quête:martine

The iconic voice of Luzmila Carpio rings out from the Andes, spreading messages of indigenous struggle, female empowerment and unceasing love for both the people and planet around us. An undeniable icon of Bolivian Andean culture whose career spans multiple decades, Luzmila has released more than 25 albums (there’s a reason that Rolling Stone described her as”one of the most prolific indigenous singers of South America”), inspiring millions while singing in both her native Aymara-Quechua language and Spanish. Yet Luzmila Carpio isn’t someone who’s content to simply rest on her laurels; she continues to take risks and push her music into vibrant new soundworlds. On new album Inti Watana: El Retorno del Sol (her first LP in a decade), she’s teamed up with Argentinian producer Leonardo Martinelli (a.k.a. Tremor), a ZZK veteran who’s spent the bulk of his career finding the common ground between Latin American folk rhythms and modern electronics. Building off the momentum created by 2015’s Luzmila Carpio Meets ZZK collection in which her music was reworked by not only Tremor, but standout electronic artists like Nicola Cruz, Chancha Vía Circuito and El Búho this new album is meant to stretch across genres, generations and continents, with Luzmila’s sonorous, occasionally birdsong-inspired vocalizations gracefully gliding amongst ambient textures, programmed beats and (of course) a bevy of traditional instrumentation from around the globe. Over the course of the LP, Bolivian charangos and quenas sit comfortably alongside the sounds of harmonium, violin, acoustic and electric guitar, Argentinian bombo leguero and sacha guitar, Armenian duduk and a litany of Asian percussion. Inti Watana: El Retorno del Sol which will be accompanied by a full length documentary might not sound like previous Luzmila Carpio releases, but on a spiritual, political and lyrical level, her core values remain unchanged. A native of Bolivia’s Potosí region, she’s long been a beacon for indigenous communities in not just her home country, but throughout Latin America, her voice inspiring joy and pride amongst ancient peoples whose culture and inherent beauty are often overlooked. Her pursuit of music a field traditionally dominated by men in Andean communities long ago made her a pillar of women’s empowerment, but Carpio has also been a vocal proponent for social change, using her influence to advocate not just for the rights of women, but for the protection and increased visibility of all indigenous people. Yet it’s the planet itself that Carpio is most passionate about, and she’s devoted much of her new album to conversations with Mother Earth and Father Sun

LaVette! hits all the marks
Together with Jay-Vee Records, Bettye has the freedom to explore new territory.
Produced by Steve Jordan, LaVette! features 11 songs written by Georgia- born
musician Randall Bramblett, who has been releasing solo albums since 1975.
"Randall is the best writer that I have heard in the last 30 years," says Bettye. "He
writes songs that are little soliloquies, they're like little stories about a moment, or
a thing."
Featuring Anthony Hamilton, John Mayer, Jon Batiste, Steve Winwood, Pedrito
Martinez and Ray Parker Jr.
The vinyl features an extra track, "What You Didn't Say".

Das Blue-Note-Debüt eines außergewöhnlichen Musikers zwischen Pop und Jazz! Seit seiner Debütsingle „Cold War“ (2018) kennt man Cautious Clay. Der Titel wurde mehr als 150 Millionen Mal gestreamt und von Taylor Swift auf ihrem Album „Lover“ gesampelt. Als Songwriter hat Cautious Clay mit Billie Eilish, John Mayer, John Legend, Khalid, Kavinsky, Melanie Martinez, Remi Wolf und anderen gearbeitet. 2021 legte Cautious Clay mit “Deadpan Love” sein erstes Album vor, das im Musikexpress als “ein aufregender Tanz zwischen R’n’B und Indie Songwritertum” beschrieben wurde. Mit seinem zweiten Album „Karpeh“ setzt der in Cleveland, Ohio, geborene, in New York lebende Sänger, Songwriter, Produzent und Multiinstrumentalist zu seinem nächsten großen Karriereschritt an - die Zusammenarbeit mit dem Jazzlabel Blue Note Records! Mit einem Mix aus R&B, Hip-Hop, Leftfield-Indie-Pop und Jazz-Elementen hat sich Cautious Clay bislang einen Namen für poetische und emotional ehrliche Musik gemacht, auf Blue-Note-Records und in Zusammenarbeit mit Label-Größen wie Immanuel Wilkins und Ambrose Akinmusire fügt er seiner Musik jetzt eine weitere Dimension hinzu.

Over the past eight years Teenage Wrist have continually evolved their sound, a process that"s peaking with their third full-length, STILL LOVE. Reaching new heights in both scope and execution, the album sees the duo-Marshall Gallagher (vocalist, guitarist, bassist) and Anthony Salazar (drums, vocalist, percussion)-producing the album themselves to handcraft their most expansive collection of songs to date from the ground up. ? e result is a self-realized collection of songs that saw the band borrowing vintage gear, bringing in friends in the form of members from 311 vocalist/turntablist Doug "SA" Martinez and Softcult and incorporating tasteful pop sensibilities to craft a collection of songs that rede? nes the band"s sound while staying true to their guitar-driven roots. From the atmospheric, fuzzed out opener "Sunshine" (which Gallagher says is "the coolest ri? he"s ever written") to the midtempo rocker "Dark Sky"" (the latter of which features the aforementioned cameo from 311 vocalist/turntablist Doug "SA" Martinez), the album will undoubtedly please fans who favor distorted guitars and crunchy chords. However, that"s only one aspect of the album and Teenage Wrist aren"t ashamed to admit that there"s a strong pop sensibility on the album that shows how much they"ve grown as songwriters since 2021"s Earth is a Black Hole. From the brain-invading ballad "Something Good" to the downbeat electronic vibe of "Diorama," the album is teeming with unexpected moments that are reminiscent of Radiohead"s ? air for experimentation. ? e powerful bond between these two collaborators lies at the core of Teenage Wrist"s music and, more than any other factor, that"s evident on every moment of STILL LOVE. "? ere was a certain feeling that music gave me as a kid and this is honestly the ? rst time on any record I feel like we kind of came close to achieving that," Gallagher says of the end result. "We just shot from the gut on this record and tried not to overanalyze things... and I think the record speaks for itself."

Originating with HoneyLuv, made in collaboration with Tuskegee co-founder Seth Troxler, and featuring portions of Paul Johnson’s classic 1998 track ‘So Much’, ’Sex & The City' is HoneyLuv’s homage to one of house music’s greats and an encapsulation of Tuskegee Music’s ethos of honouring the genre’s Black & Hispanic origins. Detroit house legend Marc Kinchen’s interpretations of the track imbues Sex & The City with all the beloved MK touches, from the inimitable drum patterns to the instant-earworm melody.

The release marks the return of the label founded by Seth Troxler & The Martinez Brothers in 2014. In addition to music from its label heads, Tuskegee Music featured artists including Omar-S, Jamal Moss, K' Alexi Shelby, D-Knox and William Djoko before going into hiatus in 2019. The label’s upcoming schedule will continue to focus on its remit of supporting BIPOC artists, through the elevation of new talent and collaborations with some of house & techno’s most important and influential figures.

