Suche:master force

A month after the release of his debut album as Tambores En Benirras, 2021’s fabulous Orbe Dotodo, Graham Newby’s life changed forever. After years living with a visual impairment, his sight had deteriorated so much that he was declared “registered blind”. For a man who had spent decades dividing his time between travelling, DJing, running clubs and lengthy sessions in his own studio, it was a genuinely life-changing moment.

It was against this backdrop, and the need to alter his working methods, that Ondas Horizontales, the second Tambores En Benirras album took shape. Inspired by a mixture of daydreaming, visualisation, immersion in other people’s music (escapism that provided mood enhancement, rather than a specific set of ideas) and long periods spent soaking up the sun in Ibiza, the album is the most vividly detailed, sonically colourful, and sun-soaked collection that Newby has released to date.

Newby’s declining sight forced him to stop spending long spells staring at a screen and undoubtedly slowed down the production process. Yet it also allowed him to reconnect with his emotions, appreciate the storytelling and mood-shifting potential of music, and mine mind’s eye memories of places and spaces that have meant much to him over the years.

The results are undeniably stunning. Designed with horizontal listening in mind, the set distils a range of musical and real-life inspirations –or, as he puts it, “ambient soundtracks, cosmic journeys, Balearic rhythms and poolside sessions” – into ten mesmerising and magical tracks; an undulating, slow-motion journey that’s as breath-taking as it is beguiling.

Newby sets the tone with ‘Mi Sueno Vibe En Reverb’, a swelling, slow-burn ambient masterpiece that tiptoes between hope and melancholia, before flitting between imaginary sunset soundtracks (‘Estrellas En Mastella’, where lilting pedal steel sounds, bubbling electronics and shuffling breakbeats catch the ear), kaleidoscopic sun-up beats (the gorgeous warmth of ‘Generadora De Reyos’), enveloping beatless soundscapes (‘Templos Del Sol’, a drowsy drift in becalmed waters under the heat of the mid-afternoon sun), and dubby, loved-up lusciousness (‘Mokono’).

As the album progresses, bobbing and weaving on an ocean of vibrant chords, pulsing melodies and heart-stopping melodies, there’s no sign of Newby’s inspiration waving. ‘Alma Hablando’ channels the spirit of mid-80s ‘worldbeat’ and douses it in layers of Balearic bliss, while ‘Extrensor Entragado’ recalls the head-nodding haziness of his best Gripper productions of old while combining them with the musical equivalent of a humid summer breeze. Then there’s the mood-enhancing joy of the album’s superb title track –a mission statement of sorts – and the life-affirming post trip-hop/Balearic fusion of ‘Un Placer Celestial (Reprise)’, where the influence of his old friend Aim is clearly evident.

A serious sonic step-up from its predecessor and a future Balearic classic in its’ own right, Ondas Horizontales marks the start of a new musical and personal journey for its creator. It is, in his words, not the end of an era, but the start of a new one.

‘Time Will Tell’ : A journey in reggae music from Bristol to Kingston JA.

Embark on the wild journey of a reggae-loving Bristolian youngster who travelled to the heart of Jamaica on intrepid mission to record a timeless reggae album in the 90s. ‘Time Will Tell’, a collaborative masterpiece uniting the extraordinary talents of Henry & Louis (Andy Scholes & Jac kLundie), Blue & Red (aka Rob Smith from Smith & Mighty) and renowned Jamaican and UK-basedv ocalists.A musical opus that infuses reggae's rich history into modern rhythms straight outta Bristol.

It all began in the summer of 1997, when Andy Scholes decided to trace the origins of reggae music straight back to its origins; armed with a 16-track reel-to-reel and an abundance of passion,he flew to Jamaica with a desire to record his reggae heroes over riddims built by Rob & Jack in Bristol.

Through a series of unexpected events Andy crossed paths with UB40 in the streets of Kingston.He built a friendship with the band and their lead singer, the legendary Ali Campbell took a ninterest in the project, generously giving Andy free access to his studio in Port Maria allowing him to bring life to ‘Time Will Tell’.

Scholes got in the studio with various Jamaican artists and recorded with Tony Tuff, Prince Green, and Johnny Clarke, each contributing their distinct voices and adding to the album's spiritual and conscious themes. The mystical vibe continued with the participation of other artists like Ghadian, Shalom, Pacey, Ben Dice, and Kerosene Oil, each bringing their own authentic style to the project.

The making of ‘Time Will Tell’ required time, dedication, and the synergy of a like-minded collective. The album embodies the warmth and transformative power of music serving as a driving force for positive change.

22 years after its initial release, the album is freshly remastered and reissued onto 12” vinyl by Dubquake Records!

The influence that 80s gay nightlife had on electronic music, pop music in general and the evolution of clubbing for
subsequent generations is pretty much incalculable. In spite of the shadow of AIDs and reactionary political and media
forces both at home and in the USA, the period 1980 – 1990 bore witness to a dazzling explosion of dance music that
artfully drew a line from the peak of late-70s disco to the emergence of house and its 90s glory days. The art of the
12” single, the thrill of the remix, the rise of the superclub, the electronic spark of chart pop, the challenging of gender
barriers… all had their origin in the gay clubs. It’s not unreasonable to make the claim that by the end of the 80s,
virtually ALL chart pop music sounded like it had its origins on the dancefloors of Heaven nightclub!
Over 4LPs and 24 tracks, ‘Box Of Sin’ strives to tell the story of that decade, and to tease apart the strands of 80s gay
clubbing to show a period of unrivalled creativity and disco diversity. Via the box’s themed discs it shows how highenergy became house, how gender-bending synth bands took over the pop charts, how pop stars the whole world
over found a route to fame via the gay clubs, and how the era’s biggest producers aimed their masterworks purely at
the dancefloor. High energy, deep house, Eurobeat, synthpop, divas, acid house… all combine to paint a picture of a
rich and vibrant lifestyle. Along the way, ‘Box Of Sin’ unearths some overlooked gems rarely compiled today:
meanwhile some of the decade’s biggest names in club music gather to get into the picture – from Whitney Houston
to Dead Or Alive, Bananarama to Bronski Beat, Aretha Franklin to Inner City.
Based on the actual club charts at the time and with a stunning design package inspired by the small ads section of
80s gay press, ‘ Box Of Sin’ comes fully annotated and with an introduction by renowned gay author Paul Burston.
Throughout, it’s illustrated with photography documenting 80s gay clubbers in action, provided for Demon by The
Bishopsgate Institute, the UK’s LGBTQ+ archive. The project also resurrects the much-loved brand ‘Disco Discharge’, a
recognisable hallmark of quality among collectors and aficionados of club music heritage.

