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Beograd (Belgrade in Serbian) is a four-piece Serbian electronic band, formed in the capital of the former Yugoslavia in 1980. Influenced by bands such as Kraftwerk, Depeche Mode, Ultravox and Human League, it played a role pioneer on the Yugoslav synth-pop scene. Their first studio album, Remek Depo, was released in late 1982 on cassette and early 1983 on vinyl by public label PGP RTB. It was a huge media success, released at the time of the effervescence of Belgrade's alternative scene, a vibrant underground movement of avant-garde artists and musicians that included leading bands such as Sarlo Akrobata, Ekatarina Velika, Idoli, Electricni Orgazam, etc. Unfortunately, the band disbanded shortly after the album's release. The album contains politically provocative lyrics for the time. Produced by Saša Habić, it stands out for the quality of its guest musicians - timpanist Borislav "Bora Longa" Pavićević, avant-garde saxophonist Paul Pignon and veteran jazz trumpeter Stjepko Gut - who contributed to its soulful side. , creating a unique combination of hot and cold.

Minimal Wave presents the first vinyl reissue of French legends Martin Dupont’s seminal album from 1987, ‘Hot Paradox’. Martin Dupont was originally founded by Alain Seghir in Marseille in 1980. He enlisted numerous collaborators throughout the years, including Beverley Jane Crew, Brigitte Balian, and Catherine Loy. Martin Dupont was immensely talented with a rare dynamic between its varying members that was likely inspired by a combination of their magnetic personalities, creative vision, and the home studio where they recorded. Their music was colorful, enthusiastic, delicate, melancholy, and mysterious. A mixture of hot and cold, light and dark. They created electronic music that incorporated guitars, clarinets, and saxophones and is described by many as New Wave yet truly transcended genres.

Aside from having been released as part of ‘The Complete Collection: 1980-1988’ 5-LP box set, the ‘Hot Paradox’ album hasn’t been available on vinyl since 1987. It is one of Martin Dupont’s most exquisite albums, illustrating the band’s mastery of synthesizer work, drum programming, and vocal duets. The album is vibrant and emotive, simultaneously somber and bright, theatrical and danceable. It is an essential album in the French cold wave, new wave, and minimal synth scenes, and in recent years, has finally received the recognition it deserves beyond any musical categorization.

The Hot Paradox album reissue is pressed on 180-gram black vinyl, is accompanied by the original insert/lyrics sheet, and is housed in a heavy-weight sleeve featuring art by Yves Cheynet. After remaining under the radar for 35 years, Martin Dupont reformed in 2022 and returned to the stage in 2023 with a US tour and the Kintsugi album. The band continues to tour Europe and record new material in their new studio in France.

Works for the Ever Present Orchestra Vol. II continues Black Truffle’s documentation of the late work of legendary American experimental composer Alvin Lucier, who sadly passed away in 2021 at the age of 90. Like the first volume of the series, the two works recorded here were written for The Ever Present Orchestra, an ensemble founded in Zürich in 2016 to perform Lucier’s work exclusively. At the core of the music Lucier wrote for the ensemble is the electric guitar, an instrument he began to explore in 2013. Played with e-bows, in these works electric lap steel guitars take on roles akin to the slow sweep pure wave oscillators heard in many of Lucier’s works since the early 1980s. This strikingly elegant pair of compositions would serve as an ideal introduction to Lucier’s late music for a listener as yet unfamiliar with its graceful exploration of beating patterns and other acoustic phenomenon.

The two pieces have quite different characters, exemplifying Lucier’s ability to harvest a remarkable range of musical results from closely related compositional procedures and concerns. In Arrigoni Bridge (2019), Lucier uses a technique familiar from earlier works such as Still Lives (1995), where sine waves traced the shapes of household objects. Here, three lap steel electric guitars (played by Oren Ambarchi, Bernhard Rietbrock, and Jan Thoben) follow the form of the Arrigoni Bridge that connects Middletown and Portland, Connecticut. The bridge’s two enormous steel arcs become slowly sweeping pitches, alongside which alto saxophone (Joan Jordi Oliver Arcos), violin (Rebecca Thies) and cello (Lucy Railton) sustain long tones, creating a variety of audible beating patterns depending on their distance from or proximity to the guitars. With its stately pacing, warm middle register tones, and rich timbral variety in the sustaining instruments, Arrigoni Bridge is a beautiful example of compositional reduction producing immersive results. Flips (2020), on the other hand, is more austere. Scored for two lap steel electric guitars (Rietbock and Thoben), double bass (Ross Wightman) and glockenspiel (Trevor Saint), the two acoustic instruments played with bows, the piece zooms in on the range of a major second (two semitones). The two guitars sweep in opposite directions within the range, crossing every four minutes; the double bass and glockenspiel sustain long tones, producing beats of different speeds determined by their distance from the guitar tones. This limitation of the tonal range means the music is often dissonant and forces the phenomenon of audible beating to the surface, resulting in a paradoxical music composed entirely of long tones yet alive with pulsating rhythm. Exemplifying Lucier’s ability to uncover near-infinite complexity within seemingly simple materials, Works for the Ever Present Orchestra Vol. II is a fitting tribute to one of the major figures of the experimental music tradition and a testament to the continuing power of his work.

Have you heard of the Nurse With Wound List? If you are a fan of creative-experimental-unlikely music, certainly. You would therefore be aware that amongst the recommendations that Steven Stapleton slipped into the first album of his group Nurse With Wound, were to be found a few restless frogs: Jef Gilson, Luc Ferrari, Jacques Thollot, Urban Sax, Horde Catalytique and last but not least Jean-Jacques Birgé and Francis Gorgé. Stapleton admired their album Défense de. The two Frenchmen just had to conceive of a fabulous precursor to the channel tunnel (check out the inside of the record, you’ll see) to enable Stapleton to come to France in 1980. The Englishman was looking for contributions to a compilation to be released on his United Dairies label that he had created with John Fothergill, and he naturally called on Birgé and Gorgé, who were then playing with Bernard Vitet in ‘Un drame musical instantané’.

It was a done deal and the compilation would be named In Fractured Silence. Alongside Nurse With Wound and Un drame musical instantané, could be heard Hélène Sage (whom Birgé introduced to Stapleton) and Sema, a project from the experimental British musician Robert Haigh who had participated in key records in the Nurse With Wound discography, such as Homotopy to Marie and Spiral Insana.

The curtain is raised and it is Un drame musical instantané who start the ball rolling. Mystery abounds; synthesisers lurk, percussion clatters and the sounds (creaks, whistles, vocal insertions...) fire in all directions. For the piano, it’s a debacle, the Drame won, Hélène Sage can take over. Heading up a quintette including Gorgé and Vitet, she creates a cushioned chamber music with strings and many silences.

On the B side, it’s the other side of the channel. Sema’s piano first off, which dares everything, even melody, before spilling out its darkest ideas in a raucous requiem. Finally, Stapleton appears, delving into his collection of female voices to devote himself to an iconoclastic transformation and concoct a song which collapses under the assault like Marianne at Agincourt. After having listened to In Fractured Silence, you will simply have to choose sides.

Have you heard of the Nurse With Wound List? If you are a fan of creative-experimental-unlikely music, certainly. You would therefore be aware that amongst the recommendations that Steven Stapleton slipped into the first album of his group Nurse With Wound, were to be found a few restless frogs: Jef Gilson, Luc Ferrari, Jacques Thollot, Urban Sax, Horde Catalytique and last but not least Jean-Jacques Birgé and Francis Gorgé. Stapleton admired their album Défense de. The two Frenchmen just had to conceive of a fabulous precursor to the channel tunnel (check out the inside of the record, you’ll see) to enable Stapleton to come to France in 1980. The Englishman was looking for contributions to a compilation to be released on his United Dairies label that he had created with John Fothergill, and he naturally called on Birgé and Gorgé, who were then playing with Bernard Vitet in ‘Un drame musical instantané’.

