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Patrice Bäumel makes his most welcome return to Kompakt’s Speicher series and it’s exactly as compelling as you expect it to be. “Luce” is a slenderly pumping piece of minimal soul featuring the otherworldly voice of Chiara Gamo. Once more, Patrice masterfully demonstrates how little elements he needs to create suspense, density and warmth on the floor. “The Cave” follows the same mantra, sucking us into a mystique stalactite cave full of echoing droplets and enchanting whispers. We follow him blindly.

Patrice Bäumel’s höchst willkommene Rückkehr zu unserer Speicher Reihe ist genauso fesselnd, wie man es erwartet. „Luce“ ist ein schlankes, pumpendes Stück Minimal Soul mit der entrückten Stimme von Chiara Gamo. Einmal mehr beweist Patrice meisterhaft, wie wenig Elemente er benötigt, um Spannung, Dichte und Wärme auf dem Floor zu erzeugen. „The Cave“ folgt demselben Mantra und zieht uns in eine geheimnisvolle Tropfsteinhöhle voller widerhallender Tropfen und verzaubendem Geflüster. Wir folgen ihm gerne.

Ornette Coleman's hugely influential 'The Shape Of Jazz To Come'
pressed on limited edition 180g premium orange vinyl.

'The Shape of Jazz to Come' was a watershed event in the genesis of avant-guard jazz. The record shattered traditional concepts of jazz harmony, disposing of both the piano player and the whole idea of concretely outlined chord changes. The album includes Coleman's classic tune 'Lonely Woman.'

"The element that pours out of this disc is creativity in strong, concentrated waves. Four of the half dozen Coleman originals in this collection grow out of bop roots, but Coleman hears other things, too. This is not easy music for the listener, but even at its most difficult it remains compelling." - John S. Wilson, DownBeat

"Join the Kyle Shepherd Trio on 'A Song More Sweetly Played' as they explore, collaborate and improvise on the ‘songs we like to play’. The album’s title is a dedication to the celebrated South African artist William Kentridge, with whom Shepherd collaborated on a joint-work “Waiting for Sybil” that has toured world-wide. In addition to ten Shepherd originals, perhaps most unexpected is the inclusion of an exquisite reading of Massive Attack’s ‘Teardrop’ and a deconstructed take of Journey’s ‘Don’t Stop Believing’, a favourite rock anthem that Shepherd describes as a ‘guilty pleasure’.

‘The inclusion of the Massive Attack and Journey tunes – that’s something out of character to me,’
observes Shepherd. The selection rests well within the grand jazz tradition of repurposing popular songs as vehicles for improvisation, thought, and pleasure. ‘It just came down to playing some tunes that we like and we can flow with, so that we can be inspired and express ourselves in a very natural organic way,’ he says. ‘We walked away from the from the studio feeling like – you know, we actually really enjoyed playing this record! I felt less attached to any sort of predetermined concepts except that we would play some music that I wrote that we like – a selection of things that we like to play. It felt like a bit of a tonic – every musician gets a chance to breathe through the music, and the music just flows and moves as organically as we could make it.’

To hear one of South Africa’s foremost pianists play with intention, freedom and enjoyment, in the tradition and beyond it, is above all a gift to the listener, and Matsuli Music is proud to be able to share the Trio’s first album in a decade, A Dance More Sweetly Played.

Kyle Shepherd is one of South Africa’s leading jazz, film and theatre music composers and pianists of his generation, internationally recognised for his distinctive compositional style and performances. He was the Standard Bank Young Artist of the Year for Jazz in 2014 and the UNISA piano competition winner in 2019, and has performed in 28 countries around the world, including 11 concert tours to Japan."

The Kyle Shepherd Trio: Kyle Shepherd (Piano), Shane Cooper (Double Bass) and Jonno Sweetman (Drums).
All Compositions by Kyle Shepherd except “Teardrop” by Massive Attack and “Don’t Stop Believing” by Journey.
Recorded May 2024 at Sunset Studios, Cape Town
Recording Engineer - Jürgen von Wechmar
Mixed by Martin Ruch.
Mastering by Frank Merritt.
Artwork and Design by English Designed and produced with support from the Baxter Theatre, Cape Town.

Classic mix of rocksteady and early reggae hits, includes ‘007’ which topped the UK & US charts.

Bella and the Bizarre is a high-energy Berlin-based band that blends the raw intensity of garage rock with a silky soulful flow. A wild fusion of garage punk, sixties rock’n roll and a touch of RnB soul, with its own gentle smokiness. Combining a broad spectrum of influences - from Wanda Jackson to the Remains, Eartha Kitt to the Ramones, they are ready to set you in trance! Known for their vibrant stage presence and infectious energy, Bella and the Bizarre deliver performances that are as captivating as they are unpredictable.

‘The Man’ unapologetically traverses between genres. From foot stomping funk and blues to world music, folk and pop, Calum refuses to be placed in a box.