After a total of three EPs, "ZOMBICRON" is now the first regular full album by ROTTEN CASKET, which was mixed and mastered at Tom Meier Studios (a.o. Asphyx, Soulburn etc.) in Enschede (NL). The fantastic morbid artwork is by Toderico Arts, the layout by Phil Jonas. Bram Bryneel is responsible for the band members zombified in the booklet Martin van Drunen (vocals, among others Asphyx), Stefan "Husky" Hüskens (drums, among others Asphyx), Yorck Segatz (guitar, among others Sodom), Patrick van der Breek (bass, among others Disabuse/Born Infected) as well as guitarist, founding member and mastermind/main songwriter Frank Bergesson. ROTTEN CASKET are not an all-star band, but an independent force that crushes everything in its path.

In the heart of the cosmos, a tale unfolds. It begins with "My Space," where ethereal synths weave a cosmic tapestry, guiding you through distant galaxies. As you journey further, "Satan" emerges, beckoning you to dance with the darkness itself, under the canopy of sadistic beats.

Venturing deeper into the EP, "Get Stupid" takes you to an enigmatic dimension, where gravity-defying rhythms entice you to embrace your wildest instincts. In "Yallah," the atmosphere shifts, transporting you to a mystical oasis where sonic mirages shimmer in the desert of sound.

And just when you thought the adventure reached its pinnacle, "Can't Get Enough" mesmerizes with its infectious grooves, leaving you irresistibly addicted to the sonic enchantment.

Turns out Coco Bryce is more than just a hot piece of man meat. On "My Space" this enigmatic master of sound once again harnesses the forces of the universe to craft five enthralling compositions. His boundless creativity and passion for exploration shine through in every beat, taking you on a euphonic jungle expedition like no other.

ChatGPT rated this release 5 out of 5 on Tripadvisor

The Tribe co-founder’s masterpiece, lacquered directly from his master tapes in an all analog transfer by Bernie Grundman. The denitive reissue of this Spiritual Jazz album, one of the most sought after artifacts of the 1970s jazz underground. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

Richmond's INTER ARMA, reigning masters of the slow build, continue to trace a distinctly ambitious trajectory through modern metal. Their impulses tend toward the epic, but never bloat; they meld several styles — doom, sludge, and hard psych — without coming off like dilettantes. This newest full-length, Sulphur English, finds them mining deeper in the proggy organic doom fields that made both Paradise Gallows and Sky Burial so thrilling while expanding further the on the psych-folk strain that made those albums' peaks seem so lofty. Few metal bands have ever made such effective use of acoustic instruments in truly heavy environments as INTER ARMA do; the acoustic guitar that stitches "Stillness" together is as effective as any overdriven bass; a two-minute gloomy piano-and-feedback piece titled "Observances of the Path" rolls out the carpet for "The Atavist's Meridian," an album highlight that rides a gigantic, roomy drum sound into realms akin to a murkier Paradise Lost, a more aggressive Om, and a dreamier, more stoned Kylesa all playing together at once. Few bands make music as engrossing as INTER ARMA; their lengthy, almost meditative songs rumble patiently forward until you're ready to get thrown off a bridge — and then they throw you, with great force. - Words by John Darnielle

Farewell To The Welfare is now available in a limited edition teal vinyl pressing. The Tribe Records co-founder’s lost album, rumored to exist no more. Mastered from the original tapes and lacquered by Bernie Grundman. “As I thought about re­flecting on an aggregate of music for this album, I projected my attitude and spirit while living and working here, in Detroit, Michigan. We are earning and learning a new way of life, which explicitly tells us to become self-reliant in taking care of our families and each other. Government hand-outs are not an option for us.” Wendell Harrison. The first ever issue of this Spiritual Jazz album. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

SPLIT's debut vinyl EP is a tour de force of German Dubstep, featuring masterfully crafted original tracks and expertly executed remixes from Jafu, Zecher, and Schulzone.

From the opening track, the listener is taken on a journey through a soundscape of deep, driving basslines and mesmerizing melodies that are sure to leave a lasting impression. SPLIT's unique style is evident throughout the EP, blending elements of traditional Dubstep with a fresh,
contemporary twist. The remixes from Jafu, Zecher, and Schulzone add an exciting new dimension to the EP, showcasing their own unique perspectives on SPLIT's original tracks.

Overall, this is a must-have release for any Dubstep fan and a strong indication of the bright future ahead for SPLIT.
Highly recommended.

Now Available In A Limited Edition Red Vinyl Pressing. Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Mot Aykerim gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.

Wegene is now available in a limited edition metallic grey pressing. Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Wegene gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.

Let Me Die Loved is now available in a limited edition white vinyl pressing. Vinyl contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it. Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Tewedije Limut gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases.

Belgian jazz veterans W.E.R.F. records and JazzLab are celebrating their 30th anniversary together with three unique creation projects for which they are joining forces. One of them is with percussionist Chris Joris, a veteran of Belgian jazz who is releasing a haunting new project.