The follow up to the band’s celebrated 2020 release Fish Pond Fish and Darlingside’s fourth LP marks a subtle but remarkable departure for the Boston-based quartet NPR once described as “exquisitely arranged, literary minded, baroque folk- pop.” While the album retains much of the lushness and sophistication of Extralife (2018) and Fish Pond Fish, the band’s latest work highlights the individuality of the four songwriters in a way that adds a fitting element of reinvention to an album that captures brilliantly the quality of the moment in which it was made. Grappling with change both personal and universal, with quandaries domestic and existential, Everything Is Alive is an album about loss and the struggle for a semblance of redemption; themes of grief, distance and hope permeate an album filled with vivid imagery and lyrical creativity. Comprised of Don Mitchell, Auyon Mukharji, Harris Paseltiner and David Senft, four likeminded multi-instrumentalists who first met at Williams College in 2009, Darlingside’s career has been defined by the elegance of their compositions and the remarkable unity of their four voices. Their talent for harmony and melodic world-building is part of what garnered praise from outlets like NPR, Rolling Stone and The New Yorker, and what has created demand worldwide for their extraordinary live performances. Becoming beautifully unindividualized has, in other words, worked very well for Darlingside in the past. With a vigor and discipline more common to graduate-level writing workshops than to indie rock, Darlingside have, over the years, experimented with all manners of idiosyncratic methods for elevating and upholding a truly democratic process of songwriting—processes that include multiple rounds of group writing and recording exercises—all with the aim of escaping the trap that bands with multiple songwriters often fall into: the ruse of ego-driven infighting and artistic incoherence. Everything Is Alive is Darlingside taking a risk. Nudged by the limitations created by pandemic isolation, as well as through other more voluntary catalysts, the album, which was produced and recorded by the band and mixed by Tucker Martine (My Morning Jacket, Sufjan Stevens, Iron and Wine), foregrounds in a sustained and heretofore untried way the individual voices of each member.

Repress!

Funkiwala Records presents the third in the series of "Lokkhi Terra meets"albums, with the London fusionistas creating another unique sound-clash, this time with ex-Fela Kuti keyboardist and legendary UK Afro-beat ambassador Dele Sosimi, and members of his critically acclaimed Afro-beat Orchestra.

This particular collaboration has been bubbling away for a few years now, teasing audience expectations with a handful of sold out shows each year in between both bands busy schedules.
Featuring the two pianos of Kishon Khan and Dele Sosimi – Cuban percussionists/vocalists Geraldo De Armas (Yoruba Andabo), Oreste Noda (Ariwo), Javier Camilo (Ibrahim Ferrer) - a horn section led by Justin Thurgur (Bellowhead) featuring Yelfris Valdes (Sierra Maestra) and Graeme Flowers (Kyle Eastwood) to name a few – this is an All-star cast.

Kishon Khan's Lokkhi Terra have over a number of years now been quietly establishing themselves as one of London's more unusual heavyweight outfits, described as "Stunning Headliners… A majestic multi-cultural blend of sounds… effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London). Included amongst the band members are London's top Cuban musicians, adding their infectious rich musical history to the city's melting pot.
When the band wanted to explore Cuban links with another of their favourite traditions, Afrobeat, who better to bring in then one of the Afrobeat originators – maestro Dele Sosimi – "Sosimi creates some of the most bewitching grooves in modern African music" E Jazz News.
Bringing together two Yoruba speaking musics - with different accents, from different sides of the Atlantic - Havana meets Lagos in London – A Cuban-Afrobeat-Experience. CUBAFROBEAT.

All About Jazz 4star review

A younger version of London's Grand Union Orchestra, founded by world-jazz pioneer Tony Haynes in 1982, Lokkhi Terra was put together by keyboard player Kishon Khan in 2005. Both ensembles have made a specialism of jazz / South Asian fusion, with Lokkhi Terra also giving as much attention to music from Cuba, where Bangladeshi-born, London-based Khan lived for a while in the early 2000s.

Cubafrobeat, as the title foretells, is a blend of Cuban dance music and Nigerian / Yoruban Afrobeat—a fusion rendered seamless by the synergies existing between Afro-Cuban and Yoruban music, language and mythology. The album is Lokkhi Terra's third and partners the band with the keyboard player and vocalist Dele Sosimi .

A young-going-on-child-prodigy member of Fela Kuti's Egypt 80, Sosimi went on to become musical director of Femi Kuti's Positive Force, before relocating to London and setting up Dele Sosimi's Afrobeat Orchestra, the finest Afrobeat band outside Nigeria, bar none, now with a string of consistently engaging albums under its belt. Cubafrobeat features Sosimi as lead vocalist on all four tracks, and on Fender Rhodes on two of them. His singing plays a prominent role in the Afrobeat Orchestra, but, such is the whirlwind impact of the band in full instrumental flight, that Sosimi is often thought of first and foremost for his keyboard and arranging talents. That may change by the time 2018 is over. Cubafrobeat is the third album in as many months to feature Sosimi as guest vocalist, spotlighting the gravitas, air of mystery, intimacy and ferocity his voice can bring to an occasion.

The first of these albums was the genre-bending spiritual-jazz band Emanative's Earth (Jazzman). One of the stand-out tracks, "Ìyáàmi," features Sosimi making obeisance to the titular Mother Goddesses of the Yoruba spirit worlds. His raw and intense invocations carry the track for nine mesmerising minutes. Otherwordly is not the half of it. Next up was dub / reggae / jazz band Soothsayers' Tradition (Wah Wah 45s), which featured Sosimi as lead vocalist on the compelling "Sleepwalking (Black Man's Cry)." Earth and Tradition are both outstanding albums and have previously been reviewed here.

Cubafrobeat is a total stonking blinder, too. It is an effectively nuanced affair, opening with the fiery "Afro Sambroso" and closing with the relatively reflective "Rumbafro." Sosimi's vocals light up the music, as do the several solos from trumpeters Graeme Flowers and Yelfris Valdes Espinosa and trombonist Justin Thurgur (a member of both Lokkhi Terra and the Afrobeat Orchestra). Sosimi and Kishon Khan's intertwining Fender Rhodes solos on "Cubafro" are also a delight, as is the drum and percussion section throughout.

The sound of summer, for sure, Cubafrobeat has enough depth and variety to make it something for all seasons.