12” paddling pool blue vinyl, is an edition of 500. CD Digifile. Following the runaway success of their critically acclaimed 2021 second album Contender, the question for fast-rising London four-piece Fightmilk was always going to be “what next?” With a tight indie-pop sound that defined their early recordings, the answer was obvious to a band who seem hellbent on the notion of evolve or die… The band originally formed in 2015 in a Brixton pub garden by Lily and Alex, who had both, separately, just been dumped and thought being in an angry punk band would cheer them up. Then they found Nick and Healey to hold the rhythm down and make them sound good. With three albums under their belt, they’ve perfected their chaotic, melodic brand of joy and rage-filled pop with full-throated yelling and sparkling guitar riffs as their trademark. They’ve graduated from angsty whippersnappers in their mid-twenties to overgrown teenage 30-somethings with mild ongoing back and shoulder pain. Their previous 2 albums Not With That Attitude (2018) & Contender (2021) marked them out as an ambitious and rising prospect, and now on their forthcoming new album No Souvenirs the band eschew their former Britpop ties and edge further into DIY punk and heavier rock influences to reveal a leaner, meaner, more abrasive side to their cathartic lo-fi anthems. Whilst collectively diving into their passion for Jimmy Eat World, frontwoman Lily Rae made a conscious decision to strengthen her “big loud yell” with influence from Alicia Bognanno (Bully), Nat Foster (Press Club), and Missy Dabice (Mannequin Pussy). “My voice is the biggest it’s ever been and I’m constantly thrilled when people are surprised at how loud I am, considering I’m so small in stature,” she grins. “Lyrically I always look to Bruce Springsteen for inspiration but I also really enjoyed the angsty candour of Sour by Olivia Rodrigo, and Kacey Musgraves’ impeccable one-liners.” There are a few genre experiments on the record—Yo La Tengo in ‘Paddling Pool’, ‘Canines’ is part The Strokes and part Neu!, and ‘Back From Tour’ was heavily influenced by long term friends Johnny Foreigner. “You could probably make a case for ‘Inferno’ having a bit of Counting Crows to it, but we were never writing to emulate,” explains guitarist Alex. “The references and touchstones just happened along the way. As far as we’re concerned, they just sound like Fightmilk - and that’s a really nice place to be nearly a decade in.” “That said, we’ve also been REALLY picky with the songs that made it onto the album - there’s probably an-other album’s worth of songs that didn’t feel right, even if we loved them. We got really good at finding the “magic thing” in each song that made it work.” Spilling over with candid lyrics about death, doomed love, and dog bites, framed by endless punk energy and the kind of full-throated riff-rock that sounds just at home in a giant stadium as it does in a sticky-floored toilet bar, No Souvenirs is a triumphant return from the band, who are equally enthused by the album. “I only realised after we put the songs together how personal to me this album was,” explains Lily. “Not just because I’m writing about extremely specific sitcom episodes in my life (getting fired from bridesmaid duty, being bitten on the arse by a dog, being relentlessly asked when I’m going to have kids), but because whilst we were making it, I turned 30. It’s a significant age for women, especially in music, because aside from being something called a ‘geriatric millennial’, there’s an unspoken rule that there’s a cut-off point for you to have ‘made it’ and after that you have to settle down and be normal.” For Lily, writing for the album also aligned with the 10th anniversary of the death of a close friend, with the resulting track ‘No Souvenirs’ lending its title to the album as a whole. “It had taken me that long to write about it in a way I felt ok with. But I realised that I couldn’t have written it before,” she explains. “I needed that distance, and that maturity, to be able to articulate those feelings. It feels to me now like the album is about scorched earth, moving on, taking nothing with you for the next ‘thing’ - and realising that getting older is a privilege.” Bringing a huge amount of energy and joy with them whenever and wherever they hit a stage, interacting with the audience is a vital part of the Fightmilk live experience. “Without people singing and dancing at us we wouldn’t have gigs at all, so we want everyone to get involved!” says Lily of the band’s future tour plans

"Bush Doctor," released in 1978 is now available on 1LP Red Recycled, is Peter Tosh's third solo album and his first under the Rolling Stones' record label. The album features collaborations with notable artists, including Mick Jagger and Keith Richards. Known for its fusion of reggae and rock elements, "Bush Doctor" includes tracks like the titular "Bush Doctor" and "(You Gotta Walk) Don't Look Back," which gained significant attention. This album continues Tosh's tradition of addressing social issues while also exploring themes of personal and collective healing through music, establishing him as a versatile and influential artist in the reggae genre

Night On Earth records
is an independent structure/label created 20 years ago which deals with
the invisible and the deviant,
the void and the love,
the parallax and the unknown …
we release vinyls and tapes
we organise events
we are you and us
we are nothing and everything
we are oblivion and memory
we are your egotrip’s nightmare
we are your deviancy catharsis
meet us through this double LP which is one cartography of the night on earth vortex across 3 continents and several generations of music freaks and braincrackers

Some Artists missing there (there are too much : RINUS VAN ALEBEEK, SS MYLITTA, SOLAR SKELETONS, THE RADAR THREAT, ÂME DE BOUE, and.. RIPIT !

‘Leon’ is the highly anticipated fourth album from Grammy Award-winning recording artist, songwriter, and producer Leon Bridges. With 13 tracks featuring Leon’s signature storytelling and a unique blend of organic genre alchemy, ‘Leon’ is his most poignant, powerful, and personal work to date. He takes fans on a trip through the heart of Ft. Worth he knows best, the things he holds dear, and the people and places that shaped him. Featuring production by Ian Fitchuk (Beyonce, Noah Kahan), Daniel Tashian (Kacey Musgraves), and Tyler Johnson (Harry Styles, Miley Cyrus), Leon describes the album as “somewhat of a self-portrait… I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”



Quote from Leon:
“‘Leon’ has been a long-time coming. I started writing pieces of it as far back as ‘Gold-Diggers Sound.’ They didn’t fit what I was trying to do with that album and I tried moving on. But I couldn’t shake them because they’re part of me. And, if I’m honest, also because I think this is some of my most excellent work yet.In many ways, Leon has been in the works since my childhood. This record is about simpler days. It’s about time spent in my beloved Fort Worth and the experiences that made me the man I am today. It’s soulful music in the truest sense - it’s imbued with my soul.I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”