It was a done deal and the compilation would be named In Fractured Silence. Alongside Nurse With Wound and Un drame musical instantané, could be heard Hélène Sage (whom Birgé introduced to Stapleton) and Sema, a project from the experimental British musician Robert Haigh who had participated in key records in the Nurse With Wound discography, such as Homotopy to Marie and Spiral Insana.

The curtain is raised and it is Un drame musical instantané who start the ball rolling. Mystery abounds; synthesisers lurk, percussion clatters and the sounds (creaks, whistles, vocal insertions...) fire in all directions. For the piano, it’s a debacle, the Drame won, Hélène Sage can take over. Heading up a quintette including Gorgé and Vitet, she creates a cushioned chamber music with strings and many silences.

On the B side, it’s the other side of the channel. Sema’s piano first off, which dares everything, even melody, before spilling out its darkest ideas in a raucous requiem. Finally, Stapleton appears, delving into his collection of female voices to devote himself to an iconoclastic transformation and concoct a song which collapses under the assault like Marianne at Agincourt. After having listened to In Fractured Silence, you will simply have to choose sides.

Auf den Golden Records, die die Voyager-Missionen 1977 ins All transportierten, um außerirdischen Lebewesen unter anderem ein musikalisches Bild der Erdenbewohner zu vermitteln, waren zum Beispiel Werke von Johann Sebastian, Ludwig van, Wolfgang Amadeus, Chuck und Louis verewigt.

Mission Not Accomplished, …. yet, we lost control! Zeit für einen neuen Anlauf mit Space-Jazz von Sebastian Gramss’ STATES OF PLAY: METEORS - message to outer space. Ein vielschichtiger Bericht von der Erde in Ton & Text 45 Jahre nach den ersten NASA-Missionen als Doppel-Vinyl in 180 gr. auf clear orange & clear blue vinyl im Klapp-Cover mit bedruckten Inner Sleeves.

Shannon Barnett - trombone; Hayden Chisholm - saxophone; Philip Zoubek - piano, synthesizer; Christian Lorenzen - e-piano, synthesizer; Sebastian Gramss - double bass; Dominik Mahnig - drums plus guests (2022 wurde das Ensemble mit dem Deutschen Jazzpreis ausgezeichnet) A recording that will last!

Espen Eriksen – piano Lars Tormod Jenset – bass Andreas Bye – drums Andy Sheppard – saxophone. The combination of Espen Eriksen Trio and UK saxophone giant Andy Sheppard is truly a match made in jazz heaven, and in the words of Andy: “I knew from the first time I heard the trio play that I would fit right in. I loved the melodic sense and vibe and was thrilled when I was invited to guest with the trio in London in 2016”. The common conclusion drawn in reviews of their first album Perfectly Unhappy five years ago was simply “more, please”, and now we are delighted to introduce As Good As It Gets, the quite brilliant follow-up. The two album titles aptly indicate a subtle change in mood, and it´s fair to say that the new album finds the trio slightly more lively and sunny in parts, still highly melodic and lyrical, often with a typically Nordic melancholic signature (check the Grieg nod in album closer Drifting Clouds). Eriksen is a master of catchy tunes and when Sheppard adds his inimitable playing to the trio´s minimalistic approach, magic is created. Espen Eriksen Trio was formed in 2007 and released their debut album in 2010. As Good As It Gets is their seventh album, all on Rune Grammofon. They have toured on four continents, becoming an increasingly popular concert attraction in several countries. Eriksen´s background is ranging from jazz to pop music and the church organ, while Jenset lived and worked as a musician in Copenhagen for seven years before relocating to Norway. Andreas Bye is one of Norway´s most requested drummers in jazz and pop and has played with Bugge Wesseltoft, John Scofield, Joshua Redman, Dhafer Yousef, Nils Petter Molvær and many others. With a career spanning over four decades, working together with the likes of George Russell, Gil Evans, Carla Bley, Steve Swallow and numerous others, Andy Sheppard is truly one of Europe’s leading saxophonists. As a leader he has recorded for labels like Antilles, Verve, Blue Note and lately four albums for ECM.

'In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: “In Paris, Aries 1973”.

Therefore, it was not surprising that they crossed paths with Jef Gilson in the capital. He was always on the lookout for new artists for his recently formed Palm label and had been active on many fronts in jazz since the end of the 50s. The French bandleader / pianist / composer / sound engineer had already recorded, in the preceding months other American musicians who would go on to have great careers: Byard Lancaster, Keno Speller, Clint Jackson III, Khan Jamal... Gilson therefore offered Baikida Carroll the chance to record his first album under his own name, which would be the 13th release on the label. Carroll logically asked Oliver Lake to join him. He also recruited Manuel Villaroel, a young Franco-Chilien pianist from the group Matchi-Oul, who had already released an album on Futura in 1971 and would release another on Palm in 1976. The group was completed with the addition of Brazilian percussionist Naná Vasconcelos, who had just released a well-received album on the Saravah label. They were ready to enter the studio for the 3rd, 4th and 5th June 1974.

The first side of the album is divided into two long tracks which send free jazz back to its long-lost African roots. The opener “Orange Fish Tears” indeed rolls out a jungle of percussion of all sorts and sizes -the whole group is involved- which weave and mix together reaching a point where all bearings are lost, lending a sense of wonder to the majestic entry of the brass and woodwinds, flying suddenly out from the undergrowth. “Forest Scorpion” (sic) is a real voodoo ceremony where a venomous percussive groove backs the fiery solos from keyboards and saxophone in a furious trance. A warning; after these two tracks listeners are physically and emotionally wiped out!

The other side is more introspective. Deliberately using dissonance and repetition, “Rue Roger” -the only composition by Oliver Lake- in a long dialogue between trumpet and saxophone, could almost remind us of Terry Riley in his favourite ballpark. “Porte D'Orléans”, the fourth and final track on the album, has the group back to their old tricks in a long hallucinatory jam which owes as much to the contemporary music of György Ligeti as to the most angst-ridden Jerry Goldsmith soundtrack music (remember the heavy chords which beat through “Planet of the Apes»).

With these two sides, and in under 45m, Baikida Carroll and his musicians show just what they can do, from cerebral to charnel without ever simplifying things. This is an essential album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek. For those with good taste, in other words.'

Moar is back with his Badlibs, this time covering a track composed by legendary producer Jay Dee aka J Dilla. This time the Badlibs are joined by pianist Floriant Pélissier, who covers the main theme on piano, accompanied by Elisabeth Jutel (Double Françoise) on backing vocals and Jean-Louis Potin on saxophone. Moar is behind the MPC to produce and arrange the track, while he entrusts his long-time friend King Most (SF / USA) with the task of remixing it for an explosive Samba version.

The artwork is by the young and talented Arthur Zupashaf, and the logo by friend Eno Kruger

Alien Transistor is proud to announce a reissue of Such December, the fourth album by Japanese indie folk-pop artist, Gratin Carnival. Listeners might already know Gratin Carnival from their appearance on the Alien Parade Japan compilation of indie pop groups working with brass and woodwind; compiled by Markus Acher of The Notwist and Saya of Tenniscoats, it introduced this beautiful genre to the wider world. Gratin Carnival’s “Just Watching” was one of the many highlights of that compilation, and its gentle bossa-folk glide reappears on Such December.

Originally released in 2020, Such December captures beautifully the happy-sad charm of Gratin Carnival. The project of Koreyuki Mitsunaga, Gratin Carnival started in 2011; Mitsunaga had been home recording for some time and decided on the name as an umbrella for his music-making. Mitsunaga’s main instruments are guitar, which he uses to great effect throughout, his gorgeous acoustic playing reminiscent of players like Ueno Takashi of Tenniscoats or João Gilberto, and alto saxophone and clarinet. Those three instruments make up the core of Gratin Carnival’s sound, along with Mitsunaga’s charmingly doleful singing.

