and shown to all some long time before in the Magic Green on that 'Funky Dollar Bill', 'Novus Ordo Seclorum'... Mastered by Guy Tavares

Like any good party, there's an after-party. What, you didn't think we'd keep it going? C'mon.

We began this one with Jacques Renault's Sky Islands, a full-length album that sought to achieve euphoric disco delight within a wonky conceptual framework; it's his late-night live DJ sets in spirit, organized like a 70s or 80s vinyl megamix or public-access radio program, but comprised solely of a couple dozen originals he crafted in the studio, most of them being wrapped up during the summer and fall of last year.

Of course, we realized delivering such an experience, where no “song” is more than about 90 seconds, would do nothing for the working DJ, unless the working DJ is looking to nod off for thirty or take an extended bathroom break. Thus, Coast to Coast, a 12-inch that collects seven of the songs from the LP—in full- length, special-disco-mix, club-ready form.

This EP will be followed by more long-form cuts, as well as additional goodies. There will be an after-party for the after-party.

NIGHTMARE VACATION vinyl will be released on 27th August via Atlantic Records/Sugar Trap. The genre-defying album features 16 captivating tracks, each showcasing Rico’s out-of-this-world energy and rockstar delivery, complimented by production from the likes of CashMoneyAP, Buddah Bless, Dylan Brady (100 Gecs) and more.

“I feel like this album proved to me that no matter what I’m going through, I can still make powerful music. All of these songs that I ever made were always about power, always about making you feel powerful. Sometimes you give so much power you feel powerless…I just tried to put all the emotions, and the happiness, and the crazy feelings y’all make me feel in this music and give it right back to you to consume and get your power up. So this is a soundtrack to getting back on your shit!” – Rico Nasty

NIGHTMARE VACATION has already drawn early acclaim via a number of international and domestic press looks, ranging from NME, WAVE and CRACK to Rolling Stone, The New York Times, W Mag and more. The album – which includes features from such luminaries as Trippie Redd and Aminé and production also by Take A Daytrip (Lil Nas X, Sheck Wes, Kid Cudi), Avedon (Roddy Ricch, Chloe x Halle), GRAMMY® Award-nominee Tay Keith (Travis Scott, BlocBoy JB, Drake) and longtime collaborator Kenny Beats – is highlighted by the singles, “IPHONE,” “Own It,” “Don’t Like Me (Feat. Don Toliver & Gucci Mane),” and “OHFR?,”.

NIGHMARE VACTION further follows the release of ANGER MANAGEMENT, a collaborative project with longtime producer Kenny Beats which followed the duo’s work together on Rico’s breakthrough 2018 Atlantic Records/Sugar Trap label debut, NASTY.















[o] 15. Smack A Bitch (feat. ppcocaine, Sukihana & Rubi Rose) [Remix]

An Aural & Visual Cinematic Live Experience
“Everything from the stage to the sound to the visuals were killer... a
beautiful two-hour venture. TesseracT should be very proud of themselves
for delivering such an immense quality of work for their fans during these
unfortunate times” - Metal Insider
Following on from 2018’s critically acclaimed studio album, Sonder, the band,
in the midst of a global pandemic decided to come together to present P O R T
A L S - a cinematic live experience like no other. The band took livestreams to a
new level by interspersing a conceptual storyline with their live performances
that featured a colossal and highly spectacular arena-style light show.
TesseracT are a band that sit outside the bounds of any genre specificity, pioneers of the ever-evolving rock and metal scene, with an unstoppable force of
off-kilter riffs, soaring melodies and disorientating atmospherics.
They put all of this into the December 2020 event that featured the band
performing songs spanning their entire catalogue. Highlights included “Nocturne” off their 2010 debut EP, Concealing Fate and continued with “Eden”
(One, 2011), “Of Matter” (Altered State, 2013), “Tourniquet” (Polaris, 2015),
and “King” (Sonder, 2018), with the whole performance capturing 14 songs
over 2+ hours.
Bass player Amos Williams explains more about the event and the concept
behind it: “P O R T A L S is a celebration of our love of performing. Each act is a
still from an ever-evolving musical personality. Each song is the conversations
you have with old friends when you meet up for the first time in ages and you
pick up exactly where you left off.”
Along with the release of the livestream event, the band will be playing their
first live shows in almost two years this November and December supporting
Trivium in the UK and Europe, as well as returning to North American shores
in 2022.
“The quality of the audio and visuals provide testament to TesseracT’s statement that the performance represents their biggest production to date” - Prog
/ Louder Sound