Did you know there are horses on the cover of Earth 2: Special Low Frequency Version? There are at least three in the right hand corner, gathered inexplicably near a white canvas tent, a human possibly perched among its folds. As widescreen and vast as the cover may seem, those little details-the horses, the possible human, the faint wisp of white clouds-give it depth and wonder, something to which the imagination can return. Did you know that the music on Earth 2-repressed now for its 30th anniversary, back in its original artwork, and accompanied by a riveting set of remixes that demonstrate the reach of what Dylan Carlson long ago called "ambient metal"-works much the same way? The surface is massive and obvious, the meatpaw riffs of Carlson and bassist Dave Harwell pounding and swiping and pawing at the speakers, a true bludgeon in three-dimensional sound. Listen, though, for the details in the corners, for the finesse beneath the force, and Earth 2 reveals new levels of depth and wonder. The widespread impact of Earth 2 suggests that others have indeed been leaning in, listening to these minutiae and making something new of them. A masterpiece without many genre precedents, Earth 2 surely helped send doom metal down its more modern drone, ambient, and avant-garde avenues. Those descendants are obvious. Perhaps more surprising and gratifying are the ways it has influenced electronic music, modern composition, and even hip-hop by realigning our senses of tempo, time, and texture. Earth 2 engendered a rearrangement of expectations, regardless of preferred form.

When Bob Vylan won the first MOBO award for Best Alternative Music Act in 2022, the punk-grime duo took to the stage and used the platform to speak about how they managed to achieve the impossible as independent artists in a genre-defying space. “We released an album this year that we produced entirely, mixed entirely, recorded entirely, all from my bedroom…so everybody that’s here, bigging up Atlantic and bigging up Warner, fuck that, us man did it ourselves”.

It was an acceptance speech that rattled the room and built anticipation for their next projects.

Humble as the Sun, the forthcoming album from Bob Vylan continues with much of the rage and urgency that they have come to be known and loved for, but this latest project shows that they are now stronger and wiser, bolstered by the wins and learnings that they have fought hard for along the way. The resulting tracklist aims to leave the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

Following on from the last album, Bob Vylan Presents the Price of Life, the message woven throughout Humble as the Sun remains dark in places but is high-energy, defiant and unapologetic in its critique of a broken social and political system that so many have fallen victim to, but feel powerless against.

This album is for the underdogs, the ones who come out swinging and those who refuse to be defeated in the face of injustice, and aims to remind listeners that anger is a fire that can be harnessed and put to use. The album creation started from a conversation with the sun, which is, after all, a big ball of fire that sustains life.

From masculinity to myths about the G Spot, the themes and topics explored on Humble As The Sun make for an often humorously empowering celebration of the peoples ability to endure, overcome and bring about change.

The lyricism on this album is even more layered than their previous projects, still darkly humorous, anti-establishment and unforgiving but at times pauses to deliver much-needed words of afrmation to listeners, “You are loved. You are not alone. You are going through hell but keep going.” Bobby assures the listener, ofering an antidote to the state of the world, aiming to give some power and agency to those who hear it. At a time when so little trust or faith exists between the people and the powers that be, Bob Vylan ofers out a hand in the despondent darkness that has overwhelmed so many in the shadow of a burning planet. They guides the listener to a place where they can see some light and feel empowered to do something, to fight back, to continue pushing forwards despite the challenges faced along the way.

Mixing all of the best quintessentially British - and Jamaican - musical elements from punk to drum and bass, grime and rock, Bob Vylan creates a sound that reflects the state of the nation, at once voicing the frustrations that normal people have, while also highlighting one’s ability to persevere, overcome hardship and to change.

You Never End is the third album from Valentina Magaletti, Tom Halstead and Joe Andrews (Moin) out via AD 93 on the 25th October. Its title alone expresses the teetering and shifting nature of both the album and band. This record marks the Moin’s shift into a new phase with vocal collaborations across the album from Olan Monk, james K, Coby Sey and Sophia Al-Maria.

The album’s collaborators all have voices that are alluring in their own right whilst hard to pin down: from james K’s ethereal, reverb drenched vocals, Coby Sey’s words that bounce and echo across London’s concrete streets and Olan Monk’s emotive songwriting, while artist Sophie Al-Maria’s voice and thoughts are known to stretch across her multidisciplinary practice as an artist, filmmaker and writer. The unique mystique of each collaborator is maintained throughout the record while simultaneously opening Moin up to new possibilities, in a gentle shifting alchemy.

Continuing their enigmatic re-configuring of the traditional band, Moin use a mix of conventional and unique production and compositional techniques. Subtly re-framing the current conversation about what band in 2024 needs to be, Moin walk the line between what's reassuringly familiar and what's unsettling and inquisitive. You Never End is a more sensitive record in sentiment, it re-contextualises grunge, shoegaze and indie rock with a weirdly comforting melancholy while still sounding direct and alive.

Showing Moin at their most accessible, the vocal collaborations bring the most articulate moments and lucid emotion while still remaining uniquely within Moin's established world. Alongside this, the record fine tunes the elements of electronic production that have always been a feature of the band's unique sound in a deeply subtle way. Elements are simpler and more direct, offering robust functional support as well as textural and emotional resonance. Together they show the potential for both practices to intertwine.

You Never End is both produced and mixed by Tom and Joe, demonstrating the extended range of control the pair have over the band's sound, and their ability to truly hold together Moin’s intricate world.

