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Two of the Bronx’s most skillful emcees have paired up for one of the most promising collaborative albums of 2023. Appropriately titled, Gunz X Bars, the boogie down’s own Cory Gunz and David Bars have joined forces with Respect the Vision (RTV) under the watch of DITC Studios, the label and recording studio akin to one of hip-hop’s most revered crews, comprised of Lord Finesse, Diamond D, Big L, O.C. Fat Joe, Buckwild, Showbiz and A.G. And as you’d expect, the result is top tier lyricism over a soundscape that epitomizes the essence of New York hip-hop. For the past two plus decades, Cory Gunz has made his bones by proving his lyrical prowess time and time again. Son of rapper Peter Gunz (of the famed duo, Lord Tariq and Peter Gunz), it didn’t take long for his talents to be recognized by Lil Wayne, where he appears on his single, “6 Foot 7 Foot” off Tha Carter IV. Gunz also starred in his own befittingly-titled reality show, Son of a Gun (MTV) which documented his journey to fulfill his career in music. David Bars’ trajectory also started at a young age, where he made his name at high school talent shows and industry showcases throughout the city. Releasing his debut project Barcode in 2019, the quick-witted spitter found himself rapping alongside the legendary Fat Joe who appears on the single, “A Star is Born.” However the co-signs weren’t limited by Joey Crack, as the inimitable DJ Premier lent his boom-bap magic to the album cuts, “Beat the Odds” and “Just Like That.” Throughout the project’s eight tracks, Gunz and Bars prove themselves to be both lyrically and sonically compatible. Gunz’ staccato-type flow melds seamlessly with Bars’ smooth delivery. To boot, the production value throughout plays to the strengths of both emcees, with beats provided by So Special, Track Pros, Kofi Cooks and more. It’s no surprise that two of the BX’s most raw and uncut talents would eventually unite, and what better way to join forces than under the auspice of DITC Studios.

Far Out Recordings proudly presents Hermeto Pascoal’s remarkable self-titled debut album. Recorded in 1970 at A&R studios in New York, the album features certified North American titans including Ron Carter, Hubert Laws, Joe Farrel and Googie Coppola, and Brazilian stars Airto Moreira and Flora Purim (who also produced the album).

While it was Hermeto’s first album released under his own name, he had spent the decade or so prior making a name for himself in Brazil and internationally as a composer, arranger and instrumentalist with groups including Sambrassa Trio, Quarteto Novo and Brazilian Octopus, before going on to work with (amongst countless others) Edu Lobo, Antonio Carlos Jobim, Donald Byrd, Airto Moreira and Miles Davis, who allegedly called Hermeto “one of the most important musicians on the planet”.

With Hermeto’s otherworldly orchestral arrangements, ghostly vocal performances from Flora Purim and Googie Coppola, and the inimitable drumming and percussion stylings of Airto Moreira, Hermeto easily rivals some of the oft-celebrated MPB albums of the early 1970s, sitting somewhere between the string-heavy magic of Arthur Verocai’s 1972 debut and the unplacable early experimentalism of Pedro Santos’ 1968 album Krishnanda.

With his phenomenal natural musical genius and a ceaseless sense of creative freedom, Hermeto is widely known for using unconventional objects to make music. In the album’s sleeve notes, Airto highlights the track “Velório (Mourning)” explaining how Heremto filled 36 apple juice bottles with different amounts of water and tuned them to precise pitches in order to create the beguiling harmonies heard.

The reissue of Hermeto Pascoal’s Hermeto, follow’s Far Out’s recent unveiling of a previously unheard Hermeto Pascoal live concert Planetario da Gavea from 1981, and 2017’s release of Hermeto Pascoal’s lost 1976 studio album: Viajando Com O Som.

Hermeto will be available on vinyl LP and CD from the 20th May 2022 via Far Out Recordings.

Miles Davis is regarded to be one of the most influential and acclaimed figures in the history of jazz and 20th-century music. At the request of Columbia Records executive George Avakian, he formed his first regular quintet in 1955. After all members of the first quintet left Davis a few years later, he hired the core of the second quintet in 1963 and the final member in late 1964. The second quintet would record and play together until the end of the 60s.

Sorcerer is the third album by the Second Great Miles Davis Quintet. The quintet consisted of Miles Davis on trumpet, Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums. It was recorded in May 1967 and contains a darker sound. The last song on the album, "Nothing Like You", features vocals by Bob Dorough.

Sorcerer is available as a limited edition of 2500 individually numbered copies on translucent green coloured vinyl.

Brussels born and based DJ, producer and label owner UC Beatz shows no sign of slowing down with another outstanding release. This time, he lands on Four Framed Music to bring his latest four-track EP, ‘Knights of Utopia’, to dance floors around the world.

UC Beatz has established himself as a prominent figure in the House music scene, having released on his own Entrepôt Records and on highly respected imprints such as Brooklyn’s very own Razor-N-Tape, Derrick Carter and Luke Solomon’s label Classic Music Company and recently on Dam Swindle’s Heist Recordings. With ‘Knights of Utopia’, he continues to showcase his exceptional skills as a producer, delivering a selection of tracks that embody his own distinctive sound.

This is another impressive release from the Belgian House Maestro.

In the five years since Creep Show’s acclaimed Mr Dynamite album was released it’s fair to say that we’ve all been through a fair bit. Sitting here, in 2023, things don’t seem to be getting any better. There’s the cost of living crisis and political meltdowns; we're in deep water with global warming and to top it all there’s a war on our doorstep.

Back in 2018 everything seemed less complicated. Sure, there was stuff to get riled about, but we knew nothing about what was to come. Mr Dynamite was a fairground ride into the dark corners of a world that was on the brink of being blitzed in a blender. It was a record teetering on the edge. Five years down the line you’d expect the follow-up, Yawning Abyss, would double-down and bring the white-knuckled, teeth-gritted fury of the last five years to the boil. And yet….

A quick recap? No problem. Wrangler + John Grant = Creep Show. And Creep Show? “A band of musical misfits who have found a voice or two”, says Wrangler’s Ben “Benge” Edwards, whose Bond villain studio on the edge of a moorland is Creep Show Grand Central as well as home to an analogue synth arsenal that could sink ships.

Wrangler have known each other for a while. Tunng’s electronics wizard Phil Winter and Cabaret Voltaire’s trailblazing, pioneering frontman Stephen Mallinder go way back, while Phil and Benge crossed paths in the 21st century when they seemed to be increasingly in the same venues at the same times. Meanwhile, Mal had been living in Australia since the mid-90s and when, in 2007, he returned to the UK his old pal Phil suggested he meet Benge and the three of them immediately began working together.

