Pop & Rock News

Munich quintet Fazer are set to release their second album 'Nadi' on 12th April 2019. 'Nadi' follows the underground success of their self-released debut 'Mara', which quickly sold out on vinyl and became one of the most streamed jazz records of the year. Moving freely between composition and improvisation, the band's spacious, organic sound pitches lyrical melodies from guitar and trumpet over double-drummer polyrhythmic grooves and dub-like basslines. The album title 'Nadi' references a term rooted in traditional Indian medicine. Nadis are channels that connect points of intensity within the body. This reflects the band's feeling while playing of moving as one body. Contrary to the creation of the group's debut album 'Mara', both the writing and recording sessions for 'Nadi' were completed in relatively short periods of time.

“Introducing COSMIC RESIDENTS v. 1, the first in an ongoing compilation series from Cosmic Resonance Records. This series will showcase emerging talent from Toronto’s underground creative electronic music scene.

This first edition features local favourites and Cosmic Resonance residents Radiant Aura Faculty (aka Raf Reza), KOREA TOWN ACID and Hemingway along with (and making their vinyl and Cosmic Resonance debut) Body Butter, WeTurnToRed and Smoke & Shadows.

On the A-side, Hemingway kicks things off with Astralnauts, a deep, dubbed out boogie breakbeat burner dedicated to explorers of the astral plane featuring fellow label don Chris Evans on rhythm guitar. Radiant Aura Faculty (aka Raf Reza) takes us even deeper with the mystical 'Cid Pit Riddim', a slamming 707 acid bender sure to melt any dance floor. Things get slippery with Body Butter’s debut single ‘Lights In The Hallway’, a timeless operatic pop opus featuring Neil Rankin (aka Burt Sugar), Chris Evans (aka Mr. Bliss) and Hemingway behind the board.

On the flip side, things heat up with Shamanta Chandran’s project WeTurnToRed (recently releasing their debut EP on ORO Records), featuring the progressive modular techno odyssey 'Warm Winter', an escape from Toronto’s long and tumultuous blizzards. Emerging from the Mahogani Forest, Korea Town Acid reinterprets Hemingway’s emotional ode to the jazz aesthetic 'Blue Notes' with her trademark cerebral rhythms and a masterful bassline that elevates the original to new heights. Closing it off, we have an amazing collaboration between Curtis Clark (aka Smoke of Lab.our Music) & Em Zy (member of Nikki Fierce) called Smoke & Shadows with their stellar debut single Convincing Thoughts that features Em Zy’s hazy vocal emanations amidst a backdrop of mystical reverberations and a dark, powerful groove.”

Created in Brussels in 2015, Azmari is a twisting musical journey that fuses psychfunk, afrobeat, ethiojazz and dub.

With thousands of hours in the studio and numerous live shows across Belgium, Berlin and Istanbul, the 6-piece ensemble is pleased to announce the release of their debut EP entitled 'Ekera', released 24th May via groove-heavy record label Sdban Ultra.

Recorded in a rented room in Brussels in just three days, 'Ekera', meaning 'the other world', is a deep hypnotic sound that blends asymmetrical rhythms with winding improvisations, sending the listener in to a higher state of consciousness. "We love to jam, we jam a lot and our music comes from that", says drummer and bandleader Arthur Ancion.

From the middle eastern sounds and devilish rhythms of 'Dolmus', a magnetic, free-jazz re-working of the Mulatu Astatke composition 'Emnete', to the energetic and spellbinding flood of roaring saxes on 'Mammouth', Azmari draw on influences including Temiz, Herbie Hancock, Cymande, The Heliocentrics, Fela Kuti, John Berberian, The Soul Jazz Orchestra and much more.

With a common love for African and oriental music, as well as funk and dub, the Azmari sound has developed in a short space of time - taking on new musical influences along their spiritual journey, including Arabic melodies and sounds.

Heavily influenced by the Ethiopiques, ten days performing in Istanbul opened the band's ears to the Turkish sounds and rhythms from the 1960s and infusing Turkish and Ethiopian scales, along with learning new instruments along the way including the berimbau, the ney and ba?lama, the Azmari sound transformed into a rebellious, unrelenting and mesmerising experience.

Azmari are; Arthur Ancion - Drums, Basile Bourtembourg - Keyboards, Jojo Demeijer - Percussion, Niels D'haegeleer - Bass, Mattéo Badet - Saxophone and Yohan Dumas – Saxophone

MIC004LP

Alelah records presents the debut album from Polow – ‘In Da Diggalow’, recorded at Hilbert’s Grand Hotel with tracks produced between 2017 and 2019.

Dusty instrumental beats, hazy jazz loops and MPC-styled hip hop treats across two sides of a lovingly created cassette tape. A pure unadulterated listening experience that deserves the time and space that a tape can offer.

Kick back, light up that incense and lose yourself in this one.

doctor umezu diva is a japanese sax player kazutoki umezu's one off project which he invited two female artists, one is a legendary marimba player midori takada and one more is a vocalist&pianist and half of japanese newwave band colored music in the end of 80's.

this album was one of the best kept secret jazz album from japan. dubby from ondas tokyo(he compiled 'va/midnight in tokyo vol.2' on studio mule) brought me this record. it was really hard to find as the amount of copies has been very limited.

this album is a unique mixture of modern classical sound and avant-garde jazz which is kind of similar with strata east or nimbus.

