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John Murry’s third album is starlit and wondrous, like being wrapped in the softest black velvet. It’s an album of startling imagery and insinuating melodies, of cold moonlight and searing heat. It’s a record that penetrates to the very heart of you, searing with its burning honesty, its unsparing intimacy and its twisted beauty.

‘The Stars Are God’s Bullet Holes’ is not an album for an ordinary world, because it’s not an ordinary album. It’s an album to dive deep into and submerge yourself in, and to emerge from aware that this world is a remarkable place, and that John Murry is a remarkable artist.

Proper reissue of Ikebe Shakedown’s 2nd 45 Colemine is finally here! Newly remastered and now being pressed at Gotta Groove, the mid-tempo funky burner “No Answer” was an absolute standout track from their debut EP, Hard Steppin’. The flip features the same song, “No Answer”, done by labelmates The Jive Turkeys for a BATTLE RECORD SPECIAL!

At the center of Dadub's SA020 lie the myths of the ancient Greek goddess Demeter - her search for daughter Persephone, the drink at the Eleusinian Mysteries ceremonies in her honour, and the fungus which gave the drink its psychoactive properties. The opening track is 'Mistresses March', a thumping narrative of Demeter's search for her abducted daughter Persephone. At the fundament lies a test of a new generation VST - 'Diachronic' - which is used to manage audio samples. The textures which merge during the near 12-minute march scrape and plummet, raining down upon the ominous marching band beat. This is an odyssey, unhappy and unflinching. Based on the handmade modular synth system from Nicola Buono and Lino Monaco, the representation of ceremony drink 'Kykeon' is on one hand a flowing narrative and on the other a demonstration of intense artistic scrutiny: a perfect, unremitting thud. There is, at five minutes, a subtle key pattern, light but not impermanent under the cacophony of chaos. This is indicative of the ceaseless self-examination. Little details, significant differences. Powered by a sound and groove generator invented by Daniele de Santis (Grün), 'Ergot Kernel' is a chemical cauldron. It's a beat continuously emerging from the undergrowth; an imperious column rising; a train ploughing on, coursing through an arid landscape. Conversely, the atmosphere is bright, full of electricity and warmth, with moisture descending. Dadub's SA020 is a journey through a Greek myth, with textural magnificence and technological innovation.

Stroboscopic Artefacts is releasing its latest addition to the forward leaning edge of electronic music with the Totem series. Unfurling as a chain of transparent 10' vinyl, each of the Totem releases will have a subtly divergent take on the aesthetic space defined by techno and club culture. Totem continues investigations previously established by Stroboscopic Artefacts, namely the relation between sound and material object, spatiotemporality and the architecture of music. The series aims to collapse the artist, their intention and resonance with the public into one object, an artifact of beauty and functionality, the emblemized transparent 10-inch. In choosing a less common format for the Totem series, Stroboscopic Artefacts aims to reinforce the cognition that each of these pressings is a unique object, carrying a message that will develop as the record's existence moves through space and time

Survival depends on evolution. As conditions change and tides turn, we must change with them in order to stay one step ahead of the coming challenges. It’s clear that Fit For An Autopsy have embraced that mantra as they continue to perpetually evolve with each subsequent body of work. Not just blurring, but eradicating the lines between technical metal virtuosity, death metal menace, hardcore intensity, melodic insidiousness, and abstract approaches, the New Jersey band embody an uncompromising vision of their own.

The six-piece—Joseph Badolato vocals, Patrick Sheridan guitar, Timothy Howley guitar, Will Putney [guitar], Peter Blue Spinazola [bass], and Josean Orta Martinez [drums]—perfect this approach on their sixth full-length offering, Oh What The Future Holds [Nuclear Blast Records].

Fit For An Autopsy have never stopped moving forward though. Following their caustic 2011 debut The Process of Human Extermination, the group quietly carved out a place among extreme metal’s modern vanguard with their second LP Hellbound. Revolver cited 2015’s Absolute Hope Absolute Hell among “15 Essential Deathcore Albums.” And In the wake of The Great Collapse two years later, the band had truly created their own space in the realm of what could be described as “post-deathcore”. This ascent reached another level on the 2019 opus The Sea of Tragic Beasts. Widespread praise from the fans and press alike is all but too common for their refreshing approach to modern aggressive music both on record and in concert.

When the Global Pandemic changed everyone’s tour plans, Fit For An Autopsy dove into writing in spring 2020 and made the most of their time off the road.
“We had no real timeline, so we didn’t feel much pressure,” says Putney. “Once we realized touring wasn’t opening up, we decided to have fun with the process. I got to spend more time than I usually do on records. We definitely took some of the songs into new places because of that. It’s our longest album. We composed more than we ever have and it was a rewarding feeling to put real work into all these ideas.”

In early 2021, Fit For An Autopsy congregated in-person at Putney’s Graphic Nature Audio and recorded Oh What The Future Holds. Now, they introduce the album with the single “Far From Heaven.” Swirling as a perfect storm, airy guitar cuts through a pummeling percussive groove as melodic vocals slip into a guttural groan offset by neck-snapping riffs and powerful dynamics.
“The world we exist in is clearly “far from heaven”. Institutions are exploited, and people are taken advantage of. There’s a power struggle between those in control and those who aren’t. This is a fairly literal reflection on the world today.”

In the end, Fit For An Autopsy haven’t just personally evolved on Oh What The Future Holds; they’ve brought heavy music with them.

Step Down is the definitive noir soundtrack for the end of the age of disinformation. What better way to usher it out than with this heavily blaxploitation influenced funk anthem. Let huge horns, fuzz guitar, harpsichord, and funky flute be your guide. The B-side, La Fachada, pays homage to a San Diego late night favorite with a beautifully dreamy mandolin driven tune. That floaty feeling you get with a belly full of tacos, Tecate, and their staple slow roasted pinto beans. Maybe a few hits of your favorite California grown recreational cannabis too. Wait... what were we talking about...