Interpol feiert den 20. Jahrestag der Veröffentlichung ihres Kultalbums "Antics", das ursprünglich am 27. September 2004 veröffentlicht wurde. Das zweite Studio-Album der US-Amerikaner festigte Interpols Position als eine der einflussreichsten Bands ihrer Generation. Interpol erlangte mit ihrer einzigartigen Mischung aus Post-Punk, Shoegaze und Dark-Wave-Einflüssen schnell große Bekanntheit. Die düsteren und atmosphärischen Klanglandschaften in "Antics" vereint mit Frontmann Paul Banks unverkennbarer Stimme, brachten darunter Single-Klassiker "Slow Hands", "Evil" und "C"mere" hervor. Zur Feier des 20. Jubiläums von "Antics" veröffentlichen Interpol gemeinsam mit Matador Records eine erweiterte digitale Neuauflage. Diese enthält eine neue B-Seite "Direction" und eine bisher unveröffentlichte komplette Live-Aufnahme des legendären Auftritts der Band 2005 im Palacio de los Deportes in Mexiko-City. In diesem Herbst wird die Band auf Tournee durch die USA, Großbritannien, Irland und der EU gehen. In Deutschland wird man sie an den folgenden Terminen sehen können.

The wait is over! Delgado, the ten-track collaboration album by Flee Lord & Roc Marciano is now available on vinyl with bonus tracks from the delxue digital version! Originally released in August of 2021, Delgado was produced entirely by Roc Marciano, with the veteran artist / producer providing a blend of versatile beats for the Lord Mobb General to spit his patented street raps over. With features from long time collaborators such as Conway the Machine, Ransom, Stove God Cooks and DJ Boogieman, Delgado received both commercial and critical acclaim and now this fan favorite is available on wax! HotNewHipHop had this to say about the album: “On this one, Flee is in absolute beast mode, bodying each instrumental that Marci serves up with fire and fury. At this point, it’s going to be hard to deny Flee a spot at the best current lyricist table, especially after he delivers inspired performances on ‘This What Ya Want?’ and the minimalist ‘First Kill’.”

Set for release at the height of the season it’s dedicated to, ‘Music For Autumn Lovers’ by Adam Scrimshire is an eight track album of lush, mostly acoustic based, minimal instrumentals eliciting a mixture of feelings for this special time of year.

Four tracks originally released on an EP in 2022 are joined by new compositions ‘Hawthorn’, ‘Hazel’, ‘Willow’ and ‘Blackthorn’. Gently finger-picked acoustic guitars cosy up alongside pianos, synthesisers, strings and horns; filtered through an autumnal hue of susurrous production and effects. In turns comforting, melancholic and evolutionary; it feels like an album that can be kept being made and remade forever, like a season in itself.

Both a relentless creator and inspiring champion of new music; South London based Scrimshire has been recording, producing and DJing since the mid 2000s. Amongst his credits, he was featured by the Guardian as one of three producers behind the new wave of UK soul, alongside Inflo (Michael Kiwanuka, Sault, Lil Simz) and Swindle (Joel Culpepper, Greentea Peng, Kojey Radical). His bold 2023 album ‘Paroxysm’ was a response to the absurdity of the breakdown in the UK government, picking up an Album of the Week award on Huey Morgan’s BBC 6 Music show, and 2021’s beautiful ‘Nothing Feels Like Everything’ received an Album of the Year nomination at the Gilles Peterson Worldwide Awards. Scrimshire also somehow finds the time to support a wealth of talent on his label Albert’s Favourites, formed with Dave Koor and Jonny Drop, where they have recently released albums by And Is Phi, Huw Marc Bennet, Inês Loubet, Irini Arabatzi, Jonny Drop & Andrew Ashong, and Qwalia.

Radio Support: Gilles Peterson (BBC Radio 6 Music), Tom Ravenscroft/Deb Grant – New Music Fix (BBC Radio 6 Music), Huey Morgan (BBC Radio 6 Music) Guy Garvey (BBC Radio 6 Music)

Multi Culti World Records venture deeper into the new new age with the release of 'Ocean of Beauty - Meditations for Synthesizer and Bansuri Flute,' a collaboration between California-based artist/DJ Earthtones and Indian classical musician Sheela Bringi. Earthtones, fresh off his genre-defying debut album on Wonderwheel, here dives into the deep end of the ocean of ambient. With music that traverses cultures,he’s known for bridging influences from Cumbia to hip hop and house music. Here he presents his most consciousness-expanding work yet, no doubt influenced by his involvement in Ojai new age culture,years living in ashrams, practicing Shaktism,+ spending as much time curating sounds suitable foraural healing and meditation as for dance-floors. He’s found a perfect muse in Boulder-based Sheela Bringi, whose virtuosity in Indian classical music sets the tone of the record with her bansuri (Indianbamboo flute) & harp, blending traditional instrumentation with more contemporary influences. Bringi was a direct disciple of bansuri master GSSachdev, and represents a devotional musical lineage. She has released two solo albums, 'Shakti Sutra' and 'Incantations,' and her work has been featured on over 50 world and ambient records, plus publicly on outlets from NPR to NBC News, & more. 'Ocean of Beauty' is the English translation of an ancient Sanskrit text devoted to the divine mother, the Sri Saundarya Lahari, The song titles are taken from verses in that text, and the album is in fact a dedication to the goddess Lalita Devi. It creates a serene, meditative space which seamlessly blends traditions; synth-driven ragas with a spirit of tranquility that nurtures Multi Culti’s philosophical bent towards ‘music without borders.’

