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Stützpunkt unveils "Blueshift EP", a VA that brings together the unique styles of Ollie Lishman, Beau Didier, Alec Dienaar and Isaiah. Each artist contributes their signature to the release, weaving together a cohesive yet dynamic blend of atmospheres.

Howlin Rain’s grand 3xLP archival statement and untold story, written over nearly two decades in invisible ink between the lines. Features never before heard songs from The Russian Wilds, The Dharma Wheel, The Alligator Bride, Mansion Songs, Live Rain and the lost Ethan Miller Band sessions. With a broad cast of musical characters including Rick Rubin (Producer/American Records), Luther Dickinson (North Mississippi Allstars), Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue), Joel Robinow (Once and Future Band), Isaiah Mitchell (Earthless/ The Black Crowes) and many more. Includes songs by The Rolling Stones, Grateful Dead, Leon Russell and Neil Merryweather. “I wanted to compile the record so it would have impact like our grandest, wildest, most unabashed studio album. I left out home demos, and songs from quiet corners, sketches, etc, in favor of fully formed, fully finished, studio level tracks from front to back. Lost at Sea is intended to be something that you can pour yourself into and get swept away in.” — Ethan Miller (Founder, bandleader)

"Everyone you love will end up dead," Isaiah Neal sings on "Ivy Tech," the second track from Leisure Hour's upcoming The Sunny Side. It's a matter-of-fact lyrics delivered in a matter-of-fact way - but a second later, Grace Dudas and Raegan Gordon join in to harmonize on a booming "whoa-oh-oh-oh" chorus. In the span of about three seconds, Leisure Hour's whole ethos becomes clear. The Sunny Side is the result of years of writing and recording, the culmination of a half-decade of lineup changes; by now, Leisure Hour's reached their final form: bassist/vocalist Dudas, guitarist/vocalist Neal, and drummer/vocalist Gordon. The Sunny Side, according to the band, is about "love, loss, and struggle with mental health as a middle class individual," and maybe it was a case of life mimicking art. The three of them struggled to come up with enough money to record and produce these songs the way they envisioned; they picked up extra shifts at their jobs and, in true DIY fashion, decided to throw as many music festivals as they could to drum up enough cash to bring these songs to life, and "the community around us rallied together to make this album happen, and for that we are eternally grateful." That gratitude is the driving force behind The Sunny Side. The eleven songs that comprise the record are built on shaky hopes and the anticipation of disappointment, but along with that comes a teeth-gritting resilience and a hard-won appreciation for those small victories. "I can't forgive you," Dudas sings at the end of "Forgiveness," but she follows it quickly with "But I'm trying to," and then she repeats it over and over. Maybe she's just trying to convince herself, but it's the effort that matters. Leisure Hour won't stop looking on the sunny side anytime soon, and they're trying their damnedest to convince you to do the same.

All Black Everything, the debut EP by UK-based, Parisian bassist, vocalist and composer Amy Gadiaga, is an expansive, boundary-pushing 5-track collection showcasing prodigious bass playing and a voice brimming with power and emotion. It's a profound exploration of self-acceptance that presents both a celebration and acknowledgement of Gadiaga's deep-seated darkness.

Inspired by the 2020 Black Lives Matter movement All Black Everything confronts racial identity complexities and the challenges of being a societal 'black sheep' and sees Gadiaga courageously transform her insecurities into a narrative of self-empowerment.

Born to parents of Senegalese, Gambian, and Malian descent, and hailing from the outskirts of Paris, the multitalented Gadiaga has been making waves in the UK music industry since she moved to London aged 18. With a fresh and unique style that bridges the old school jazz tradition of musicians such as Betty Carter and Wayne Shorter with the raw, rootsy modern sound of artists such as D'Angelo, Stevie Wonder and Twinkie Clark, Gadiaga's breadth of ambition and revitalising approach have brought early critical acclaim and ardent fans.

Signalling the arrival of a significant new voice on the London music scene, All Black Everything communicates the liberating essence of embracing individuality and presents a journey through Gadiaga's personal struggles, standing as a testament to art's transformative power and encouraging listeners to find strength in their uniqueness. "All Black Everything is very much an exploration and embracing of one of my archetypes in life which is the black bird/black sheep" she explains. "That feeling of not thinking you belong anywhere, of being misunderstood and really tending to your own. No helping hand. But it's ok sometimes because you also feel like nobody can compete with you, you're one of a kind."