Wrangler collectively bumped into Grant at their soundcheck for Sheffield’s Sensoria Festival in 2014 where they were playing with Carter Tutti. A friendship blossomed and when they were invited to perform together for Rough Trade’s 40th anniversary show at London’s Barbican in 2016, well, they jumped at the chance... and Creep Show was born.

Let’s talk about the new album... What is the ‘Yawning Abyss’? You might well ask. According to Mal, it’s “a cosmic event horizon that I can see from my attic window when stand on a chair”. Yeah. Thanks.

“On this album”, offers Benge, feet firmly on the floor, “Wrangler wrangled some vintage synths, mostly Roland, Moog, and the ‘Crystal Machine’ - then John Grant joined in the fun at Memetune Studios where lots of musical experiments were carried out. Then Mal and John ran off to Iceland with the master tapes and recorded a load of madcap vocals. Back at Memetune, me and Phil were left to try and make sense of it all. Which wasn’t hard because what they did in Iceland was totally magnificent.”

Which kind of brings us back to where we began. You’d imagine ‘Yawning Abyss’ would be blowing steam out of its furious ears. Mr Dynamite but kicking a wasps nest. Repeatedly. And yet…

Opener ‘The Bellows’ comes on like a modular ‘Radio Ga Ga’, the singalong ‘Moneyback’ (“You want your money back? / I didn’t think so”) sounds like Godley & Creme’s ‘Snack Attack’ meets Prince Charles And The City Beat Band (“Pennies, pounds, dollar bills, signed agreements, death wills”). ‘Yahtzee!’ is an unhinged electro breakdance party in four minutes and nine seconds.

Where Mr Dynamite was menace, a mélange of mangled voices, with Grant and Mallinder being heavily treated, pitched up or down, rendering their contributions largely indistinguishable, Yawning Abyss takes a more direct approach. You hesitate to say feelgood, but there’s a skip in the step here for sure.

The title track plays John Grant’s vocal straight. Completely. It’s good, so very good. Like ‘Axel F’ covered by Vangelis. The delicious shimmering synths of ‘Bungalow’ also plays those Grant pipes with a straight bat. ‘Matinee’ delves into darker, very funky territory. With Mal upfront it comes on like ‘The Crackdown’. Choice lyric: “You are starting to breakdown / And it’s so fun for me to see / You should have thought of that / You should have come prepared / You can see what’s happening and you look a little scared”.

So, you know, not all feelgood. But it does feel good. It’s probably best to draw your own conclusions... This is Creep Show after all.

Long out of print (10 years!), this new edition of Soul Jazz Records' classic Delta Swamp Rock, features a killer all-star line-up of seminal artists who all first blended rock, soul and country together to create a stunning new sound of southern American music in the 1970s.

Featuring the Allman Brothers, Dan Penn, Leon Russell, Tony Joe White, Johnny Cash, Bobbie Gentry, Big Star, Link Wray, Area Code 615 and loads more!

This album comes as a superb limited-edition gold vinyl double vinyl release complete with extensive original sleevenotes, interviews and exclusive photography, all spread over a 12-page full-size magazine and two bespoke inner sleeves. The works!

Delta Swamp Rock is an interstate southern road-trip through the United States of America where country, rock and soul met at the crossroads - an exploration of the musical and cultural links between the cities of Memphis, Muscle Shoals and Nashville in the 1960s and 70s.

At the start of the 1970s, a new type of music emerged out of the southern states of Alabama, Tennessee, Georgia, Mississippi and Florida. Southern rock, the creation of young blue-collar white Americans, blended rock, soul, country and blues music together to present a new vision of the south – a post-civil rights southern identity complete with a celebration of the regions natural landscape and its way of life.

The Allman Brothers and Lynyrd Skynyrd epitomised the definitive southern rock groups – a mixture of blues-rock and country with a southern rebelliousness and attitude. Unfortunately both The Allman Brothers and Lynyrd Skynyrd were to be struck by tragedy, which would affect the movement’s rise and fall.

The backstory to southern rock is the fact that a number of the people involved in its creation had been central to the production of southern soul music in the 1960s mainly in Memphis, Tennessee, and the small town of Muscle Shoals (population around 10,000) deep within the bible-belt, liquor-free, deeply segregated state of Alabama, creating 100s of R&B hits on an almost daily basis.

Here in Muscle Shoals, with its proximity to Memphis and Nashville, an all-white group of in-house musicians, (famously referred to by Lynyrd Skynyrd in the song ‘Sweet Home Alabama’ as the ‘Swampers’), created countless classic soul records for the likes of Aretha Franklin, Wilson Pickett, Etta James, Clarence Carter and more during the 1960s.

This album charts the rise and fall of southern rock from its funky swamp roots in southern soul to its phenomenal success in the first-half of the 1970s, including its influence on Nashville’s ‘outlaw’ country and tracing it right back to the arrival of rock and roll in the 1950s - the first meeting of black and white American music at the crossroads.

Tommy Prine’s debut album is not only a long-awaited introduction but a testimony to Prine’s twenties and the loss, love, and growth that has defined them. Co-produced by close friend and kindred musical spirit, Ruston Kelly, and beloved Nashville engineer and producer, Gena Johnson, the album is rich and dynamic, from cathartic jams to nostalgic storytelling. The son of late songwriting legend, John Prine, Tommy Prine grew up in Nashville surrounded by music, art and writing. As a child, he thought all parents were musicians, as his father “going to work” meant performing shows for adoring fans and writing songs. Tommy learned to play guitar by watching his father play, copying the ways his fingers moved and inadvertently developing his own singular style. Summers spent in his mother’s homeland of Ireland lent their own inspiration too and ten straight years camping at Bonnaroo introduced Prine to a swath of music not belonging under the greater Americana umbrella and his musical tastes grew to become decidedly eclectic, spanning John Mayer, Outkast, Bon Iver, the Strokes and more. In a way, what makes Prine’s own music so special is how he’s navigated life and creativity apart from his family’s name—as he once said, on stage, to a disorderly request for one of his dad’s songs, “You’re not about to get an hour of John Prine Junior.” It wasn’t until Prine reached his mid-twenties, though, that he considered a career of his own in music and began to share with others the songs he wrote in private. It took a long while for Prine to even share the songs he’d been writing about the triumphs and tragedies of his life, only recently deciding to let his friends and now-collaborators Ruston Kelly and Gena Johnson hear what he’d been putting together. This Far South is an emotionally complex but universally accessible debut that sonically brings together a colorful patchwork of musical influences and lyrically explores existential questions and emotional experiences.