Celebrating dance music’s roots in Africa, global music superstars Soweto Gospel Choir and renowned Australian DJ Groove Terminator team up with Grammy-winning producer Latroit to present ‘History of House,’ a global reimagination of the iconic dance music classics that defined a generation.

Featuring exquisite multilingual vocal performances and collaborations with some of Southern Africa's most promising emerging artists, "History of House" stands as a vibrant celebration of music and culture. This album transcends boundaries, effortlessly connecting diverse cultures across generations with an authentic fusion of global beats, Afro house, Amapiano, and house music.

Lennon & McCartney. Simon & Garfunkel. Ralf & Florian. Enema & GeJonte. The inventors of modern pop music as we know it. Joining forces in 1988, Orebro duo Kai Parviainen and Jonas Ohlsson put out four cassettes and a split album with Frak under the Enema & GeJonte guise, all teeming with clever and funny electronic pop songs. The sound? Imagine Duet Emmo jamming out with the Residents on a wheat field on Narkeslatten. Or picture early Severed Heads covering lost Philemon Arthur & The Dung tapes. Kai pushes his Sequential Circuits Pro-One synthesizer to its limits while Jonas makes discerning observations on everyday life in a Swedish small town. Mostly sung in Swedish, sometimes in English, but always with a touch of sweet naivety and innocence on par with lo-fi punk/pop geniuses Dan Treacy and Daniel Johnston. Typical song subjects: A friendly game of five-a-side football. The joy of rising at the crack of dawn to get on with the tasks of the day. A bus journey to Odensbacken to savour a semla at a local cafe and some small talk with the gas station manager. All delivered with a playfulness and ecstasy more commonly found on the records with Swedish Christian music Kai so devotedly collects than in contemporary industrial or electronic music. When Jonas moved to Amsterdam in 1996 the boys ceased making music together, leaving behind a treasure trove of unreleased material, some of which appeared on a couple of cassettes in the 00's. But the best stuff has remained buried until now. How dada pop gems like ''Joxa med trasan'' and ''Underground'' could dwell in obscurity for thirty-ish years beggars belief. Other standout tracks on this compilation: ''Plan 714 till NYC'', a wonderful waltz time instrumental performed in the vein of a drunken Bob Hund, and the En Halvkokt I Folie style cut up experiments of ''Gasten Harry''. So get ready for a glorious blast from the past, as the Swedish pioneers of the hypnotic groove cordially invite you to a sonic journey as adventurous and memorable as a trip on the lansbuss to Odensbacken. Get on board, grab a seat and enjoy the ride. Liverpool. New York City. Dusseldorf. Orebro. // Ulf Osterstrom

Stomping into the SBC universe comes 131bpm; a Berlin houseTM-hold head with his distinct signature style of sass’d up sexy dance floor burners. The 5 track collection “Ethereal Yarn” weaves in jacking house, bounce bass and flirty tech with a bonus remix from PSL; hot, heavy and ready for your play. Expect the unexpected as conventionality is unraveled through freaky vocal cuts, buckwild percussion and genre mashups for the gods. How long is a piece of string? Lick my chain if you’re nasty!

Re-mastered from original mono master tapes.

Limited edition 1000 copies.

180 gr vinyl pressed by Pallas in Germany.

Deluxe high-gloss flipback album jacket.

Facsimile reissue using the original cover art.

Double insert using an original photo by JP Leloir from 1955.

Each record has been visually checked to prevent defects.

Recorded December 27 and 29, 1955 at the Pathé Magellan studio, Paris.

Original LP issue: Barclay 84.023.

After hitting Paris in 1950, saxophonist Bobby Jaspar enthralled jazz fans and jazzmen alike with his smooth, elegant playing, with the lyricism of his tranquil phrases heavily influenced by Stan Getz in particular. So when Jaspar began regularly performing with a small ensemble at the Club St-Germain five years later, he adopted the same instrumentation as that of his idol’s illustrious quintet, with Sacha Distel on guitar and René Urtreger on piano in the roles of Jimmy Raney and Al Haig, respectively.

Contrary to what its title might suggest, ‘Modern Jazz au Club St-Germain’ was actually recorded in the studio. It features compositions by Milt Jackson, Dizzy Gillespie and Miles Davis along with a handful of standards, in which the angular aridity of bebop gives way to the generous and yet sensitive idiom of cool jazz.

Jaspar’s premature death in 1963 robbed the jazz world of a promising talent; this record is among his best efforts as a leader. Bobby Jaspar is in top form here !!!

Text – Pierre de Chocqueuse

Bobby Jaspar (Tenor Saxophone & Flute)
Sacha Distel (Guitar)
René Urtreger (Piano)
Benoit Quersin (Bass)
Jean-Louis Viale (Drums)

*Includes download code

The two works which comprise this retrospective release project - "Plan for Sleep” (1984) and "Every Dog Has His Day” (1985) - are collaborations between Yamanaka and Furuhashi which were foundational to the music development of Dumb Type's aural legacy and intermedia innovations at large. Their early stage music possessed a unique charm and innovation, serving as an essential element at the core of their art. Through this project, the legacy of these works is to be re-evaluated, and the essence of the music contributing to the evolution of Dumb Type's sound through this day will be introduced to a new generation.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

Shock Room it’s a double vinyl release who takes the name from the main room of the discoteque.

ULTIMO IMPERO DI Torino; an historic temple of the techno music from the ‘90s. in this compila)on are all included the most iconic and an)cipated “techno, trance & progressive” grooves that have made dance en)re genera)ons of people, nowadays again on track and well
spinned up by djs all arounf the world.