Until the Darkness Fades' immediately says something about Chris Joris' career path, in which the musical and the personal invariably overlap. This percussionist has written one of the most colorful chapters of Belgian jazz. For many years he was active within various genres, but is now mostly praised as the percussionist who constantly demolished boundaries. Not only between all those oppressive genre boxes - pop, experiment, theater, world music, jazz - but also between complete worlds.

Chris Joris was playing "world jazz" long before there was that term, and he signed on for some hot-blooded jazz classics, with "Out Of The Night" perhaps the best-known example. That album was originally released in 2003, was then unavailable for years, but is back on shelves in 2023 and on vinyl for the first time. And rightfully so. Joris also eagerly seized the prospect of a new tour and a brand new album for a musical self-portrait. With "Until the Darkness Fades," he highlights different aspects of his musical identity, both expected and unexpected.

Joris composed new material, but also keeps a prominent place for free improvisation. It will be a tantalizing dichotomy full of hybrid sounds, with familiar and less familiar sounds, between romanticism and uninhibited adventure. He explores these in the presence of notable associates on violin and cello. In this way, he combines earthy percussion with the freedom of jazz and the elegance of chamber music. Discover this story of a Belgian master who is far from finished.

Eight years after its original release in 2015, and sold out upon release, Umor Rex finally presents a vinyl repress of Sirens, by Kara-Lis Coverdale and LXV. This new edition is limited to 500 copies and comes with revised artwork.

Inspired by the link between seduction and violence, Sirens comprises a series of timbrally vast anamorphic pieces that poise the voice as a newly imagined tool of multiplicity. Processes of sample manipulation, signal processing, routing, and source design inform instrumental writing and performance in feedback until intertwined, flickering between states of conflict and consonance. Apparitions of the schizophrenic voice are at one moment fractured and cold and at the next full of warmth and vivaciousness, embodying velvet rituals of romanticism in the digital age.

Ultimately, Sirens is music for ambitious dreamers: surreal sound portraits sound like the warmth of the world laid over an ice cold virtual altar. LXV’s vocal truncations and fleshy sound palettes depict the archivation of the breath and aural fantasies of the flesh which Coverdale sets amongst a vast and unconfined landscape of deeper and unknown force. Harmonically active and dynamic orchestrations underpin post-sacred tonalities while brooding pipe organs, sphinx flutes, and hailstorms of metallic percussion characterize uniquely disjointed discussions between disparate compositional ontologies. At times violent and at others serenely peaceful and seductive, these pieces, at their most powerful moments illuminate a felt space between cybernetic energy and the body.

Composed and recorded by Kara-Lis Coverdale and David Sutton. Mastered by John Tejada. Cover photograph by Cody Cobb. Layout by Daniel Castrejón.

Frankie Cosmos, Palehound, Jay Som, Helado Negro, Lala Lala, Mamalarky, Sword II. Atlanta three-piece Kibi James announce their debut full-length album, delusions, out August 25th on Bayonet Records. Mari (guitar, keys), MJ Corless (bass) and Pomi Abebe (drums) join forces in crafting intoxicatingly dreamy melodies, their soft, siren-like voices sweeping you into their world as they bilingually share reflections on love in its many forms – romantic, familial, self – but most prominently the love that comes from their friendship. Co-produced, recorded and mixed by Drew Vandenberg (Faye Webster, SPELLLING, Toro y Moi) at Chase Park Studios in Athens, GA, and mastered by Heba Kadry, delusions is laden with vividly lush portraits of the places they call home Atlanta, their music community, their physical house, and the sense of home they have in one another. While the outside world is often a source of chaos, Kibi James finds security and intimacy in their shared domestic life together – the details of which come in the form of the intimate narratives and memories that make up delusions. From the manifestation spell for their now-apartment that's included in the first verse of "mister g," to finding homely solace in loved ones on "right now" and "bender," the band's ultimate sense of home is both fluid and utterly unshakable, as long as they have each other. They harmonize in both English and Spanish as their voices softly intertwine, singing of their hopes for the future over hazy, treated guitars and the soft pattering of drums. Their strong sense of unconditional love and mutual camaraderie keep them grounded, preserving the warm, optimistic light that has shone through every aspect of the band since their genesis. Corless says, "We're proud of where we come from and where we're headed. We're absolutely going to keep these delusions going."

Frankie Cosmos, Palehound, Jay Som, Helado Negro, Lala Lala, Mamalarky, Sword II. Atlanta three-piece Kibi James announce their debut full-length album, delusions, out August 25th on Bayonet Records. Mari (guitar, keys), MJ Corless (bass) and Pomi Abebe (drums) join forces in crafting intoxicatingly dreamy melodies, their soft, siren-like voices sweeping you into their world as they bilingually share reflections on love in its many forms – romantic, familial, self – but most prominently the love that comes from their friendship. Co-produced, recorded and mixed by Drew Vandenberg (Faye Webster, SPELLLING, Toro y Moi) at Chase Park Studios in Athens, GA, and mastered by Heba Kadry, delusions is laden with vividly lush portraits of the places they call home Atlanta, their music community, their physical house, and the sense of home they have in one another. While the outside world is often a source of chaos, Kibi James finds security and intimacy in their shared domestic life together – the details of which come in the form of the intimate narratives and memories that make up delusions. From the manifestation spell for their now-apartment that's included in the first verse of "mister g," to finding homely solace in loved ones on "right now" and "bender," the band's ultimate sense of home is both fluid and utterly unshakable, as long as they have each other. They harmonize in both English and Spanish as their voices softly intertwine, singing of their hopes for the future over hazy, treated guitars and the soft pattering of drums. Their strong sense of unconditional love and mutual camaraderie keep them grounded, preserving the warm, optimistic light that has shone through every aspect of the band since their genesis. Corless says, "We're proud of where we come from and where we're headed. We're absolutely going to keep these delusions going."