Opaque Pink Coloured LP Vinyl - M.E.B. (formerly Miles Electric Band) led by Vince Wilburn, Jr collects a progressive All-Star ensemble featuring Miles Davis alumni and the players Miles inspired. This brand new, never-released studio recording captures a multi-generational who’s who of acclaimed artists performing new Miles-inspired compositions. Two tracks of the five on the album include unreleased trumpet performances by Miles and the album, produced by Miles' alumni Lenny White and Wilburn, features music legends including Ron Carter, Marcus Miller, Stanley Clarke, Donald Harrison, Darryl Jones, Vernon Reid and John Scofield. This album is dedicated to the memory of Wallace Roney and Bernard Wright and contains some of their final recordings. The cover is an original painting from artist and Miles’ associate Mikel Elam. Pressed on hot pink vinyl, this is the exclusive vinyl release.

Unlike the majority of previous Davis albums, E.S.P. consisted entirely of new compositions written by members of the group. Despite the profusion of new material, only one tune ("Agitation") is known to have appeared in the group's live performances. "Little One" might be best known for being revisited on Hancock's landmark album, Maiden Voyage, recorded a few weeks later. This version is somewhat more embryonic; Carter's bass is halting, and Davis and Shorter state the theme with winding, interlocking contrapuntal lines that evoke Davis and Coltrane's version of "Round Midnight". Hancock's solo on Carter's composition, "Eighty-One", also presages his work on that LP - particularly its title track.

The title track is reminiscent of Jackie McLean's "Little Melonae", which Davis had recorded with John Coltrane in 1956. "Iris", by contrast, is another Coltrane-like ballad, not too dissimilar to "Infant Eyes" on Shorter's Speak No Evil album. Shortly thereafter, Shorter's compositions would begin to dominate the Quintet's recordings, though here he contributes only two of the seven songs.

This was the first time Wayne Shorter recorded with Miles, and the band - in this configuration - had been together for less than a year. As you will hear, the connection between the musicians is uncanny, as if they had been playing together for decades. Especially notice Wayne Shorter's brilliant interplay with Miles on the closing track "Mood," the haunting ballad written by bassist Ron Carter. At over forty-eight minutes, E.S.P. is one of the longest jazz albums of its period.

"SOS" ist das zweite Studioalbum der mit dem GRAMMY Award ausgezeichneten Sängerin SZA und der Nachfolger des 2017 erschienenen Major-Label-Debütalbums "Ctrl". Das genreübergreifende Album enthält Elemente aus Pop, R&B, Soft-Rock, Gospel und Hip-Hop. "SOS" enthält Features von Travis Scott, Don Toliver, Phoebe Bridgers und dem verstorbenen Ol' Dirty Bastard. SZA arbeitete mit einer Vielzahl von Hitproduzenten zusammen, darunter die Ctrl-Kollaborateure ThankGod4Cody und Carter Lang s

SQÜRL was formed by Jim Jarmusch and Carter Logan in 2009 to score Jarmusch's movie The Limits of Control. Over a decade later and with numerous EPs and film scores under their belt, SQÜRL are set to release their very first full length record. Silver Haze was produced by Randall Dunn, who has also worked with the likes of Sunn O))), Boris, Earth, Zola Jesus, and Marissa Nadler, all of whom are artists that SQÜRL cite as inspirations. The album enlists Charlotte Gainsbourg, Anika, and Mark Ribot as collaborators, resulting in a communal offering that shares an energetic lineage with the New York School of Poets, a school they nod to on the track "John Ashbery Takes a Walk," which features Gainsbourg and turns two early Ashbery poems into an irresistible melodic siren's song. Silver Haze expands on SQÜRL's passion for creating rich textural sounds, finessed by a keen ear for production. The band is known for playing with everything from analogue synths to broken radios and pulling inspiration from painters, writers, and birds on the street. Silver Haze is a poetic journey of spoken words, dynamic instrumentals, drone riffs and distorted effects, one that features tubular bells and a cello in addition to their signature stacks of delay, encircling the listener in a warm oscillation both delicate and devastating.

SQÜRL, the duo of filmmaker Jim Jarmusch and Carter Logan, have announced their debut album, Silver Haze, out May 5th via Sacred Bones.

‘SilverHaze’ was produced by Randall Dunn, who has also worked with the likes of Sunn O))), Boris, Earth, Zola Jesus, and Marissa Nadler, all of whom are artists that SQÜRL cite as inspirations. The album enlists Charlotte Gainsbourg, Anika, and Mark Ribot as collaborators, resulting in a communal offering that shares an energetic lineage with the New York School of Poets.



‘SilverHaze’ expands on SQÜRL’s passion for creating rich textural sounds, finessed by a keen ear for production. The band is known for playing with everything from analogue synths to broken radios and pulling inspiration from painters, writers, and birds on the street. ‘Silver Haze’ is a poetic journey of spoken words, dynamic instrumentals, drone riffs and distorted effects, one that features tubular bells and a cello in addition to their signature stacks of delay, encircling the listener in a warm oscillation both delicate and devastating.



The announcement of ‘Silver Haze’ comes on the back of sold out live shows across Europe. Originally intended to happen in 2020, the rescheduled dates saw Jarmusch and Logan perform an original live score to four films by Man Ray. More live dates will follow in due course.

Limited Edition RED Vinyl – 100 units Hand numbered

Omid's parents were Iranian but he spent his childhood in Putney, London. He grew up listening to rock music, and listed Jimi Hendrix, Neil Young and the Cure among his favourite artists – after Robert Smith became a fan Omid would later remix various Cure songs. He learnt to play guitar and formed a rock band, but after hearing hardcore records played on pirate music stations he began making his own tracks on basic equipment that he had bought. Beginning in 1995, his early house and techno singles were released on his own Alola and Disclosure labels under the names of 16B and Phaser, but they soon attracted the attention of big-name DJs such as Derrick Carter, François Kevorkian and Sasha, and he signed to Sven Väth's Eye Q label to release his debut album Sounds from Another Room in March 1998, which was described by the Independent on Sunday as "avant-garde" and by Muzik as "quite breathtaking".
Although he started out as a producer, Omid gradually moved into DJing, at the request of friends who asked him to play records at parties. He secured a regular spot playing the Elements club night run by Hooj Choons record label boss Red Jerry. In October 2001 Omid released The Witch/Which Equation under the alias of the Sixteen Million Dollar Man.Inspired by Prince initially releasing his Planet Earth album as a covermount with a British newspaper, Omid released his third studio album Like 3 Ears and 1 Eye (Part 1) in a similar manner as a covermount with the November 2007 issue of DJ Mag.
Omid also formed the SOS collective of DJs, consisting of him, Desyn Masiello and Demi. The trio secured a residency at London's Ministry of Sound nightclub, and were asked to produce the club's first mix CD in 2010

Omni AM presents the long-awaited reissue of “Can We Get / Keep Doing That.” This timeless record sent dance music in a new direction. Euphoria Record’s vaults are open and finally, for the first time since 1997, this seminal tech-house classic is available to everyone for the very first time in over 25 years. This 1997 indie record was Euphoria Records second release – and their first international record. Whether you agree with it or not, many people consider this one of the pioneering records of American Tech-House. Both sides and several mysterious alternate versions have graced the decks of DJs like Evil Eddie Richards, Terry Francis, Derrick Carter, Tyler Stadius, and Magda. The list goes on.