Info We Release Jazz is ecstatic to present its fifth release (following Ryo Fukui's Scenery and Mellow Dream, Le Cercle Rouge's soundtrack by Eric Demarsan and Stuff Combe 5 + Percussion), the first ever live performance and recording by Marc Moulin's sought-after jazz-funk band Placebo, captured at Casino Kursaal during the Montreux Jazz Festival in 1971 and never released before. Placebo's Live 1971 is available in a limited edition 180g vinyl mastered at half speed, housed in a 350gsm sleeve with UV coating and an obi strip. June 17th, 1971, the Montreux Riviera, its delightful microclimate and postcard scenery, its fabled music history and the luscious wines of the region. A dream setting for Marc Moulin to lead his ensemble on a 26 minutes+ jazz adventure - Nick Kletchkovsky on bass, Freddy Rottier on drums, Johnny Dover on bass clarinet, Alex Scorier on soprano saxophone, and Richard Rousselet on flugelhorn. The magic of that night is dripping through Placebo's sumptuous 'Showbiz Suite", a soulful piece in two parts in which every instrument gets enough room to shine, smoothly navigating between cozy cognac-by-the-fireplace funk and heartfelt grittiness, served with a pinch of Soft Machine vibes. It's the night Placebo was born, when foundations were laid for three classic albums: Ball of Eyes (on which you can hear a shorter studio version of 'Showbiz Suite"), 1973, and their final self-titled album. Born in 1942 in Ixell

* The latest EP (S.U.F.O.S. Save Us From Ourselves) from South London based producer, arranger and multi-instrumentalist, Wu-Lu.
* Pressed using 180g clear heavyweight vinyl
* Includes collaborations with long-term friends, Binisa Bonner, Kwake Bass, Nubya Garcia, Eun, Demae Wodu, and Morgan Simpson.
* Recorded at The Room and Abbey Road Studios
* Limited edition of 300

Having worked with the likes of MNDSGN (Stones Throw) and Andrew Ashong on his previous 2015 EP Ginga, Wu-Lu has already secured some strong production credits. These include Ego Ella May, Oscar Jerome and Poppy Ajudah, as well as work alongside Joe Armon-Jones (Ezra Collective) and Kwake Bass (Kate Tempest, Sampha) on a brand new project coming in 2020.

S.U.F.O.S. sees Wu-Lu collaborate with long-term friends Binisa Bonner, Kwake Bass, Nubya Garcia, Eun, Demae Wodu, and Morgan Simpson (drummer from band Black Midi). Thematically, it’s a reflection of where Wu-Lu sees himself and his people in 2019 London. This EP taps into racial injustice in Britain, black empowerment and self-exploration. Spending much of his time working behind the scenes for a range of artists, this EP helps define him as a soloist.

Speaking about S.U.F.O.S. Wu-Lu says, “The EP is about family in every sense of the word: blood family, spiritual family, extended family, your family. It’s the perception of my own experience and the young people who haven’t got a loud enough voice yet”.

Wu-Lu is no stranger to experimentation within his music. He has constantly been experimenting with the various influences on his Brixton doorstep, as well as some of the complex issues that a young, mixed race man living in London may face. It’s the live stage where the impact of Wu-Lu’s passionate retellings really come into their own. Recent standouts include sharing the Field Day main stage with the likes of Erykah Badu and Loyle Carner, Brainchild Festival and a feverish Clash Music LIVE appearance at Metropolis Studios alongside Masego.

Catch Wu-Lu headline The Windmill, Brixton on the 25th April 2019.

Far Out Recordings are proud to present two previously unreleased and unheard recordings from the formative years of Brazil's iconic jazz-funk titans. Recorded between 1973-75 at the late great keyboard maestro José Roberto Bertrami's home studio inRio, the tracks are a mesmerising document of the futuristic sound Bertrami, Ivan Conti, Alex Malheiros and Ariovaldo Contesini were developing before going on to release their cult favourite, self-titled debut with Som Livre.

CTHI Records is back again after a little pause given by the development of the Jaxx Madicine project started initially by the label founder Parker Madicine and Turbojazz. Through out this time the label has productively been joined by Veezo, italian pianist and producer, for the making of their Distant Classic album and various EP’s and remixes published on many different international labels as Local Talk, Visions Rec, Dirt Crew and Eureka. CTHI is now ready , after the recent Japanese tour as Jaxx Madicine Trio, to be again the front stream for the debut EP of Veezo ‘Monolith’. An 8 tracks EP playing the essential “manifesto" and inspiring heritage of the artist. Raw and dirty grooves made in 12bit res, tape delays and acid Ms20 arps on top of which you’ll appreciate afro elements, warm rhodes and pad chords allowing you to perceive the whole Veezo musical ambient creativity. Two singing tracks - unique featurings by David Shorty and the Technoir Duo - are providing deep house/boogie atmospheres and jazzy spiritual moods. There are various musicians participating into this project leading through bass, flutes and drums that will surely provide you the feeling of an orchestral setting guided and directed by a solo person inducting all those elements through an Akai taperecorder. The result: close to a mid 90’s forbidden cartoon enriched by the cover of the Japanese artist Tokio Aoyama.