Belén Natalí, Argentinian artist based in Barcelona and known for her extensive international career in the field of reggae and sound system culture, starts a new project where she navigates organically in pop/lo-fi rhythms with R&B reminiscences and jazz without forgetting his nods to Jamaican music. Her EP Jacarandà (Say it Loud Records & Costa Futuro, 2023) is quite a declaration of intent that features the collaborations of Ferran Palau and Santa Salut on two of the cuts. Belén, inaugurates a new stage in her musical career with musicians and producers such as Genis Trani or Hoss Benitez and Enric Peinado from the groove combo Big Menu.

Beeinflusst von DC-Punk und der Politik, die Dischord, TeenBeat und die Riot Grrrl-Revolution inspirierten, stürzten Tsunami aus Arlington, Virginia in die 90er Jahre mit Witz, Verzerrung und einem scharfzüngigen feministischen Geist. Diese Box mit fünf LPs enthält Songs von elf Singles, 4-Track-Demos, die Alben "Deep End" von 1993, "The Heart's Tremolo" von 1994 sowie die allererste Vinyl-Pressung des gefeierten "A Brilliant Mistake" von 1997. Aus dem Kofferarchiv ihres eigenen Labels Simple Machines Records schöpfend, sind Tsunamis Ambitionen - von Kellerkonzerten bis hin zur zweiten Bühne des Lollapalooza - in Essays, Fotos und Ephemera festgehalten, die diesen Teil der DIY-Geschichte der alternativen Musikrevolution belegen.

Beeinflusst von DC-Punk und der Politik, die Dischord, TeenBeat und die Riot Grrrl-Revolution inspirierten, stürzten Tsunami aus Arlington, Virginia in die 90er Jahre mit Witz, Verzerrung und einem scharfzüngigen feministischen Geist. Diese Box mit fünf LPs enthält Songs von elf Singles, 4-Track-Demos, die Alben "Deep End" von 1993, "The Heart's Tremolo" von 1994 sowie die allererste Vinyl-Pressung des gefeierten "A Brilliant Mistake" von 1997. Aus dem Kofferarchiv ihres eigenen Labels Simple Machines Records schöpfend, sind Tsunamis Ambitionen - von Kellerkonzerten bis hin zur zweiten Bühne des Lollapalooza - in Essays, Fotos und Ephemera festgehalten, die diesen Teil der DIY-Geschichte der alternativen Musikrevolution belegen.

Unbound by place or genre, mercurial, experimental pop duo Soft as Snow find freedom to intuitively reflect the disarray of human connection with their intricate, shape-shifting pop production. With each successive release, the duo evolves, unfurling into their own poetic sound, now fully realized on their intimate, third full-length, Metal.wet.

The oft-present trappings of male-female duos are eschewed here as the Berlin-based Oda Starheim and Øystein Monsen contribute equally across a canvas of analogue synthesizers, samplers, live drums, and processed guitars. At once a part of and yet apart from the zeitgeist, their forward-thinking modernity stretches the limits of expectations across Metal.wet's ten insouciant tracks. Fans of Tirzah, Hype Williams, and even Angelo Badalamenti will find much to love in this haunting work peppered with ASMR moments and rough sampling wrapped in high production –– twinkling glasses and sirens in the distance, rhythms and voices up front. The result is synth-driven, noisy, and dripping with laidback, confident sensuality.

Although Starheim's voice begins the album in a whisper, it quickly becomes apparent that the group has jettisoned their previous tendency to bury and distort her vocals. Nested in a bed of thorny electronics and broken rhythms, her multifaceted vocals might bring to mind Kazu Makino of Blonde Redhead or Hope Sandoval fronting Massive Attack. London MC Brother May (Mica Levi, CURL) makes an appearance on the driving and ethereal “Whip,” while Øystein’s own voice appears for the first time in a state of languid background haze.

Soft as Snow create and record across Europe. Defiantly averse to genre, the pair become vessels for their “electronic music pushed to the brink of collapse” (The Wire), previously released by Infinite Machine and Houndstooth. Informed by backgrounds in film and performance art, “there’s a surrealism that comes with watching Soft as Snow in the flesh,” (Vice) as seen at L.E.V. and Lunchmeat Festivals. Collaborations with visual artist Guynoid, designer AGF Hydra, and sculptor Camilla Steinum add depth to the corporeality of their “strange, mesmerising and utterly unforgettable” electronic experimentations. (DJ Mag).

"‘I Never Loved a Man the Way I Love You’ runs the stylistic gambit without feeling Franklin is doing things just for show. The album isn’t trying to function as a resumé of her skills. Genre shifts feel organic and natural. “Don’t Let Me Lose This Dream” is built on a bossa nova groove, while “Do Right Woman Do Right Man” has a little country ballad flavor. “Dr Feelgood (Love Is A Serious Business)”—one of four songs penned by Franklin herself—is a bluesy belter. She might have been Queen of the genre, but pigeonholing Franklin in soul is like calling Sugar Ray Leonard just a welterweight. She could shuffle through styles as smooth as velvet. Everything is stamped with her own distinct character."