Undertones, the first collaborative album between Lo-Fi producers Glimlip and Yasper, contains 20 tracks that combine influences from Jazz, Funk and Soul with Instrumental Hip-Hop. By involving schooled jazz musicians in their project, this album captures the classy creativity of live recordings resulting in a tremendously rich and refined sound.

On January 31st of 2020, the accomplished songwriter turned songstress released her debut EP "Sis.", a 7-track EP produced by Homer Steinweiss and The Menahan Street Band of Amy Winehouse's famous album "Back To Black". With this project the rising, Memphis-bred artist introduced her own take on modern soul, using live instrumentation and melodic prowess to blend contemporary and nostalgia. The project was met with widespread acclaim, earning her a spot on NPR's Tiny Desk 6/11, three separate usages in this season of HBO's series 'Insecure', and over 20 million streams across streaming platforms.

KIRBY is a soul singer from Memphis, Tennessee. She is the talented writer behind “FourFiveSeconds” by Rihanna, Kanye West, and Paul McCartney, “Tell Me You Love Me” by Demi Lovato, “Die With You” by Beyoncé, “Only One” by Kanye West and Paul McCartney, “Break Your Heart Right Back” by Ariana Grande, and more.

"Beyond the Permafrost" is a tightly played, thrashy as hell, and damn tuneful album. The disc combines classic thrash with a bit of melodic death and black metal, and a NWOBHM undercurrent, all of which is given a modern (though not glossy) production. An added twist are the scruffy and snarling (kind of like a CARCASS-y "Heartwork" era crossed with black metal) vocals of Chance Garrette. The guy strikes the balance between a truly sinister aura and good 'ole evil fun. Some death growls are smartly utilized as well. Count "Beyond the Permafrost" as one of those albums that just feels right. Hell bent and upping the irons, SKELETONWITCH gets "it" right on every single one of these smoking tracks. I'll even go out on a limb by saying that from the standpoint of talent and urgency of approach, SKELETONWITCH reminds me a little of THE BLACK DAHLIA MURDER when they first began their ascent. Crank this one really, really loud. - BLABBERMOUTH

Italian musician, producer and DJ, Lorenzo Morresi, returns to his newly formed SuperEclectic imprint with a brand new album 'Music For Closed Airports' that swiftly follows up on his recent successful outings on 22a and Fly By Night Music. Across the 10 tracks on the album Lorenzo combines live compositions with electronic production, taking you on an expansive journey through jazz-funk, house, electronica and Italian library music.

DJ support

Tenderlonious, Emma Jeen Thackray, Daniele Baldelli, Dennis Ayler, Mr Redley, Delia Tesilianu, King Hippo (International Anthem)

From its earliest utterances, experimental music has been particularly disposed to transnational and cross-cultural collaboration. Seeking the answer for a fundamental problem - how to transcend the boundaries of difference, distance, and time - it presents a means to find common ground and communicate through the elemental form of sound. Over the last 5 years, this precisely what the duo of Félicia Atkinson & Jefre Cantu-Ledesma has achieved, intertwining sublime sonorities across the geographic expanses between their respective homes in France and the United States. Their third album for Shelter Press, ‘Un hiver en plein été’ (‘A winter in the middle of summer’) - the first to have been largely recorded by Atkinson and Cantu-Ledesma together in the same space - distills a mesmerizing pallet of acoustic and electronic sources into an open discourse of radically poetic forms, offering glimpses of warmth and intimacy waiting in the post-covid world to come.

Both veteran experimentalists with celebrated bodies of solo work behind them - each traversing the challenges of electroacoustic practice in their own singular ways - prior to their first recorded outing in 2016, Félicia Atkinson and Jefre Cantu-Ledesma had only crossed paths in person once, initially meeting in San Fransisco during 2009. The mutual bond formed during that brief encounter flowered into their first LP, ‘Comme Un Seul Narcisse’, followed two years later by 2018’s ‘Limpid As The Solitudes’. Both recorded remotely - sending files back and forth, fortified by conversations on a vast range of subjects - these two albums were guided by impassioned conceptual nods to Guy Debord, Baudelaire, Brion Gysin and Sylvia Plath, while seeking resolutions for the challenges and unique possibilities that working at a distance provoked.

Where the triumphs of its predecessors rose from the bridging of disparate moments and divergent spaces, ‘Un hiver en plein été’ culminates as a celebration of closeness, a result of Atkinson and Cantu-Ledesma working together in the studio, responsively in real time, for the first time. Recorded in Brooklyn during August of 2019 - a handful of months before the pandemic would impose chasmic distances across the globe - its six discrete works, carefully crafted and finalized over the ensuing year, evolve seamlessly across the album’s two sides, weaving a sprawling tapestry of sonority, within which both artists retaining their own voices and visions, while drawing each other towards uncharted ground.

Atkinson likens the recording of ‘Un hiver en plein été’ to have been akin to “a playground”, each artist “hungry for each sound, a bit like the rush in the Louvre in Godard’s Bande à part”, to which Cantu-Ledesma adds that the process seemed to have had “a mind of its own”, with both “along for the ride”. This organic sense of entropy and enthusiasm - a joyous exploration of the unknown - guides the momentum of the album’s evolving arc, as unfolding chasms of ambient space ripple with humanity, life, and fleeting glimpses of the actions that led to its material core.