Songlines 4star review

Lokkhi Terra are one of London's most authentic groups. They are a Latin-flavoured collective whose keyboard player and bandleader Kishon Khan segues from percussive montunos to complex Bengali rhythms and back, with jazz chops sparking funky and outward-looking fusions. Their collaboration with Dele Sosimi, Britain's foremost Afrobeat ambassador, has been bubbling for a while; here four tracks at ten minutes see musical conversations that never lose their sense of flow. An extensive line-up of stellar players, including trumpeter Yelfris Valdés, conguero Oreste Noda and trombonist Justin Thurgur, highlights the genre-crossing potential of world traditions. Opener 'Afro Sambroso' showcases batá drums from Gerardo de Armas Sarria before the track links Cuban grooves with Afrobeat. 'Timbafro' crackles and sways via Khan's organ, Sosimi's vocals and Oscar Martinez's timbales. 'Cubafro' features dazzling interplay between Khan, Sosimi and Javier Camillo's Spanish-language vocals. 'Rumbafro' is all rumba choruses, Yoruba vocals and Afrobeat horns. Rooted in their sources, but with musical threads intertwining, separating and reconfiguring – with grooves at a premium – this is a fusion lover's dream

Jamie Jones and Lee Foss’ Hot Creations welcomes a loaded new EP as Andre Salmon, Michael Joseph and Lexlay collaborate across four tracks for their ‘Momii’ EP.

Home to stand-out collaborations such as Todd Terry and Riva Starr’s recent ‘This Is The Sound’ through to classics such as Jamie Jones and The Martinez Brothers’ ‘Bappi’, Hot Creations has always been a platform and label pairing unique and exciting artist combinations with impressive results.

Closing July, the label now invites a stacked selection of artists for a big collaborative release as label signee Andre Salmon returns for his second release on the imprint and combines with Orlando’s Michael Joseph and Barcelona’s Lexlay, also featuring Figio, Francis Davila and Cami Jones.

The three main featured artists take the helm on the title track ‘Momii’ for a skippy and slick lead effort, while Salmon and Joseph link with Milan’s Figio’s for the snaking, percussion-driven ‘Aquarium’. Next, the three lead names unite once more and combine rumbling low-ends and lively hats on the bubbling ‘Left Hand’, before Salmon and Joseph once again link with fresh talent as Francis Davila joins the party, working warping synths and rolling drums around the alluring vocals of Cami Jones.

Greg Paulus joins forces with fellow Brooklynite Taylor Bense for a new Freerange EP showcasing their left field, raw house sounds across three original tracks plus a bonus Martinez Brothers edit.

With previous releases appearing on labels as diverse as Soul Clap, Let’s Play House, Ghostly International and Kompakt, the producer, DJ and trumpeter is perhaps best known for being one half of No Regular Play who have recorded LP’s and EP’s for Wolf & Lamb, Crew Love, and Let’s Play House. Never one to be confined to one genre, Greg takes influence from Jazz, Funk, Hip Hop and underground house to form a unique sound primed for discerning dance floors. Taylor Bense is an in-house composer and producer at the highly regarded Hyperballad Studios in Brooklyn, where he works and records a wide spectrum of music for everything from high end commercial work to EP’s for Wolf + Lamb and Soul Clap Records. The entire EP was recorded and produced at Hyperballad Studios over the past few years.

Title track Heat Make Sense wears its Prince inspiration on its sleeve with a hooky whistled tune, crunchy live bass fills and punchy, raw beats. Next up we have Switch which features Brooklyn MC’s Stimulus and Malik Work on vocal duties and Greg’s own trumpet adding top lines to the deep pads and rolling groove.

Marino takes us back to golden era jacking Chicago house of the 00’s but with Greg’s trumpet flourishes bringing a live, jazzy energy to the track. Fellow NYC mainstay Big $exy provides his trademark deep baritone vocal to give a little hip house flavour. Closing out the EP we have NYC’s Martinez Brothers providing an uptempo minimal edit of Do You Love Me, a track from Greg’s previous Freerange EP. The MB’s keep things rolling and stripped back for maximum club impact creating a useful DJ tool whilst allowing Greg’s musical and vocal parts to shine.

Skepta and fellow BBK member Jammer launch house label Más Tiempo, with the pair collaborating for the debut EP ‘Mas Murder’

The release sees the Mercury Prize-winning MC, songwriter, and producer showcase his house sounds ahead of the label launch party at London’s KOKO on 30th April 2023.

Skepta, the influential Mercury Prize-winning MC, producer, designer, director, and founding member of seminal British grime collective Boy Better Know, unveils his new label Más Tiempo on 28th April alongside instrumental LOTM founder and BBK mainstay Jammer, as the pair launch the house-centric project with their ‘Mas Murder’ EP.

Featuring London talents J Kolo and Ossie (Club Bad/Madhouse), the debut EP showcases a first glimpse of the musical direction of the label, with the imprint set to provide a platform for producers to ‘expand their current portfolio range’ - with Skepta building on his iconic DC10 debut for Circoloco last summer, plus forthcoming appearances in Milan, Ibiza and more.

“‘This generation rules the nation, with version’... that really resonated with us for the Más Tiempo journey. Musical Youth sampled on ‘Mas Murder’ was perfect to showcase the way we feel about giving people our spin on house production with instrumentals while paying homage to the ones that came before us.” - Jammer.

Collaborating on the lead cut, Skepta and Jammer’s ‘Mas Murder’ is a low-slung, heady house cut shaped for bustling terraces and built for clubs, fusing crisp percussion, a snaking bassline and eerie melodies for a heads-down effort. Handing over to Jammer, who links up with J Kolo and Ossie, ‘Touch Me’ draws from UK house influences for a skippy, slinking production.

Alongside the EP, Más Tiempo will also take over legendary London venue KOKO on 30th April, with the event being the first standalone show for the collective, having collaborated with The Martinez Brothers and Cuttin Headz at The Beams in December. Featuring performances from Benji B and DJ Maximum alongside sets from both label heads, the show will see Skepta return to the venue for the first time since 2016 following the release of his critically acclaimed LP ‘Konnichiwa’.

Elderbrook kündigt die Veröffentlichung seines neuen Albums "Little Love" an Grammy-Gewinner Elderbrook hat Details zu seinem
kommenden Album Little Love bekannt gegeben und zeitgleich die Veröffentlichung seiner neuen Single "Beautiful Morning" am 28. Oktober angekündigt.

Durch die Kombination von flimmernden Synthesizern, ergreifenden Breakdowns und kraftvollen Lyrics, die das Gefühl der Liebe in ihrer reinsten Form einfangen, beschwört "Beautiful Morning" die Art von Ehrfurcht einflößenden Sonnenaufgängen hervor, auf die der Titel
des Tracks anspielt.
Elderbrooks zweites Studioalbum Little Love wird am 24. Februar erscheinen.
Elderbrook, ein Live-Phänomen, autodidaktischer Multiinstrumentalist, Produzent und Singer-Songwriter, ist bekannt für seine Zusammenarbeit mit einigen der größten Namen der Dance-Musik-Szene, darunter Diplo, Camelphat, Black Coffee, Bob Moses, The Martinez Brothers und Carnage.