Trombone legend Steve Turre (Ray Charles, Rashaan Roland Kirk, Art Blakey, and many more) assembled a sextet of fellow legends, modern masters, and an up-and-coming star to celebrate the post-pandemic reopening of Smoke Jazz Club with 10 searing sets of live music in front of enthusiastic audiences. Elder statesmen Buster Williams and Lenny White on bass and drums are joined by trumpeter Nicholas Payton, and Turre's SNL bandmate Ron Blake on saxophone and young piano phenom Isaiah J. Thompson. The resulting performances are electrifying live jazz music.

Utilising a mammoth bank of saxophone samples, Shmuel Hatchwellpresents his new alias hoyah with an engrossing album captured in tape and digital form on Bruk.

The process leading to Set + Setting started out with a need for limitations to provide some focus for long-serving sound engineer and producer Hatchwell. He set out the following guidelines to accompany the overarching idea of 'set + setting':

No 'beats'
Saxophones are the voice
Stay away from the computer for as long as possible

Hatchwell took a deep dive in search of every saxophone sample he could find, threw them all into his MPC and then proceeded to weave together a variety of pieces. The focus on a particular instrument brings cohesion to the album, but equally the limited sound inspired freedom to experiment with other techniques and tools. At times one or two sax voices sound naked and undisturbed, while elsewhere you might only hear jagged shards or distant ghosts as they pass through aggravated processing.

Beyond the sound itself, the name hoyah was born with the flippancy of the 21st Century and ratified by ancient tradition. After the music had been made, After the music had been made, Hatchwell plucked the name out of thin air as a play on the TikTok meme 'can I get a hoya,' and subsequently discovered on a dive into his Jewish heritage that in old Hebrew hoyah means, 'to be, become, come to pass, exist, happen, fall out.' This distinction between Jewish concepts and modern political conflations is important to Hatchwell, who finds himself consistently having to separate Judaism from the situation in the Middle East and its ongoing genocide.

Subtly calling to mind the understated cosiness of real-life sax players like Sam Gendel as well as the fragmented sample manipulation of Matmos and Tim Hecker's approach to processed noise, hoyah's debut album absolutely manifests an idea and musical practice as something new and intentional

Jordan Munson ist ein Komponist, Performer und Multimedia-Künstler. In seinen Werken erforscht er die Erinnerung und unsere Beziehung zur Technologie, und es heißt, dass er "akustische Melodien und elektronische Rhythmen mit aufregender Absicht verschmilzt" (The New York Times). Seine Kompositionen beruhen auf einer Ausbildung in Perkussion, Improvisation, Pop und Sounddesign und stellen subtile Landschaften mit reichhaltigen Texturen und treibenden Melodien einander gegenüber. Munson setzt Technologie ein, um natürliche Klänge zu interpretieren und umgekehrt, wobei er sich auf die Übertragungsverluste konzentriert, die durch diese ständige Neusynthese entstehen. "Heartless Fools" wurde 2018 in den Greenhouse Studios in Reykjavík, Island, aufgenommen. Seit diesen ersten Aufnahmen ist die Musik durch weitreichende Zusammenarbeit mit Musikern aus Jazz, Klassik und Pop gewachsen. Zu den Künstlern gehören das experimentelle Pop-Trio Square Peg Round Hole, die Sänger*innen Isaiah Robinson und Hanna Benn sowie die isländische Cellistin Pórdís Gerdur Jónsdóttir. Während die Musik selbst nicht politisch sein soll, bezieht sich der Titel "Heartless Fools" auf die Reaktion von zwei Personen auf die aktuelle politische Landschaft. Die erste arbeitet sich durch Schock und Trauer, während sie die Realitäten dieser Welt wahrnimmt, und versucht, dem Ganzen einen Sinn zu geben. Die andere, angeheizt durch einen Verlust der kulturellen Identität, ist voller Wut, die sie antreibt, unmenschliche Dinge zu tun. Dies zeigt sich in der Musik als Kampf zwischen Ordnung und Chaos, Kontemplation und Ungeduld. Die Werke stehen in einem ständigen Spannungsfeld, sowohl intern und miteinander.

