quête:mode 1

DJ Stingray 313's highly-praised FTNWO LP returns to heed its sonic warnings and powerful messages on his own label, Micron Audio. Originally released on WeMe Records in 2012, FTNWO displays the high-tempo, ever forward production DJ Stingray 313 is known world around for. DJ Stingray 313 says "FTNWO was conceptually centered on conspiracy theory, science, prepper doomsday preparation / survivalism and social commentary," and the foreboding introduction of "Evil Agenda" sonically explains just what lies ahead for the listener. The stark warning leads into DJ Stingray 313's stomping "Dark Arts", beginning the FTNWO experience. "Room Clearance" gets straight to business with raw, gritty and true-to-the-art Detroit electro sounds, along with a heavy, quivering lead to piece the track together.

FTNWO's cyber-explorations continue with "Denial Of Service". "I NEED a computer!" shouts a destitute voice throughout the track, as a hypnotic siren lead weaves through pounding 808s. The uptempo onslaught continues with "Interest Rate" - pads that give a feeling of falling accompany samples lamenting the realities of debt in modern society. These statements in the samples permeating the aptly titled track eerily foretell many present-day situations in 2022, as well as prove testament to DJ Stingray 313's ahead-of-the-curve production techniques. "No Knock" also carries on with arpeggiated square waves and dissonant FM stabs laced intricately over thundering drums. "Outsourced" has a call and response feel, with lush, bright tiny synths talking with each other over a thundering rhythm akin to a drum & bass arrangement.

DJ Stingray 313's sound also stretches to more melodic planes, as "Reverse Engineering" displays. Brooding pads and icy percussion engage in a sonic dance. In the same on "Image Search", cold drums and riffs intertwine the warmer layering pads and leads. Both create two powerful compositions on FTNWO that move unlike any other. "Remote Viewing" only moves lower in tempo compared to the rest of FTNWO, DJ Stingray 313's keen ear to melody still burning brightly. F.T.N.W.O. remains an ageless album - an ominous piece from a near-distant past, back again as part of the Micron Audio catalog to soundtrack the new and uncertain times we live in.

French artist Trudge returns to Lobster Theremin with his debut LP No More Motivation arriving on March 18th with a genre-bending and original masterstroke; charged as it is cerebral. The album's concept points to the artist's tumultuous relationship with music; plagued by life events and the looming shadow of tragedy. That same relationship however, has led to an album of nuance, a cathartic whirlwind that pushes and pulls from one part of the psyche to the next.

From the laden house sounds found in his earlier work, to the hard-hitting emotive techno we hear today, both Trudges’ personal and artistic evolution runs parallel, drawing between the lines of introspection and dance music’s modern functionality. Bangkok Radio kicks off proceedings with a reminiscent drive through the city's bustling landscape, as space unfolds the further we travel from the hustle and bustle of daily life. No Motivation, Meaningless is a nod to the producer's headspace - burdened by the unpredictability of reality and it’s governing influence on art; echoing throughout the entire album.

Mazzomba explores the duality of light and dark; heavily submerged sounds can be heard melting below the surface, as airy synths create an ethereal glow - acting as our torch through the crud-infested trench. The album's interlude Berserk provides a rest bite, an ambient dreamscape laced with deeply layered textures - casting warm fluorescent light amongst the clouds as balance is restored.

Dead Orange and Gradient demonstrate the artist's knact for intelligent sound-design and world-building soundscapes, while Unghosted and Punishments sees Trudge venture into raw and unwavering compositions created for the dance-floor. Closing the album is Blue Ritual, a thought-provoking piece that has the ability to transport and heal. It’s introspective layers point to the changing winds to come - rounding off an album not binded by genre, but an eclecticism that characterizes an artist true to his craft.

In 1956 "I Put A Spell On You" was released on the Okeh label, this release was what really changed Hawkin's fortunes.
According to legend, Hawkins intended it as a refined ballad, but he and his band were all somewhat the worse for alcoho
when they finally entered the studio. The result was intense and mesmerizing.
Although never a chart hit, the record had a massive impact. Covered by Nina Simone, Marilyn Manson and literally
dozens of others, it became a modern standard. Enjoy it once again on glorious vinyl, along with "Yellow Coat", "Hong
Kong" and "Ol' Man River".