Die Veröffentlichung von "Beautiful Morning" und die Ankündigung von Little Love markiert den Beginn eines aufregenden neuen Kapitels in der Geschichte eines Elektronik-Künstlers, der weiter wächst.

Melanie Martinez is set to release her new album ‘Portals on March 31st, with the first track off the album, ‘DEATH’ set to release alongside the official music video on March 17th.

Melanie Martinez's creative drive and talents have always distinguished her from other musicians. Her compelling music and visual art have created a rabid global fanbase with over 8.4 million followers on Instagram, 11.4 million subscribers on YouTube, 6.3 billion global streams, and 2.4 billion official YouTube views. After releasing her platinum-certified 2015 debut album, Cry Baby—which reached No. 1 on Billboard's alternative albums chart and has amassed over 3.5 billion streams worldwide —she conceived and directed a video for each song on the album. These mini-movies traced the traumas and insecurities experienced by the album's character, Cry Baby. As of 2020, every song on Cry Baby is RIAA certified Gold or higher, including the 2X Platinum “Dollhouse” and the Platinum “Pity Party,” “Carousel,” “Mad Hatter,” and “Soap.”

Melanie’s sophomore album and film, K-12, is another ambitious triumph with debuts at #3 on the Billboard 200 Chart, #1 on the Billboard Alternative Album Chart, #1 on the Billboard Soundtrack Chart, and a nomination for “Top Soundtrack” at the 2020 Billboard Music Awards. K-12's music is a vibrant and singular melting pot of low-key hip-hop, soulful pop and indie-leaning electro. K-12's universe is an expansion of the one introduced in Cry Baby. Using lyrics rich with metaphor, songs address the struggle to find a place to belong—including within friendships, the physical world and romantically—even when fitting into society feels like an uphill battle. Since releasing her K-12 album last September, Melanie has released 13 new music videos from the project which have now garnered over 100 million views collectively.

The fourteenth edition of Defected’s vinyl series continues to commit the label’s biggest digital releases to wax, delivering some of the best house music previously unavailable on vinyl. This special release celebrates all things Vintage Culture, who over the past ten years has established himself as an international powerhouse, reaching #11 in DJ MAG’s 2022 Top 100 DJs. The A-side of this four-track EP features two versions of his 2022 hit ‘Nightjar’. First up is the original collaboration with Australian house producer Sonny Fodera featuring vocalist SHELLS, followed by the Bassbin Remix by Italian producer and SNATCH! Records owner Riva Starr. Both versions of ‘Nightjar’ have universal appeal thanks to the diversity of its collaborators. A Vintage Culture collection would not be complete without some signature remixes; the B-side opens with his version of ‘Let It Go’ by Louie Vega & The Martinez Brothers with Marc E. Bassy. This is followed by a VIP remix of ‘It Is What It Is’, one of the DJ’s infectious original tracks and Defected debut featuring Canadian talent Elise LeGrow.

Melanie Martinez’s debut album “Cry Baby” has remarkably kept growing in stature since its 2015 release, now approaching its high-water mark of 1 BILLION global audio streams for the second consecutive year. The RIAA recently re-certified the record at 2x platinum, in large part due to TikTok trending moments for several of the album’s tracks. These trending moments, occurring over the course of 2020-1, most notably included the digital bonus cut “Play Date,” which became a TikTok phenomenon and is now Melanie’s most popular song with over 700M streams.
On this expanded deluxe edition, “Play Date” and 2 additional digital bonus tracks (“Teddy Bear” and “Cake”) are – for the first time – added to the original, standard vinyl album. These songs were only previously available on vinyl on the now out-of-print, limited edition Extra Clutter EP from 2016.
With an expanded booklet featuring 3 new illustrations for the 3 bonus tracks, this deluxe edition will be the one, primary Cry Baby vinyl product moving forward.

In anice gatefold sleeve this vinyl will make you discover the most emblematic artists of Cumbia and other more confidential ones selected and explained by the journalist and expert OSMAN JR. Original versions entirely remastered.

Ireland based American songsmith Peter Broderick announces the release of Piano Works Vol. 1 (Floating in Tucker"s Basement) - a new comprehensive album of solo piano recordings out November 25. Shining a light on the artist"s ongoing piano-based compositions, this release offers an opportunity to celebrate his more intimate work. A comprehensive collection of Peter Broderick"s piano work to date, these recordings were originally captured in Berlin to accompany the 2017 sheet music book Piano Works Vol. 1. The book contains 20 pieces for solo piano and a download code to access new recordings of all 20 pieces. Up until now, the only way to hear these recordings was to purchase the sheet music book. This release sees the original recordings receiving further treatment and processing by Tucker Martine in the customised echo chamber of his studio in Portland, Oregon-the region where Broderick grew up. The clean and unaffected original recordings were intended for educational purposes, so for this release Erased Tapes founder Robert Raths suggested to "throw the recordings into the well", for a more dynamic and conscious listening experience. "We gave these recordings a bit of a makeover. We sent all the tracks over to legendary engineer/producer Tucker Martine, who processed all 20 of them with unique tape and reverb treatments, utilising the echo chamber of his Portland studio, Flora Recording & Playback," explains Broderick.

Clear Vinyl

Ireland based American songsmith Peter Broderick announces the release of Piano Works Vol. 1 (Floating in Tucker"s Basement) - a new comprehensive album of solo piano recordings out November 25. Shining a light on the artist"s ongoing piano-based compositions, this release offers an opportunity to celebrate his more intimate work. A comprehensive collection of Peter Broderick"s piano work to date, these recordings were originally captured in Berlin to accompany the 2017 sheet music book Piano Works Vol. 1. The book contains 20 pieces for solo piano and a download code to access new recordings of all 20 pieces. Up until now, the only way to hear these recordings was to purchase the sheet music book. This release sees the original recordings receiving further treatment and processing by Tucker Martine in the customised echo chamber of his studio in Portland, Oregon-the region where Broderick grew up. The clean and unaffected original recordings were intended for educational purposes, so for this release Erased Tapes founder Robert Raths suggested to "throw the recordings into the well", for a more dynamic and conscious listening experience. "We gave these recordings a bit of a makeover. We sent all the tracks over to legendary engineer/producer Tucker Martine, who processed all 20 of them with unique tape and reverb treatments, utilising the echo chamber of his Portland studio, Flora Recording & Playback," explains Broderick.

Traveling Alone is the 5th studio album from North Carolina based
singer-songwriter, Tift Merritt
This collection of original songs showcases Merritt's songwriting skills and
storytelling through her graceful melodies and lyricism, warm twang, and
atmospheric elements heard throughout the record. Recorded in Brooklyn and
produced by Tucker Martine, the studio album features Marc Ribot on guitar, John
Convertino on percussion, Eric Heywood on pedal steel, and Jay Brown on bass.
This 10th anniversary limited edition 2xLP is pressed on cloudy sage color vinyl in
a gatefold sleeve.