Recording at his parents’ home, with a four-track cassette recorder and a MacBook, Mitsunaga created Such December during 2020, though the songs on it stretch back to 2016. The closing “On The Train” was the first song written for the album – “a song about a small trip,” Mitsunaga recalls – and from there, he built a beautiful collection of songs that sit together perfectly. There’s great clarity in Mitsunaga’s writing, with nothing extraneous getting in the way of the lucid arrangements and gorgeous melodies; there’s something of chamber jazz about it at times, so it’s no surprise that Mitsunaga shares his love of Benny Goodman’s small group playing.

He's also a fan of Japanese folk artists like Kenji Endo and Kyouzou Nishioka, and grew up listening to Japanese popular music, The Beatles, and The Carpenters. You can hear trace elements of all this in Such December, in the clear-headedness of the melodic decisions made by Mitsunaga, and the quiet charm of the song’s gentle arrangements. They take on different shapes live, too, where Mitsunaga often invites other musicians to join in – his live band currently includes Masafumi Ezaki (trumpet), Nahoko Kamei (bass clarinet, piano, keyboards) and Tadashi Yonago (trombone, self-made instruments).

As with plenty of musicians from the Japanese underground, Mitsunaga is involved in other music, too – he’s been working with The Otoasobi Project, which performs music in collaboration with individuals with learning disabilities, and their families; and he’s also involved in improvised music. With Such December, though, you get to hear Mitsunaga’s music at its most personal and individual, ten songs of still, gorgeously poised indie folk-pop, where the swooning clang of six strings meets the breathy bliss of woodwind and brass.

Tim Allhoffs musikalischer Mix vereint klassische Eleganz à la Bach und Edvard Grieg, mitreißende Singer-Songwriter-Essenz, beruhigenden Jazz und neu interpretierte Pop-Cover. Das Album „Silence Is Something You Can Actually Hear" lädt dazu ein, innezuhalten, zu atmen und sich der berührenden Musik hinzugeben. Die Kooperation mit dem Morphing Chamber Orchestra und dem Signum Saxophone Quartet bereichert die Reise. Besonders beeindruckend ist Tim Allhoffs Eigenkomposition „KANON" mit verzaubernden Saxophonharmonien.

Inspiriert von Haruki Murakami, verkörpert der Titel des Albums die Essenz und entführt in ein Reich langsamer Zeit und tröstender unausgesprochener Noten. Dies ist mehr als ein Album - eine 50-minütige Ruheoase, in der Musik zum Flüstern des Herzens wird. Die Stille spricht hier.

The group"s second LP for Epitaph finds HUNNY playing in a brand-new musical sandbox, balancing the haze of hindsight with a sun-soaked SoCal summer. From the meditative track "my own age" and breakbeat-backed, late "90s-leaning "all my luck" to the lo-fi punk standout "ring in your ear" (featuring Motion City Soundtrack"s Justin Courtney Pierre) and made-for-dashboard-drumming "89cc" (complete with a searing sax solo) the album is a testament to the band"s musical fluency and dedication to their craft. HUNNY was born out of the tight-knit North LA indie-rock scene of the mid-2010s, sharing stages and even band members with acts like The Neighbourhood and Bad Suns from an early age. The band is well established in the digital space, having racked up over 300+ Million streams to date on their catalog. By the time the band had secured a record deal with legendary Epitaph Records and released their 2019 debut full-length, Yes. Yes. Yes. Yes. Yes., outlets like Alternative Press were hailing HUNNY - vocalist/guitarist Jason Yarger, guitarist Jake Goldstein, bassist Kevin Grimmett and drummer Joey Anderson - for their spin on "perfunctory electronic and new-wave pop, teeming with love, heartbreak, neuroses and impeccably sweet dancing shoes." Now, on the verge of entering their second decade together, it"s clear HUNNY"s greatest asset is their disinterest in doing anything besides what moves them. It"s afforded them great range as a band, the ability to naturally shapeshift on their own albums as well as win over audiences across the entire rock spectrum. Most importantly, it"s propelled them to be unapologetically themselves and trust what"s gotten them this far.

"Tale Spinnin'" - Joe Zawinul (keyb, perc, voc); Wayne Shorter (ts, ss); Alphonso Johnson (b); Alyrio Lima (perc); Leon "Ndugu" Chandler (dr)
»We played music that people listened to every day just as they watch the news every evening, music which changed constantly - just like the weather«, reminisced Joe Zawinul when talking about coming up with a name for the group. This would probably frighten off listeners in today's mass market. But back in those days CBS was satisfied with the group's sound being somewhat similar to the Miles Davis Combo and offered them a recording contract without carrying out the usual sound check. The magic potion "Bitches Brew", which Zawinul and Wayne Shorter had conjured up with Miles Davis, was promising of exhilarating new things to come.
The heart-stopping mix of motivic fixed points and exciting improvisations, »the sketchy melodies, all that a synthesizer and other similar electronic devices could offer, combined with a Milky Way of rhythms« (Der Spiegel) was the pathway down which the group went - without ever becoming pure routine. The fifth album, "Tale Spinnin'", is captivating for its wealth of distinctive, often warm, synthesized sounds, which are further enhanced by Wayne Shorter's bright, twangy soprano saxophone, lending it a jazzy aura. To be sure, this gripping jazz fusion never progresses steadily all the time, but takes up snatchy, though seemingly familiar, melodic ingredients and combines them to produce a new mixture. "Badia", however, is completely different: a quietly flowing and totally rhythmic ethnic work, which today would be classified as World Music.

Rare Jazz-Soul-Funk Fusion From Milwaukee.
Originally released as a private pressing in 1982.
First Ever Vinyl Reissue.
Released in collaboration with the Numero Group.
180g BLACK vinyl limited to 500 copies w/obi strip. Non-Returnable.
James Dallas is a talented producer, songwriter and saxophonist from Milwaukee. He started playing the clarinet in Junior High School at the age of thirteen, during this time public schools would loan students an instrument who could not afford their own. James originally requested an alto saxophone but none of those were available. In 1967 he got his hands on a baritone saxophone…and it became his main instrument for the next 15 years.

Dallas decided to pursue a career in entertainment (influenced by his parents who allowed him to play in a professional R&B band at the age of 14) and was possessed by an exceptional drive to excel in music. James wanting to showcase his talents as a multi-instrumentalist led him to his pursuit in playing the flute, various forms of the piano…and of course all the saxes & clarinets.

Soon he started playing with local bands and solo artists in the jazz & blues scene, he even participated on several recordings (mostly as part of the horn section)…but things really started to take of when James (together with his brother Chris and his cousin Kevin) started the outfit Heavy Weather. Most of the other bandmembers where his friends and would later become regular players on Dallas’ two solo albums ‘Life Forms’ (1982) and ‘Here And Now’ (1984).

The album we are proudly presenting you today: Life Forms (1982) was James Dallas debut album. Recorded at Mauer Brothers’ Studio and completely self-funded with the help and encouragement of his peers and family. Dallas paid for all the recording time and the privately pressed 1000 copies of the album…back then he could not have imagined that decades later it would become a much sought-after collectible that fetches high prices.

On Life Forms James Dallas is joined by a top cast of musicians such as Earl Thompson on percussion, Myron McClain and Noland Clark on drums, Rick Lacey and Robert Walls Jr. on guitar, Jake Simmons and Kevin Whitehead on bass. Kevin Whitehead (who is James’ cousin and known for his work with Ben Webster, Ella Fitzgerald, Miles Davis, Sun Ra and Pharoah Sanders) also wrote a track for the album. The whole venture truly is a family affair because James’ brother Christopher can also be heard on keyboards and the album design was handled by his other brother Calvin.

James Dallas surely deserves the title of ‘multi-instrumentalist’ because not only did he compose the majority of the songs (and produced the whole album) but next to his trademark soprano saxophone work, he also took care of playing the electric piano, flute, vocoder and keyboards.

The six songs on the fantastic Life Forms album are a heavy mix of mind-blowing funk, fusion and Vocoder/Odyssey synth extravaganza. If you are a serious collector or a smooth jazz underground enthusiast, then this is the thing for you! Also included is the magnificent ‘Sidetrack’ song that was included on the Numero compilation ‘NuLeaf’ released in 2020.