Enter the realm of Illa J, the musical force shaking the foundations of the industry. His latest offering, 'No Traffic', is a testament to his boundless talent and versatility, showcasing his singing, production and rapping abilities on 19 tracks written and produced entirely by Illa J himself. This album marks his debut on BBE Music and a new chapter in his musical journey. Meet Illa J: a musical prodigy raised in a family of talented musicians. With a jazz bassist father and a gifted singer mother, it's no surprise that Illa J was destined for greatness. He's best known as the younger brother of hip-hop legend J Dilla and has made a name for himself as a former member of Detroit's iconic hip-hop group, Slum Village. With a lifetime of exposure to quality music and top-tier musicians, Illa J is a force to be reckoned with. Created amidst the chaos of the pandemic, Illa J's 'No Traffic' serves as a beacon of hope, a roadmap for creatives seeking their path. He enlists the help of Detroit legends Amp Fiddler, Frank n Dank, British soul sensation Harleighblu, and introduces the rising stars of Detroit, Serious, Joz B, Maine Soul, and more, all matching Illa J's energy and passion on the tracks. The focus track of the album, "Star Struck", is a prime example of Illa J's signature style. The astral pentatonic soundscape and precise drum programming transport you to new heights, while Illa J's beats, melodies, and bars will leave you in awe. 'No Traffic' is a musical journey that takes you to a place where Illa J's playful and versatile sound reigns supreme. The album is expertly mastered by Grammy-award nominated The Carvery Studio and is a refreshing experience of a true artist reveling in their artistry. Don't miss out on this once-in-a-lifetime opportunity to delve into Illa J's musical realm."

EXPANSION continues its series of 10' CLASSICS back to back with the coolest CONTEMPORARY takes of one awesome track. First off is the 70s masterpiece by the NORMAN CONNORS, as originally recorded by CARLOS GARNETT - a jazz funk, timeless 'rare groove' and '100 mile an hour dance' classic previously only a single as an edit and LP track but glorified here complete with a stunning vocal performance by JEAN CARNE.

The new version is by 'Queen Of The Broken Beat' BEMBE SEQGUE (pronounced 'segue-way'), a singer, composer, DJ and poet influenced by DOUG & JEAN CARNE who has worked with I.G. CULTURE, LIKWID BISKIT and DEGO from 4 HERO. She was an intrinsic part of the vibe that created the West London Broken Beat scene working extensively with KAIDII Tatham (Agent K) Orin Walters * Daz `IQ - Bugz In The Attic, MARK de-CLIVE LOWE etc as well as appearing on Seiji and G-force's album released on Re-inforced.

Bembe's 'live ' take on the classic released to acknowledge a rare live appearance in London by Norman Connors at the Royal Festival Hall. LIMITED EDITION RELEASE

Repress

Tresor Records is fortunate enough to be sitting on a catalogue of past releases that no other label in electronic music would turn down.

Three of the finest in this collection were contributed by Surgeon; "Basictonalvocabulary", "Balance" and "Force + Form" all originally came out on the Berlin institution between 1997 and 1999.

Surgeon's inimitable combination of Detroit techno and post-industrial sounds emanating from his British homeland found its fullest expression in these masterful trio of releases on Tresor.

“Orlando Furioso is a haunting, one-of-a-kind statement, from an important new voice in improvised music.” - Steve Lehman

“…imagining instruments that haven’t been invented yet: space harps, cosmic gamelan, Venusian banjo. It’s the purest distillation of Atria’s musical language, simultaneously grounded and unearthly.” - Stewart Smith for The Wire (November 2022)

“Making liberal use of microtonal harmony and hypnotic, ostinato rhythms – as well as the occasional stylistic smash-cut, reminiscent of John Zorn – Orlando Furioso announced itself on Wednesday as a punchy, creative force on the New York scene. (…) Atria’s rhythms had a welcoming, social propulsion, and the microtonality of his writing for keyboard proposed an individual – even insular – language.” - Seth Colter Walls for The New York Times.

Early European composers felt that their work reflected in its structure the divine nature of the material world. Via tuning, form, and contrapuntal alchemy, these musicians sought to illuminate and edify the complex and perfect order of existence. The music recorded here also reflects the contours of an ordered world, but it is no place any of us has ever visited. By assembling far-flung building blocks from the detritus of a 21st-century musical vocabulary, Orlando Furioso brings the listener into a bizarre new cosmos. The result is deeply expressive music that speaks not with the voice of a narrator or memoirist, but with that of a cartographer.

Like a science-fiction Dante, the listener is taken on a tour of many diverse and colorful provinces of an alien world. Though each composition references its own set of real-world musical locales (from the Andes to Indonesia to Italy to New Orleans), they are bound by stylistic consistency into a coherent, continuous geography. Permeating this world is an uncompromising commitment to microtonal harmony, rhythmic intensity, and an ability to deploy the esoteric (Nicola Vicentino's notorious 31-tone temperament) and the head-smackingly obvious (a surprise djent breakdown) with equal conviction. Though Vicente's compositions are steering the ship, serious recognition is due to all the players on the record for their ability to meet these demands.

Our omnivorous musical diets offer real abundance. They enrich our craft by providing access to limitless approaches from which to choose - more masters to study, traditions to absorb, and techniques to hone than is possible in multiple lifetimes. They can also inflict heavy and often contradictory burdens of influence. When every corner of the map has been charted, it becomes difficult to find a new direction in which to travel. One solution I hope to see more often is the one pursued on this record: breaking down distinct musical worlds into component parts and reassembling them into a language. When completed with precision and with no stone left unturned, the seams between the pieces vanish and the listener is deposited somewhere beautiful and strange, left to assign their sensations meanings of their own. - Mat Muntz

Orlando Furioso is led by Vicente and features David Acevedo, David Leon, Andrew Boudreau, Alec Goldfarb, Daniel Hass, Simón Willson, and Niña Tormenta. Orlando Furioso celebrated its release at Roulette Intermedium in Brooklyn, NY, as a part of Wet Ink Ensemble's 24th Season opening concert, a performance which The New York Times heralded as "virtuosic", "punchy, creative" and "even revelatory."