Ireland based American songsmith Peter Broderick announces the release of Piano Works Vol. 1 (Floating in Tucker’s Basement) — a new comprehensive album of solo piano recordings out November 25. Shining a light on the artist’s ongoing piano-based compositions, this release offers an opportunity to celebrate his more intimate work. A comprehensive collection of Peter Broderick’s piano work to date, these recordings were originally captured in Berlin to accompany the 2017 sheet music book Piano Works Vol. 1. The book contains 20 pieces for solo piano and a download code to access new recordings of all 20 pieces. Up until now, the only way to hear these recordings was to purchase the sheet music book. This release sees the original recordings receiving further treatment and processing by Tucker Martine in the customised echo chamber of his studio in Portland, Oregon—the region where Broderick grew up. The clean and unaffected original recordings were intended for educational purposes, so for this release Erased Tapes founder Robert Raths suggested to ‘throw the recordings into the well’, for a more dynamic and conscious listening experience. “We gave these recordings a bit of a makeover. We sent all the tracks over to legendary engineer/producer Tucker Martine, who processed all 20 of them with unique tape and reverb treatments, utilising the echo chamber of his Portland studio, Flora Recording & Playback,” explains Broderick. Now these recordings are set to be released on doublevinyl, double CD and all digital platforms.

How do you breathe new life into a treasured, classic track? Answer: let Danny Krivit loose on it!

Who better to inaugurate our Mr Bongo Edit Series than one of the bosses of the art of the edit. More than just simple re-touches or loops to make the track easier to mix, Danny works his magic by employing all those years of studying and working with music as a remixer, producer and DJ. He has been honing his craft since the art form began and he seems to have a natural intuition for what works on the dancefloor.

When we asked Danny if he would be interested in reworking some tracks from Mr Bongo's back catalogue we knew the edits would be special, but Danny has outdone himself with these beauties, and arguably they are more than just edits.

By sheer chance, Danny had already worked on a rough personal mix of Sabu Martinez's 'Hotel Alyssa-Sousse, Tunisia’, a track taken from the treasured 'Afro Temple' album originally released in 1973. Danny just needed to freshen and tighten it up to a standard he was happy with, and the result is pure Latin fire.

The Belgian / Dutch orchestra leader Nico Gomez's 'Lupita' from 1971 is an undisputed banger, this underground Latin-crossover favourite has been causing mayhem on dancefloors for years. Here Danny takes it into another sphere adding extra drama and build-ups, adding and overlaying fresh percussion which sounds like it could have been taken from lost outtakes. Even those who may have heard 'Lupita' countless times, are sure to be impressed by the new lease of life that Danny has breathed into it.

2 huge tracks and 2 killer edits from a master of the craft.

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After smooth detours into Soul covers, French Neo-Disco, modern Sunset Disco and Brazilian AOR, in 2022 DJ Supermarkt's Too Slow to Disco series makes a joyous return to its original Westcoast AOR/Yacht roots. Celebrating the 10th TSTD compilation. Who would have thought….
The Berlin curator releases a killer 4th edition of the original compilation art form, "Too Slow to Disco", featuring forgotten and overseen gems from the mid 70s to the early 80s from a global world of smooth, brilliant lost and overproduced tracks from Finland via London and L.A. to Trinidad and beyond.
The great 'un-vanisher' of lost lazy classics, DJ Supermarkt once again unearthed some incredible music that labels, publishers (in many cases also those, who actually own the rights to those tracks…) and streaming services have often long overlooked. You're welcome, world!

For Fans Of: Aasha Puthli / Grace Jones / Minnie Ripperton/ The Supremes/ Love Apple / Kendra Morris. Previous debut 45 garnered much acclaim from KCRW, the BBC, Albumism, and countless more. The band consists of Piya Malik (El Michels Affair, former 79.5 and backing singer for Chicano Batman), Nya Parker Brown (former 79.5), and Sabrina Cunningham. Housed in a spot-glossed LP with exclusive lyric / photo insert. The highly anticipated debut LP from Say She She, the all female discodelic soul band that will transport you with their dreamy harmonies, catchy hooks and up tempo grooves! The band's sound is a hat tip to late 70’s girl groups with the three strong female lead voices of Piya Malik (featured in El Michels Affair, and backing singer for Chicano Batman), Nya Gazelle Brown, and Sabrina Cunningham - whose vocals soar through a set doused heavily with funky bass lines, rhythmic wah guitar, melodic synths and lilting bansuri flute lines, bursting into a seamless blend of dreamy harmonies and catchy hooks. A multicultural, multi-instrumental, collaborative melting pot, pulling sounds and styles from all corners of their record collections. The largely self-produced debut album ‘Prism’ features contributions from Dap Kings Joey Crispiano & Victor Axelrod, Max Shrager (The Shacks) Bardo Martinez (Chicano Batman) Nikhil Yearwadekar (former Antibalas) Andy Bauer (Twin Shadow) and Matty McDermot (NYPMH). “The funkiest sh*t we’ve heard in a while” (KCRW) // “A glorious overload of joyful elation and spiritual elevation”

For Fans Of: Aasha Puthli / Grace Jones / Minnie Ripperton/ The Supremes/ Love Apple / Kendra Morris. Previous debut 45 garnered much acclaim from KCRW, the BBC, Albumism, and countless more. The band consists of Piya Malik (El Michels Affair, former 79.5 and backing singer for Chicano Batman), Nya Parker Brown (former 79.5), and Sabrina Cunningham. Housed in a spot-glossed LP with exclusive lyric / photo insert. The highly anticipated debut LP from Say She She, the all female discodelic soul band that will transport you with their dreamy harmonies, catchy hooks and up tempo grooves! The band's sound is a hat tip to late 70’s girl groups with the three strong female lead voices of Piya Malik (featured in El Michels Affair, and backing singer for Chicano Batman), Nya Gazelle Brown, and Sabrina Cunningham - whose vocals soar through a set doused heavily with funky bass lines, rhythmic wah guitar, melodic synths and lilting bansuri flute lines, bursting into a seamless blend of dreamy harmonies and catchy hooks. A multicultural, multi-instrumental, collaborative melting pot, pulling sounds and styles from all corners of their record collections. The largely self-produced debut album ‘Prism’ features contributions from Dap Kings Joey Crispiano & Victor Axelrod, Max Shrager (The Shacks) Bardo Martinez (Chicano Batman) Nikhil Yearwadekar (former Antibalas) Andy Bauer (Twin Shadow) and Matty McDermot (NYPMH). “The funkiest sh*t we’ve heard in a while” (KCRW) // “A glorious overload of joyful elation and spiritual elevation”