Computer Future is the sprawling and ambitious third album by amorphous Brisbane, Australia garage rock outfit Velociraptor! The 14-song opus is the best recorded capture yet of everything that makes the ‘Raptors so beloved, a stream of addictively catchy rockers characterised by stupidly infectious melodies, an overabundance of earworm hooks, guitars aplenty plus of course their trademark gang vocals and harmonies. The shadowy cabal behind Velociraptor have returned from a spell away from the spotlight with renewed vigour and focus, more committed to and appreciative of their combined talents and chemistry than their younger selves, who were perhaps more about concerned about chasing good times rather than long ones. These days there are more cooks in the ‘Raptors kitchen than before but that’s only allowed them to expand the palette of the Computer Future menu without compromising on quality. Their distinctively melodic take on the garage rock form is still entirely evident, only it’s now augmented by quirkily compelling sonic detours into psych and new wave realms, the band all the while sounding wholly like themselves and nobody but themselves (apart from perhaps the Devo-indebted title tracks). In their halcyon days Velociraptor were a force to be reckoned with, an amorphous collective sometimes up to 12 members strong - many of them wielding guitars of some description - who partied hard and played even harder, attacking their live shows with unbridled glee and genuine gusto. They toured Europe/UK, and staged with bands the calibre of Black Lips, New York Dolls, OFF!, Radio Birdman and Violent Soho. The unparalleled camaraderie of their renowned live blitzes - plus sheer size of the band - at times threatened to overshadow the genuine strength of their songwriting and recorded output, but now with Computer Future those concerns are firmly in the past!

Repress! There are very few albums across any genre that stand the test of time better than 93 ‘Til Infinity, the classic debut record from the Hieroglyphics crew’s very own Souls of Mischief. In an era where Gangsta Rap and G-Funk dominated the West Coast Rap scene, Souls broke ground on a completely unique and thoroughly west coast sound. While the Dr. Dre’s and the Snoop Doggs were garnering much of the mainstream attention, Souls were quietly forging a charismatic, critically acclaimed, and cohesively shaped record that when categorized, sounded much closer to A Tribe Called Quest than N.W.A. The sound of their debut is characteristic of the distinct style explored by the collective, including a rhyme scheme based on internal rhyme and beats centered around a live bass and obscure jazz and funk samples.

93 ‘Til Infinity was propelled into success by its title track and lead single, which reached #32 on the Billboard Hot 100. It also featured singles “That’s When Ya Lost” and “Never No More” which also reached the Hot Rap Singles. In 1998, the album was selected as one of The Source’s 100 Best Rap Albums of All Time. Considered by many to be a text book “slept-on” classic Rap record, 93 ‘Til Infinity has only grown better with age. The album simply defines the Hiero golden age with a sound that would later be fine tuned with strong releases from MCs Del The Funkee Homosapien, Casual and Pep Love.

It takes some serious bravado to name your album 93 ‘Til Infinity, but certainly the goal of creating a Hip Hop “classic” must have been on the collective minds of group members A-Plus, Tajai, Opio, and Phesto when recording this landmark moment in Hip Hop history. It’s true, even seventeen years after the album’s initial release many people are still discovering it, and with this re-mastered reissue on double vinyl, fans all over the world will once again discover the brilliance that 93 ‘Til Infinity delivers and will continue to deliver beyond infinity.

2024 reissue of the initial edition released on Nov 2023 - blue & purple vinyls.

September 2012, the 4 turntablist djs from C2C (20syl, Greem, Atom and Pfel) released their first and only album to date : Tetr4.

This album was about to conquer the world: following heavy radio rotations with the hits "Down The Road" and "Happy", the band then toured in the biggest french venues before hitting the most renowned festival stages around the world (Coachella, Roskilde, Fuji Rock…).

For its 10th anniversary, the album comes on a new setting in its double LP vinyl version. Transparent color discs and silver sleeve to celebrate its first decade!

In the heart of Offenbach, where the city's pulse synchronizes with the beat of the night, stands the illustrious Robert Johnson Club. For a quarter of a century, it has stood as a bastion of sonic exploration, a sanctuary for those who seek solace in the rhythm, and a beacon of inspiration for the global electronic music community. As it proudly raises its glass to toast 25 years of unrivaled musical excellence, the echoes of countless memories reverberate through its storied halls. To honor this landmark anniversary, „Live at Robert Johnson“ presents a kinda like masters blueprint of sound: "Tell Me Something Good - 25 Years of Famous When Dead!" This compilation, aptly named after the club's mantra, serves not only as a celebration of its rich history but also as a testament to the enduring legacy of the artists who have graced its stage. Crafted with meticulous attention to detail, each track on the compilation is a sonic journey unto itself—a symphony of beats and melodies that weave together to tell the story of Robert Johnson's evolution over the past quarter-century. From the pulsating rhythms of underground techno to the ethereal melodies of deep house, the compilation encapsulates the club's eclectic spirit and unwavering commitment to pushing the boundaries of electronic music. But beyond the music lies something deeper—an intangible energy that permeates every aspect of Robert Johnson's existence. It's the sense of camaraderie that binds together the club's patrons and artists alike, the shared experience of losing oneself in the music, and the profound sense of belonging that transcends language and culture. As the compilation reverberates through the speakers, it serves as a rallying cry—a call to arms for all who have ever felt the transformative power of music. It's a reminder that, even in the darkest of times, there is beauty to be found in the simple act of coming together and losing oneself in the rhythm of the night. So let us raise our voices in celebration of Robert Johnson Club and the indelible mark it has left on the world of electronic music. Here's to 25 years of passion, of creativity, and of "something good" that will echo through the ages for generations to come.

lorence Besch legt eine musikalische Entwicklung in Meilenstiefeln hin. In ihrem zweiten Album „Gathering Hearts“ sublimiert sie ihre Fähigkeit, fragile Ehrlichkeit direkt aus der Mitte des Herzens in rohe Power zu transformieren. So schwappt einem ein aufbrausendes, dreamy Gitarrenmeer mit von ihr gewohnt starken, echten Lyrics entgegen.
In einer einzigartigen Mischung aus 90s Shoegaze und Indie Rock, gespickt mit vielen zärtlichen Popmomenten, formt Besch ihr ureigenes Genre – Dream Grunge.
Inspiration findet sie bei Legenden wie PJ Harvey, Courtney Loves Band „Hole“ und Nirvana.