Only Up is the second Breeze album by producer and artist Josh Korody
(Nailbiter, Beliefs).
Enlisting a whirlwind of performances from Tess Parks, Cadence Weapon and
an array of the Toronto music scene, including members of Orville Peck, Tallies,
Vallens, Zoon, Sauna, Fake Palms, Rapport, Praises, Civic TV, Moon King, Blonde
Elvis, For Jane, Ducks Ltd, TOPS and Broken Social Scene. Only Up sees Korody
digging through and channelling three decades of anthemic British bands.
From the angular guitars of late 70”s post-punk (Gang Of Four, Wire), to the
lush gloom of 80’s electro-pop (Tears for Fears, OMD), with the dance floor
psychedelia of the Manchester sound (Primal Scream, Happy Mondays), and
through the late ‘90s and early 2000s post-punk / new wave revivalists.
When originally tasked with making this album, Korody and his long time music collaborator Kyle Connolly (Orville Peck, The Seams) quickly threw down
ideas in a session, however with Connolly embarking on a world tour, and with
Korody’s demanding schedule at his Candle Recording Studio, the project sat
unattended.
Somehow, by the time of the album’s delivery deadline, Korody not only orchestrated a creative ensemble of friends and collaborators, he wrote, recorded and mixed the entirety of the album in two weeks without a single regret
or compromise.
“It was the best way I could have done it. A strict deadline to make decisions,
move on and focus on things that matter the most. Every decision was made in
that headspace. The ease of technology to endlessly tweak with, it sometimes
can end up destroying records until there is no soul in it, no happy accidents
and it’s completely sterile. You can have a well produced record without going
down that dark rabbit hole.” Only Up is out via Hand Drawn Dracula.

TONY DRAKE – was a Philladelphia-born singer/songwriter who wrote and performed the Philly classic “Living In The Footsteps Of Another Man”, a favourite of Brunswick writer/producer Eugene Record who scored a hit with the song as lead vocalist with the Chi-Lites. Record had earlier co-written and produced “Suddenly” for Drake in 1970 which, although it stalled at the time, has become an anthem on the UK modern soul scene with demand and prices continuing to rise.
UNISSUED BRUNSWICK – This 1968 recording by Gene Chandler is a million miles away from the contemporaneous “There Was A Time” featured on our previous disc. It is, however, a fabulous slice of Windy City Soul in a Curtis Mayfield style. Chandler delivers a smooth and impassioned vocal over a finger-clicking crossover arrangement making this vinyl debut the perfect-partner to Drake’s awesome beater.

Leeds art-rock outfit Mush return with new single "Peak Bleak" on limited edition green vinyl. Never ones to rest on their laurels, Peak Bleak is the immediate follow up to their hugely acclaimed second album "Lines Redacted", and sees Mush further exploring the outer reaches of art-rock with the coruscating wit and unique delivery that has become their trademark.

Sammy Virji returns with ‘We’ll Be Alright’, an EP
full of summer heaters just in time for impending
freedom and the promise of a return to the
dancefloor.
Hot off the back of his triumphant debut album,
‘Spice Up My Life’, and energetic Shift K3Y collab
‘Runaway’, Sammy announced the EP with
‘Alright’ (ft Lucy Virji), an optimistic sizzler
characterised by his now signature skippy 2step
production.
Virji’s bass-driven production is now a staple in the
NUKG scene. ‘We’ll Be Alright’ satiates pop’s
recent appetite for modern Garage and cements
his ability in delivering yet another project set for
crossover success.
Sammy has been championed across the board,
from the likes of Annie Mac, Jack Saunders,
Toddla T, Mistajam and Majestic, achieved Top Ten
status in the UK Dance Albums chart and is now
streaming in the millions across all platforms.
Yellow vinyl 12” housed in a clear PVC bag
featuring hidden track ‘Quarantine Done’, a fan
favourite set for release by popular demand
following various plays on online DJ streams
throughout the pandemic but, as yet, unannounced
as appearing on the vinyl product.