Please note early release date! Vinyl colour is green with black splatter. Hailing from La Rochelle (France), the band kicks out fun, raw garage punk with a slightly off-kilter-charm that seems to define the current sound coming out of France. Their sound is an absolute burner that features grimy guitar solos and conjures up the smell of sweat and spilled beer. In other words, it’s fuckin’ rock’n’roll. The band is brainchild of songwriter and guitarist Ugo Martinez (Charles Howl / Jerry Tropicano / Skeptics) created in 2014 in La Rochelle. In 2016 came the first 7” from the band release on Frantic City Records - FR, Followed by the band’s first LP SUMMERIZZ released 2017 on Adrenalin Fix Music - Beast Records - Stryckhnine Recordz, the band hit the road on multiple occasions with great returns from the audiences, most notably at the Binic Festival 2017. With two full years of touring the band went back to their favourite studio Swampland - FR and under the supervision of Lo Spider recorded their sophomore album BRAIN DAMAGE released 2019 on US label Dead Beat Records. In 2020 the band now composed of bassist Willy Barre (Ivresse Publique / Boulevard Boys), drummer Hugo Suquet (Thee Maximators), and guitarist / Vocalist Ugo Martinez, recorded their third LP THEE BLACK ALBUM to be released in 2022 on Dirty Water Records (London) and long-time partner and friend Adrenalin Fix Music. For fans of: Thee Oh Sees, Black Sabbath, Jay Reatard, fuzz, and farfisa.

Track list: 1. Mean As Fuck / Intro 2. Bite It 3. Sound Of The Underground 4. Pills And Wine 5. Jail Time 6. Talk, Drink, Bleach 7. The Ants 8. Mash Potatoes 9. Lightnin’ Never Strike Twice 10. HIYW

LP ltd colored vinyl, 140 gram, gatefold, mp3 Download PostCard

After smooth detours into Soul covers, French Neo-Disco, modern Sunset Disco and Brazilian AOR, in 2022 DJ Supermarkt's Too Slow to Disco series makes a joyous return to its original Westcoast AOR/Yacht roots. Celebrating the 10th TSTD compilation. Who would have thought….
The Berlin curator releases a killer 4th edition of the original compilation art form, "Too Slow to Disco", featuring forgotten and overseen gems from the mid 70s to the early 80s from a global world of smooth, brilliant lost and overproduced tracks from Finland via London and L.A. to Trinidad and beyond.
The great 'un-vanisher' of lost lazy classics, DJ Supermarkt once again unearthed some incredible music that labels, publishers (in many cases also those, who actually own the rights to those tracks…) and streaming services have often long overlooked. You're welcome, world!

Copenhagens own dj legend and veteran producer KIM KEMI releases another jacking and euphoric banger- ONLY SMOKE - his stylish and subtle sound design and varied arrangement take hints of Robert Hoods minimal riffs and flesh out a full funky arrangement taking us on that classic luxurious sonic journey. Pres play and trigger the
smoke machine - or the soap bubbles.
Martinez ́s remix is a more electro affair that could blend well with classic Underground Resistance releases. Watch out for the acid topline. Martinez is a Swedish electronic music producer and DJ, currently based in Copenhagen. Martinez kick started his carrier
in 2000 with his "Laidback Grooves EP" on the notorious Chicago based Deep-House label Guidance Recordings.
Asmus Odsats remix of SMOKE KILLS is taking the track in a more broken but funky IDM territory, breaking the track down adding avantgarde dub details over the stuttering beat.
Asmus Odsat is a former resident at Culture Box and co-founder of Ritual Malmö as well as the BULK club night releases via. FALK DISKS, the club focused sub-label of FALK (Fuck Art Lets Kill) with his ‘Ecstatic Half Truth’ EP, is played by Courtesy - even in her BBC Radio 1 show mix.
An added bonus to these 3 unique remixes is Kim Kemis beautiful
Tropical Tucan, a perfect opening track fusing sensual chilly Detroit pads and jacking understated beats into a growing glowing mind-state that is worthy of a Carl Craig spin - let it ride - don't miss the climax - you will end up looping it. An essential tool. Enjoy!

40-plus years since its original release, the pop-punk-new wave inventions of Anthony
Moore’s ‘Flying Doesn’t Help’ are freshly remastered, blasting the sparkling, angular
sounds into today with perfect vitality.
 After spending the early years of the 1970s making experimental music first as a solo
artist, then with Slapp Happy and Henry Cow, 1976’s ‘OUT’ sessions had reinvigorated
Anthony’s youthful love of the naive pop melodies of pop radio, the undeniable excitement
of songs. While ‘OUT’ ultimately went unreleased at the time, the iconoclasm clouding the
late ’70s air was addictive and transformative for Anthony. England seemed to be roiled
as violently as it had been in counter-cultural days a decade earlier; the UK pop charts
breathlessly reflected the changing spectrum with equal parts aging hippie and prog
delicacies alongside new ascendant sounds: rough-hewn pub and punk rock, plus dub
reggae and disco and ska and Stiff and Krautrock. This proved to be an ideal environment
for Anthony to make records by exploring, as he puts it, the “deep connection between
minimalism, repetition, working with tape and celluloid and forming the modules of a
three-minute pop song.”
 Caught up in a no-holds-barred era, Anthony was more than happy to play the out-of-hishead madman, raving through outrageous exchanges with the press, while ‘Judy Get
Down’ received Single Of The Week honours from the NME (with review penned by Brian
Eno). Represented by Blackhill Enterprises, Anthony did production work throughout
1978-1979, on Kevin Ayers’ ‘Rainbow Takeaway’, Manfred Mann’s Earth Band’s ‘Angel
Station’ and the first This Heat album, meanwhile cutting his own songs on a dead time
deal at Workhouse Studio with engineer / producer Laurie Latham. Through the wee
hours of countless nights, the two pieced together ‘Flying Doesn’t Help’, with a little help
from friends (an inspired bunch, including Bob Shilling, Charles Hayward, Chris Slade,
Robert Vogel, Festus, Matt Irving, Sam Harley, Bernie Clark, Edwin Cross and Martine
Moore on the telephone).
 Building upon the axis of pop and experimental impulses that distinguished ‘OUT’, and
informed further by the raw sensibilities exploding everywhere, ‘Flying Doesn’t Help’
blasts out of the speakers with its own unique blend of sophistication and aggression,
Anthony’s keyboard flashes between arpeggiations and outright stabs among the noise of
slicing guitars, funk basslines and the reverbed blare of the drumkit. Opening with
Anthony’s greatest hit, ‘Judy Get Down’, and containing a noise-laden remake of the
Slapp Happy/Henry Cow number, ‘War’, among other delightful sweet-and-salty
confections, ‘Flying Doesn’t Help’ never stops moving, fuelled with raw outrage and dark
satirical intent, churning with the energy of next-gen types like Tubeway Army and DEVO,
while shimmering with the elegance of the still-challenging old guard types, like Cale and
Bowie.
 Clearly, ‘Flying Doesn’t Help’ was steeped in the time, and the original release reflected a
deep mistrust of the corporation mindset. Information was a dubious concept, and
connections to any recognizable organization were seen as untrustworthy, so facts like
musician credits were left out of the package, and even Anthony’s name was altered (he
was credited as A. More on the album and Tony More on a single release). The label
name QUANGO was conceptual as well, standing for ‘Quasi Autonomous NonGovernmental Organization’; each record was sealed with red tape that the listener was
required to cut through in order to get to the music. Rather than recreate the conditions of
the original release of ‘Flying Doesn’t Help’, this reissue instead embraces the changed
environment of the current time and place: instead of no credits, now they are complete,
with Anthony’s full name restored and even the artwork subtly ‘relocated’ to reflect a new
set of relationships. All of which brings the forward-looking sounds of ‘Flying Doesn’t Help’
into the more independent-minded 21st Century syntax where it belongs.