Crafted from deconstructed melodic elements and drifting long-tones - laden with subtle nods to Indian classical ragas and free jazz - searching patterns of speech, textural elements captured within the studio and the outside world, and searching tonal and percussive interventions, ‘Un hiver en plein été’ coheres as a multi-faceted series of electroacoustic dialogues; nesting conversations between two artists working at the juncture of abstraction and narration, field recording and harmony, and the philosophical and phenomenological, in search for the meaning of friendship, and its manifestation in pure sound.

Step Down is the definitive noir soundtrack for the end of the age of disinformation. What better way to usher it out than with this heavily blaxploitation influenced funk anthem. Let huge horns, fuzz guitar, harpsichord, and funky flute be your guide. The B-side, La Fachada, pays homage to a San Diego late night favorite with a beautifully dreamy mandolin driven tune. That floaty feeling you get with a belly full of tacos, Tecate, and their staple slow roasted pinto beans. Maybe a few hits of your favorite California grown recreational cannabis too. Wait... what were we talking about...

Grey Marbled Vinyl
Mit unerschütterlicher Hartnäckigkeit hat die undurchdringliche Schwermetall-Hartkernfabrik HATEBREED eine weitere eiserne Guss- und Schallwaffe mit dem Gewicht des falschen Selbst hervorgebracht. Es ist keine Überraschung, dass ihr achtes, abendfüllendes Album das Ergebnis des üblichen Schweißes und Blutes ist, das HATEBREEDs einzigartige Nische in der Musikwelt seit über zwei Jahrzehnten zementiert hat. Bekannt für ihre Fähigkeit, ihren Fans eine intensive und kathartische Veröffentlichung zu bieten, haben HATEBREED ihren Schreibstil durch diesen Albumzyklus herausgefordert, um Material zu produzieren, das in einer zeitgenössischen Welt, die von Überreizung, emotionaler Dämpfung und mangelnder sozialer Geduld überflutet ist, außergewöhnlich gut zu vergleichen ist. "Weight Of The False Self' ist eine perfekte Darstellung von HATEBREED im Jahr 2020, ein frischer Ansturm von baldigen Klassikern mit all den Elementen, die Sie vom ersten Tag an hierher geführt haben", erklärt Gitarrist Frank Novinec. Fast jedes Individuum trägt ein metaphorisches Gewicht in Bezug auf sein emotionales Konstrukt. Unsere Erfahrungen prägen, wer wir werden, und im Laufe der Zeit entsteht allmählich eine schwere Last, die wir immer weiter mitschleppen. Für viele von uns wird die Last so groß, dass wir uns schwer tun, von unten herauszukommen, geschweige denn uns zu bewegen.

Es sind diese Kämpfe, die sich durch das Gewicht des falschen Selbst übersetzen lassen. "Ob man es sieht oder nicht, jeder trägt eine Last. Die Musik, die wir lieben, hilft uns, diese Last zu tragen", erklärt Sänger Jamey Jasta. Stücke wie "Cling To Life" liefern ein Wortspiel, das normalerweise bedeutet, sich verzweifelt an die letzten Atemzüge zu klammern, aber hier zeigen diese Worte, dass es nach wahrem Verlust und Trauer aufrichtige Erleichterung bringen kann, sich an die Idee von Glück und Zukunft zu klammern. Am anderen Ende des philosophischen Spektrums präsentiert die erste Single "Instinctive (Slaughterlust)" nicht nur ein neues Vokabular-Wort, sondern schreit auch nach der Kraft, die von unseren Verteidigungsmechanismen ausgeht, wenn wir in eine Ecke gedrängt werden. Wenn jemand von seiner Vergangenheit verfolgt wird, von einer anderen Person, oder wenn er nur sein eigenes Territorium verteidigt, ist es nur eine Frage der Zeit und der Entfernung, bis er zu einer wilden, ursprünglichen Bestie explodieren kann. "Es sollte verboten sein, ein so schweres Lied zu machen", beschreibt Bassist Chris Beattie. Das Lied "Wings Of The Vulture" ist eine Metapher für all die negativen Kräfte der Natur, des Schicksals und der Menschheit, die hoffen, uns in einigen unserer schwächsten Momente zu erbeuten, indem sie auf den Tod von etwas Sinnvollem warten. "A Stroke Of Red" berührt, entgegen dem, was auf den ersten Blick scheint, das Konzept, die Wahl zu haben, sich selbst oder anderen zu schaden. "Auge um Auge, aber das macht jeden blind. Wenn man einmal diesen dunklen, gewalttätigen Weg gegangen ist, gibt es kein Zurück mehr.

Dieses Lied ist eine dunkle Leinwand; ich verlasse meinen Körper, um schreckliche Dinge auf einer anderen Ebene zu tun, und komme zu mir selbst zurück, um daraus zu lernen, so dass man diesem dunklen, fleischlichen Verlangen niemals nachgibt", erklärt Jasta. Das Album-Artwork des renommierten Heavy-Metal-Künstlers Eliran Kantor zeigt einen Mann, der an der massiven Skulptur einer Steinbüste herummeißelt. In Kantors klassischem Malstil, der durch den Lehm von Aufruhr und Traurigkeit bricht, beginnt ein Licht durch den Fels zu scheinen, während der Bildhauer sein Gesicht von den blendenden Strahlen der Heilung abwendet. Das Bild kombiniert visuell die Themen des Albums, nämlich den emotionalen Kampf und die Überwindung des Schmerzes, nachdem Schichten von Depression, Angst, Verrat und Herzschmerz die Seele eines Menschen verhärtet haben. Im Laufe von mehr als 20 Jahren und 8 Alben ist der Schreibprozess für eine Band wie HATEBREED in ihren Wurzeln sicher geblieben, aber dennoch hat sie sich nach knackigen und überzeugenden Stücken mit progressivem Sound umgeschaut, die dem Mix hinzugefügt werden sollen. Es gibt Wellen von frischen Klängen, während das massive Fundament, auf dem HATEBREED stehen, weiterhin stark gehalten wird. "Auf diesem Album habe ich mich wirklich angestrengt und mich dazu gebracht, die Dinge umzuschreiben, bis sie besser waren, bis es klickte. Ich habe mich aus dieser Komfortzone herausgerissen. Im Zeitalter der Altlasten, in dem die Bands so viele Hits aus ihrem Katalog bei Shows spielen müssen, hören wir gerne, dass die Fans neue Songs verlangen, wenn wir live spielen", erklärt Jasta, "wir haben mit diesem Album wirklich unsere Stärken ausgenutzt". "An fleischigen Rippen und adrenalingeladenen Trommeln mangelt es auf dieser Platte nicht. Ich bin stolz darauf, dass wir durchweg einen Soundtrack liefern, zu dem man in seinem Wohnzimmer moshen und seine Wohnung zerstören kann", erklärt Schlagzeuger Matt Byrne. Bei der erneuten Aufnahme des Albums mit Hilfe von ZEUSS erlebte die Band ein Gefühl der Herausforderung und des Durchbruchs, das es ihr ermöglichte, eine neue Ebene des Klangs zu erreichen.