Skultura is Nick Dunston’s follow-up to the critically acclaimed Spider Season, which was released in July 2022. On Spider Season, Martin Johnson of Jazz Times said “Dunston is a sonic revolutionary in many ways, not the least of which is the instrumentation of his bands.”Spider Season also received glowing reviews from Pitchfork Magazine, TheWire, and New York City Jazz Record. While Skultura is an entirely new band,(featuring Cansu Tanrıkulu on voice/effects/electronics, Mariá Portugal on drums, Liz Kosack on synthesizer, and Eldar Tsalikov on alto saxophone/clarinet), fans of Dunston will find much to admire, and hear a compositional, improvisational, and notably, production style that is becoming uniquely his own. The repertoire of original music on Skultura ranges from spontaneous electro-acoustic ensemble exchanges, to carefully sculpted tone poems that meditate on the manipulated sample-based sides of the quintet. Composition, improvisation, and performance are no longer the only elements at playin Dunston’s recorded work. On Skultura, he continuously shapes the music with various sound-manipulation techniques to create an album that is meticulous as it is visceral. To quote Jacob Garchik’s liner notes, the ‘work is made of continuous waves of inspiration and creation, strata of improvisations made permanent, each layer related to the one below, or not’. Skultura is revered in Europe and the U.S., and will be co-released on the Berlin-based record label Fun In The Church, and the American tape cassette label Tripticks Tapes. Upcoming European performances in the Fall 2023 include Wels Unlimited Festival in Austria, and the Jazz Exzess concert series in Berlin.

My ZEITGEIST. (in the words of The Legendary Tigerman)

Musically, I tried to follow the path left behind by early modular synths explorers like Suzanne Ciani or Wendy Carlos, mixing it with the raw & powerful energy of early punk explorers like The Cramps, Suicide or The Sonics (my teenage heroes!) and the orchestral universe of people like Lee Hazlewood or Scott Walker, looking back at the past while keeping an eye out for the future.
Zeitgeist is also the point where my work as a soundtrack composer meets my life as a punk Rock’n’roller.

The Legendary Tigerman is the artistic name of Portuguese musician and composer Paulo Furtado. With a solid career stemming from the DIY movement and characterized by the reinvention of genres such as blues, rock, and garage rock, while always maintaining a punk attitude, The Tigerman's recognition is founded on a galloping international career, marked by the release of the iconic album "Naked Blues" in 2001. In a few years, he goes from a cult artist to a reference name and with the acclaimed "Femina" (2009), he writes his name in the pantheon of the most creative rock made in Europe.
With "True" (2014) and "Misfit" (2018), he consolidated his position in the international rock scene with two albums that explore the dense soundscapes of a rock 'n' roll that moves away from common places. Live, the unstoppable and infernal rock machine, consisting of Paulo Furtado on vocals and guitar, Filipe Rocha on bass, Mike Ghost on drums, and Cabrita on saxophone, makes concerts unpredictable and explosive, exactly as expected from a rock 'n' roll act.
The success of The Legendary Tigerman goes beyond the borders of Portugal, thanks to tours in various countries in Europe, Asia, and Latin America. In addition to his work on stage, Paulo Furtado has become notable for his prominent career in theater, cinema, soundtrack creation, photography, and film direction.
Focused on being a catalyst for unique and authentic music, The Legendary Tigerman is one of the main European rock names, renewing himself with creativity and innovation with each album. In 2023, there will be a new album, featuring more ethereal and intimate sounds alongside rock 'n' roll, but always keeping it punk.

"I imagine myself playing these songs in a small club that is slowly burning," says A. Savage of his second solo record, Several Songs about Fire. After more than a decade in New York, the co-frontman of Parquet Courts has left the city, marking his exit with a masterpiece of maturity and a worthy corollary to his first solo venture, 2017"s Thawing Dawn. "Fire is something you have to escape from. This album is a burning building, and these songs are things I"d leave behind to save myself." Produced by John Parish on a 1" 16-track in just ten days in Bristol and studded by the support of Cate Le Bon and Jack Cooper (Modern Nature, Ultimate Painting) as well as saxophonist Euan Hinshelwood (Cate Le Bon), drummer Dylan Hadley (Kamikaze Palm Tree, White Fence), and violinist Magdalena McLean (Caroline), Savage"s outsize gifts as a lyricist and observer - a quality Parish calls "an emotional openness guarded by a laconic wit" - shine. Worrying questions of wealth and poverty, self and other, Savage displays the poet"s gift of knowing when to narrate and when to vanish, leaving the listener to their own emotional privacy rather than instructing them how to feel. The end result is tantamount to psychic odyssey, with "Elvis in the Army" placing us in a subterranean venue where the livid, ratifying cymbal raises the room"s blood pressure and "Mountain Time", evoking an austere waltz playing in a desolate house, returning those listening to life. Influenced by Sybille Baier and Townes Van Zandt, Savage joins a canon of songwriters constantly dilating aperture and perspective. In rendering the signage of laundromats and threats of debt collectors as glistering and totemic as the scope of mountains, rivers, seas, and skies, Savage finds hopes and curses in equal measure.

"I imagine myself playing these songs in a small club that is slowly burning," says A. Savage of his second solo record, Several Songs about Fire. After more than a decade in New York, the co-frontman of Parquet Courts has left the city, marking his exit with a masterpiece of maturity and a worthy corollary to his first solo venture, 2017"s Thawing Dawn. "Fire is something you have to escape from. This album is a burning building, and these songs are things I"d leave behind to save myself." Produced by John Parish on a 1" 16-track in just ten days in Bristol and studded by the support of Cate Le Bon and Jack Cooper (Modern Nature, Ultimate Painting) as well as saxophonist Euan Hinshelwood (Cate Le Bon), drummer Dylan Hadley (Kamikaze Palm Tree, White Fence), and violinist Magdalena McLean (Caroline), Savage"s outsize gifts as a lyricist and observer - a quality Parish calls "an emotional openness guarded by a laconic wit" - shine. Worrying questions of wealth and poverty, self and other, Savage displays the poet"s gift of knowing when to narrate and when to vanish, leaving the listener to their own emotional privacy rather than instructing them how to feel. The end result is tantamount to psychic odyssey, with "Elvis in the Army" placing us in a subterranean venue where the livid, ratifying cymbal raises the room"s blood pressure and "Mountain Time", evoking an austere waltz playing in a desolate house, returning those listening to life. Influenced by Sybille Baier and Townes Van Zandt, Savage joins a canon of songwriters constantly dilating aperture and perspective. In rendering the signage of laundromats and threats of debt collectors as glistering and totemic as the scope of mountains, rivers, seas, and skies, Savage finds hopes and curses in equal measure.

'Jackie McLean’s music weaved in and out of the avant-garde throughout the late-60s but the saxophonist maintained a decidedly post-bop edge on Demon’s Dance featuring trumpeter Woody Shaw, pianist LaMont Johnson, bassist Scott Holt, drummer Jack DeJohnette, and striking cover art by Mati Klarwein.This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

'New World Artifacts' is the debut album from Rouen, France-based group Unschooling, arriving following their 2021 'Random Acts of Total Control' EP and 2019's 'Defensive Designs' tape. Out October 6th via Bad Vibrations, it's a collection of lo-fi post-punk clocking in at 30 minutes, underscored with subtle pop melodies and structures but never far away from bouts of chaotic no-wave dissonance. Here, Unschooling claim loud and clear their desire to return to a sound which is less calibrated, less obvious. As they themselves write, "New World Artifacts is an ode to the unexpected, a tribute to many art rock bands who are always where you least expect them." Already heralded as one of the most exciting up-and-comers in the new school of post-punk revivalists, having spent the last couple of years playing to busy crowds and festival fields across the continent, 'New World Artifacts' might just mark them out as the best in class. The Unschooling quintet, as referred to on the album's collage artwork, is made up of Vincent Fevrier (Vocals/Guitar), Damien Tebbal (Bass), Paul Morvant (Guitar), Marc Lebreuilly (Guitar/Synth) and Thomas Fromager (Drums). Although their music might revel in discord, it is a calculated one. The musicianship is complex and meticulous, hardened by their time spent together playing on the road. For 'New World Artifacts', additional musicians were also brought in to expand the sound in new ways, including saxophonists Levi Gillis (The Dip, Beat Connection) and Emeline Morisset (Les Agamemnonz), and Kyleen King (Stephen Malkmus & The Jicks, My Morning Jacket) on strings. Pressing Info: 180g blue vinyl, limited to 300 hand-numbered copies ww, download card included.