Born in the 1940s in Istanbul, Italian painter and percussionist Wilfred Copello had, from the onset, a predisposition for exotic sounds.Indeed, his interest for latin music was manifest early on in his career. In 1970 he was an uncredited member of the Italian band Latins 80 who released the same year the LP Foglie Gialle All’Imbrunire which has now gained cult status.From that period onwards, Wilfred settled in Rome where he gained an excellent reputation as a studio player; he participated in a large number of projects and albums, especially on the jazz scene with his friend Romano Mussolini (The Latin Taste, Jam Session , Soft & Swing, etc.). But it is the music from Brazil that had the greatest impact on Wilfred. In 1974 he recorded ‘Viva Brasil’ with the group Expo 80, an album which was an ode to Brazilian music. A few years later, at the turn of the 80s, he formed the band Wilfred Percussion. He brought with him an all-star cast of the jazz and Latin scene in Rome which included Argentinean drummer Osvaldo Mazzei and respected trumpet player Cicci Santucci.It was actually in Cicci Santucci’s Audio Sound Studio that was recorded Wilfred Percussion’s only album.Recorded in 1983, the album is a musical gem. Self-produced, Wilfred Percussion is composed of covers and original compositions. Covers include original titles by the unclassifiable Hermeto Pascoal as well as Milton Nascimento, and are reinterpreted here in a totally unique fashion with that distinctive Italian groove. Wilfred Percussion is an album which allies funk to MPB with jazz undertones, introducing the listener to a singularly fresh and evocative opus.

This is the definitive reissue of the long out of print first album from Italian experimental-rock band La 1919. Originally released in 1987 by ADN, the Italian Recommended Records branch, Ars srA was an early example of a long distance collaboration album as result of a virtuosic exchange of tapes between the Milan based duo and the legendary American guitarist Henry Kaiser and Canadian maverick sound artist John Oswald. The resulting music sounds like a perfect blend of '70s Art-Rock elements and '80s electronics. An eclectic mix of "Frith" oriented guitars, cold synthetic sounds and programmed drum machine beats. Some sort of sonic no-man's land where elements from the Post-Rock in Opposition aesthetic meet the experimental side of New Wave. The album includes a declared tribute to the Frith-Laswell-Maher seminal coalition, via a metronomic version of "Killing Time", the title track from Massacre's first album. The LP comes with updated graphics and contents including unpublished pictures and various memorabilia + CD with extra tracks.

A lot of people flipped out over how amazing Mako Sica’s last album, Ronda (FTR 409), was. Ronda was a 2LP set whereupon the Chicago trio collaborated with legendary local percussionist Hamid Drake. This pairing seemed like a natural to us, but for some reason people have been woefully unaware of Mako Sica despite the fact they’ve been releasing killer records for a decade, and playing live shows that submerge your brain in a sonic soup that recalls the Sun City Girls at their most psychedelically Eastern.

The band’s approach to music feels almost alchemical. Trumpet, voice, guitar, drums and keys blend together in mysterious ways. The vocals are always more abstract than declarative, the guitar lines are sinewy, the rhythms roll and splash like a mirage oasis made real, and the trumpet arrives (when it does) sounding almost more like a shofar being played in a temple.

The sound of Manifest Being is celebratory and so fully freaked you’ll be soaking in it for years to come. The songs played are similar to the live set Mako Sika were polishing last year, and the results are stunning.

-Byron Coley, 2019

Reissue of a true avantgarde-rock classic: Skeleton Crew were the maverick duo of Ex-Henry Cow guitarist Fred Frith and the great late cellist Tom Cora. Formed during one of Frith's early American residencies, Skeleton Crew was a legendary two man crew who somehow - in real time, managed to play all their instruments, cello, bass, electric guitar, violin, vocals - as well as, drum parts dislocated between the two of them. No one sounded like Skeleton Crew, ever. An unprecedented and tight duo coalition that produced some of the best music of the decade. Originally released in 1984, Learn to Talk consists of a highly integrated mixture of art-rock, punk energy, tape manipulation and re imagined folk elements. A catalogue of invention that remains breathtaking today. Fully re-mastered and including a printed inner sleeve with previously unpublished text by Fred Frith in memory of Tom Cora on the 20th anniversary of his premature passing.

Released in 1976, Eternity was Alice Coltrane's first album for Warner Bros. after eight wondrous records on Impulse! Combining the drones and textures of India, the gospel and R&B of her Detroit youth and the dissonance of modern classical composition, Coltrane's music in the '70s would become increasingly difficult to categorize.

Having moved a few years earlier to California (where she founded the Vedantic Center, an Ashram for spiritual studies), Coltrane stretches out on Eternity – incorporating various musical styles, including a stirring adaptation of Igor Stravinsky's The Rite of Spring – and the results are dazzling, both in sonic scope and emotional range

Opener "Spiritual Eternal" sways between Alice's exploratory organ and the dramatic swell of lush strings. A meditative solo piece for harp, "Wisdom Eye," precedes the rollicking rhythms of "Los Caballos," which showcases some of her finest soloing.

"Om Supreme" is the album's first track to be built around bhajans (Hindu devotional songs). Featuring graceful keyboards backed by an angelic choir, this piece hints at the ecstatic devotional music that she would later make with members of her Ashram.

While Coltrane would delve deeper into her spiritual journeys and continue to expand her musical interests on subsequent LPs, Eternity remains a vivid and compelling display of her unique vision, myriad talents and passions.