Emerging from 6 years of sonic exploration, SBTRKT (pronounced 'subtract'), is an electronic music artist based in London, UK known for his synaesthesiac production and early collaborations with, and championing of, Sampha and Jessie Ware, alongside Little Dragon, The Dream, A$AP Ferg, Ezra Koenig and Drake.

Largely anonymous, SBTRKT (real name Aaron Jerome) has established a reputation for iconic visuals and creative, an incredible live show and a sound that effectively defined electronic music in the early 2010s'The Rat Road' sees SBTRKT redefine UK electronic music (again)' according to GQ, bringing together his iconic, synaesthesiac production with an incredible lineup of collaborators including Toro Y Moi, Teezo Touchdown, D Double E, Anna Of The North, Kai Isaiah Jamal, Sampha, Little Dragon and others.

There’s an ancient Japanese legend in which a horde of demons, ghosts and other terrifying ghouls descend upon the sleeping villages once a year. Known as Hyakki Yagyō, or the Night Parade of One Hundred Demons, one version of the tale states that anyone who witnesses this otherworldly procession will die instantly—or be carried off by the creatures of the night. As a result, the villagers hide in their homes, lest they become victims of these supernatural invaders.

Such is the inspiration for the latest album from EARTHLESS. “My son is really into mythical creatures and old folk stories about monsters and ghosts,” bassist Mike Eginton explains. “We came across the ‘Night Parade of One Hundred Demons’ in a book of traditional Japanese ghost stories. I like the idea of people hiding and being able to hear the madness but not see it. It’s the fear of the unknown.”

Whereas 2018’s Black Heaven featured shorter songs and vocals from guitarist Isaiah Mitchell on much of the album—an unprecedented move for the San Diego power trio—their latest is a return to the epic instrumentals EARTHLESS made their unmistakable name on. Night Parade Of One Hundred Demons is comprised of two monster songs—the 41-minute, two-part title track and the 20-minute “Death To The Red Sun.”

The scenario that allowed for this kind of exploration was a stark contrast to that of Black Heaven. At that point, Mitchell was living in the Bay Area, which made it difficult for the band to get together and work on the type of long instrumental pieces they’re known for. But in March 2020, the guitarist moved back to San Diego. More specifically, he moved back the night the pandemic lockdown kicked in. Bad timing, perhaps—or maybe perfect timing.

Plus, they were all on the same page about not wanting to do another record with vocals. “In a way, I think this album was a reaction to our last record,” Eginton says. “Black Heaven was outside our comfort zone. I think it was a good record, but it was challenging to write songs in a more traditional verse-chorus-verse format. This one was more enjoyable. I’m sure we’ll do more vocal tracks in the future, but for the time being I see that album as a one-off.”

Given the record’s inspiration, it should come as no surprise that Night Parade of One Hundred Demons strikes a more sinister tone than the rest of the band’s catalogue. “It definitely has a darker, almost evil kind of vibe compared to stuff we’ve done in the past,” Rubalcaba says. “There’s more paranoia and noise, and some of Isaiah’s whammy-bar stuff kind of reminds me of these Jeff Hanneman moments in Reign In Blood, where it just seems like everything is going to hell. It’s pretty fun.”

Night Parade of One Hundred Demons was recorded in San Diego with Rubalcaba’s childhood friend Ben Moore, who’s worked with everyone from DIAMANDA GALAS and BURT BACHARACH to CEREMONY and HOT SNAKES. When Eginton wasn’t tracking his bass parts, he worked on the album’s incredible sleeve art. “He really dedicated himself to the project,” Rubalcaba says. “He’d be drawing in the studio with, like, a coal-miner’s lamp on his head while we were doing overdubs. He really knocked it out of the park.”

All told, Night Parade of One Hundred Demons isn’t just a return to the band’s traditional format—it’s a return to their very beginnings. “This album actually has the very first Earthless riff in it,” Eginton reveals. “We just recorded it 20 years after we wrote it. But we’re really happy with how this record came out. We feel it might be our finest to date.”