Max Essa is a bonafide Balearic boss man and one of the regulars of the Is It Balearic? label. It is there that he returns now with 'I'm Homeward Bound' which is a textbook sound from the producer, with a hint of Tears For Fears. The pads are delightfully gooey and subtly uplifting over gently percussive and stuttering beats and the whole thing is rich in lazy poolside energy. Nathan Dawidowicz remixes into a percolating bit of deep and tribal disco, Secret Soul Society brings out the early evening house grooves ready for sunset sessions and the closing cut 'Chasing Horses' is a super sweet late night groove with heartfelt chords

Remastered Deluxe-Format zum 25-jährigen Jubiläum des legendären Debütalbums der US-Indie-Band American Football. Die Band brillierte mit einem Slowcore-Sound zwischen Math- und Post-Rock, löste sich aber kurz danach auf, um sich mit einer Reissue dieser LP 2014 wieder zu vereinen. Im Zuge der zweiten Emo-Welle entfaltete das Album eine ungeahnte Wirkung: Für Pitchfork "beste Neuauflage" und "einflussreichstes Album des Genres", für den Rolling Stone #6 der "40 besten Emo-Alben aller Zeiten". Das neue Format ist remastert und erscheint auf silberfarbigem Doppelvinyl mit 24-seitigem Booklet und Download-Card im Gatefold-Sleeve mit neuem Artwork in Silberfolienprägung.

The "Sula Bassana" project marks the fusion of two distinct but complementary musical worlds: that of 20syl, electro-hip hop producer and DJ, and that of Christophe Panzani, versatile jazz musician. The album is an ode to contemplation, an immobile voyage embodied by the Gannet, the symbol of their creativity as they fly across styles and soundscapes.

The duo affirm their complicity with the eponymous track "Sula Bassana", where 20syl's sophisticated electro production blends with Christophe Panzani's melodious instruments. The track was accompanied on its release by a remarkable interactive video that poetically retraces the journey of a gannet.

The album also features a number of enriching collaborations. On "Dreams", they invite Yael Naim with her haunting voice and poignant harmonies. "Nuevo Mundo" invites La Chica to take us into a vibrant and eclectic atmosphere, fusing electro rhythms with Latin influences. Finally, "Playtime" features jazz pianist Eric Legnini, whose subtle chords and virtuoso improvisation infuse the album with a refined energy.

"Sula Bassana" is a space where the duo asserts itself with confidence, a rich and varied musical exploration, transcending the boundaries of genres to offer a unique and captivating sonic experience.

Die Sängerin und Geigerin Alice Zawadzki, Pianist Fred Thomas (der hier auch die historische Fiedel
und Schlagzeug spielt) und Bassist Misha Mullov-Abbado präsentieren auf ihrem Trio-Debüt eine seltene
Alchemie, die Folk-Idiome verschiedenster Herkünfte mit frei fließendem Zusammenspiel und beweglichen
Strukturen verschmilzt. Somit umgibt das Trio ein eigenständiges Stil- und Klangspektrum, das Volkslied,
Kammermusik, Improvisation und Jazz verbindet, und auf Za Górami bündeln sie all diese Qualitäten zu
einem faszinierend Ganzen. Sephardische Lieder sind ebenso zu hören wie eindrucksvolle Interpretationen
von Gustavo Santaollas ”Suéltate Las Cintas” und Simón Díaz’ ”Tonada De Luna Llena”. ”Za Górami“ – das
traditionelle polnische Lied, das dem Album seinen Namen gibt – erklingt in einer ergreifenden Fassung von
Zawadzki selbst, und das Renaissancestück ”Je Suis Trop Jeunette” findet in der von Monodien inspirierten
Fred Thomas Vertonung von James Joyce’ ”Gentle Lady” eine verwandte Gestalt. Das Album wurde im
Auditorio Stelio Molo in Lugano aufgenommen und von Manfred Eicher produziert.

Tim Bernardes ist ein zweifach für den Latin Grammy nominierter Sänger, Songwriter, Musiker, Komponist und Produzent, eines der größten brasilianischen Musiktalente seiner Generation und ein weltweites Phänomen. Als zeitgenössischer Künstler mit tiefen Wurzeln in Brasiliens grünem musikalischen Erbe, hat Bernardes mit Künstlern wie Caetano Veloso, Maria Bethânia und dem verstorbenen großen Gal Costa zusammengearbeitet, während er den Weg für die neue brasilianische Szene ebnete und die Herzen eines weltweiten Publikums eroberte. Viele entdeckten Tim Bernardes' aufsehenerregende Stimme und seine metaphysischen Texte durch sein bahnbrechendes Album "Mil Coisas Invisíveis" (2022), aber es war sein herausragendes Debüt "Recomeçar" mit dem Bernardes die Hörer in seiner einzigartigen Klangwelt begrüßte: warm, intim, emotional, resonant, heilend. Das Album entstand hauptsächlich während einer Tournee mit seiner gefeierten Tropicalia-angehauchten Indie Band O Terno und wurde 2017 veröffentlicht. "Recomeçar" ist eine Sammlung von intimen Reflexionen über Herzschmerz und Verlust. Jetzt wieder verfügbar!