Justin Thurgur has been at the heart of the UK's World Music scene for over twenty years; principally in his collaborations with the former Fela and Femi Kuti keyboardist, Dele Sosimi, and with the pianist and composer Kishon Khan, most recently in his groups Lokkhi Terra and Cubafrobeat. He has also worked with the likes of Afrobeat drum legend Tony Allen, and with the Cuban giants Giraldo Piloto, Julito Padron and Changuito. Thurgur is also a member of the seminal English folk group Bellowhead.

'Many Faces' brings together this musical journey, with Afro-infused grooves and nods towards Cuban Jazz and Dub, with Thurgur's early passion for the likes of Miles Davis, Coltrane, Lee Morgan, Wayne Shorter, Herbie Hancock, et al....

It features both Khan and Sosimi, who have contributed as co-writers as well as bringing their own inimitable sounds on piano, rhodes and hammond organ. Alongside them are some of the leading musicians on the UK's African, Cuban and Jazz scenes, plus collaborations with rising star singers Jade Pybus and Sahra Gure.

Justin Thurgur - trombone (and some additional keys)

Graeme Flowers - trumpet and flugel horn

Simeon May - tenor, baritone and alto sax

James Allsopp - bass clarinet

Jade Pybus - vocals (on 'Woman')

Sahra Gure - vocals (on 'Be A Little Wiser')

Kishon Khan - piano, rhodes and hammond organ (on tracks 1,3,4 and 5)

Dele Sosimi - piano (on tracks 2 and 6) and vocala (on track 6)

Phil Dawson - guitar

Suman Joshi - double bass (except track 5)

Jimmy Martinez - double bass (on track 5)

Tansay Omar - drums (on tracks 1,3 and 4)

Kunle Olofinjana - drums (on tracks 2 and 6)

Yoann Julliard - drums (on track 5)

Afla Sackey - congas and djembe (on tracks 1,2 and 6), shekere and cowbell, and vocals (on track 6)

Oreste 'Sambroso' Noda - congas (on tracks 3 and 5)

Evie Hilyer-Ziegler - violin and viola

Paul Sartin - violin

Track 1 written by J Thurgur and S Gure

Tracks 2 and 6 written by J Thurgur and Dele Sosimi

Track 3 written by J Thurgur

Track 4 written by J Thurgur and J Pybus

Track 5 written by J Thurgur and K Khan

Recorded at Fish Factory by Simone Gallizio and Sean Douglas, at Boneman Studios by Justin Thurgur, at Better Pass Your Own Studios by Phil Dawson, at Thank You Please Studio by Kishon Khan and at 224 Studios by Matteo Musetti.


Mixed at Hi Street Studio by Mauro Caccialanza.

Mastered at Gearbox by Caspar Sutton-Jones.

Artwork by Matthieu Dufour

Photos of by Siobhan Bradshaw, Justin Thurgur, Stephanie Sian Smith,

Chantal Azari, Alex Bonney, Heather Hoyle, Nicole Thurgur, Joanna Mendel, Tansay Omar, Richard Gearey, Faye Hilyer-Ziegler and Svetlana Onye.

Cuba: Music and Revolution: Culture Clash in Havana: Experiments in Latin Music 1975-85 Vol. 2 is the new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that takes off in exactly the same vein as the much-acclaimed Vol. 1 – exploring the many styles that came out of Cuba in the 1970s as Latin and Salsa mixed with heavy doses of Jazz, Funk, and Disco to create some of the most dancefloor-friendly music ever made!

The album comes as a heavyweight 3xLP and deluxe 2xCD set, complete with extensive sleeve notes, and is jam-packed with heavy bass lines, synth and Wah-Wah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known
throughout the world.

Much of the music on this album is featured in the deluxe large format book ‘Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90’, released by Soul Jazz Books and also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records),
featuring the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.

The music on this new album features a host of rarities from legendary Cuban artists such as Los Van Van, alongside Grupo De Experimentación, Farah Maria, Ricardo Eddy Martinez, Juan Pablo Torres, Grupo Sintesis and Orquesta Riverside, most of whose names remain largely unknown outside of Cuba but have long been favourite club tracks and secret-weapons in Gilles Peterson’s record boxes!
The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s – all searching for a new Cuban identity and new musical forms reflecting both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba.
Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades – Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records

Diego el Cigala is, with any doubt, one of the greatest flamenco geniuses of our times. Not only because of his voice and charisma, but also for recording such vast and wide discography singing with majesty and no complex any style he could be challenged to perform. At Flamencoenvinilo we wanted to re-catch one of his early works back to his flamenco roots: "Entre Vareta y Canasta" (18 Chulos) was originally published in the year 2000 and, as many of his works, this album has proved the test of time and it has become a true classic. This will be the first time this album comes out on 12". Limited to 500 copies. Accompanied by Niño Josele (guitar) and a large group of percussionists, "Entre Vareta y Canasta" the second album by Diego El Cigala made him known among many people outside the traditional nucleus of flamenco for his simplicity, purity and mastery. The unique voice of this artist moves with naturalness and feeling in styles as different as martinete, bulería or fandangos.

Rave for Interest? X-Vandals! The fourth release of Frankfurt- and Berlin-based label Klinika will be out on the eleventh of December. X-Vandals is uniting two of Brazil's most recognized names in electronic music in this upcoming project. The duo consists of Davis, as a central figure of São Paulo's new school electronic music scene, and founding member of the ODD warehouse-party series, and his counterpart Martinelli, as one of ODD's very own resident DJs. As X-Vandals they deliver untrained, raw, and direct sounds filled with restless and stirring energy. Prepare yourselves for "Rave for Interest". Three highly effective tracks: Arena, Ravin for interest & Premier Minister de la Mort providing you Detroit schooled, super fast & non-compromising techno. Enjoy!

Gonzalo Benitez and Luis Alberto Valencia were kingpins of the musica nacional movement in Ecuador. Check them out on the cover, on a rooftop in Quito’s Old Town, surveying their dominion. In 1970, when Valencia collapsed onstage during a performance of the yaravi Desesperacion — ‘My heart is already in ashes’ — and died four days later, aged 52, his coffin was carried through those city streets on the shoulders of his fans.