Winner of the Deutscher Jazz Preis: Best International Debut Album 2023

A Tele Music CLASSIC from 1972, Pierre-Alain Dahan's Continental Pop Sound is of those library albums with something for everyone. Breaks? Check. Fuzz guitar? Check. Slower, jazzy stuff? Double check. It's a stunning collection of psychedelic rock, soulful funk and retro pop stylings that's currently going for over £200 on Discogs. And with good reason. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou and Sauveur Mallia) and Jef Gilson Septet. So, you know this Be With reissue is nailed on essential.

Skip the by-numbers opener "Rock Extra" and head straight to the deeeeeep, minimalist groove of "Slowrama", a humid masterclass in low-slung, creeping crime funk with weighty breaks and beefy bass complimented by hypnotic wah-wah and warm electric piano. Sensational. It was sampled by Prince Po in 2004 for his "Love Thang" track. The galloping "Latin Pop Sound" is a percussive, Santana-esque tour de force featuring fantastic guitar shreds over a bassline to die for. "Morning Melody" is a lightweight amble whereas the brief but deliciously psych-rock heavy "Islam Blues" is a must for your mixes when requiring short segue tracks. The A-Side closes out with "Phasing Drums N° 1, 2 & 3", all completely ace. For us, N° 3 is the pick of the bunch, with particularly slooooow and deliberate drums underpinned by a droning, sinister organ. Hip-hop, before hip-hop, no less.

The genuine monster "Pacific Rock" blasts out the gate to usher in Side B, a thrilling and unrelenting pop-rock instrumental that really drives. "Quasimodo Pop" contains great slow mo funk breaks and scratchy guitars that alternate with pretty heavy riffing to create a compelling base track. "Carmel Beach" is as beautiful as the location it's named after, as insouciant guitars glide over super slo-mo beats and dramatic organ before it breaks down to a laconic, reflective electric piano showcase. Sumptuous. "Auto Moto Rallye" is a brief driving funk gem, as you might expect, complete with revved up guitars tuned and played to emulate the irresistible sound of growling race cars.

The upbeat, piano-led rock stomper "V.S.O.P Rock" is all well and good but, what you might really be here for is the trio of tracks that ensure the LP ends on an almighty high. The three most famous tracks “Rythmiques 1, 2 & 3” all come complete with *ultra*-dope breaks. N° 2 is probably our favourite, with the shuffling bassline and breaks combo augmented by the wonderful cowbell. Though on any other day, it could be N° 3! This album is often considered as the “baby brother” to Tele Music's Rythmiques, and this triptych is all the proof you need. Outstanding.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Continental Pop Sound has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

The story of Existence dates back to 2016 when a group of young Stockholm hardcore heads wanted to get into some good old Cro-Mags worship. After some changes in personnel, the current line-up of deranged idiots has been paving the way for a violent future since early 2017. They currently share members with several other bands, including Blood Sermon and Speedway and are all active in the local DIY community in different ways, for example running Alive and Well Fest. With an EP under their belt in 2018, several tours across Europe and beyond, as well as appearances on such stages as Outbreak, the sound began to evolve leading up to the masterpiece that is the debut LP, ‘Go to Heaven’. Clocking in at nearly 40 minutes we don't think anyone can truly be prepared for this insanely epic body of work. From Slayer, to Merauder, to H8000, to Arkangel to Integrity, this is a masterclass in metallic hardcore songwriting by the strong beating heart of Stockholm HC. Songs that take you on a journey from a classic metallic breakdown riff to acoustic guitar sections to sword samples needed a hand that was not afraid of the complexity, leading to Jonah Falco of Fucked Up on mixing duties giving this the depth that it deserved. At times introspective, and at other times classic brute force, the themes of the lyrics are well summed up with the painted artwork by Nora Löwenberg of a face behind shattered glass, exploring the multifaceted nature of humanity and the ever changing place of the self in today’s global world. So if this all sounds like your kind of hardcore, then listening to this LP will truly be… heaven.

Odd Nosdam really doesn’t need an introduction, unless you’ve been living under a rock for the last 20 years then undoubtedly you’ll know what’s up, and what an absolute humbling pleasure it is to now introduce Nosdam to the Where To Now? catalogue with two new cuts that flow from ethereal, meditative contemplation through to downtown abstracted machine damage..

The record opens with ‘End is Important’, A looping, spiritual lament which forces observation, or resolution around the concept of ‘Endings.’ Passages from Tsunetomo Yamamoto’s ‘Hagakure’ seep in and out of the mix throughout, where spiraling and glistening arpeggios dance across a glorious choral mantra, intended to elevate minds towards some kind of plume of awakening. This is a heady and deep cut which finds Odd Nosdam in full introspection mode.

‘Here to Know’ recalls the work of Patrick Cowley in his best downtown ultra slow swinging funk suit, or the more obvious nods to John Carpenter’s Assault on Precinct 13 OST. However, this is far from a straight up ode to creeping machine funk - Nosdam’s injection of energetic, pulsing synth stabs move the piece into a more surreal territory, creating a masterful and experimental injection of life and colour into an otherwise smoked out landscape.

“Where I found myself when Where To Now? reached out - asking if I'd consider a vinyl release with the label - was over in Barcelona spending time with loved ones at my family's apartment in the district of Sant Gervasi.

After my initial contact with WTN?, I ventured north to Cadaqués to visit Salvador Dalí's house in Port Lligat, where Gala & Dalí spent some 50 summers. While inspired asf touring the glorious property, I captured recordings from a looping video screening in an open air theater. These recordings became the foundation of Here To Know.