"A solid sextet with leading trumpeter Donald Byrd, tenor saxophonist Charlie Rouse, Baritone Pepper
Adams, Art Taylor on drumsticks, Sam Jones on double bass and Walter Davis Jr on piano. Recorded
by Rudy Van Gelder in May 1959… Fantastic year for Jazz… and particularly for Hard Bop… this album
will delight fans. 180GRAM VINYL - LIMITED EDITION 1,000 UNITS - ONE TIME PRESSING."

'New World Artifacts' is the debut album from Rouen, France-based group Unschooling, arriving following their 2021 'Random Acts of Total Control' EP and 2019's 'Defensive Designs' tape. Out October 6th via Bad Vibrations, it's a collection of lo-fi post-punk clocking in at 30 minutes, underscored with subtle pop melodies and structures but never far away from bouts of chaotic no-wave dissonance. Here, Unschooling claim loud and clear their desire to return to a sound which is less calibrated, less obvious. As they themselves write, "New World Artifacts is an ode to the unexpected, a tribute to many art rock bands who are always where you least expect them." Already heralded as one of the most exciting up-and-comers in the new school of post-punk revivalists, having spent the last couple of years playing to busy crowds and festival fields across the continent, 'New World Artifacts' might just mark them out as the best in class. The Unschooling quintet, as referred to on the album's collage artwork, is made up of Vincent Fevrier (Vocals/Guitar), Damien Tebbal (Bass), Paul Morvant (Guitar), Marc Lebreuilly (Guitar/Synth) and Thomas Fromager (Drums). Although their music might revel in discord, it is a calculated one. The musicianship is complex and meticulous, hardened by their time spent together playing on the road. For 'New World Artifacts', additional musicians were also brought in to expand the sound in new ways, including saxophonists Levi Gillis (The Dip, Beat Connection) and Emeline Morisset (Les Agamemnonz), and Kyleen King (Stephen Malkmus & The Jicks, My Morning Jacket) on strings. Pressing Info: 180g blue vinyl, limited to 300 hand-numbered copies ww, download card included.

In a world seemingly gone crazy a bit of good old common sense is as necessary as a simple cup of black coffee.” A random quote out of the ether but one that could define the sound, the style and craftmanship of The Irrational Library. Based on a foundation of groove set forth by Mishal Zeera on the bass guitar and Lars van der Weiden on drums; this sets the locomotive in motion for the guitar and baritone sax of Tom de Haan to build upon. A sonic sound that continues to search in between the lines, to reach where most musician dare not to dwell. A musical landscape so familiar yet fresh and new for these times. And
always waiting and watching, ready to jump that train are the poetic and socially zoomed in words of Joshua Baumgarten.

Essential South African jazz, funk and soul - An anthology dedicated to the legendary Black Disco ensemble. Distilling the group’s recorded output into a single commemorative document, Discovery 1975-1976 compiles cuts from the lauded Night Express album alongside rare gems from the group’s long-out-of-print first and third albums. The newly remastered selection features previously unissued single versions of the mighty “Night Express” itself, a funk juggernaut with piercing flute whistles and rapturous sax cries as well as “Dawn” from the album Black Disco 3, a trippy, flute-driven awakening of soft light and gentle colours.

With a Yamaha organ and a dream, Pops Mohamed started his musical journey in the mid-1970s as the bandleader and composer of Black Disco, creating a hip melange of chill-out jazz with futuristic drum machine sounds and spiritual overtones. His cosmic organ transmissions were accompanied by two of the most sought-after session players on the South African scene, the sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy who was already rubbing shoulders with the old guard at the outset of his career. Backed at first with polyphonic beats from Mohamed’s electric organ and later taking on a drummer, Black Disco created a signature sound and a trilogy of innovative albums in a burst of studio creativity between 1975 and 1976.

On the heels of their epic various artists compilation, As-Shams Archive have produced a doozy of a compilation of some very essential South African jazz.

Lower-case and higher-vibes, loket is the saxophonic alias of Tahl Klainman, a versatile presence in Berlin’s alternative and underground scene, whose diverse productions have traversed ambient, trance, techno and jazz on labels such as Mama Told Ya, Hot Concept and Tax Free Records. More recently loket also guested on Massimiliano Pagliara’s LP ‘See You In Paradise’, which received the 2023 German Record Critics’ Award, as well as establishing Klainman as one of the few saxophonists to have jammed live to a peak-time Panorama Bar dancefloor.

Reigniting the languid futurism of trip-hop and downtempo, ‘All Ages’ ably delivers the most inclusive distillation of loket’s sound thus far, paying respect to the influences such as William Orbit and Moby, as well as fourth-world innovator Jon Hassell’s philosophy of blending traditional instrumentation with contemporary electronic experimentalism. Mixed in collaboration with Angus Finlayson, aka Minor Science, each of ‘All Ages’ four pieces transmit the wonder and free-spirited optimism reflected on photographer Jordan Kirk’s wide-eyed cover art.

Title track ‘All Ages’ prizes open a saxophonic wormhole to beckon an infectiously baggy groove, unexpectedly referencing the optimistic rhythm of acid-house inflected Madchester, only with gnarlier guitars to contrast a seriously insistent bassline. ‘Afternoon at Bärenquell’ boldly teases out sonic pleasure from even more idiosyncratic means, melding baroque strings and twinkling new-age melodies to loket’s emotive brass, culminating in a neo-classical finale that seems to suspend itself mid-air.

‘Sanders Groove’ sees loket’s sax step back on a bed of soft, jazz-inflected percussion and unpredictable electronics, melting as one into a slow-motion riff that’s equal parts indie jam and musique concrete. Finally, ‘Soft as Moonlight’ makes good on its romantic namesake with a swelling arrangement that free floats into deft percussion, dreaming and teeming with positive energy.

Critically acclaimed pianist/composer Aaron Diehl's penchant for the past
influencing the future has come full circle with his fully realised suite of
Mary Lou Williams' Zodiac Suite - the first fully-fledged professional
recording of this incredible music
Solely paying tribute to Mary Lou Williams was not the goal, as Diehl's mission is
to give honour and praise to one of the greatest composers of the 20th century
and the forgotten rich history of Black Classical Music.
Joined by the orchestral collective The Knights and special guests Evan
Christopher (clarinet), Nicole Glover (tenor sax), Brandon Lee (trumpet), and
Mikaela Bennett (soprano), Diehl breathes vibrant new life into a masterwork that
the composer herself was never able to fully realize during her lifetime.
Aaron Diehl approaches the piano with a delicately nuanced expressivity and an
exquisitely attuned touch that have garnered him acclaim at the highest levels.
From his collaborations with such jazz innovators as Wynton Marsalis, Cécile
McLorin Salvant and Benny Golson, to his exploratory work in the classical realm
with Philip Glass or the New York Philharmonic, to his own current- crossing
recordings as a leader, Diehl is singularly committed to a journey of musical
discovery regardless of genre or context

Classic Jazz Album from 1978.
Featuring an all-star line-up.
First ever vinyl reissue since 1986.
Released for the first time in the UK & North America.
180g BLACK vinyl limited to 500 copies (w/obi strip).

Curtis Fuller (December 15, 1932 – May 8, 2021) was an American jazz trombonist best known for being a member of several legendary jazz outfits, his impressive catalog of solo albums and a contributor to many classic jazz recordings.