Nachdem er mehrere Jahre lang mit der Band gearbeitet hat und während er normalerweise seine Zeit mit Bands verbringt, die einen ziemlich anderen Sound haben, ist Zeuss in der Lage, HATEBREED zu testen und ihre bereits berüchtigte Schwingung zu erweitern. "Es war wirklich großartig, wieder mit Zeuss an diesem Projekt zu arbeiten. Ich liebe die Art und Weise, wie die Gitarren klingen", kommentiert Gitarrist Wayne Lozinak. Im Laufe der Zeit scheint die Qualität der Produktionstechnologie immer besser zu werden und ein sicheres und produktives Nest zu schaffen, in dem das Album

Buckle in for an orgasmic Italo trip, courtesy of Argentinian duo Furor Exótica. The result of a sweaty and shaky journey in their Buenos Aires studio, here they deliver two stir-crazy babies, crafted for dancing lovers worldwide.

The title track ‘Macchina Bum Bum’ builds energy gradually from minimal beginnings, adding spine-tingling vocoder vocals, shimmering synth melodies and a familiar sample as it builds towards a euphoric climax. Prime sunset material.

Meanwhile ‘Fractal’ is a hot and heavy chugger, with its throbbing bassline, trippy vocals, and euphoric synth melodies swelling and swirling together. You can practically smell the sweat on leather.

On remix duties, Donald’s House kick things off with a brilliant reimagining of ‘Macchina Bum Bum’, complimenting the vocals with a squiggly, wiggly, funky and propulsive retro-futurist instrumental. Just try not to throw your hands in the air when the synth melody comes in around the halfway mark! A certified stone cold banger, ready for peak-time deployment.

Bringing things home, label founders Kayroy and GREETINGS deliver a dreamy, psychedelic rework of ‘Fractal’. The vocals are transformed into a trippy, gated refrain, taking center stage alongside mellow, warm synth lines, and underpinned by a robust 808 kick. The track ends in a final crescendo, which should please dancers in a club or lovers in a broom closet alike.

"Moody Disco Vol. 1" finds Los Angeles disco/funk maestro, KCRW fave & rising TikTok star (250k followers for his "Interpolation" videos) LUXXURY aka Blake Robin exploring new disco directions.

Leading the EP, "Let's Stay Together” blends house and jazz-funk rhythms with his trademark dusty basslines, dreamy ‘70s keys, and minimal vocals. Next up, “Don't Give Up (I Believe in You)” is a fresh, funk-infused fusion of 'Forget Me Nots'-style Rhodes, infectious bass, dusty lo-fi beats and a simple, uplifting mantra-like vocal delivered by Robin in his gorgeous falsetto.

On the flip, "Two Hearts" revitalizes a familiar 80s Hi-NRG topline with a new chill-yet-funky instrumental. Rounding out the EP are two popular remixes never before released on vinyl, the upbeat piano house classic “Pleasure!” and Crackazat’s floor-filling take on “Hold On.” Moody though it may be, the EP is a gimmer of hope near the end of a dark period.


DJ Support:

Purple Disco Machine, Polo & Pan, The Reflex, JKriv, KCRW

“Bad Weather (STR4TA Remix)” is the latest release from future soul and electronic duo Anushka. The 12” will be released on limited 500 press DJ promo style vinyl and features the STR4TA remix, STR4TA remix instrumental and original album track. Taken from the band’s LP ‘Yemaya’ – named after the Goddess of the Sea, protector of women and the Eternal Mother in the Santeria/Yoruba religion – the original of “Bad Weather” was inspired by the life-giving essence of water, referencing the guidance and support Yemaya offers her children, helping them to grow. Transforming the track with their iconic Brit-funk style, Gilles Peterson and Jean-Paul “Bluey” Maunick AKA STR4TA immerse Anushka’s vocals in a dancefloor groove tinged with explorative electronic melodies and lively instrumentation. “Bad Weather (STR4TA Remix)” is thefirst exclusive remix from STR4TA following the release of their album ‘Aspects’ which saw support pour in from the likes of The Guardian, Jazz FM, Mixmag, The Independent, Echoes, BBC 6Music and Clash Magazine.

Back in the 80s I became a big funk, jazz, and soul vinyl collector; which opened the incredible world of the late, great Mr. Weldon Johnathan Irvine. Back in the 90s I was lucky enough to meet him; Mr. Irvine was such a calm and gentle person; he just oozed music. This laidback, kind quality resonates in his music. On this 45, we trip through the jazzy journey of Weldon’s innovative keyboard work through to the double bass, and horns on the A. On the B we’re in a smoky bar, with yer homies,, chillin n grooving, as the melodica and guitar head-nod us along. Sublime.