Sometimes there’s a break in the road. End Is Important was realized after re-watching the Jim Jarmusch film, Ghost Dog. Stealthy and evanescent, a familiar voice carries this slow-diver with a message to the world warped cruiser in all of us.” - Odd Nosdam

FÜR FANS VON: Gamma Ray, Helloween, Edguy, Blind Guardian, Stratovarius, Rhapsody, Primal Fear Auf ins höllische Metal-Vergnügen: Nach ihren bisher vier erfolgreichen Alben ‚The Unity‘ (2017), ‚Rise‘ (2018), ,Pride‘ (2020) und ‚The Devil You Know – Live‘ (2021), europaweiten Tourneen als Headliner bzw. im Gefolge von Bands wie Sinner, Edguy, Axel Rudi Pell oder Rhapsody Of Fire,
umjubelten Shows beim ‚Masters Of Rock‘, ‚Knockout-Festival‘ oder auf dem, Bang Your Head‘ zeigen sich The Unity auf ihrer fünften
Veröffentlichung ‚The Hellish Joyride‘ spielfreudig und variantenreich wie nie zuvor. „

Wir waren immer schon stilistisch breit aufgestellt, aber mit‚The Hellish Joyride‘ dehnen wir die Grenzen des melodischen Power Metals nochmals ein Stück weiter aus“, erklärt Michael Ehré und verweist auf die zwölf abwechslungsreichen Songs des Albums, die von temporeich bis balladesk reichen. Zudem hat Neuzugang Tobias „Eggi“ Exxel (Bass, Edguy) frische Energie in die Band gebracht und verstärkt die Gamma Ray-Mitglieder Henjo Richter (Gitarre) und Michael Ehré (Schlagzeug), Sänger Gianba Manenti, Gitarrist Stef und Keyboarder Sascha Onnen unüberhörbar. Veröffentlicht wird die neue Scheibe am 25. August 2023 über Steamhammer/SPV, bereits eine Woche später startet die Europatournee mit Primal Fear. Als erste Vorabsingle inklusive „sportlichem“ Videoclip gibt es am 14. Juli 2023 den Song ‚Always Two Ways To Play‘, fünf Wochen später folgt die zweite Auskopplung ‘Saints And Sinners‘. Die Spritztour kann
beginnen!

Life is nothing without love. Love is the force that drives our journey in life. Life is love and love is life.”

UK jazz master Chip Wickham follows last year’s brilliant soulful long-player Cloud 10 with a deftly crafted, reflective EP of beautiful spiritual jazz sounds influenced by the soulful sounds of Yusef Lateef. Chip’s music has always drawn from a broad world of influences from hip-hop to Roland Kirk and from classic funk to the classic ‘60s Brit-Jazz sound of Tubby Hayes. But Love & Life finds him foregrounding his wonderful flute playing and producing a perfect fourtracker of reflective, peaceful jazz that elevates and inspires as well as a trademark slice of boppish soul jazz – the jaunty Space Walk.

Elsewhere lead single Love & Life is a joyous jazz waltz with an uplifting, bouncing groove and Slow Down Look Around is introspective and intimate, featuring Chip’s signature flute with a beautiful solo from UK trumpeter Malcolm Strachan. Chip explains that the track presents “a big lesson for us to learn as the world changes around us with such speed. The technology changes but our human needs remain the same: peace, tranquillity and time to think.”

Life is nothing without love. Love is the force that drives our journey in life. Life is love and love is life.”

UK jazz master Chip Wickham follows last year’s brilliant soulful long-player Cloud 10 with a deftly crafted, reflective EP of beautiful spiritual jazz sounds influenced by the soulful sounds of Yusef Lateef. Chip’s music has always drawn from a broad world of influences from hip-hop to Roland Kirk and from classic funk to the classic ‘60s Brit-Jazz sound of Tubby Hayes. But Love & Life finds him foregrounding his wonderful flute playing and producing a perfect fourtracker of reflective, peaceful jazz that elevates and inspires as well as a trademark slice of boppish soul jazz – the jaunty Space Walk.

Elsewhere lead single Love & Life is a joyous jazz waltz with an uplifting, bouncing groove and Slow Down Look Around is introspective and intimate, featuring Chip’s signature flute with a beautiful solo from UK trumpeter Malcolm Strachan. Chip explains that the track presents “a big lesson for us to learn as the world changes around us with such speed. The technology changes but our human needs remain the same: peace, tranquillity and time to think.”

Audiences who were lucky enough to have seen the film during its special theatrical sneak preview have already discovered that this highly anticipated sequel is nothing short of epic - and much of that is due to the gorgeous, sweeping score by Nathan Johnson. Johnson keeps intact the delicate balance that made KNIVES OUT such a clever score, never undermining the danger that is around every corner, but also brings an intoxicating romanticism to every gorgeous landscape. It’s playful, and sinister all at once.
“I’m thrilled to announce the release of my score for Glass Onion on vinyl, but more specifically, I’m over the moon to be able to join forces again with the wonderful folks at Mondo,” says Johnson. “Everything they do is one-of-a-kind, but with this release they’ve gone above and beyond. We’ve mastered this version specifically for vinyl so that it retains all the orchestral dynamics I’ve written into the score, and I can’t wait for people to get their hands on the artwork and peel back all of the beautiful layers. I know we live in a world of digital ephemera, but I’ll say it again and again: thank God for Mondo.”

"For her 3rd Blue Note album Twenty One recorded in 1994, the brilliant pianist and composer Geri Allen joined forces with two masters—bassist Ron Carter and drummer Tony Williams—for a dynamic trio date.
Allen’s stunning lyricism, as well as her boundless harmonic and rhythmic creativity, shines on this 12-song set that presents originals like “Feed The Fire” alongside choice standards and pieces by Thelonious Monk.
This Blue Note Classic Vinyl Edition is mastered by Kevin Gray, and pressed on 180g vinyl at Optimal."