We were lucky. Curve Pusher lovingly remastered the original four tracks from the 1997 studio masters. Then, he went a step further, and remastered some previously unreleased versions – including a live version in Chicago that encapsulates what Omni AM was back then: ambient house. There’s a bit of Chicago, a bit of London, a bit of New York, and a bit of Tokyo in every second of these classic, genre-defining tracks.

A1.
“Can We Get” happily sits with the finest works of Ron Trent, Chez Damier, and Mood II Swing – and goes further, as Omni AM has never feared genre definitions. It opens with classic deep house chords, floating synth pads, and sparse vocals. The bassline is deep and warm. Marky Star and Adam Collins expertly work the percussive effects but always keep the theme simple and clear. Everyone knows this is a classic house track because it hypnotizes you.

A2.
“Keep Doing That” continues the theme with another classic late-night killer. However, this one is totally different – almost industrial, yet clearly housey and ambient. It drives deep into a tough groove that just builds and builds. The dub-influenced bass line gives way to a more angular synth riff that both offsets and adds to the track's forward thinking sound design. It’s dark and dirty, yet terribly sexxxy at the same time. It was and always will be mesmerizing. Once again, musical magic by Marky Star and Adam Collins.

B-Sides
The flip side features two remixes of “Keep Doing That” by UK tech-house legend Mark Ambrose. His bubbly, psychedelic take on the track pumps up the percussive Chi-town groove while going in a distinctly London afterhours direction. Trippy, for sure. Fun for all, for sure. These remixes are guaranteed to make your afterhours weird.

From A Birds Eye View sees Cordae collaborating with heavyweight names across a variety of genres such as Stevie Wonder, Lil Wayne, Freddie Gibbs, Eminem, H.E.R., Lil Durk, Gunna, Ant Clemons and Roddy Ricch.

Deeply inspired by a life-changing trip to Africa, enduring the loss of a friend gone too soon, and evolving as an artist and a man, From A Birds Eye View sees Cordae telling these stories and more through technicolor imagery, nimble rhymes, and fast evolving wisdom.

Woke rhythms and high-spirited grooves from the vaults of two seminal Italian jazz labels, between the 70s and 80s. Intensely curated by Khalab.

Hyperituals is a philological investigation that deeply delves into the possibilities of sound, rhythm, remix, and endless sampling. Inspiring listening, interpretation, and reinterpretation.
This volume is dedicated to the catalogue of the Italian Black Saint. Thanks to a constant, cutting-edge, and meticulous commitment, Black Saint & Soul Note established themself as two of the most important imprints for international jazz. They always placed the artists, their visions, and their music at the centre, giving them total freedom of creative expression. By combining jazz tradition with the political vanguard sentiment of the time, the two labels were able to press and produce more than five hundred records, many of which are by some of the brightest names in creative jazz or the ‘avant-garde’ of the era.
Curated by Khalab, the selection - focused on rhythms, grooves, and Afrocentric traditions - blends moments in which the rhythmic aspect is powerfully explicit, with others in which the kinetic aspect dialogues on different levels with African American cultural contexts.

“… an album which shows that Carter Tutti are in a state of continuing evolution” – The Wire. 2007’s Feral Vapours of the Silver Ether will be available here for the first time on vinyl, and was the second release under the Carter Tutti name. On it, the electronic and the acoustic are merged in a seamless, crafted album that is awash with echoes of the sea, the moon, the open road, and flatlands.

“Elemental 7 has cast a looming shadow of influence over almost all electronic music since it was made” - Boomkat. Chris & Cosey’s Elemental 7 – available here for the first time in 40 years - is the soundtrack to the film of the same name (on Cabaret Voltaire’s Doublevision video imprint) that saw the duo working once more with John Lacey – Lacey had previously worked with Cosey in COUM Transmissions and introduced Chris Carter to the collective. The album’s highlight and one of their best loved songs, ‘Dancing Ghosts’, sounds as fresh and relevant today as it must have on its original release.

A tribute to the late Kenny Hawkes, London's dark lord of house music. Lovingly selected and curated by Luke Solomon, Jonny Rock and Leon Oakey.

Running from 1995 to 2002, 'Space' was a Wednesday night founded by Kenny Hawkes and Luke Solomon. It inhabited the underground world of Bar Rumba right in the heart of London's West End and took place each and every week. Kenny and Luke had both been regular fixtures on infamous London Pirate Radio station 'Girls FM', and were seeking a suitable place to play the kind of music they supported on their respective radio shows. They were presented with a weekly opportunity at Bar Rumba and snapped it up.

'Space' was THE place for 7 solid years, hosting local and international guests from the house music community week in week out, to 200+ hardcore and dedicated followers. Regular guest bookings read like a 'who's who' of the music scene with sets from Derrick Carter, Andrew Weatherall, DJ Harvey, Tom Middleton, A Man Called Adam, Ralph Lawson and Huggy, Harri and Domenic, Francois Kevorkian, Salt City Orchestra, Carl Cox, Chez Damier and Ron Trent.... the list goes on and on and on! Music from seminal record labels such as Classic, Prescription, Cajual, Paper, Relief was played on rotation amongst a killer mix of Disco classics, alternative 80s music, left-field B-sides and techno. The night undeniably became a cauldron of amazing music and midweek hedonistic chaos.

As Soho changed beyond recognition and clubbing moved Eastwards, Kenny and Luke decided to call it a day. Sadly, Kenny Hawkes died in 2011, leaving a huge hole in the dance music community. Kenny was a legendary figure with an unmistakable sound and DJ style, he had a warped sense of humour and a huge personality and he continues to be dearly missed by all to this day.