Horse Meat Disco deliver the latest single from their acclaimed debut album ‘Love & Dancing’, this time made in collaboration with NYC group The Phenomenal Handclap Band. ‘Sanctuary’ sees the quartet at their disco dancefloor-ready best, as The Phenomenal Handclap Band provide a dose of deliciously cool nonchalance. Fuelled by hefty analogue muscle, funky guitar riffs, 70s synthesizers and glowy vocals ‘Sanctuary’ makes for an irresistible modern disco number. Ray Mang makes an appropriate remixer for the package, his amalgamative style of boogie, disco, dub and house a perfect fit for Horse Meat Disco and The Phenomenal Handclap Band’s collaboration, providing both a remix and Dubstrumental for the package. ‘Sanctuary’ is an unmissable release for any modern day, discerning disco listener that you’ll want to hear again and again.

After taking some time off due to the pandemic, Moteur Ville Musique fires up its engine and delivers a roaring vinyl only release just in time for summer.

Side A kicks off with a sensational remix by Mike Shannon as he takes us on a journey of grinding psychedelic funk. The Mole switches it up and delivers a chuggy groover that is strictly for the heads, if you know what I mean.

Side B begins with a deep, hypnotic, psychedelic remix by New York phenoms J Gabriel and Chuffy Buffy. And closing things off, Detroit hometown heroes Ataxia kick in to overdrive with a true techno banger with their Re-dub that screams warehouse rave! The sound of summer is here!

Robert Fleck makes his return after a lengthy spell on the side-lines, delivering a stellar EP packed with genre-bending purlers. Limited pressing!

Maybe We Never Die, Anderson East's third release for Elektra/Low Country Sound takes the Alabama born, Nashville-based singer-songwriter’s seductively vintage voice in a decidedly fresh direction. The 12 tracks flow together with an overarching sense of ambience but maintain distinct musical boundaries. The energy toggles between a hunger for vulnerability in togetherness and a clinging to solitude as a romantic self-defense. There is consternation with the speed and volume at which the world operates and solace to be found in the simple act of getting up and going. And the beguiling title track, with its woozy strings swirling around East’s celestial falsetto as it curls towards the ceiling like smoke is, as they say, a whole mood; a sense of a single night’s dusk-to-sunrise contemplation. Collaborating once again with Dave Cobb along with longtime bandleader and now co-producer Philip Towns, East has found an enticing new avenue, one that maintains a connection to his past but keeps his eyes on the road ahead.

Maybe We Never Die is East's first new music since 2018's breakthrough album, Encore, which featured the Grammy-nominated #1 AAA radio single, "All On My Mind." Heralded by critics, The New York Times praised Encore as, “…an often lustrous revisiting of raucous Southern soul, rousingly delivered and pinpoint precise. He has a voice full of extremely careful scrape and crunch, but his howls never feel unhinged," while Rolling Stone declared, “On Encore, East’s influences meld seamlessly, stacking the album with Stax-worthy R&B grooves, gospel-blues ooohs and aaahs, surging keys and blasting brass.” Known for his magnetic live performances, East and his band have performed sold-out shows worldwide and have been featured on ABC's "Jimmy Kimmel Live!," CBS' "The Late Show with Stephen Colbert" and "CBS This Morning Saturday," NBC's "TODAY" and "Late Night with Seth Meyers," PBS' "Austin City Limits" and more.

More than an obscure curiosity, Ex Vitae played its part pretty well during the heydays of the 70’s French underground music scene. Led by René-Marc Bini & Jean-Marc Philippe, the band mastered its own way of delivering fusion jazz where eclectism and forward thinking were perfectly blended into an insanely precise groove. Their unique album was self -released in 1978 and has been feverishly sought-after ever since. Let Replica grace you with a piece of crazy music done the French way with this original first time reissue!