Charlie Hunter’s 1995 Blue Note debut Bing Bing Bing! was a groove-heavy tour-de-force that announced the arrival of a virtuosic new guitarist on the scene. Hunter’s unique concept on his 8-string guitar allowed him to lay down a bass line and play chords as well as a melodic line at the same time, producing music that was at once impressive and irrepressible. With his powerful trio featuring tenor saxophonist Dave Ellis and drummer Jay Lane plus contributions from trombonist Jeff Cressman, Ben Goldberg, pedal steel guitarist David Phillips, and percussionist Scott Roberts, Hunter delivered a 10-song set of propulsive originals including “Greasy Granny” and “Fistful of Haggis” plus an unforgettable cover of Nirvana’s “Come As You Are.” Hunter would go on to record six more excellent albums for Blue Note, and also gain notice for playing on D’Angelo’s 2000 neo-soul masterpiece Voodoo.

Peter Jefferies, a living legend of New Zealand underground music, from his seminal bands Nocturnal Projections and This Kind Of Punishment, to his collaborative efforts in bands such as Plagal Grind and Two Foot Flame, is perhaps best known for his solo work on masterpieces such as The Last Great Challenge In A Dull World (1990) and Electricity (1994), as well as Elevator Madness (1996). All of these albums came out on vinyl but one of the best was the singular Closed Circuit (2001) which, unfortunately, only came out on compact disc and was somewhat lost to time until now. After Grapefruit released his collection of singles and unreleased songs called Last Ticket Home in 2019, Jefferies mentioned he’d always hoped one of his personal favorite solo albums could someday be heard on vinyl as it was intended. Grapefruit is proud to finally be able to highlight Jefferies’ last album of lyric-based songs by releasing Closed Circuit on vinyl, remastered and with new artwork and insert. This album features all of Jefferies’ signature tense and dark, piano-driven rock and moody balladry, along with themes of personal isolation and domestic ambivalence. It’s a tour-de-force that has remained in the dark too long.

A central figure in Seattle’s fading disco scene, radio DJ, producer, engineer, writer and multi-instrumentalist…Tony Benton was the driving force behind the Seattle soul-funk sound during the late 70s & 80s. Starting off his career at the age of ten he learned how to play the piano and then finally got to take a music class in the 7th grade. Having access to an electric piano made him fall in love with the thought that he could make his own music. At the age of 16 Tony and his friends already formed their first band called ‘Crystal Clear’ and were making up songs in his basement.
Things would really start off when Tony Benton teamed up with his group to form the avant-boogie group Teleclere who went on to release their first single in 1982 (Fantasy Love / Ultra Groove). That’s when Tony started playing all of the other instruments and thus earning him the title ‘multi-instrumentalist’. Teleclere was all about creating and performing original music, there was no music scene in Seattle at that time for a black artist or group who played original compositions. Rap-music was also emerging and clubs slowly started to switch from live performances to deejays.
Through the success of their independent EP release, Teleclere followed up a year later with their Affection/Defection album which created a serious hype. This gave them the chance to regularly open at concerts for national artists in halls and clubs. They played at nightclubs, bars, festivals, private parties and did mini tours in the Washington State cities & Canada…including opening for Grammy-award winning soul-star Peabo Bryson (performing for a crowd of 3,000 in their hometown Seattle)
Sadly, radio would not play their music so folks never really had the chance to hear it unless they saw them perform live (they always won the crowd over). To add insult to injury, venues and the likes started to mainly book cover bands playing top 40 music. Disappointed by this Tony Benton became a radio personality but would continue to record and perform under the name ‘Teleclere’ with various players and vocalists for many years to come. Only a handful of his tracks recorded were released in the end.
Thankfully we are left with the unique audio-document that is the Affection/Defection LP. The album took the scene by storm in 1983 and sounds like a sci-fi space odyssey unfolding on an intergalactic dance floor…a chopped and slapped slice of 80ies electro-funk, sensual soulful serenades, pulses of Innervisions-worthy bass, top of the line vocals and a plethora of vocoder magic. Also included is the hit ‘Steal Your Love’ that was featured on the acclaimed 2014 Light In The Attic compilation ‘Wheedle’s Groove Volume II: Seattle Funk, Modern Soul And Boogie 1972-1987’.
Tidal Waves Music (in collaboration with the Numero Group) now proudly presents the first ever vinyl reissue of this fantastic private pressed Seattle electronic soul/funk album (originally released in 1983 on Telemusic Productions). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork and obi strip.

Acclaimed producer, songwriter, and vocalist Shafiq Husayn has been a vital force on the Los Angeles music scene for decades. A member of trendsetting trio Sa-Ra Creative Partners, Shafiq has produced tracks for a staggering spectrum of talent, including Erykah Badu, Ty Dolla $ign, Pharoahe Monch, Robert Glasper, Ice T, Bilal, Jurassic 5, and many more. Over the last few years, the Grammy winner has also become the leader of The Dove Society, an expansive L.A. musical collective. Now, Shafiq Husayn and The Dove Society are debuting the new album So Gold, an eclectic masterpiece emerging from sessions Shafiq describes as “pure love, magic, inspiration!” A worthy follow-up to Shafiq’s acclaimed 2018 opus The Loop, the album features contributions from Anderson .Paak, Syd (of The Internet), Peyton, Thurz, Jimetta Rose, Speed Walton, and many more. Bursting with the kinetic energy of vibrant creative collaboration, the album synthesizes disparate styles into a cohesive tapestry of lush cosmic soul. “It’s new age everything and above,” Shafiq explains. “Focused and direct in the songwriting and production, but still adventurous and refreshing.

Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia.

Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form.

These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Che Belew gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases.

The Tribe co-founder’s debut, lacquered directly from his master tapes in an all analog transfer by Bernie Grundman. The definitive reissue of this Spiritual Jazz album which set the stage for his Vibes from the Tribe The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos.