It is a great honour to be able to release some of his music from his Nodlow music label on to 7” for the first time.

Welcome to the jazz funk world of the late great Mr Weldon Johnathan Irvine. This great man managed to write music that both inspired and in awed 50 years ago, as it still does today. He takes you to another world, with his gentle yet almost crazy energy. He was way ahead of his time producing these monumental, instrumental masterpieces. Mr Irvine was such a calm and kind gentleman, who just oozed music. He sadly passed away in 2002. It is a great honour to be able to release some of his music from his Nodlow music label on to 7” for the first time.

In 1974 Weldon released his “In Harmony” LP. The two tracks we chose are, “Fat Mouth” which, as expected, features the signature Weldon rift. This Clavinet-heavy groove is backed up with the mighty Joe Jones on Hammond organ; and is all held steady with the pumping drums from Napoleon Revels
“Turkish Bath” is a laid-back jazz groove, with Weldon laying down a superb lead Rhodes story and melody. Backed up with Joe Jones on the piano. Weldon’s keyboard echoes throughout his music with such simplicity.

OK, it’s taken us to get to our 11th release for some filthy organ funk to grace the label, and who better than The King Rooster.
Hailing from London, The King Rooster are a heavy funk quartet consisting of Ian Stevens on bass, Mark Claydon on drums (both
from another heavy funk band - The Getup), Sam Montero on keys and James Forster on guitar.
Collectively the band have played, recorded and shared stages with the likes of Sir Joe Quaterman, JTQ, Gizelle Smith, Reuben
Wilson, Speedometer Pee Wee Ellis and many more.
The band have released a clutch of heavy duty organ funk 45s on various labels over the last few years (Our Label, FNR, Dinked,
Burning Soul) and a spectacular LP, also on Dinked. But it was when we heard ‘Snitchin’, Stitchin’ & Bitchin’ on Funk Night Records
that we decided 45 Live needed some Rooster funk on the label!
It is entirely evident that the guys all have a deep love for raw funk, that gritty, slightly shambolic garage sound, punchy instrumentals
designed to hit you in the gut, pure soul from the pure funk perspective. It’s all about the ‘nasty face’!
Here we have 2 hard hitting organ screamers kicking off with ‘Snake Bait’ on the A side, a raucous 144bpm dancefloor burner.
Scratchy guitar, thumping bass and manic drums underpin a swirling and ever building Hammond Organ into a firey crescendo.
Whilst over on the B ‘Stickin’ it’ takes some cues from The Meters sound with its trance like organ riffs and bluesy flavour. It’s a raw
mid-tempo head nodder which, like the A side, keeps building and building into such a cookin’ groove.

The classic debut LP by Dub Narcotic Sound System, originally released on K Records and unavailable on vinyl for 25 years. The oddball indie-funk collective Dub Narcotic Sound System was spearheaded by vocalist Calvin Johnson, the former frontman of the legendary Beat Happening as well as the founder of the famed K Records label. Named in honor of Johnson's own Olympia, WA-based basement studio Dub Narcotic, the project was begun in 1994 with a rapid-fire series of funk-, rap-, and reggae-influenced singles including "Bite," "Fuck Shit Up," "Booty Run," and "Shake-a-Puddin'"; from the outset Johnson was the group's sole constant member, although over the course of subsequent releases, including the EPs Industrial Breakdown, Ridin' Shotgun, and Ship to Shore, the revolving lineup grew to include Olympia scenesters like Lois Maffeo as well as Larry Butler, Todd Ranslow, and Brian Weber, all three members of the hip-hop unit Dead Presidents. The first Dub Narcotic Sound System full-length, Rhythm Record, Vol. One: Echoes From the Scene Control Room, appeared in 1995; later efforts included 1996's Boot Party and 1998's Out of Your Mind. Sideways Soul, a collaboration with Jon Spencer Blues Explosion, followed in 1999. Trouser Press wrote that "when not delving deep into the usual sorts of ambient studio trickery, the songs hit a '60s R&B stride, bathing in the stoned soul picnic ambience with uplifting spirit."

SNK composer Masahiko Hataya reprises his role in KOF '95 while being joined by composers Akihiro Uchida and Pearl Sibakiti.
As a Generation Series releases, the KOF95 soundtrack will feature newly remastered analog and digital tracks, as well as a booklet containing archival artwork and liner notes by former development team members.

Placebo are a legendary Belgian jazz funk band led by Marc Moulin, 1971 to 1976.AP-VINE have released some of their titles as reissue CD's & LPs before but this time we present their finest tracks from their 3 stadio albums as limited pressing 7 inch singles with new remastering!

Whether or not they are actual twins, Shiho and Yuhiro do create magic on their Basic Fingers debut.

Both of them have made edits and reworks for quite some time and the idea of combining their crate digging skills with their love for edits is nothing short of brilliance.

On the A side, the Twins goes all in with 'Magic Theme', a driving percussive, exploding latin groove that's relentless in its dance floor and chin stroking pleasures.
It's heavy on rhodes and jazz funk solos, a jazz dance bomb for the peaktime hours, what's not to like?

They also bring us 'It's Bright', a joyously celebratory piano jam, the perfect fit for your sunshine filled dancefloor.

Enjoy !

Years & Years has today announced details of brand new album, ‘Night Call’, which will see a release on Polydor Records on January 7th. Olly further introduces the record today with a brand new track, the pulsating ‘Crave’, and its incredible video featuring some of the cast of ‘It’s A Sin’ (Omari Douglas, Nathaniel Hall, David Carlisle) plus the likes of Munroe Bergdof. The record-breaking show won Best New Drama at the National Television Awards earlier this month, continuing a phenomenal year for Olly (which has also seen the release of first single ‘Starstruck’, its rework with Kylie, and a show-stopping performance of ‘It’s A Sin’ alongside Elton John at the BRIT Awards).