Fuller was born in Detroit and lost both his parents at a very young age. He spent several years in an orphanage run by Jesuits where he developed a passion for jazz after one of the nuns there took him to see his first live performance. Curtis attended public school in his hometown (together with Donald Byrd and Milt Jackson) where he took up the trombone at the age of sixteen.

Curtis Fuller was a well-respected member of iconic outfits such as Art Blakey & The Jazz Messengers, Art Farmer’s Tentet, The Benny Golson Quintet and Eastern Rebellion. The list of his collaborations is impressive to say the least, Mr. Fuller recorded and performed with greats such as Quincy Jones, John Coltrane, Count Basie, Dizzy Gillespie, Freddie Hubbard, Roland Kirk Rashaan, Miles Davis…and many others.

Fuller was granted an honorary doctorate of music from Berklee College of Music in 1999 and eight years later he was honored as a NEA Jazz Master. Curtis Fuller’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Savoy, Prestige, Strata-East, Muse, Verve and Impulse!

On the album we are presenting you today: Four On The Outside (Recorded in 1978 at the famous New York CI Recording Studio and released on Timeless Records the same year) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album.

The all-star line-up includes Pepper Adams (Oliver Nelson, Lalo Schifrin, Herbie Hancock) on saxophone, Dennis Irwin (The Jazz Messengers, Chet Baker) on bass and James Williams (Calvin Keys, Thelonious Monk) on piano.

Four On The Outside shows off Fuller’s mastery of the Trombone and this delightful set features him in a front line with Pepper Adams delivering a unique trombone-baritone saxophone combination (few others have followed this intriguing coupling). Curtis Fuller plays from the heart and is on top of his game. Expect sharp and elegant original compositions, machine gun-like spurts, angular boppish lines and top rhythm section work that never gets in the way of the horns spreading their wings. All of the above makes this record a must have for any self-respecting jazz fan or collector!

Ein weiterer außergewöhnlicher Release in der hochgelobten WaJazz-Reihe ist dem Leben und der Musik eines der berühmtesten japanischen Jazzmusiker der letzten 60+ Jahre gewidmet, dem legendären Saxophonisten Jiro Inagaki mit seiner Soul Media-Band und ihrer goldenen Ära 1968-1980. Diese ultimative Kollektion erscheint auf goldfarbigem 180g Doppelvinyl im Gatefold mit detaillierten Linernotes von Yusuke Ogawa (Universounds), Kommentaren von Jiro und exklusiven Fotos. 16 mal pures Gold aus Jazz, Jazz-Funk und Jazz-Rock, darunter eine unveröffentlichte Version des Tracks 'Express' – erstmals auf Vinyl!

Celebrated composer, performer, saxophonist, soloist, band leader, educator, activist, and mixed-media artist Matana Roberts returns with a new installment of their acclaimed Coin Coin series. For over a decade, Coin Coin has been the central artistic project for Roberts, a remarkable exploration of American ancestry and the nature of memory through "sound quilting": modern composition that draws on a wide range of musical sources and traditions, along with research-driven historical and genealogical narratives that yield prose and poetry both spoken and sung, field recordings, and graphic scores. The Quietus declares "when the 12-album cycle is complete, it will be regarded as a singular masterpiece of 21st century sonic and narrative art" and Pitchfork calls it "one of the most provocative ongoing bodies of work by any American musician." Coin Coin Chapter Five: In the garden... is the first new recorded audio chapter since 2019 and centers upon reproductive rights, summoning the story of a family ancestor who died in early adulthood, from a cause kept obfuscated and hushed, shrouded in disinformation and shame. Roberts reimagines diaristic and oral narratives, delivered in strident streams of spoken word that punctuate the hour-long work, with recurring musical themes frequently accompanied by the declarative refrain "my name is your name / our name is their name / we are named / we remember / they forget." As Roberts writes in the accompanying liner notes essay: I find it absolutely disgusting that the same trauma my grand ancestor, whose story we are telling in this chapter, is closely mirroring the experiences of some poor soul today as I write this... Our aforementioned grand, who perished at a young age, leaving her growing children motherless, did not have to die. The negative consequences of her death have reverberated down through generations in my family line, in the same way that a similar resounding might happen for someone else's ancestral line generations from today. While often jazz-adjacent, and with Matana's inimitable saxophone and indomitable voice at the core, Roberts situates Coin Coin outside the Jazz genre and within heterodox pathways of post-modern composition, electroacoustic music, sound collage, experimental voice, and sound art. In the garden... undeniably continues to express and expand upon the project's magnificent iconoclasm, nonetheless being the most jazz-inflected chapter since Coin Coin Chapter Two: Mississippi Moonchile(2013). Recorded in Brooklyn with a stellar acoustic ensemble that includes Stuart Bogie, Gitanjali Jain, Darius Jones, Matt Lavelle, Mike Pride, Ryan Sawyer, Corey Smythe, and Mazz Swift, abetted by some sparkling pieces featuring modular synthesis courtesy of album producer Kyp Malone (Bent Arcana, TV On The Radio), In the garden... traverses a vivid stylistic array of thematic overtures, excursions and set pieces, ranging from spacious textural invocations to gorgeously tempered horn-led compositions to driving free jazz and exhilarating through composed bursts of cacophony. With storytelling spoken-word lead vocals by Roberts channeled recurringly throughout, alongside various other deployments of layered and group voices, the album is alternately a meditation and fever dream of narrative potency. This is some of the most intense and intensive music Roberts has composed and captured to date, richly conceived and deeply felt, restless yet focused, unflinchingly substantive and unique. Coin Coin Chapter Five: In the garden... channels epigenetic trauma and tragedy with teeming complexity and fierce beauty _ a eulogy, testimony, and celebration, melding music and language in a stunning polychromatic flow of vernaculars and poetics. A powerful work of subjective commemoration and historical-cultural communion that speaks indelibly to the present moment.



2x10” in 350 gsm widespine jacket w/interior colour flood + 300 gsm printed inners + 20”x 10” fold-out insert + DL card

Swiss-born pianist Camille-Alban Spreng, who has resided in Brussels for over a decade, has been active since 2010 in a diverse range of bands and projects within jazz, improvised (electronic) music, art performance and theater. He can be seen on stages all over Europe and trained at various conservatories with renowned players such as Emil Spanyi (HEMU, Lausanne), Eric Legnini and Kris Defoort (CRB, KCB, Brussels).
Together with his regular band ODIL, he has already released two records: 'Something' (QFTF Records - 2016) and 'RESON' (QFTQ Records - 2019), with the collaboration of Leïla Martial, and Valentin Ceccaldi on the latter album. ODIL operates from Brussels but, with in its ranks a pivotal figure with Swiss roots, a French drummer and an Irish saxophonist, is a band with international allure. Nina Kortekaas' unique voice is also an absolute asset.

His third album, titled "Unheimlich," will be released on W.E.R.F. records, one of Belgium's finest jazz not jazz labels. The new album sprung from Camille-Alban's fondness for Allen Ginsberg and the beatnik movement. Poems by Ginsberg are provided with music, notably "Pull My Daisy" (co-written by Jack Kerouac and Neal Cassady at the time) and "White Shroud," with the approval of the rights holders/heirs.

The lyrics that Camille-Alban himself wrote for the album exude the same beatnik vibe. In that sense, the new work is also an homage to Allen Ginsberg. "I love his way of writing: it's funny, twisted, quirky ánd spiritual," Camille-Alban said. "I couldn't think of a better title for the new album. 'Unheimlich' doesn't translate. The black cat in the lobby of a creepy hotel in 'The Matrix,' I think of that image, that atmosphere."
ODIL's music has a narrative character and in terms of form, the compositions are not ordinary. Impro plays a role and the music is unmistakably characterized by a contemporary jazz aesthetic but at their core the compositions are also songs, a unique feature. 'Unheimlich' is a jazz album that can be listened to just as well as a pop rock album.