They began singing as a duo in their mid-teens. During twenty-eight years together they recorded more than six hundred songs, for Discos Ecuador, Nacional, Granja, Ortiz, Rondador, Onix, Fuente, Real, Tropical, Fadisa, RCA Victor — and of course CAIFE.

Their exquisitely romantic harmonising is a sublime blend of collected forbearance and abject self-annihilation, underpinned and elaborated by the heart-piercing, improvisatory guitar-playing of Bolivar Ortiz. Effectively the third member of the group. ‘El Pollo’ sets the tone and intensity for everything that follows: listen to his soloing at the start of our opener, Lamparilla.

Musically a pasillo — a cross between a Viennese waltz and the indigenous yaravi rhythm — Lamparilla draws its verses from a poem by Luz Martinez from Riobamba, written in 1918 when she was 15, under the influence of Baudelaire and Mallarme. Another pasillo here, Sombras is one of the best-loved songs in the musica nacional canon, setting lines about undercover sex and loss by the Mexican poet Maria Pren, which were considered pornographic on publication in 1911.

And Benitez & Valencia looked back still further, to the indigenous roots of Ecuadorian music, as the key to its future. Carnaval de Guaranda is their take on a song dating back to the era of the Mitimaes, a broad group of Bolivian tribes conquered by the Incas and displaced to Ecuador. ‘Impossible love of mine / I love you for being impossible / Who loves what is impossible / Is the truest lover.’

Lovingly presented in a gatefold sleeve with spot-gloss, and printed inners, with stunning photos and expert notes. Excellent sound, drawn from original tapes, by way of Abbey Road, D&M and Pallas.

- 2022 repress / generic sleeve -

In Skymn's first addition to our sacred doctrine we get to experience the hypnotic trance evoked in voodoo rituals by ancient African cults. With mud up to their knees, bonfires brazing and bone suits rattling in harmony with the beat, the congregation creates a vibe that is almost corrosive. Cannibalistic fetishism, unholy vibrations and maddening techniques of ecstasy that joins the living with the dead.

Supported by Amandra, Antonio de Angelis, Antonio Ruscito, Antonio Vazquez, Arnaud le Texier, Astronomical Telegram, Attemporal, Ben Buitendijk, BLNDR, Brendon Moeller aka Echologist, Cassegrain, Claudio PRC, Deepbass, Edit Select, Eric Cloutier, Exium, Francois X, Hector Oaks, Hironori Takahashi, I/Y, Iori, Jonas Kopp, Juho Kahilainen, Kwartz, Luigi Tozzi, Mattias Fridell, Mod21, Modvs, MTD, Ness, Nihad Tule, Nima Khak, Nobody Home, Oscar Mulero, Rasmus Hedlund, Reggy van Oers, Retina.IT, Ryuji Takeuchi, Samuli Kemppi, Shaded Explorer, Stefan Vincent, Stephanie Sykes, Svreca, Takaaki Itoh, The Noisemaker, Unam Zetineb, Victor Martinez aka. Error Etica, Vilix, Xhin and quite a few more.

Survival depends on evolution. As conditions change and tides turn, we must change with them in order to stay one step ahead of the coming challenges. It’s clear that Fit For An Autopsy have embraced that mantra as they continue to perpetually evolve with each subsequent body of work. Not just blurring, but eradicating the lines between technical metal virtuosity, death metal menace, hardcore intensity, melodic insidiousness, and abstract approaches, the New Jersey band embody an uncompromising vision of their own.

The six-piece—Joseph Badolato vocals, Patrick Sheridan guitar, Timothy Howley guitar, Will Putney [guitar], Peter Blue Spinazola [bass], and Josean Orta Martinez [drums]—perfect this approach on their sixth full-length offering, Oh What The Future Holds [Nuclear Blast Records].

Fit For An Autopsy have never stopped moving forward though. Following their caustic 2011 debut The Process of Human Extermination, the group quietly carved out a place among extreme metal’s modern vanguard with their second LP Hellbound. Revolver cited 2015’s Absolute Hope Absolute Hell among “15 Essential Deathcore Albums.” And In the wake of The Great Collapse two years later, the band had truly created their own space in the realm of what could be described as “post-deathcore”. This ascent reached another level on the 2019 opus The Sea of Tragic Beasts. Widespread praise from the fans and press alike is all but too common for their refreshing approach to modern aggressive music both on record and in concert.

When the Global Pandemic changed everyone’s tour plans, Fit For An Autopsy dove into writing in spring 2020 and made the most of their time off the road.
“We had no real timeline, so we didn’t feel much pressure,” says Putney. “Once we realized touring wasn’t opening up, we decided to have fun with the process. I got to spend more time than I usually do on records. We definitely took some of the songs into new places because of that. It’s our longest album. We composed more than we ever have and it was a rewarding feeling to put real work into all these ideas.”

In early 2021, Fit For An Autopsy congregated in-person at Putney’s Graphic Nature Audio and recorded Oh What The Future Holds. Now, they introduce the album with the single “Far From Heaven.” Swirling as a perfect storm, airy guitar cuts through a pummeling percussive groove as melodic vocals slip into a guttural groan offset by neck-snapping riffs and powerful dynamics.
“The world we exist in is clearly “far from heaven”. Institutions are exploited, and people are taken advantage of. There’s a power struggle between those in control and those who aren’t. This is a fairly literal reflection on the world today.”

In the end, Fit For An Autopsy haven’t just personally evolved on Oh What The Future Holds; they’ve brought heavy music with them.

Ben LaMar Gay's critically-lauded 2018 break out Downtown Castles Can Never Block The Sun was more like a greatest hits than a debut album, as it compiled the best of the prolific but obscurity-prone Chicago native artist’s previously unreleased music. Open Arms to Open Us will be our first release of brand new, freshly baked tunes by Gay, a collection recorded entirely at International Anthem studios in Chicago between March-June 2021.

Ben LaMar Gay's critically-lauded 2018 break out Downtown Castles Can Never Block The Sun was more like a greatest hits than a debut album, as it compiled the best of the prolific but obscurity-prone Chicago native artist’s previously unreleased music. Open Arms to Open Us will be our first release of brand new, freshly baked tunes by Gay, a collection recorded entirely at International Anthem studios in Chicago between March-June 2021.

Doctor’s Cat – Greatest Hits & Remixes jetzt auch auf Vinyl erhältlich
Mit ihren Songs „Watch Out“ und „Feel The Drive” landeten Doctor’s Cat in den Jahren 1983 und 1984 europaweite Charterfolge.
Die Produzenten Aldo Martinelli und Fabrizio Gatto sind die Produzenten und genialen Köpfe hinter dieser Band.
Diese LP enthält die besten Titel als Maxi Versionen.

4-part various extravaganza with unique graffiti tagged artwork per copy!