As a tribute to Kenny, his musical partner in crime Luke Solomon alongside 'Space' regular and DJ / Editor supreme Jonny Rock, and former Classic Records label boss Leon Oakey have joined forces to celebrate his life through music. 3 years of tweaking, pooling music and clearing tracks have culminated in 2 very special double albums and a digital compilation. A collection of 'Space' classics, underground jams and the tracks that shook the Shaftesbury Avenue dance floor, shaping one of London's most revered midweek sessions.

All profits from the compilation will be donated to the British Liver Trust.

A studio album recorded by Gilberto with arrangements by for Verve in 1967, Astrud Eumir Deodato and Don Sebesky, Beach
Samba successfully showcases the singer’s soft, soothing, playful, ethereal voice. The program consists of laid-back beach bossa nova tunes. The opening track, “Stay”, is a true highlight, while
“Beach Samba” is a wordless delight and “Canoeiro” rolls the Portuguese lyrics into a snaking rhythm. A real standout is “You Didn’t Have to Be So Nice,” a duet with her then-six-yearold son. Gilberto’s vocals are backed by a sumptuous Brazil pop-cum-U.S.
orchestration feel (Ron Carter and Toots Thielemans are among the sidemen, as well as Brazilian stars Marcos Valle and Claudio Slon). Some of the more pop choices are also remarkable, particularly
Tim Hardin’s gorgeous “Misty Roses.” Beach Samba was included in the book 1001 Albums You Must Hear Before You Die.

BLUE NOTE CLASSIC VINYL EDITION: Stereo, komplett analog von Kevin Gray von den Originalbändern gemastert, Optimal-Pressung (180 g), wattierte Innenhülle.

“Empyrean Isles” war 1964 Herbie Hancocks viertes Soloalbum für Blue Note. Obwohl der Pianist mit “Watermelon Man” von seinem Debütalbum “Takin’ Off” bereits einen echten Hit gelandet hatte, etablierte er sich erst mit “Empyrean Isles” endgültig als eigenständiger Künstler. Wie auf den vorangegangenen Alben
stellte Hancock ausschließlich eigene Kompositionen vor, aus denen vor allem der zeitlose Hit “Cantaloupe Island” hervorstach.

Dem Pianisten zur Seite stehen hier mit Bassist Ron Carter und Schlagzeuger Tony Williams zwei Musiker, mit denen er damals parallel auch im zweiten großen Quintett von Miles Davis
zusammenarbeitete. Zu ihnen gesellte sich außerdem der Trompeter Freddie Hubbard.

Der Saxofonist Sam Rivers hatte sich schon sehr früh in seiner Karriere durch bemerkenswerte Originalität ausgezeichnet. Nach einem kurzen Intermezzo im zweiten großen Quintett von Miles Davis, spielte Rivers im Dezember 1964 für Blue Note sein Debütalbum “Fuchsia Swing Song” ein. Das Repertoire bestand aus sechs Kompositionen von Rivers, die zwar fest im Post-Bop und Blues wurzelten, aber die avantgardistischen Tendenzen des Saxofonisten auch nicht leugnen konnten. Das Highlight des Albums ist
die atemberaubende Ballade “Beatrice”, die später sogar von den Tenor-Giganten Joe Henderson und Stan Getz aufgegriffen und interpretiert wurde.

BLUE NOTE CLASSIC VINYL EDITION: Stereo, komplett analog von Kevin Gray von den Originalbändern gemastert, Optimal-Pressung (180 g), wattierte Innenhülle.

“Empyrean Isles” war 1964 Herbie Hancocks viertes Soloalbum für Blue Note. Obwohl der Pianist mit “Watermelon Man” von seinem Debütalbum “Takin’ Off” bereits einen echten Hit gelandet hatte, etablierte er sich erst mit “Empyrean Isles” endgültig als eigenständiger Künstler. Wie auf den vorangegangenen Alben
stellte Hancock ausschließlich eigene Kompositionen vor, aus denen vor allem der zeitlose Hit “Cantaloupe Island” hervorstach.
Dem Pianisten zur Seite stehen hier mit Bassist Ron Carter und Schlagzeuger Tony Williams zwei Musiker, mit denen er damals parallel auch im zweiten großen Quintett von Miles Davis
zusammenarbeitete. Zu ihnen gesellte sich außerdem der Trompeter Freddie Hubbard.

Der Saxofonist Sam Rivers hatte sich schon sehr früh in seiner Karriere durch bemerkenswerte Originalität ausgezeichnet. Nach einem kurzen Intermezzo im zweiten großen Quintett von Miles Davis, spielte Rivers im Dezember 1964 für Blue Note sein Debütalbum “Fuchsia Swing Song” ein. Das Repertoire bestand aus sechs Kompositionen von Rivers, die zwar fest im Post-Bop und Blues wurzelten, aber die avantgardistischen Tendenzen des Saxofonisten auch nicht leugnen konnten. Das Highlight des Albums ist
die atemberaubende Ballade “Beatrice”, die später sogar von den Tenor-Giganten Joe Henderson und Stan Getz aufgegriffen und interpretiert wurde

A tribute to the late Kenny Hawkes, London's dark lord of house music. Lovingly selected and curated by Luke Solomon, Jonny Rock and Leon Oakey.

Running from 1995 to 2002, 'Space' was a Wednesday night founded by Kenny Hawkes and Luke Solomon. It inhabited the underground world of Bar Rumba right in the heart of London's West End and took place each and every week. Kenny and Luke had both been regular fixtures on infamous London Pirate Radio station 'Girls FM', and were seeking a suitable place to play the kind of music they supported on their respective radio shows. They were presented with a weekly opportunity at Bar Rumba and snapped it up.

'Space' was THE place for 7 solid years, hosting local and international guests from the house music community week in week out, to 200+ hardcore and dedicated followers. Regular guest bookings read like a 'who's who' of the music scene with sets from Derrick Carter, Andrew Weatherall, DJ Harvey, Tom Middleton, A Man Called Adam, Ralph Lawson and Huggy, Harri and Domenic, Francois Kevorkian, Salt City Orchestra, Carl Cox, Chez Damier and Ron Trent.... the list goes on and on and on! Music from seminal record labels such as Classic, Prescription, Cajual, Paper, Relief was played on rotation amongst a killer mix of Disco classics, alternative 80s music, left-field B-sides and techno. The night undeniably became a cauldron of amazing music and midweek hedonistic chaos.

As Soho changed beyond recognition and clubbing moved Eastwards, Kenny and Luke decided to call it a day. Sadly, Kenny Hawkes died in 2011, leaving a huge hole in the dance music community. Kenny was a legendary figure with an unmistakable sound and DJ style, he had a warped sense of humour and a huge personality and he continues to be dearly missed by all to this day.