Confidence is the NBR absolute party starter! Big big drums, live saxophone and organ, a crazy tempo and a hook we've been spotted shouting along to walking to work at 9am! Like Phill Most says “Occasionally / Its even amazing to me/ how ill I can be /when I MC”. Damn straight Phill Most! We've seen early acetates of this absolutely tear up the festival circuit last summer & consider this 45 the ultimate party 45 on the label!

Flip it over to hear the exclusive to this 45 If Ya Let 'Em (Remix). Phill Most Chill on a cautionary tale about grabbing hold of our own destiniy! This very unusual beat that emulates a band sound by progressing & switching from bar 1 to the end. Snafu & Bankrupt Euros' Craig Cloy go wild on bass, piano & cello arrangement over a tough, classic break using live instrumentation and some sample chops, trying to replicate the feel of a soul band with hip hop sensibilities. Grazzhoppa steals the show on both sides with his turntable wizardry once again blurring the lines between beat and scratches blending his scratches into the instrumentation!

Ted Milton and Graham Lewis return as Elegiac with their second release – a four track EP inch titled “Meet My Stalker”. The pair of idiosyncratic sonic stylists, bullish outsiders with a Dadaist's ear for unexpected rhythms and ear-catching turns of phrase return showcasing a new track – the title of the EP - along with three bass heavy dubbed out no wave versions of tracks from their self titled debut LP.

Ted Milton is a prolific poet, with several volumes under his belt, as well as an avant-garde puppeteer. Yet he's probably best known as vocalist/saxophonist with psycho-funk afro punk fake no-wave pogo jazz trio Blurt. Milton's group has produced an impressive string of albums, not to mention his numerous solo recordings.

Meanwhile, Edvard Graham Lewis has a history of strong solo releases, both under his own name and as He Said. And of course, as bassist, lyricist and sometime vocalist with post punk innovators Wire, he's been responsible for numerous landmark releases, from 1977's Pink Flag, to 2003's Send, to 2020's Mind Hive.

Arranged, like the album, by electronic composer and sound artist Sam Britton whose sure touch pieces all the elements together. Kicking off with a stripped down driving shortened version of “He Folds” with its eerie honking sax and kraut like pulsating bass the perfect complement to Milton’s chorus echoing throughout. “Boat” is another album track beefed up with Milton’s chants backed by layered percussive blasts and squawking sax. “Meet My Stalker” makes its first appearance here with its infectious snarling looped bassline and Milton’s refrain “It’s a wind up”. Closing out with another album highlight an elongated version of “Vancouver Slim” all synth bleeps and ricocheting grumbling sax and hypnotic vocals. Punchy, idiosyncratic, packed with melody and groove, this second release is the fascinating sound of an evolving Elegiac.

Ein ungewöhnliches Album und einzigartiger Einblick in die Arbeitsweise des 'Free -Jazz'-Pioniers in den frühen 70er Jahren. Aufgenommen in seinem großen Loft in der Innenstadt von New York, tobt eine Musikform bei dem Colemann sowohl Trompete als auch Saxophon spielt. Sein Quartett mit dem zweiten Saxophonisten Dewey Redman sowie den langjährigen Kollegen Ed Blackwell und Charlie Haden erweist sich als perfekte Ergänzung zu diesem legendären Set. Die erste Vinyl-Neuauflage seit fast 20 Jahren nutzt eine neue 24/96-Übertragung des ursprünglichen Produktionsmasters.

Es beherrscht ein grauer, stimmungsvoller und dichter Spätherbst-Tag das Geschehen. Viel zu früh hat der Himmel sich verdunkelt. Jetzt plätschert gleichförmig und regelmäßig Regen auf die Straßen, auf die Erde, auf die griesgrämig wirkenden Menschen herab. So stellt man sich die Atmosphäre vor, in welcher das sechste Subsignal-Studioalbum "A Poetry of Rain" entstanden ist.
Fünf endlos wirkende Jahre ließen Subsignal ihre Anhänger auf neue akustische Klang-Abenteuer warten. "Und auch das hatte wieder mit der Pandemie zu tun", offenbart Markus Steffen den Grund für die quälend lange Pause. "Existenzängste schlichen sich ein", reflektiert er. "Im Zuge dessen verließ der langjährige Bassist Ralf Schwager die Band. Mit Martijn Horsten aus Rotterdam war allerdings rasch würdiger Ersatz gefunden. Dennoch schwelgen die zehn Kompositionen vor Sehnsucht und einer gehörigen Portion Wehmut."
Der progressive Mix aus Rock, Metal und Artrock gelingt scheinbar spielerisch. Ausnahme-Drummer Dirk Brand setzt dabei eine fulminante Basis, auf die mal rockige, mal elegante Gitarren-Sounds zusammen mit den Keyboards einmalige Klangwelten zaubern. Darüber schwebt das wunderbare Timbre von Sänger Arno Menses - immer präsent, immer einnehmend, voller Leidenschaft und Kraft. Dazu trägt auch die kristallklare und druckvolle Produktion von Yogi Lang von ihrem Label Gentle Art Of Music bei.

Presse:
Rocks 9/10: "Songs wie ›Impasse‹ oder "Marigold‹ berühren, transportieren Gefühle und packen den Hörer, wie es sonst Marillion, Yes oder Kansas am besten können. Auf welch hohem Niveau die Herren musizieren, wird bei Nummern wie The Art Of Giving Ins oder ›Sliver (The Sheltered Garden)‹ klar, aber Komplexi-lät ist hier nie Mittel zum Zweck."

Deaf Forever 8.5/10: "…meistens die wie immer großartigen Refrains, die einen aufrichten. ….wie gewohnt exzellent gesungene Artrock-Stücke, die von den nach fünf Jahren Wartezeit dürstenden Anhängern nun endlich auch zu Hause genossen werden können."

Rock It - Soundcheck #6/32: "…so steht der Name Subsignal auch auf Album Nummer sechs doch für handgemachte Qualitätsarbeit mit Herz und Seele. Reinhören, eintauchen und mitfühlen!"

Break Out: "Mit "Poetry Of Rain" unterstreichen Subsignal ihre Ausnahmestellung im Rock: Scheibe unbedingt zulegen! Ich bin mir sicher, dass niemand bei diesem Longplayer enttäuscht sein wird, der sich in melodischen Bereichen mit progressiven Parts wohlfühlt."

Gäste:
David Bertok - Keyboards "Embers Part II - Water Wings)
Marek Arnold - Saxophon "The Last of its Kind"
Yogi Lang - Keyboards
Dietmar Waechtler - Pedal Steel "The Art of Giving In"
Iraklis Choraitis - Backing Vocals "Sliver (The Sheltered Garden)"

Mix & Master von Yogi Lang, Farm-Studios Freising

Es beherrscht ein grauer, stimmungsvoller und dichter Spätherbst-Tag das Geschehen. Viel zu früh hat der Himmel sich verdunkelt. Jetzt plätschert gleichförmig und regelmäßig Regen auf die Straßen, auf die Erde, auf die griesgrämig wirkenden Menschen herab. So stellt man sich die Atmosphäre vor, in welcher das sechste Subsignal-Studioalbum "A Poetry of Rain" entstanden ist.
Fünf endlos wirkende Jahre ließen Subsignal ihre Anhänger auf neue akustische Klang-Abenteuer warten. "Und auch das hatte wieder mit der Pandemie zu tun", offenbart Markus Steffen den Grund für die quälend lange Pause. "Existenzängste schlichen sich ein", reflektiert er. "Im Zuge dessen verließ der langjährige Bassist Ralf Schwager die Band. Mit Martijn Horsten aus Rotterdam war allerdings rasch würdiger Ersatz gefunden. Dennoch schwelgen die zehn Kompositionen vor Sehnsucht und einer gehörigen Portion Wehmut."
Der progressive Mix aus Rock, Metal und Artrock gelingt scheinbar spielerisch. Ausnahme-Drummer Dirk Brand setzt dabei eine fulminante Basis, auf die mal rockige, mal elegante Gitarren-Sounds zusammen mit den Keyboards einmalige Klangwelten zaubern. Darüber schwebt das wunderbare Timbre von Sänger Arno Menses - immer präsent, immer einnehmend, voller Leidenschaft und Kraft. Dazu trägt auch die kristallklare und druckvolle Produktion von Yogi Lang von ihrem Label Gentle Art Of Music bei.