A daring dance track about leaning into submission to the point of embracing it, ‘Crave’ – says Olly – “is a playful way of inhabiting the deranged sexual energy I’ve always wanted. In the past I felt like I’ve been dominated by toxic relationships, and I felt like it would be fun to turn it on its head.” Consider this a risqué cut of kinked-up, club-ready pop, and Olly Alexander using his platform to push the boundaries of mainstream superstardom.

From its iconic artwork to its euphoric, rejuvenated sound, ‘Night Call’ is a thrilling new chapter for Years & Years. Inspired as much by pioneering figures like Sylvester as it is French House, at the centre of the record is that mermaid of a muse: a beautiful icon luring men to their death, on an album partly about those searching for love (or a lover) but ultimately finding power in themselves. Embodying the new perspective of a character – like Ritchie in ‘It’s A Sin’ - also deeply influenced Olly’s songwriting, with songs that blur the line between fantasy and reality but are bound together by their explorations of queer life. Hedonistic and escapist, ‘Night Call’ captures that joy and anticipation of going out precisely because, says Olly, “I was writing from a fantastical space, stuck in the same four walls. I wanted to have as much pleasure as possible in the music.”

As Years & Years, Olly Alexander has become one of the world’s most trailblazing modern pop stars. Across two hugely successful albums to date, the singer, actor, fashion icon and cultural vanguard has earned 5 Brit Award nominations, surpassed 4.4 billion global streams, and played triumphant homecoming shows at London’s O2 and Wembley Arenas. Along the way, Olly has also become a fearless, once-in-a-generation voice on important discussions around mental health, and issues affecting the LGBTQ+ community - all of which, in its own way, has taken him to ‘Night Call’, and the most essential Years & Years album to date.

Ever-evolving Australian outfit The Possé debut on cult deep house label Pulp with Moods & Vibrations. Their fresh new four-tracker includes a remix from Space Ghost.

Andrew Elston and Ross Ferraro are the core members of The Possé, but the group often expands or contracts with various other musicians. Since 2017 they have released on the likes of Plastic World, Ken Oath Records and Kolour LTD, and bring plenty of Southern Hemisphere heat to all their productions.

'Parting' opens up with plenty of soulful Detroit house flavours. The dusty drums get you in the groove while subtle acid and silky pads bring a feel-good, sun-kissed vibe. Remixer Space Ghost is Sudi Wachspress, a real album specialist who has released on Tartelet and Apron Records. He has a uniquely lo-fi house sound that draws on funk
and soul. This remix is a late-night jam with gorgeous trumpet motifs and scuffed-up drum patterns all finished off with warming sunset chords.

Then comes 'In Focus', a brilliantly loose and jazzed-up jam. The skipping drums are run through with playful keys and humid chords that cannot fail to bring the party. 'Prime Mover' is a little more direct and dynamic but no less heartfelt, with more expressive melodies and infectious drums. A liquid Mix of 'Prime Mover' layers in fatter bass and more crisp percussion to take you to another level. Moods & Vibrations is an EP of rich, musical house grooves that are overflowing with soul.

Since '66, when the British singer- songwriter emerged as the voice of his
generation with the seminal Family band, through every twist of his four-decade
solo career, Chappo's output has defied music industry protocol, challenged
genre, and held up a mirror to the times. "I've never stopped writing," he reflects,
"and with Life In The Pond, I felt the need to hear what I'd put down in music."
Released in 2021 on Ruf Records and Chappo Music, Life In The Pond draws a
line under a period in which the 79-year-old had been absent from the studio but
privately prolific. Twelve years since 2009's acclaimed rarities collection Hide Go
Seek, "A true lionheart still roars," raved The Mirror, Life In The Pond reconnects
the veteran with faces from his past – including ex-Family multi-instrumentalist
John 'Poli' Palmer as co-writer and producer while taking the pulse of modern life.
"Mostly it's anger at politicians that's kept me fired up," says Chapman of the
lyrics.
As for the music, Life In The Pond connects the dots between Chapman's
founding influences. "It's about nostalgia for the different musical styles that
influenced my life. American rock from the '50s to now. British R'n'B from the '60s,
like Georgie Fame, the Stones, Zoot Money. Folk, Blues, Motown, Stax, Blue Note
jazz, Classical, Americana, and Country. A whole mess of influences…" More than
four decades later, Life In The Pond ties all those threads together, finding
Chapman's voice in vintage form and his musical radar more receptive than ever,
on a tracklisting that roams from hypnotic seven-minute epic "Nightmare #5" to
"Rabbit Got The Gun's" dystopian soul-funk.
The world has turned a few times since '66, but Roger Chapman still has
something to say – and with Life In The Pond, his voice as an artist is more vital
than ever. "I'm very pleased and grateful that Poli gave me the opportunity," he
says, "because I think we came up with the goods on this album."

"The new album ""Canzoni segrete"" is about the power of music, the
consequences of prosperity, about a strange plague and changing
passions, about dreams, hopes, disappointments
The songs have their roots in recent decades, ""Leo""– adapted in 1994 from the
French original by Georges Moustaki – being one example. Predominantly,
however, they were written during the months between January 2019 and June
2020. Recorded in studios in Italy, France, Germany and Switzerland, the album
turned into a profound project that challenged Pippo Pollina as a composer and
poet, but also as a thinker, musician and arranger.
With a rough and at the same time sonorous voice, Pippo Pollina rejoices and
argues, chats and reflects. At times with a touch of the laconic, but never without
a fundamental reverence for the beauty of sound and the power of art, in the
knowledge that music is a gift. That is the foundation, despite all doubts, for an
ambitious, mature and coherent album, which Pippo Pollina will bring to the stage
from the beginning of 2022, culminating in a grand finale in the Verona Arena in
August 2023.