As a tribute to Kenny, his musical partner in crime Luke Solomon alongside 'Space' regular and DJ / Editor supreme Jonny Rock, and former Classic Records label boss Leon Oakey have joined forces to celebrate his life through music. 3 years of tweaking, pooling music and clearing tracks have culminated in 2 very special double albums and a digital compilation. A collection of 'Space' classics, underground jams and the tracks that shook the Shaftesbury Avenue dance floor, shaping one of London's most revered midweek sessions.

All profits from the compilation will be donated to the British Liver Trust.

Johnny Cash (* 26. Februar 1932) ist eine Legende der Musikgeschichte. Sein Tod am 12. September 2003 war ein Schock für viele Fans, obwohl er wenig überraschend kam. Seine hemmungslose Drogensucht und sein exzessiver Lebensstil in den Fünfzigern und Sechzigern, die erst durch die Liaison mit June Carter ein Ende fanden, waren allgemein bekannt. Dabei war Cash in erster Linie der größte und einflussreichste US-amerikanische Country-Sänger, und ein begnadeter Songschreiber dazu. Cashs Markenzeichen war neben seiner markanten Bassbariton-Stimme und seinen kritischen und unkonventionellen Texten der "Boom-Chicka-Boom"-Sound seiner Begleitband Tennessee Three, der an einen rollenden Zug erinnerte. Cashs musikalisches Spektrum reichte von Country, Gospel, Rockabilly, Blues, Folk und Pop bis hin zu dem von Rick Rubin ab Mitte der Neunziger kongenial in Szene gesetzten Alternative Country. Legendär sind seine Konzerte in den Gefängnissen Folsom und San Quentin Ende der Sechziger. Cash schrieb etwa 500 Songs, nahm rund 2500 Titel auf, verkaufte mehr als 50 Millionen Tonträger und wurde mit 13 Grammy Awards ausgezeichnet. Zudem trat Cash in einigen Filmen und Fernsehserien als Schauspieler auf.

The 2LP Great Moments With documents the music of Pharoah Sanders from 1983 to 1990, showcasing both the raw energy and tender nature of his music. It contains 12 of his recordings, including “Africa”, “Naima”, “You’ve Got To Have Freedom” and also the previously unreleased version of “Central Park West”. Featured guest musicians are John Hicks, Idris Muhammad, Curtis Lundy, Benny Golson, Cedar Walton, Ron Carter and more jazz masters. For this compilation, Bret Primack has written new liner notes and Timeless Records founders Ria and Wim Wigt here share additional great moments from Sanders’ sublime work.

Great Moments With is available as a limited edition of 1500 individually numbered copies on translucent blue coloured vinyl, housed in a gatefold sleeve.

Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

Called a "slow-burning vocal-house juggernaut," and an "invigorating artist's artist," BRANDON has put together a collection of tracks featuring some of the genre's best producers, such as Chicago scene founders DERRICK CARTER & ANTHONY NICHOLSON.

The American-based funk/disco band Heatwave formed in 1975 and its lineup originally consisted of Johnnie Wilder Jr., Rod Temperton, Roy Carter, Mario Mantese, Ernest (Bilbo) Berger and Eric Johns. Their most popular hits include “Boogie Nights” and “Always And Forever”, which both feature on the 1976 debut album Too Hot To Handle. “Boogie Nights” charted at #2 on both the UK Singles Chart and the Billboard Hot 100 and was certified Platinum by the RIAA. The track was covered many times, including by KC and the Sunshine Band, Will To Power, 911 and The Weather Girls. The album Too Hot To Handle is produced by Barry Blue, who also produced for Andrea Bocelli, Diana Ross, Celine Dion and The Wanted amongst others.

Too Hot To Handle is available on vinyl for the first time as a 2LP expanded edition, featuring 8 bonus tracks, including 2 alternative versions of their disco classic “Boogie Nights”. This 2LP-set is available as a limited edition of 1000 individually numbered copies on pink & purple marbled vinyl.

Mel Carters Debütalbum „When A Boy Falls In Love“, das ursprünglich 1963 auf Sam Cookes Label SAR Records/Derby erschien, ist ab 28. Mai wieder als LP erhältlich! Das von Sam Cooke und J.W. Alexander produzierte Album enthält von Cooke und Alexander geschrieben Songs sowie ”Why I Call Her Mine”, eine Eigenkomposition von Mel Carter, die 1963 als Single veröffentlicht
wurde. Mel Carter wurde von Cash Box als einer der 10 besten männlichen Newcomer-Sänger des Jahres 1963 bezeichnet und trat mit ”When A Boy Falls In Love” in zahlreichen Fernsehsendungen auf, darunter Dick Clark’s American Bandstand. Der Titelsong ”When a Boy Falls in Love” hielt sich 10 Wochen in den Pop-Charts. Der R&B-Kenner Bill Dahl hat nach einem Gespräch mit Carter die Liner Notes beigesteuert, die das ansonsten originalgetreu restaurierte Paket aufwerten. „When A Boy Falls In Love“ erscheint als 1LP.

Glasgow's First Lady of Jazz Carol Kidd, whose string of successful Linn recordings in the 1980's have made her a staple of international audiophile artists, returns with an all-new collection of delectable jazz and pop standards delivered in her inimitably smooth and heartfelt style.

Kidd has always been an artist celebrated for her cool, controlled phrasing and easy-going balladry, and her lovely new recording, BOTH SIDES NOW, is replete with her trademark inflection and warmth spread over classic songs by everyone from Rodgers & Hammerstein, Billy Joel, Joni Mitchell, and Richard Thompson. A songwriter of note, Kidd herself contributes two new tracks co-authored with Chris Anthony.

Impex's exclusive 180-gram 33 rpm LP, mastered by the superlative Kevin Gray at Cohearent Audio, features brilliantly detailed mid-tones, effortlessly stable bottom end, and crisp overtones. RTI's peerless pressing brings it all together for your listening pleasure.

Carol Kidd is an international award winning singer. She has been named 'Best Vocalist' at the British Jazz Awards on four occasions and was appointed MBE for Services to Jazz. In 2006, Carol was a winner of the prestigious Nordoff-Robbins Tartan Clef Music Award and in 2017 she received a Lifetime Achievement Award at the Scottish Jazz Awards. Renowned for her impeccable phrasing and delivery along with an unforgettable ability to breathe fresh life into any jazz standard, Carol has cut a distinctive path through the Great American Songbook throughout her career with orchestral and trio backing, as well as performing as a unique and intimate duo with guitarist Nigel Clark.