Presse:
Rocks 9/10: "Songs wie ›Impasse‹ oder "Marigold‹ berühren, transportieren Gefühle und packen den Hörer, wie es sonst Marillion, Yes oder Kansas am besten können. Auf welch hohem Niveau die Herren musizieren, wird bei Nummern wie The Art Of Giving Ins oder ›Sliver (The Sheltered Garden)‹ klar, aber Komplexi-lät ist hier nie Mittel zum Zweck."

Deaf Forever 8.5/10: "…meistens die wie immer großartigen Refrains, die einen aufrichten. ….wie gewohnt exzellent gesungene Artrock-Stücke, die von den nach fünf Jahren Wartezeit dürstenden Anhängern nun endlich auch zu Hause genossen werden können."

Rock It - Soundcheck #6/32: "…so steht der Name Subsignal auch auf Album Nummer sechs doch für handgemachte Qualitätsarbeit mit Herz und Seele. Reinhören, eintauchen und mitfühlen!"

Break Out: "Mit "Poetry Of Rain" unterstreichen Subsignal ihre Ausnahmestellung im Rock: Scheibe unbedingt zulegen! Ich bin mir sicher, dass niemand bei diesem Longplayer enttäuscht sein wird, der sich in melodischen Bereichen mit progressiven Parts wohlfühlt."

Gäste:
David Bertok - Keyboards "Embers Part II - Water Wings)
Marek Arnold - Saxophon "The Last of its Kind"
Yogi Lang - Keyboards
Dietmar Waechtler - Pedal Steel "The Art of Giving In"
Iraklis Choraitis - Backing Vocals "Sliver (The Sheltered Garden)"

**AVAILABLE ON BLACK VINYL AND INDIE EXCLUSIVE OPAQUE PINK** Elvin Jones, one of the true great drummers in jazz, recorded this album in 1971 after having led his own band for several years following his immortal work with the John Coltrane Quartet. This unique recording has a spacious feel with plenty of room for the players to work out the melodic compositions created by the members of the group. At times the recording creates an almost cinematic space, yet always propelling forward into unexpected territory. No pandering to contemporary tastes at this date or following the trends of the time, this is simply a great example of mature musicians given the freedom to create their own vision and place in time. Saxophonists Frank Foster and Dave Liebman instruments intertwine in a spellbinding way with opportunities to showcase Jones’ incredible virtuosity as a drummer. An album that reveals itself to the listener slowly with new delights every time it’s removed from the jacket.

With drummer Kenny Wollesen (Tom Waits, John Zorn, Norah Jones) and Dave Harrington (of electronic duo Darkside) guitar/bass/electronics, New York-based Swedish/Turkish saxophonist, composer, club-label owner Ilhan Ersahin captures the vibe of impromptu, cross- pollinating, and heavily grooving late- night jam sessions at Nublu, his "East Village Club where everything goes" (New York Times).

The telepathy and intuition that flows between these three musicians is one that has developed over many years of playing together in different combinations, and on a permanent regular basis at NYC's Nublu, searching and creating together in the moment. What they have come up with has evolved steadily over that time and its current form can be heard to brilliant effect on their debut album "Invite Your Eye"

The exploratory instrumental space- jazz these gentlemen purvey has many antecedents and influences but perhaps it's best not to cite names and instead et the music speak for itself. This sound and approach comes as naturally to them as breathing, hence the album title which is also the title of the first single.

Available again this first pressing of this reissue is on neon yellow vinyl. Chapter Music presents a vinyl reissue of Australian post-punk icon David Chesworth's mutant punk-funk second album, 1981's Layer On Layer. After his revered 1979 debut 50 Synthesizer Greats (reissued by Chapter in 2017), David swapped the solo home-recorded synths for something very different - infectious, percussive art-funk weirdness. Aged 21, David recorded nights and weekends at the studio in his university's music department, building Layer On Layer from the ground up, using non-instruments like telephone directories, cardboard boxes and car parts. He created an art-damaged sound world, driven by irresistible rhythms but emphasizing chance and experimentation. Robert Goodge, Chesworth's bandmate in the celebrated Essendon Airport, contributes his trademark cyclical guitar, with Tsk Tsk Tsk's Ralph Traviato on sax and other Tsk members Philip Brophy, Jayne Stevenson and Maria Kozic on backing vocals. Layer On Layer was the beginning of David's investigations into rhythm, and remains one of his most striking works. His 70s/80s records and productions have become sought-after collectors' items and DJ holy grails. Chesworth is now a renowned composer sound artist. For digital bonus tracks, David has revisited Layer On Layer tracks to create mutant DJ versions. Also Available From David Chesworth: 50 Synthesizer Greats LP

Hive Mind and Sing A Song Fighter are delighted to present to you their first collaborative release, the amazing solo guitar album from legendary Congolese guitarist Kahanga Dekula aka ”Vumbi”.

Swedish producer Karl-Jonas Winqvist (founder of Sing-A-Song Fighter and member of Senegalese/Swedish act Wau Wau Collectif) has been a longtime fan of Vumbi Dekula’s artistry which led to him releasing The Dekula Band's debut album ”Opika” in 2019 with the Dekula Band.

While watching the band perform was always a blast, says Karl Jonas, his desire to hear Vumbi play on his own, without the thunderous drums, wailing saxophones and chanting vocals grew in his mind, “Because, in a way, Vumbi’s guitar playing is like an orchestra on its own. And the idea of just concentrating on all the amazing riffs and beautiful, uplifting melodies was just so appealing”. Karl-Jonas proposed the idea of producing a solo album to Vumbi, and within a week the production process began

Recorded in two days during lockdown at the Helter Skelter Studios in Stockholm, Karl and Vumbi allowed the music to guide them. Vumbi was inspired to play 2nd guitar adding some harmonies and melodies here and there, and on the final track (”UN Forces Get Out of the DR of Congo”) he introduced a banjo into the world of ”Congo guitar”. Karl Jonas started up his old rhythm box machine to some of the songs to see how Vumbi and his playing would react to it. Elsewhere, wordless backing vocals from Karl-Jonas and Emma Nordenstam were added to Maamajacy, bass melodica by Karl-Jonas appears on Weekend, and a little piano tinkering from Emma adds some sparkle to Zuku. But clearly, Vumbi's virtuoso playing remains the star of Congo Guitar.'

My Light, My World is a gorgeously slammin’ four track release by Brooklyn-based Ryan Clover on Eris Drew’s Ecstatic Editions imprint. We fell in love with Ryan’s music as we wore out the grooves on his killer 12 inch for ARTS. The tracks featured on My Light, My World are a perfect fit for Ecstatic Editions because, much like Eris’s sets, the tracks are beautiful musically and genuinely emotional, but they also seriously slap and translate powerfully on large sound systems. It is hard to find Big Room records with so much heart, so the label jumped to sign the tracks and prepare the project for release.

Clover’s arrangements on the EP unfold in truly magical and unexpected ways with buildups giving way to gorgeous musical passages. “We Love (We Feel)” is a heartfelt instrumental which sets the tone for the record, while the title tune “My Light, My World” declares boldly “ITS ON!” before heeding to woozy chords and a sax riff that sounds amazing in the mix. Flip the record over for “Here We F***ing Go!” which is a total boast track for deck players but doesn’t lose its sweetness in the process, and the powerfully fun closer “Let Me Tell U Sumthin’” which reminds sweaty dancefloors that “Love Is Special.” Ecstatic Editions hopes you’ll put your needle in the groove and dance hard to one of the season’s sweetest bangers.

The EP features original art by Karina A. Linares and mastering by Trutone legend Carl Rowatti.