By the late '70s, Alice Coltrane had largely gravitated away from jazz, incorporating Hindu chants and hymns into her music to reflect a newfound sense of creative omnipotence. However, in April 1978, she would return to her roots, performing at University of California, Los Angeles to make her first and only live album.

Transfiguration, featuring drummer Roy Haynes and bassist Reggie Workman, showcases Alice's many compositional talents and fierce improvisatory abilities. Throughout this double LP set, her playing evokes the time spent in her late husband John Coltrane's band and the avant-garde music of her earlier years.

As biographer Franya J. Berkman writes, "Her up-tempo keyboard work here is the most exciting of her commercial career. With its rapid-fire transpositions of short figures; its long modal passages, rhythmic play, and timbral inventiveness; its sustained energy and burning pace; and the unrelenting support of Haynes and Workman, she takes leave of the jazz business with a truly breathtaking swan song."

Alice Coltrane would not revisit jazz on record for another 26 years, turning instead to spiritual music made with students at her Vedantic Center and self-releasing a series of cassettes under her Sanskrit name, Turiyasangitananda. It is hard to imagine a better farewell than the intense and spellbinding Transfiguration.

We announce the joyous return of the spacecraft known as IQ+1 to Planet Earth.

After more than six years, which its members spent on experiments, improvisational side-missions, solo excursions, and hunting for material, we can finally welcome a third mission, following on from the highly acclaimed Tvárí v tvár (Face to Face, 2011) and IQ+1 (Polí 5, 2013).

The current line up – George Bagdasarov, Veronika Hladká (PIO), Jaroslav Tarnovski (Gurun Gurun, Wabi Experience, Jipangu), Petr Vrba (Rouilleux, Poisonous Frequencies, PIO), Michal Zboril (PIO, B4), and Katerina Bilejová – adheres to the philosophy of free improvisation. There is no captain to determine its momentary course, nor genre restrictions, nor sonic or musicianly hierarchy. The strategies remain unchanged, as does the instrumental variety, and the authentic excitement of live performance.

Mappa editions presents IQ+1’s third album, titled Conversaphone Plus, as the result of several séances recorded at the end of 2017. Every submersion in its depths is an unrepeatable experience. The organic sonic material is constantly contracting and expanding, adapting itself to the listener’s context, escaping beyond the horizon, creating mimicries, and enticing us to bubbling, popping, and jingling polyrhythms to then release its protective toxins. All six pieces boil on the narrow edge of chaotic decomposition and celestial order in which every sonic detail has its precisely determined position. Field recordings permeate the instruments on an equal footing, making it difficult to identify the sound, instrument, or player, so that each time the record is turned over, a new adventure begins. Federsel (B4, Handa Gote, Gurun Gurun) took care of the connective tissue between the pieces and the balanced post-production architecture.

Avoiding irritating instrumental exhibitionism, and egocentric deafness, Conversaphone Plus is nothing less than an uncompromising electro-acoustic testimony to the vitality of the Czech improvising scene. And it is nothing more than an attempt to connect sonic geology with astral listening.

Open the window a little – a messenger from the spacecraft known as IQ+1 is descending through the opening.

‘Joyrobix’ is Brummy-abroad Joe Snape’s flooring return to Slip: a songbook of nimble,
aching pop that wrings raggedy solace from dejection and displacement. Begun as a
danceable refix of pieces for chamber ensemble toured the last three years, production
on ‘Joyrobix’ stalled sharply in 2016. Instead of a self-confident exercise in documentation,
the record twisted into a darker, more lyrical original: a period portrait of dislocation and
burnout following Snape’s move to the US in 2015.
There’s still plenty of fun to be had. Between the adult contemporary guitars, gospel
grooves, and Broadway melisma, the tropes of a musical America are present, correct,
and indefatigably uptempo.
But even at his most playful, Snape sounds like a musical mind running on fumes, the
optimistic experimentalism of 2015’s ‘Brittle Love’ audible only through a weary cloud, and
the black dog never altogether quieted. Nor could it be: ‘Joyrobix’ sounds like a working-
out – here manic, there taciturn – of a New World dream gone sideways.

KINLOCH (sounds like "kin-law") NELSON studied classical guitar privately with Stanley Watson in Rochester NY, jazz guitar with Gene Bertoncini at Eastman School of Music, and music theory at the University of Rochester. In 1973, he began teaching both privately and at The Hochstein Music School in Rochester where he was on the faculty for twenty-five years. In 1985, Nelson co-founded the Guitar Society of Rochester, which during its ten-year run presented many of the world's greatest guitarists. Nelson is the author of a book, Alternate Guitar Tunings. He currently teaches privately, conducts guitar workshops and maintains a performance schedule. Nelson came to the attention of Tompkins Square via Duck Baker, who visited Rochester in 2018 supporting his own Tompkins Square archival release, Les Blues Du Richmond : Demos & Outtakes, 1973-1979.

Out February 22nd, Grammy-nominated Hot 8 Brass Band "Take Cover" as they bring their iconic hip hop and brass grooves to classic tracks from Joy Division, Michael Jackson, George Benson and The Jacksons. This EP features recent single "Give Me The Night" & "Love Will Tear Us Apart"

This EP features recent single "Love Will Tear Us Apart" - which received support from Rolling Stone, Songlines, John Kennedy (Radio X), Craig Charles (BBC Radio 2 and 6 Music), Ed Adoo (BBC 5Live), Gilles Peterson (BBC 6Music) and Laurent Garnier (Worldwide FM) - and new track "Give Me The Night".