A long line of admirers has included Tony Bennett, Vic Damone and Frank Sinatra, who invited her to open for him at a stadium concert where he remarked that, "Carol Kidd is the best kept secret of British jazz." After a sensational performance at the Tribute to Johnny Mercer show at the Royal Concert Hall in Glasgow, Sir Michael Parkinson observed from the stage that "If there is a better jazz singer out there I have yet to hear them!" Luminaries who have performed alongside Carol as her guests include George Shearing, Georgie Fame, Annie Ross, Benny Carter, Joe Temperley, Bobby Watson and Martin Taylor.

Following a battle with cancer, Carol returned to the stage triumphant in the summer of 2013 to give a powerful, emotional performance at the Glasgow Jazz Festival. In the wake of this homecoming, it is impossible to deny that Kidd is one of the most remarkable artists and performers of our time.

Benny Carter war bereits seit fast 30 Jahren ein bedeutender Jazzmusiker, als er diese besonders starke
Septett-Session namens ”Jazz Giant” für Contemporary aufnahm. Mit bemerkenswerten Beiträgen des
Tenorsaxophonisten Ben Webster, des Posaunisten Frank Rosolino und des Gitarristen Barney Kessel ist
Carter (der bei ”How Can You Lose” auch ein wenig Trompete spielt) bei einer Reihe von fünf Standards
und zwei seiner Originale in hervorragender Form. Diese zeitlose Musik ist jenseits der einfachen Kategorien ”Swing” oder ”Bop” und sollte einfach ”klassisch” genannt werden. Dieses Album ist Teil der
Contemporary Records 70th Anniversary Series und wurde von dem legendären Toningenieur Roy DuNann
aufgenommen.
Das Album ist als 1LP, auf 180g gepresst, erhältlich.

Classic Black Vinyl repress in soon note new price. LP with DL card. “a songwriter testing the limits of her sound and redefining herself in the process” - Pitchfork // “Rundle’s voice floats above the seething morass, graceful and triumphant, an angel welcoming the apocalypse” Stereogum // The cover to Emma Ruth Rundle’s fourth solo record, On Dark Horses, bears a blurry photo of the songwriter obscuring her face with a large toy horse with broken legs. The photo suggests something candid but also hidden, graceful but also fractured a fitting portrait for an artist who has established a career by vacillating between shrouding herself in mystery and exposing her wounds to the world. The first peek behind the curtain came with her Sargent House debut Some Heavy Ocean, where layers of distortion were excised in favor of acoustic guitar and Rundle’s beguiling vocals. There was a distinct difference by the time Rundle released Marked For Death, a stark and deeply personal meditation on mortality and self-destructive behavior. Her entire musical trajectory from the cinematic instrumentals of Red Sparowes to the lush haze of Marriages and onward through her solo career seems like a gradual disclosure of intimate secrets. With On Dark Horses, Rundle doesn’t shy away from uncomfortable realities or retreat into a private world, but it does capture an artist who has survived their personal nadir and come out stronger on the other side. Taking the full arrangements of Marked For Death on the road demanded a backing band, which Rundle pieced together from tour companions first Dylan Nadon from Wovenhand and Git Some and later Evan Patterson and Todd Cook from Jaye Jayle. Rundle’s budding romance with Patterson prompted a move to Louisville, Kentucky, which not only amplified the equestrian themes of the record but also yielded a new writing process. “This the first time I haven’t played all the guitars on my own record,” Rundle says of Patterson’s contributions to the writing process. “It was stressful letting go but it was also rewarding.” The collaboration worked both ways, with Rundle contributing to Jaye Jayle’s No Trails and Other Unholy Paths. That album’s “Marry Us” mirrors On Dark Horses’ “Light Song”, with the union of Rundle’s siren vocals and Patterson’s poised baritone conjuring a dizzying and feverish update on the duets of Johnny Cash and June Carter. The eight tracks of On Dark Horses capture the evolution of Rundle as an artist, with vestigial traces of the savvy guitar work of Electric Guitar: One, the siren song beauty of Some Heavy Ocean, and the amplified urgency of Marked For Death all factoring into the album’s rich tapestry. Rundle arrives at the end of the album with an ode to a traumatized and heartbroken friend on the grand and triumphant “You Don’t Have To Cry”. After laboring over the majority of the material for the album, she wrote the finale in one sitting, describing its easy birth as a gift from the gods. It’s a fitting closer, a song announcing Rundle’s newfound hope and reminding us to take control during our darkest moments instead of succumbing to them. Track Listing: 1 Fever Dreams 2 Control 3 Darkhorse 4 Races 5 Dead Set Eyes 6 Light Song 7 Apathy on the Indiana Border 8 You Don’t Have to Cry

LP including booklet with extended liner notes. Channeling wild seventies Impulse vibes, even resonating the guts of early Art Ensemble of Chicago and the tempering spirit of Max Roach's 'We Insist' era: BRAHJA is soul searching their spirit on 'Watermelancholia'.

Devin Brahja Waldman is a New York saxophonist, drummer, synthesizer player and composer who leads the group BRAHJA. Waldman has accompanied his aunt, poet Anne Waldman, since the age of ten. Waldman is a co-founding member of Radical Reversal, Diva of Deva Loka, and Notable Deaths. He has performed with Patti Smith, William Parker, Nadah El Shazly, Malcolm Mooney, Thurston Moore, Godspeed! You Black Emperor, Charles Hayward, Luke Stewart and Yoshiko Chuma. Waldman is also a member of NYC's Heroes Are Gang Leaders (led by poet Thomas Sayers Ellis and saxophonist James Brandon Lewis), of Sam Shalabi's Land of Kush, and of the Norwegian hardcore group MoE.

As a youngster, Waldman was taken under the wing of avant-garde giant Paul Bley. Along with Anne Waldman and cousin Ambrose Bye, Waldman is a co-producer for Fast Speaking Music -a NYC poetry and music label which has released recordings with Amiri Baraka, Meredith Monk, William Parker, Laurie Anderson, Eileen Myles, CAConrad, Fred Moten, Daniel Carter, Clark Coolidge, Thurston Moore, Joanne Kyger and many others.

Ancient to the future 2.0

Watermelancholia is about the law of Karma:
a law so obvious that it often goes unspecified and ignored.
Neglecting this law invites a world of chaos.
It's been articulated in endless ways.
Some have called it Cosmic Law or Natural Law.
Others translate it as Do No Harm.