A Beautiful Revolution Pt. 2 was created with hope and inspiration in mind. The spirit of the album was meant to emulate what a greater day would sound and feel like. We were in the midst of some tough political and socially challenging times. There was still hurt, anger and pain lingering, so I was thinking, “what is the next step in this revolution?” I thought about what being still in these times had brought me and that was a peace beyond understanding, a greater love for self, a closer connection with God, and more appreciation for my family, friends and the simple things in life. I wanted to write about that and create music that embodied that. What does a new day, a brighter day feel like being told through an emcee and some gifted musicians? How could this music be an example of the beautiful aspects of revolution that include joy, self-love, compassion, dreams, peace and good times? As a piece of art, I believe we took it to different places musically only to come back to the original intention. To bring joy to people’s hearts, fun to their lives and smiles to their souls. ABR2. Love Common RADIO: 6Music A List, Album Of The Week on 6Music, support across BBC R1, 1XTRA, Radio 2, 6Music. PRESS: Features in Huck, New Cue, DIY, Daily Star, The Guardian, Line Of Best Fit, MOKO, Clash, NME and more… “If ‘…Pt 1’ felt like a look at the progress we made last year, then this follow up stares down the road ahead – not with trepidation, but with boundless optimism” – DIY **** ‘A Beautiful Revolution, Pt. 2’ is the soundtrack to a new revolt. It’s about unity in the face of adversity and bringing awareness to the Black struggle. But at its core it’s a celebration of Black pride that sees Common in full swing as a champion of peace, love and freedom.” - NME “This is Common’s most hopeful album in years” – The Independent “A late career high” - Clash

A Beautiful Revolution Pt. 2 was created with hope and inspiration in mind. The spirit of the album was meant to emulate what a greater day would sound and feel like. We were in the midst of some tough political and socially challenging times. There was still hurt, anger and pain lingering, so I was thinking, “what is the next step in this revolution?” I thought about what being still in these times had brought me and that was a peace beyond understanding, a greater love for self, a closer connection with God, and more appreciation for my family, friends and the simple things in life. I wanted to write about that and create music that embodied that. What does a new day, a brighter day feel like being told through an emcee and some gifted musicians? How could this music be an example of the beautiful aspects of revolution that include joy, self-love, compassion, dreams, peace and good times? As a piece of art, I believe we took it to different places musically only to come back to the original intention. To bring joy to people’s hearts, fun to their lives and smiles to their souls. ABR2. Love Common RADIO: 6Music A List, Album Of The Week on 6Music, support across BBC R1, 1XTRA, Radio 2, 6Music. PRESS: Features in Huck, New Cue, DIY, Daily Star, The Guardian, Line Of Best Fit, MOKO, Clash, NME and more… “If ‘…Pt 1’ felt like a look at the progress we made last year, then this follow up stares down the road ahead – not with trepidation, but with boundless optimism” – DIY **** ‘A Beautiful Revolution, Pt. 2’ is the soundtrack to a new revolt. It’s about unity in the face of adversity and bringing awareness to the Black struggle. But at its core it’s a celebration of Black pride that sees Common in full swing as a champion of peace, love and freedom.” - NME “This is Common’s most hopeful album in years” – The Independent “A late career high” - Clash

Clarinetist, composer, singer & spiritual jazz soothsayer Angel Bat Dawid presents this powerful live document alongside her band, Tha Brothahood. LIVE was mostly recorded on November 1st, 2019, at Haus der Berliner Festspiele in Berlin, Germany, during the 2019 edition of JazzFest Berlin. For Angel and Tha Brothahood - which includes Deacon Otis Cooke (vocals, synth), Viktor Le Givens (vocals, auxiliary instruments), Xristian Espinoza (tenor sax, percussion), Norman W. Long (electronics, synths), Dr. Adam Zanolini (double bass, bass guitar, soprano sax, flute, percussion), Isaiah Collier (drums), and Asher Gamedze (drums) - it was the first stop of their first European tour. Angel and her band experienced a number of difficult, racially charged interactions during their two days in Berlin. But despite, or perhaps in light of the difficulties they faced, they performed a set at Berliner Festspiele that Angel considers to be one of their best ever. "The show was very deep, and really helped me to process all the rage, and uncomfortable things I was feeling... It made me think of all the artists of the past who endured way more than I ever will with this music industry. It was a very freeing and beautiful show... we played our ass off!!"