After the huge success of their last album ‘The Wild Root’ Alan Evans Trio (Ae3) returns with a brand new album release - ‘Elephant Head’. Elephant Head is an epic instrumental album of cinematic funk, in the pocket grooves, and infectious melodies. The album as a whole evokes a classic groovy vintage movie soundtrack. It also features virtuoso playing from all three band members. The band features Alan Evans of Soulive, Danny Mayer and Kris Yunker.

10th Year Anniversary Reissue on Silver Colored Vinyl, Deluxe mirror board jacket, includes CD insert of Oscillate Wisely (2021), with expanded liner notes by Eric Harvey. Bonus Video + Audio of Live recordings included in Digital Download. Recommended If You Like: Pedro The Lion, The Sea and Cake, David Bazan, Major Murphy, Kurt Vonnegut & Guided by Voices. For ten years now, I’ve understood “Oscillate Wisely” as a play on the Smiths’ instrumental “Oscillate Wildly”--itself, of course, a pun on Morrissey’s muse, Oscar Wilde. This is not to say that anything about Mike Adams and his band reminds me of the Smiths (especially­Morrissey), as much as the idea that rock bands like Mike Adams At His Honest Weight take shape more or less as a thesaurus of past ideas--winking at them, borrowing them like a library book, checking them out from across the room, cloning them. But the best stuff is more ineffable, far more than just cut-and-paste. There’s a weird grandeur to Adams' music, starting with that fully formed, geekily majestic 2011 debut LP Oscillate Wisely, that I don’t hear in anything else, before or since. A sense that Adams is guiding his listeners toward a cosmic joke so personal, so inscrutable, so funny (“funny”), if you give him your attention. It's in his blood, I think. He's not Oscar Wilde, but a uniquely Midwestern type of deeply sincere romantic and dyed-in-the-wool goofball cast from the mold of Hoosier icons like Letterman and Vonnegut. He doesn’t want to believe in anything, he didn’t create this body, he­loves­a parade.­ It’s all in fun, but it gets so personal. Onstage, Adams is gregarious and playfully self-effacing, a college town denizen telescoping backwards to the brief early 90s moment when “college rock” entered the corporate suite, and performers forced to become showmen retreated to the comfort of their native tongue: irony.­And­Oscillate Wisely­has demonstrated for a decade that earnestness and sarcasm are as intricately bound in rock and roll's­lingua franca­as hang-ups and chill hangs. I’ve never heard any musician summon everything I love about being from Indiana so perfectly. And I’m­fucking­old. Eric Harvey.

Vice Squad are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI. Since then Vice Squad have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs 'Born In A War' and 'Ignored To Death V2' taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020. The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by 'Cardboard City', the name given to the settlement of homeless people living in cardboard boxes near London's Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism. Vice squad’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. Vice Squad are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to Vice Squad via his sister’s record collection. The first rule of Punk is there are no rules and Vice Squad ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness. The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, 'Battle Of Britain' where Beki's vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people. The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain's hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media - ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too. The penultimate track, 'You Can’t Fool All Of The People' mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style

Vice Squad are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI. Since then Vice Squad have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs 'Born In A War' and 'Ignored To Death V2' taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020. The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by 'Cardboard City', the name given to the settlement of homeless people living in cardboard boxes near London's Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism. Vice squad’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. Vice Squad are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to Vice Squad via his sister’s record collection. The first rule of Punk is there are no rules and Vice Squad ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness. The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, 'Battle Of Britain' where Beki's vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people. The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain's hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media - ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too. The penultimate track, 'You Can’t Fool All Of The People' mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style

Im Mai 2020 erschien das Doppelalbum Figures der legendären belgischen Band Aksak Maboul. Nun folgen gleich zwei Alben mit Remixen, Coverversionen und neuen Versionen von fünfzehn ganz unterschiedlichen Musiker*innen auf Vinyl (jeweils streng auf 500 Exemplare limitiert). Betitelt sind sie Redrawn Figures 1 und Redrawn Figures 2. Mit von der Partie sind u.a. The Notwist, Cate Le Bon, Felix Kubin, Tolouse Low Trax und Matias Aguayo. Zu ihren Versionen kommen vier weitere von Aksak Maboul-Gründer Marc Hollander selbst. Wie im Albumtitel bereits anklingt, bat Aksak Maboul die Musiker*innen, sich nicht nur die Musik, sondern auch das von Véronique Vincent gestaltete Artwork von Figures vorzunehmen. Die daraus resultierenden sechzehn Bearbeitungen zieren das Cover von Redrawn Figures 1. Das Cover von Redrawn Figures 2 wiederum stammt vom französischen Maler Hervé Di Rosa, einem der Mitbegründer der "Figuration Libre"-Bewegung.

Das Live-Doppelalbum "Glitter & Doom" entstand auf der gleichnamigen ausverkauften und hochgelobten Tour, die den kalifornischen Songwriter 2008 durch die USA und Europa führte. Die erste CD soll wie ein einziges Konzert klingen, obwohl die 17 Songs in zehn verschiedenen Städten aufgenommen wurden. Die zweite CD heißt "Tom Tales" und ist eine Zusammenstellung von Zwischenbemerkungen und Bühnenansprachen, mit denen sich Waits während des Klavier-Sets mit dem Publikum austauscht. Die Themen reichen dabei von Insektenritualen bis zum letzten Atemzug von Henry Ford. Musikalisch zeigt sich Waits auf "Glitter & Doom" in seiner ganzen eklektizistischen Herrlichkeit und wechselt nahtlos von einem Charakter zum anderen: Jahrmarktschreier, Prediger, Country-Sänger, Soul-Liedermacher und Geschichtenerzähler. Unterstützt wird Waits von einer fünfköpfigen Band, die das Waits'sche Repertoire um einige neue Perspektiven erweitert.