(liner notes excerpt)

The moment the first bass note of Luke Stewart kicks in on 'Watermelancholia', followed by the swelling drum roll of Malick Koly and the lush leading voice of Janice Lowe you feel Devin Brahja will take you on a deep mind-blowing spiritual journey.


Channeling wild seventies Impulse vibes on 'O.P.K' or, could we say, even resonating the guts of early Art Ensemble of Chicago and the tempering spirit of Max Roach's 'We Insist' era: BRAHJA is soul searching their spirit on 'Watermelancholia'.


A poetic stream of consciousness, backboned by top-notch musicians, transcending the cosmic universe, trying to find answers and musically connecting.


Watermelancholia is a meditation on healing the inner schism between the sense of self - the ego - and the inner being. It is about bringing the ego to justice; putting it on trial, as it were.

This Is For You, John is an album by saxophonist/composer
Benny Golson, recorded at Vanguard Studio, New York City in
1983 and released the year after. For the recordings, Golson was accompanied by Pharoah Sanders on tenor sax, Cedar Walton on piano, Ron Carter on bass and Jack DeJohnette on drums. The album features tunes associated with, or inspired by the famous American Jazz saxophonist John Coltrane, including “Times Past (This Is For You, John)”. “Origin” is an original, composed by Pharoah Sanders.

This Is For You, John is available as a limited edition of 1000 individually numbered copies on green coloured vinyl. The back of the sleeve contains extensive liner notes by Benny Golson, reflecting meetings with John Coltrane and the inspirations behind the songs.

Limited edition white vinyl w/pink haze + download card.

n5MD and Gimmik team up yet again! This time, to bring you an updated and remastered version of Gimmik's digitally reclaimed and once previously unreleased cuts compilation News From The Past for the first time on vinyl.

The original compilation was released digitally by Gimmik's Toytronic imprint in 2005, originally comprised of six tracks recorded between 1994 and 2000. The reimagined vinyl collection combines ten tracks–plus an additional five included on the download card–spanning 1994 to 2021.
News From The Past is an excellent snapshot of Gimmik's musical output thus far and a testament to Martin Haidinger's winding path as one of experimental electronica's most unparalleled producers.

In four short years of existence, Green Lung have risen from the murk of the UK heavy underground to become a true cult band with a devoted following. Debut album Woodland Rites, released independently in early 2019, quickly garnered attention, resulting in a single being named ‘Track of the Week’ in the Guardian, plays on Daniel P. Carter’s Radio One Rock Show, a tour with fellow UK heavies Puppy and festival appearances across Europe. This brought the band to the attention of the wider music industry, and after multiple offers (including one from a major label) the band decided to stay true to their roots and sign with the Finnish audio wizards at Svart Records, home to several of their doomy inspirations including Reverend Bizarre and Warning. Svart’s deluxe reissue of the album, and the preceding EP Free the Witch,sold out several runs. Two years later, the folk horror-obsessed fivesome have re-emerged from their mulchy catacombs armed with dozens of freshly-whittled riffs. Black Harvest, the sequel to Woodland Rites, is a more colourful, widescreen reimagining of the band’s sound - Dawn of the Dead to its predecessor’s Night of the Living. Recorded at Giant Wafer Studios in rural mid-Wales over the course of two weeks with longtime producer Wayne Adams (Petbrick, Big Lad), it’s a more expansive and textured record than anything the band have done before, boasting a cinematic quality and more attention to detail.

Ron Carter and Richard Galliano decided to risk intercontinental
collaboration for the second time after 1990, when they recorded their
acclaimed album "Panamanhattan" in Paris
Here the French accordion master, whose fingers fly over the keyboard with
acrobatic ease and can make the instrument weep in melancholy or rejoice with
joy. There the American bass wonder, whose deeply tuned strings enhance more
than 2,500 (!) recordings and are among the cornerstones of the complete artistic
works of Miles Davis, Eric Dolphy, Archie Shepp, Herbie Hancock, Aretha Franklin,
Roberta Flack and Antonio Carlos Jobim. Two who have already gained hero
status in their own worlds and can actually only lose when they transgress into
each other's terrain. "Believe me, there is nothing more real than to go on stage
with a gambler," Carter raved about the refreshed liaison with his Gallic buddy.
The two rediscovered the once lost central thread in March 2016 at Jazz Week in
Burghausen as a short intermezzo during a joint appearance with the WDR Big
Band. The provisional climax was then the recording made in Theaterstu?bchen
in Kassel on October 29. Galliano recalled: "Before we got going, I said to him:
"Can you believe it? Twenty- seven years have passed, we are still the same and
I'm still playing the same accordion. To which Ron just responded: "And we have
still same fingers!" With these 20 nimble tools, the two protagonists of the
musical joint venture interact without fear of contact. Neither remains in his
accustomed position. Like two intrepid mountaineers, they balance over a
yawning abyss, perform daring maneuvers and clear the way for each other time
and again. The longer the intimate wanderings of subtle nuances and sensitive,
dancing elegance last, the greater the familiarity seems to be. "Richard really
seizes every rhythmic and harmonic chance," the American marveled about his
French partner. And he replies gallantly: "Ron still looks so young, fresh and
elegant like three decades ago. And he is still enthusiastic, straightforward and
comes straight to the point." An often thoughtlessly used image rarely fits better
than on this very special evening: Ron Carter and Richard Galliano create a
universal musical language, whose vocabulary consists of notes. Risk- free
enjoyment

As Far As Death is the cross-generational debut of fire music evangelist and saxophonist Paul Flaherty with double bassist and composer Zach Rowden. The Connecticut natives forge an album of dynamic free jazz interplay that also draws on imporous textures of contemporary music - an ecstatic reflection. After a half century of blowing the alto and tenor saxes, Flaherty's playing continues to molt and electrify. Whether solo, or with collaborators (Joe McPhee, Chris Corsano, Bill Nace, Daniel Carter, etc.), his blues-based, lyrical melodies anchor lung-bursting gallops. Rowden - whether as Tongue Depressor (a string duo with Henry Birdsey), in performance with cellist Leila Bordreuil, or his own musique concrète constructions - balances harshness and elegiac drones. His past releases resemble resolute exploration into acoustics and noise. Together, Flaherty's monstrous howl is perfectly matched by Rowden's subterranean pitched drone and glacial pace. Each offers weeping lurches of tune, gasps of balladry and microtonal fields of interplay on five pieces. The side-long "Thrown Shadows" is an epic passage of avant jazz vs minimalism, as Rowden's low-register bowing offers a blackened landscape for Flaherty's most mournful notes. Artwork by Chris Corsano.