In 2018 Far Out Recordings signed a record deal with Brooklyn born, nomadic producer Jneiro Jarel. Having just put the finishing touches to the recordings, Jarel suffered an ischemic stroke while living and working in Costa Rica and his wife Indigo was forced to set up a crowd fund to cover special medical transport back to the states to receive treatment. The release was put on hold, but thanks to the generosity of friends and fans around the world, Jarel was able to get the care he needed and is now on the long road to recovery. We’re overjoyed to finally announce that Jneiro Jarel’s After A Thousand Years is now set for an October 2020 release.

Throughout a career that has spanned over twenty years and seen collaborations with MF DOOM, Thom Yorke, Damon Albarn, BadBadNotGood, Portishead’s Beth Gibbons, Kimbra and Khujo Goodie (Dungeon Family), Jneiro Jarel’s consistently distinctive, forward thinking productions, as well as his love for the music of Brazil, made his partnership with Far Out a perfect fit.

Recorded between New York, New Orleans, Miami and Costa Rica, After A Thousand Years features legendary multi-instrumentalist Bill Summers, famed for his work with Herbie Hancock, Quincy Jones and Eddie Henderson. The album also features Malawian-American guitarist Masauko Chipembere who has worked with the likes of RZA from Wu-Tang Clan and Ladybug Mecca from Digable Planets.

For Jarel, After A Thousand Years is “a culmination of the longstanding musical contributions of the African diaspora.” Permeating the Brazilian music and Latin jazz Jarel has loved and drawn inspiration from, as well as the stateside jazz, soul and funk Jarel grew up around, the influence of Africa and its musical history, on both North and South America, is key to the album’s sound.

On lead single “Banana Peel”, Jarel’s outernational perspective makes for a track that is almost impossible to place geographically: you can hear the swing of Jarel’s native New Orleans jazz, the vibrance of Costa Rican rainforests as well as the influence of Jarel’s vast collection of Brazilian records. “Viberian Waves 1&2” is equally nonconformist, morphing from funky baroque-flavoured instrumental hip hop into a bossa inspired, percussive jam.

Taking its inspiration from the biblical prophecies found in the books of Isaiah, Daniel, and Revelation, foretelling the fully realized, physical and spiritual restoration of the earth and mankind after the thousand year reign of the Messianic Kingdom, After A Thousand Years contemplates and celebrates a world where everlasting love, peace, and harmony abound under a sovereign, divine rulership.

After A Thousand Years will be released on Vinyl LP and CD on the 30th October 2020 via Far Out Recordings.

FEEDBACK

“great release. Really like this!” Antal (Rush Hour)
“Banana Peel is exactly what we need now. Visionary Jneiro Jerel at his finest channelling healing sounds and rhythms from Mother Earth. A much-anticipated lens through Jneiro’s third eye. Thank you!” King Britt
“Sounding real good!” Errol Anderson (Touching Bass)
“I love it!!!!!!!” Raffaele Costantino (RAI RADIO 2)
“Sounds great. Congratulations. Will play it on my radio shows.” Batida
“Will pitch album to my editors” Dean Van Nguyen
“Please send me the full album once it's finished.” Francisco Noronha (Publico PT)
“Beautiful man. So happy that he's ok” King Hippo (WLPN-LP / Worldwide FM)
“cracking tune. already lined up to add to playlist. might go into radio show too.. love it” Oli Brunetti (Collectivo Futuro / Olindo Records)
“Amazing! Ive not heard anything from JJ for a long time but a welcome return, this is a cracking track. Looking forward to hearing more new material.” Mickey Jukes (1BTN FM)
“Very vibrant, fresh release! It gets better every time I am listening to it.” Shantisan (Superfly FM Vienna)
“This is a pretty special track , unique sound but very accessible , like it a lot and will play in my show Look forward to hearing the LP” Andy Wilson (Ibiza Sonica Radio)
“So good to hear Jneiro again, loving this cut. Thanks!” Chris Knight (Astrojazz)
“sublime !!!! will definitely play !!!” Mark Milz (Radio Corax)
“I-Robots approved!” Thanks for sharing...” I-Robots