In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

Pelican and Thrill Jockey are proud to present a deluxe edition of the band"s acclaimed 2005 album The Fire In Our Throats Will Beckon The Thaw, newly remixed, remastered and featuring special bonus rarities including an early version of "Red Ran Amber," (previously only available on a split with MONO) and demos of "Autumn Into Summer," "Last Day of Winter" and "Sirius". The Fire In Our Throats established Pelican as indisputable masters of their craft. Pelican"s ability to alchemize their influences into a sound so wholly original and then expand on that sound into a work of captivating beauty remains a marvel. The album indelibly shifted the paradigm of heavy music and the ripples of that shift can be heard in the countless bands who have risen to prominence since its release. The genre-busting nature of the album"s melodicism and refined dynamics was a harbinger of things to come in a genre whose strict boundaries were rapidly being shattered; a fact recognized and cemented by the album"s critical reception, which engendered everything from an Album of the Year nod from Decibel, to pontifications about Pelican representing a rising wave of intellectualism in metal from the New York Times. Nearly two decades since the album"s release on Hydra Head Records, The Fire In Our Throats has stood as not just one of the band"s most celebrated releases, but as a watershed work of avant-metal. The album arrives with a fresh mix by its original engineer Greg Norman and mastering by Josh Bonati, imbibing the songs with a new ferocity while also granting increased clarity, highlighting the developing interplay between each member. The refreshed mix brings an additional punch to the rhythm section of bassist Bryan Herweg and drummer Larry Herweg, bolstering the brightened melodicism and interlocking riffing between guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec. The more articulate presentation of the album showcases the power of each individual player while buttressing Pelican"s distinct sound as a unified force.

Pelican and Thrill Jockey are proud to present a deluxe edition of the band"s acclaimed 2005 album The Fire In Our Throats Will Beckon The Thaw, newly remixed, remastered and featuring special bonus rarities including an early version of "Red Ran Amber," (previously only available on a split with MONO) and demos of "Autumn Into Summer," "Last Day of Winter" and "Sirius". The Fire In Our Throats established Pelican as indisputable masters of their craft. Pelican"s ability to alchemize their influences into a sound so wholly original and then expand on that sound into a work of captivating beauty remains a marvel. The album indelibly shifted the paradigm of heavy music and the ripples of that shift can be heard in the countless bands who have risen to prominence since its release. The genre-busting nature of the album"s melodicism and refined dynamics was a harbinger of things to come in a genre whose strict boundaries were rapidly being shattered; a fact recognized and cemented by the album"s critical reception, which engendered everything from an Album of the Year nod from Decibel, to pontifications about Pelican representing a rising wave of intellectualism in metal from the New York Times. Nearly two decades since the album"s release on Hydra Head Records, The Fire In Our Throats has stood as not just one of the band"s most celebrated releases, but as a watershed work of avant-metal. The album arrives with a fresh mix by its original engineer Greg Norman and mastering by Josh Bonati, imbibing the songs with a new ferocity while also granting increased clarity, highlighting the developing interplay between each member. The refreshed mix brings an additional punch to the rhythm section of bassist Bryan Herweg and drummer Larry Herweg, bolstering the brightened melodicism and interlocking riffing between guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec. The more articulate presentation of the album showcases the power of each individual player while buttressing Pelican"s distinct sound as a unified force.

High Roller Records, black vinyl, ltd 200, insert, transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY.

High Roller Records, neon pink vinyl, ltd 200, insert, transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY.

Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Good Aderegechegn gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.

Renowned Italian spiritual jazz master, DJ, producer, guitarist, and bandleader Nicola Conte proudly presents his new album Umoja via London based label Far Out Recordings.

A joyous exultation across ten tracks, Umoja taps into the abundant well of knowledge Conte has amassed over his career as connoisseuring compiler and archivist of deep jazz, latin, afrofuturist, bossa-nova and soul music from around the world. Expressing unity, oneness and harmony in Swahili, Umoja coalesces universal feelings through the multifaceted global music Conte has spent his life studying and researching.

Having released music with Blue Note, Impulse! and Schema records, Nicola Conte’s relationship with Far Out began over a shared love of hard-edged bossa-nova and swinging samba-jazz. Between 2009-2013 Nicola Conte compiled five volumes of forgotten 60s Brazilian music for his Viagem series. He then released his critically acclaimed Natural album: a collaboration with vocalist Steffania Dippiero, featuring jazz standards alongside covers of lesser known Brazilian gems.

The music of Umoja draws on the deep-dug 70's independent spiritual and free jazz sounds, private-press soul records, and African and Afro Caribbean rhythms in Conte’s collection. But he equally recognises his debt to many of the decade’s more celebrated musical icons, such as North American cosmic jazz masters Lonnie Liston Smith and Gary Bartz, and Afrobeat originators Fela Kuti and Tony Allen.

Since founding the Bari-based bohemian cultural movement and club night Fez at the dawn of the nineties, Conte has proven to be a pillar of the contemporary, international soul-jazz scene. Composed alongside his long time friend, guitarist Alberto Parmegiani, Conte brings together a dazzling host of guests from around the world, including award winning British vocalist Zara Mcfarlane, acclaimed Finnish saxophonist Timo Lassy, french vibes player Simon Mullier, US vocalist Myles Sanko, rising South African drummer Fernando Damon, former Roy Hargrove bassist Ameen Saleem and Serbian flute sensation Milena Jancuric.

Proudly revivalist, Umoja was recorded direct to analog tape, with just two takes for each track. “Searching for an unadulterated, spontaneous, almost improvised feeling”, Nicola made sure that the few overdubs were also transferred to tape in order to retain the colour and warmth of the analog sound. “Very little post production or editing has been added, so what you hear is largely what happened in those magical live sessions”.