A cat may have nine lives, but Peter Cat Recording Co. has a multitude of dimensions. Formed in New Delhi around 2010 by the crooner Suryakant Sawhney, it's a group that's mutated over time, shedding members and accruing more, always evolving musically with each album: from gypsy jazz to psychedelic cabaret; ballroom waltzes to epic space disco; bossa supernova to uneasy listening. What's more they play jajj, which you've almost certainly never heard of. 
'Gypsy jazz is the description we used around the time of our first album Cinema that we sound nothing like now,' says Sawhney, before adding: 'At the time I was really into Strauss.' 

Portrait of a Time 2010 - 2016 is the first taste many Europeans will have of this highly original, musically capricious and deeply inscrutable New Delhi four-piece. The compilation helps you get to know a band who are essentially unknowable, not that that will stop you from trying. Furthermore, in a capital city known for its mystery, madness and mayhem, Peter Cat Recording Co. is something of ananomaly there too. 

While Suryakant's crooning is spookily reminiscent of a hipster 50's Sinatra, it was more his intention to ape legendary Bollywood playback singers like Kishore Kumar, Mohammed Rafi and especially Hemant Kumar. There are diverse American influences in the mix too, including Sam Cooke, Etta James and even Tom Waits, and time spent in San Francisco studying film may have contributed to the cinematic melange. Thrown together it becomes something unique that equates less to a listening experience and more to an out-of-body experience. 

They were signed to new French record company Panache after label boss Alexandre Rabia was trawling through YouTube one day and happened upon their remarkable promo for 'Love Demons'. It's a mind-blowing eight minute epic featuring the desert, one camel, a movie theatre, swirly organs over coruscating beats, dancing girls, more police and a cavernous pit that then-bassist Rohan Kulshreshtha falls into. 

You can try to compartmentalize them all you want, but just when you think you've got them pegged, they will evolve and transmogrify and the description you have in your hand will slip through your fingers like sand. Who knows if Peter Cat Recording Co. has nine lives, but you can listen to a past life on Portrait of a Time, and a future incarnation - much of it recorded in Paris - will be available in the autumn. Just remember, unlike a cat, you'll never put them in a box. 

Shukai presents its debut release — music for television film The Air Seller by Victor Vlasov, which has never been released before. Recorded in 1967, the same year as the film was broadcasted on Soviet television. The Air Seller directed by Vladimir Riabtsev is a black and white film based on the eponymous sci-fi novel by Alexander Belyaev, first published in 1929.

WHAT IS SHUKAI

Shukai (Eng. Hunt, Look for). Archive record label focused on bringing back to life the lost tapes from 60-90s — soviet music for films, television, library music.

With a celestial voice that's been streamed over 3 million times thanks to acclaimed features with The Kite String Tangle, Golden Vessel and label mate Sampology, Brisbane-based artist Tiana Khasi (Kah-see) shares her debut EP, 'MEGHALAYA', out 29 March via Soul Has No Tempo.

The Sampology-produced debut is a rich tapestry of styles and influence, with inspiration drawing from themes of self-empowerment, family and heritage, collaborating with contemporary musicians while studying jazz. ''Meghalaya' is both geographic and spiritual. It's a place I creatively resort to seeking affirmation of my identity and for true holistic inspiration. I wanted to create a body of work that honestly showed where I was at musically and personally. I felt the growing pains of being a young woman, mixed race/Australian born and studying jazz. I was neither here nor there.'

'Nuketown', the first single from the forthcoming release, is out now following global premieres with Complex UK & London's Worldwide FM. Upon hearing early mixes, Gilles Peterson handpicked the track to feature on his most recent compilation, Brownswood Bubblers Thirteen, via Brownswood Recordings. Touted by local tastemakers and HypeMachine blog Purple Sneakers as "the debut single we didn't know we needed", 'Nuketown' has found airplay with national stations triple j & Double J, placement in Spotify's Just Chill playlist, rotation with Sydney's FBi Radio, and enthusiastic support from community radio and online media around the country and beyond.

"A flawless example of the kind of music we can expect from Tiana going forward. [Nuketown] creates something completely original, drawing elements from jazz but never chasing a particular sound or vibe. Everything comes naturally, taking you on a journey with the instrumentation matching the ebbs and flows of Tiana Khasi's sweet vocals. It serves as an exemplary debut for the young artist, and can only mean better things are on the horizon." - Complex UK

A keystone artist in her hometown whose live reputation precedes her via her work fronting local jazz/hip-hop collective Astro Travellers, Tiana Khasi's voice has been praised as "elegant" (Life Without Andy), "most dope" (Audiosteez) and "as venomous as it is honey-sweet" (Happy). A trained jazz vocalist, Tiana's unique sound is heavily influenced by her Samoan and Indian heritage, and has seen her support Jamaican-American "TrapHouseJazz" sensation Masego, Swedish soul artist Fatima and acclaimed Australian collective 30/70.

Beat Bronco Organ Trio play Soul Jazz, the sound of the 60's popularized by artists such as Jimmy Smith, Grant Green, Jimmy McGriff and Reuben Wilson. With a warm and solid sound, the Madrid combo breaks into the scene with a groovy funky 45. The Mid-tempo Jazz Funk cut "Easy Baby" on one side and the dancefloor burner "Geriatric Dance" on the flip. Soon on a turntable near you.