Düster-sphärischeAlbum der Post-Hardcore-Experimentierer La Dispute voll morbider Poesie. Panoramaist - gute zehn Jahre nach deren Debütalbum - die neueste Veröffentlichung derUS-amerikanischen Post-Hardcore-Band La Dispute. Die fünfköpfige Gruppe ausMichigan steht für einen komplexen, kompromisslosen und experimentellen Stil undwird ihrem guten Ruf auch mit Panorama wieder mehr als gerecht. Mit ihrerVermischung und Weiterentwicklung von Elementen des Jazz und Blues, Screamound Progressive Rock steht die Band stilistisch niemals still und bleibt dochimmer charakteristisch. Tragendes Element auch des jüngsten Albums sind dieanspruchsvollen Texte und der unverkennbare Gesang von Frontman Jordan Dreyer,der Spoken Word Passagen, Gesang und Screaming nahtlos ineinander übergehenlässt. Auf "Panorama" erzählt er von einer düster-morbiden und zugleichzutiefst persönlichen Reise, einer Autofahrt von seinem Heimatwort in denseiner Freundin die an verschiedenen Unglücks- und Unfallorten vorbei führt. Zudiesen intensiven Inhalten passt der musikalische Stil des Albums, der die energiegeladeneDynamik des Hardcore-Punks mit den introspektiven Elementen des Emo mischt undmit melodischen, zuweilen fast sphärischen Strukturen verbindet, die Panoramaätherischer und entrückter als frühere Veröffentlichungen der Band klingenlassen. Das Album erscheint als CD und LP, sowie als limitierte Sonderpressungin farbigem Vinyl.

Sie können auf eine treue, langjährig erspielte Gefolgschaft zählen und sind aus dem Metalcore-Bereich längst nicht mehr wegzudenken: Die seit 2003 aktiven Abräumer aus dem australischen Byron Bay veröffentlichen mit "Reverence" ihr sechstes Studioalbum und damit den Nachfolger zum umjubelten Langspieler "Ire" von 2015. Der setzte die Messlatte für kommende Aufnahmen ziemlich hoch, doch die fünf Brachialrocker aus Down Under meisterten die Hürde mit links. Ganz nach dem Motto: Wer Wind sät, wird Sturm ernten. In den Worten von Frontmann Winston McCall stellt sich das so dar: "'Reverence' ist das ehrlichste und persönlichste Album, das wir je erschaffen haben. Es wurde durch Schmerz, Opfer und Überzeugung geboren, mit dem ultimativen Ziel vor Augen, nicht nur das auszudehnen, wofür Parkway Drive musikalisch stehen, sondern auch, wer wir als Menschen sind." Kurz: Auf den zehn Stücken herrscht Nackenhaare-Aufstellgarantie! Genrekonventionen spielen dabei eine untergeordnete Rolle.

Placebo are a legendary Belgian jazz funk band led by Marc Moulin, 1971 to 1976.AP-VINE have released some of their titles as reissue CD's & LPs before but this time we present their finest tracks from their 3 stadio albums as limited pressing 7 inch singles with new remastering!

Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others.
In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric TRIBE record label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces.
In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the WENHA record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo).
In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison's recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase.
It is on WENHA that Harrison released the opus: DREAMS OF A LOVE SUPREME (1980), which we are presenting you today.
DREAMS OF A LOVE SUPREME is a monster album that features an all-star line-up that includes Phil Ranelin (Freddie Hubbard, Solomon Burke, Mulatu Astakte) on trombone, Harold McKinney (Tribe) on Keyboards and Roy Brooks (Yusef Lateef, Chet Baker, Mingus) on percussion. Although you can hear the 80ies creeping in with a smoother sound, more synths, and disco/R&B vocals… this remains a very spiritual (and soulful) jazz record. The record’s an irresistible blend of soul jazz combined with funky electric instrumentation…a groovy sound which is very much of its time, yet overtly timeless and as relevant today as it was back when it was initially released.
Tidal Waves Music now proudly presents the first ever vinyl reissue of ‘Dreams of A Love Supreme’ since its release in 1980. This official reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies) and comes with an unreleased bonus track.

hanks to their first-class training in funk and soul while playing in James Brown’s Band, Fred Wesley and Maceo Parker were the obvious choice when it came to participating in George Clinton’s P-Funk empire – the Godfather of Soul had had an enormous influence on Clinton anyway.

In 1977, Clinton and Bootsy Collins produced "A Blow For Me, A Toot For You", the début album by Fred Wesley & the Horny Horns – an ensemble with Wesley on the trombone, Parker on the tenor and alto saxophone, as well as Rick Gardner and Richard 'Kush' Griffith on the trumpet. The majority of the numbers are by Clinton and Collins, so it is not really surprising that much of the LP is pure P-Funk.

The album begins rather gloomily with a remake of Parliament’s "Up For The Down Stroke", and the influence of Parliament is also unmistakable in the other numbers. With regard to the instrumental numbers, "Four Play" fuses funk and jazz, while Wesley’s atmospheric "Peace Fugue" reflects the CTI sound of the 1970s. Actually "Peace Fugue" is the work which least sounds like Clinton on this LP. "A Blow For Me, A Toot For You" scarcely ranks behind Parliament’s "Mothership Connection" or Funkadelic’s "One Nation Under A Groove" and is certainly more than just a recommendable LP, which every funk lover should get to know.