Gabri Casanova, Hammond.

Lucas de Mulder, Guitar.

Antonio "Pax", Drums.

Recording & Mixing - Santi "Sweetfingers" Martín.

Mastering: Victor García.

David Axelrod, Michel Legrand, Stefano Torossi, Piero Umiliani, Franco Micalizzi, you say Well, yes! This album arranged by two Norwegian guys, Thomas and Lars aka Coastal County, is just that; funky, jazzy, moody tracks, just taken out from a 60's cult exploitation movie. Combining the classic soundtrack grooves with italian library funk and top it with some Norwegian mountainside melodies, you get something quite unique; Coastal County.

"I Remember When" is the sixth album from Tokyo based nostalgic ambient soloist Ex Confusion.
The album finds Atsuhito Omori bringing Ex Confusion back to n5MD after a release each with Plancha and Orchid Tapes. 'I Remember When' finds Omori carefully carving music out of hazy memories. Emotive, abstracted, and overcast (as the cover art itself alludes to). Omori excels at his brand of heart to hands clouded ambient by utilizing faded repetition with ghostly percolating guitars printed to old formats. Omori has been doing this type of minimalist modern compositional ambient for nearly a decade but never has it sounded so focused in its conception.
As a bonus to an album of such understated beauty Omori includes a recent collaboration with Thomas Meluch's Benoit Pioulard pseudonym which further adds to the faded photograph characteristics of "I Remember When."

Captured During Two Sunny Afternoons In September 2017, The Fourth Lp By The Much Respected And Collected Duo, Hampshire And Foat, Takes Us To A New Level Of Direct Performance. Recorded Live, With No Overdubs, In Two Churches Situated In Saint Lawrence On The South Coast Of The Isle Of Wight, And Mixed Direct Live Onto A Vintage Stereo Nagra Iv-s And Akg C24 Stereo Microphone, Every Nuance Of The Performance Is Laid Bare. Only The Ambience Of The Room And The Artists' Skill Make The Recording What It Is.

For A Brace Of Sun Soaked Days, Warren And Greg Were Joined By Their Long Time Musical Partners, Phil Achille And Eric Young, And A Cadre Of Local Musicians And Friends, Creating An Album That Truly Captures The Magical Ambience Of The Churches And Surrounding Landscape - Even The Birds In The Church Steeple Can Be Heard At Times. Tracks Are Named After Local Landmarks, Secret Beaches, And Rural Paths That Warren And Greg Hold Dear. The Duo Wanted To Make Something Special And Collectable For This Unique Ambient Jazz Folk Gem, So The Cover Has Been Produced In A Beautiful Late '60s Private Press Style And, Limited To 500 Copies On Vinyl.

Amazing and unique private soul/jazz-funk fusion LP, 'New York To L.A.: Coasting' is the first release (1980) on Andrew Scott Potter and David Eric Tillman's PO/ET label. Sublime from the beginning to the end, it has become, just like their second and final release '...Space...Rapture...', a sought-after collector's item.

Andrew and Eric both come from Chicago. They met in the early 70's, shortly after Eric's discharge from the U.S. Air Force. They played together on the local jazz scene for several years (among others, with Maulawi). During that period, Andrew also toured with Minnie Riperton and Eric toured with The Dells, Linda Clifford and others. In the late 70's Eric left Chicago for Los Angeles, when he began touring with The Temptations. Since moving to California Eric has played and/or recorded with a variety of artists, including, Willie Bobo, Justo Almario, Alex Acuna, Norman Connors, Billy Paul, GAP Band, Linda Hopkins, Billy Higgins, O.C. Smith, and many others.

After expanding its roster and musical scope into jazzier terrains with Jukka Eskola Soul Trio, Timmion now introduces Sami Linna Quartet. Led by guitarist Linna, this international group of elite players paves way for their full length album with the single release "Mode For Tomorrow" b/w "Umoya".

The single hints to what's to come with a deep modal tune referencing 1970's spiritual jazz on the A-side, and groovy soul jazz on the flip. You can immediately hear that these compositions have been crafted with thorough understanding of the tradition, but with passion and capability to breath them to life in this modern age.

The lineup is truly something to write home to. Linna himself has over 20 years of experience working in the Finnish jazz scene, same as saxophonist Jussi Kannaste. Organist Mikko Helevä plays in Jukka Eskola Soul Trio as well as a host of other top jazz groups. But it is drummer Dana Hall who's is the most seasoned member of this experienced troupe. Namedropping might seen lame, but in this case we'll take it there as Hall has worked side to side with Joe Henderson, Kenny Barron, Bobby Hutcherson, Ray Charles, Horace Silver, and Benny Golson to name a few.

Both tracks get a single edit treatment here and the full length versions will be available on the coming album. This is not jazz for the faint hearted, but the real deal meant for real people.

Everywhere At The End of Time is the first in a series of Six albums by The Caretaker to be released over the next 3 years, slowly cataloguing the stages of early onset dementia.
Each album will reveal new points of progression, loss and disintegration, progressively falling further and further towards the abyss of complete memory loss and nothingness...
Viewing dementia as a series of stages can be a useful way to understand the illness, but it is important to realise that this only provides a rough guide to the progress of the condition.
Drawing on a recorded history of 20 years of recollected memories this is one final journey and study into recreating the progression of dementia through sound.
As the first in the series, and despite its typically frayed loop construction, this volume is the most lucid, as subsequent instalments will continue to move into faded obscurity and
material erosion. .
How will The Caretaker sound falling apart What if anything will be remembered and recalled from its past history How will it all end

For the second of six albums issued under the title Everywhere At The End of Time,
The Caretaker's fictional first person account of life with early onset dementia takes a
more wistful tack as our protagonist gradually realises that all is not well and begins to
rummage deeper into the recesses of his memory, masking emotions of grief, loss, fear
and uncertainty by deeper dwelling in the recesses of a decaying mind.
As The Caretaker's short term memory functions begin to more rapidly erode, the loop-
based punctuation of previous instalments begin to subtly unravel, leading his mind
to drift off and ponder fuller segments of tea dance strings and horns which appear
uncannily more inviting, seductive, and now even more tangible than the abbreviated
reels of earlier editions.
Loop points wilt away in autumnal greys and russet rustles as new information becomes
more difficult to process, back pedalling down memory lane toward an opaque smudge
of half-forgotten/remembered spaces, places and un/familiar faces which provide more
comfort and clarity than the world around him.
It feels strange to recommend undergoing this experience, albeit in such an
impressionistic and detached manner, but it somehow feels like a conversely
enlightening one for these strange, disingenuous and unpredictable end times that we
inhabit right now..

The third of a six album cycle cataloguing The Caretaker's fictional first person account of life with early onset dementia, presenting some of the last coherent memories before confusion fully rolls in and the grey mists fade away. In this crepuscular, autumnal phase, recollections phosphoresce and wilt in advancing stages of entropic decay, steadily approaching a winter of no return.
Continuing to mirror the progression of dementia, using nostalgia for ballroom as an allegory of the disease, The Caretaker's musical flow in places becomes more disturbed, isolated, broken and distant. Singular memories, and all their connotations, begin to atrophy and calcify, crumbling away with each rotation of the record - sometimes in curt scene cuts, others in quietly breathtaking reverbed fizzles; like tea lights extinguished,
never to flicker again.
These are the last stages of awareness before we enter the post awareness stages, where those memories become completely detached from comprehension. On stage 3, the haunted ballroom's repertoire becomes increasingly muddled, pealing off in recursive contrails from the gestures of Back There Benjamin, to snag on the stylus in starkly reverberant knots on Hidden Seas Buried Deep, or worn down to calloused nubs such as To the minimal great hidden, and Sublime beyond loss, all leading up to some of the project's most uncanny detachments in Libet Delay and the coruscating brass shimmer of Mournful Cameraderie, which beautifully suggest the mercurial nature of memory and its recollection.

James Allsopp - Sax | Conor Chaplin - Bass | Dave Storey - Drums

Bosco is the debut release for fast-rising drummer and composer Dave Storey, who - with his longstanding Trio collaborators James Allsopp (saxophone) and Conor Chaplin (double bass) - takes the listener on a thrilling and immersive journey across eight original compositions and one (not-so-standard) standard.

Over four years of musical activity, beginning as impromptu duo jams between Allsopp and Storey, the trio has honed their approach towards celebrating the elements they love in classic jazz lineups and recordings, and maximising the space for communication and interaction, without even the need for sheet music. The performances are as immediate and bristling with energy as this might suggest, evoking many of the monolithic names associated with the tenor trio, yet the music still sounds fresh and individual; classic and familiar forms such as the blues are subject to subtle deviations and extensions, evidenced in the tricksy and playful 'Twisty' and the slithering boogaloo of 'Old Blue Nose', playing with the listener's expectations and providing satisfying surprises, a feeling akin to rediscovering an old friend after many years. The reverence and respect of the jazz tradition are ever-present across the album, but the musicians are never unduly beholden to its dogma, which results in music which is unpretentious - perhaps unfussy - but never throwaway or without considerable weight, shining a light on the considerable talents of each member of the trio.

The immediacy of the music is equally served by the studio method, recorded in a single session straight to 2 track tape with no edits, an approach authentic to many classic jazz recordings which can be daunting to even the most seasoned and road-hardened bands. This all contributes not only to beautiful audio fidelity, but also the most accurate image of a live band that one can hope for in a studio recording, emphasising the immaculate playing of all the musicians, and their remarkable propensity for telling full stories together in short spaces of time (the lengthiest takes on the album are under five minutes).

Throughout the record, leader Storey plays with great musicality and maturity, resisting the urge to stamp his authority too aggressively on his bandmates, not overcrowding soloists but rather focusing on excellent tone and time (the hook up between him and Chaplin is joyously buoyant) whether coaxing more from his bandmates through slick comping, trading choruses with Allsopp on his own 'Cautious Tortoise' or supporting the beautiful and poignant melody on the session's only non-original, Strayhorn's 'A Flower is a Lovesome Thing' with elegant brushwork. His compositions are also effective vehicles for the trio's approach, from the jubilant blues of 'Cautious Tortoise' and the album's title track, evoking the dappled light and darker shade of the titular forest, to the more anarchic, angular approach of 'YoYo', the set's bustling closer.

This is a courageous and highly-skilled debut from an exciting young musician and composer, a joyful set of impeccable jazz which rewards deeper listening. Time and again.

Ten more cuts of unacquainted and elusive synth squat-pop, angular funk, metallic jazz and fraudulant disco from the self-propelled imprints and global co-ops. this elasticised series combines rare, unknown and untravelled wax nuggest of night club punk, art school Zeuhl and quasi-political pop united by soldering irons, C-60s and sarcastic synth tones. The second volume in the Plastic Dance series compiled by Andy Votel and Doug Shipton - featuring exclusive liner notes by Andrew Weatherall.

"Greetings sisters and brothers. Let's talk about reductionist revolution and the kicking in of doors. Let's talk of iconoclasts and culture bombs. Let's talk about moral panic and censorship. Let's talk about punk rock.
On second thoughts let's not bother. The white noise is already deafening and actually, thinking about it, the Sex Pistols were really a heavy metal band with a funny singer and the whole shebang eventually, as all revolutions do, succumbed to conservative dogma and self parody. And anyway, as Dr Cooper Clarke said, 'punks were just hippies with zips'.

Instead, sisters and brothers, let's talk about the dangerous counterrevolutionaries who went out and bought a cheap synth and a rudimentary drum machine. The ones that got what 'punk' was really about. The democratization of art. A democratization unhindered by rules concerning the means of production. A democratization forged in the blazing fire of unrestricted influence. A democratization free of perceived notions of 'talent'. Sniffing Glue said learn three chords and form a band, Throbbing Gristle said why learn any chords at all... I am an artist because I say I am. More Marcel Duchamp than Malcolm McClaren.

So, sisters and brothers, who do you think led the counter-revolution Well I'll tell you. It was the man who stormed the Bastille and kicked the door down in the first place and he did it on the 16th July 1977. With the help of Tommy Vance. John Lydon's playlist that night on Vance's show included Tim Buckley, The Creation, Augustus Pablo, Bobby Byrd, Neil Young, Lou Reed, Peter Hammill and Can and put paid to any punk rock 'year zero' claims. Meanwhile, locked out of the studio, Malcolm had to listen to the counterrevolutionary manifesto being broadcast across the metropolis. Mark that date in your diaries, sisters and brothers: 16th July, the anniversary of the birth of 'post punk'. Just over a year later in October, Lydon rammed the point home with the release of Public Image, a personal and musical manifesto in 7' form.

The music on Plastic Dance 2 is the strangely coloured, distorted and frighteningly beautiful fruit of the seeds planted on that fateful day. Lessons learned and inspiration taken from the sonic aesthetics of dub, knowing that not all disco sucked and that even jazz was allowed. Music shaped by wonky approximation and appropriation. The artists on Plastic Dance 2 were artists because they said they were. Listen to their work and you'll know they were. Listen in transcendent wonderment as George Attwell creates alchemical space funk in his home studio... as a future Mock Turtle and members of The Manchester Music Collective channel Robert Calvert and Bill Nelson... as Korzynski comes on like a Jeff Mills remix of Terry Riley. Listen in the wide-eyed joy of being as Stabat Stable's drum machine runs amok to the accompaniment of discordant organ stabs... as a future founder of 808 State channels Albert Ayler alongside a galloping synth arpeggio.

Andrew Weatherall"

Full tracklist:

George Atwell - Meat Grinder
Vibrant Thigh - Walking Away
Stabat Stable - IIO
Cos - Einstein
Beach Surgeons - Chicken Skin Planet (Edit)
Cosmic Overdose - Råttan
Andrzej Korzynski - Zombie House
Ti-Tho - Die Liebe Ist Ein Abenteuer
Gerry And The Holograms - Jeep (Version)
PragVEC - Welcome Home

1958's Music For Torching With Billie Holiday is the quintessential torch singer album. Sultry, smoky, and nearly perfect, this is the great Billie Holiday at her absolute peak. Featuring the subtle and perfectly complimentary work of guitarist Barney Kessel, pianist Jimmy Rowles, and trumpeter Harry Edison, with an amazing cover from the legendary David Stone Martin, this is one of the greatest jazz vocal albums of all-time, beautifully repressed by Wax Love.

The king of West Coast Jazz caught in Milan during his first European trip. The band assembled for these sessions features some of the best Italian Classic Jazz musicians of the time. The basic quartet includes Chet Baker (trumpet) Renato Sellani (piano) Franco Cerri (bass) and Gene Victory (drums). However, that unit is often upgraded to a sextet with Glauco Masetti (alto sax) and Gianno Basso (tenor sax). The cool spirit of Baker's music lives through some inspired fluid performances of American Bop classics such as Miles Davis' "Tune Up" and Charlie Parker's "Cheryl Blues."

In the last few years London has become the centre of the Jazz Renaissance. A

new burst of energy and attitude brought by young musicians, equally inspired

by the likes of John Coltrane, Pharaoh Sanders or Sun Ra, as well as

Madvillain, J Dilla, Flying Lotus and Floating Points, has brought a welcomed

freshness to the London Scene. This exciting new environment brought a group

of young musicians together, all with a mutual desire to discover a new form of

expression. Together they created Cykada.

One of the great tenor sax player Hank Mobley's most well-known releases, Workout is a beautiful piece of hard bop American Jazz music originally released in 1961. Featuring the brilliant work of a handful of young guns as his backing band - guitarist Grant Green, pianist Wynton Kelly, bassist Paul Chambers, and drummer Philly Joe Jones - this set includes 4 Mobley originals and a smoky version of "The Best Things In Life Are Free." Essential.