The Ricardo Villalobos / Samuel Rohrer partnership has yielded increasingly interesting results over the past few years, with the former’s remixes of the latter’s trio Ambiq being supplemented by further reinterpretations of Rohrer’s solo work and live meetings at select events like Berlin’s Funkhaus and Radialsystem V. As should be the case with any strong collaboration, this partnership has been based on mutual challenge rather than compromise,
seeing each participant shuttle key technical and emotive aspects of the other’s work to previously unexpected places.
Those who have been closely following this relationship will notice a definite sense of continuity between previous outings and the new collaborative release entitled MICROGESTURES. As with those earlier Villalobos / Rohrer pairings, these four new pieces are defined by a special quality of being many things that once: that is to say, depending on the listener’s own level of focus, these can feel very tightly constructed and disciplined, or playful and freely wandering. That the tracks are equally engaging regardless of one’s chosen listening “mode” is a testament to the level of thought put into them; you could almost imagining the creators poring over some elaborate sketched set of architectural blueprints rather than coolly monitoring the usual multi-track editing software.
Altogether the music here is firmly a-melodic and percussive, but within these deliberate limitations there is still a greater variety of individual sounds than most would bother with. Each track is its own observatory of microgestures clustering together into a dense communicative fog or a sort of robotic sound swarm. Yet while all
these tracks are variations on that theme, each one has its own character and, consequently, its own rewards in terms of the exact sectors of the imagination that it activates.
Take for example “Cochlea” and its twin “Helix,” on which the magnetizing, busy layers of percussion are tempered with mischievously disruptive blossomings of digital noise, as well as sampled radio communications (which again bring us back to the idea of listeners’ attentiveness changing the meaning of this music - these
curious transmissions can either be taken as a purely aesthetic element or as something to be actively decoded).
Club-oriented elements are also not absent from this suite, particularly on “Incus” with its traditional sequenced baseline, crisp synthetic trap and hats, and dizzily sliding set of bell-like tones laid on top.?
Yet this track, too, is powered as much by its restless desire to deviate as by its rhythmic consistency: throughout the eleven-minute running time, a mass of ambiguous and restless machine sounds build a parallel narrative, and will maybe prompt the occasional glance over the shoulder as they seem to be taking on their own life. “Lobule” rounds out the program with the most rhythmically eventful sound set off the five.
What this all adds up to is a confident music which builds that quality from its faith in possibilities rather than firm conclusions: it’s an inspiring addition to both the musical landscape and reality in general

Recorded during the first few periods of lockdown and originally released as a cassette midway through 2021, O Yuki Conjugate's A Tension of Opposites Vol. 1 & 2 is now to be released as a limited edition, double-disc gatefold LP via World of Echo on 1st April. The enforced conditions of its creation represented a new way of working for O Yuki Conjugate founders, Andrew Hulme and Roger Horberry, a pioneering duo who have worked as close collaborators on multiple projects for almost four decades now. As such, their writing is for the first time divided in two and recognised as distinct, Horberry contributing the shorter eleven tracks that make up Vol. 1 (subtitle: At Variance), and Andrew Hulme the longer four that constitute Vol. 2 (Into the Pleasure Garden). It's fascinating to hear their approaches separated.

At Variance is defined by its mostly short-form approach, characterised by an airless ambience that recalls the late 20th Century modern minimalism of Thomas Koner, Markus Popp and the Mille Plateux universe, while in other parts, an element of the grander aspects of Eno circa Discreet Music, though retaining a characteristically gritty feel. Into the Pleasure Garden provides a notable contrast, forgoing the lightness of the preceding eleven tracks and embracing what might be understood as some of the more 'classic' elements of the OYC sound: their storm cloud-forming, heavy weather, post-industrial, fourth-world dystopia. Together and apart, OYC celebrate their 40th birthday this year, but remarkably, even under challenging circumstances, their music still retains an almost mystical power.

Future releases in the series are planned for later in the year and will continue with this approach, charting the outer reaches of the individual members musical inclinations. In the meantime, it might be worth giving some thought to start considering this pair an institution of sorts, or at least their own cottage industry.

"War Child Presents Heroes is the ultimate covers album - an unprecedented coming together of music’s greatest ever legends and with their favourite artists of the time to support children whose lives have been torn apart by war. The album concept sees the biggest heroes in music history select a personal favourite track from their own back catalogue and nominate an act from the next generation to create a modern reworking of that classic song
War Child Presents Heroes is part of a series of four re-releases by War Child Records making the amazing music artists have donated to the charity available on DSPs and vinyl for the first time. All proceeds from these releases will directly fund War Child’s life saving work with children affected by conflict."

After this endless seeming period of release abstinence your favorite imprint is back with a special ep by our friend and musical mastermind Speckman!

With his debut EP „Big City Days“ the producer and Golden Pudel resident Speckman shares his vision of the dancefloor, where he creates outbreaking sound textures on a soulful base and unfolds his unique and modern approach on dance music.
Dive right in with „Desperate Housevibez“, a dreamy & breaky intro to get you right in the mood. Next stop is „Something Still“ - heavy on the bottom, quirky at the top.
We finish the A side with „Big City Days“, the melancholic yet upbeat centerpiece of the EP.
Flip the record and you’ll hear the bubbly „Run“, a checked out synthie banger. With the outro „Meow“ Speckman goes back to his roots and let’s you of the hook easy.

The Hill District were a group of working musicians assembled by bassist Walter “Sonny” Hughes who following one afternoon rehearsal session together the very same evening recorded their only ever 45 outing the somewhat elusive and now sort after amongst group harmony collectors “Your Scared Of Falling In Love”. The other group members were Sonny’s brother Richard Hughes (Lead Guitar), Anthony Law (Keyboards), William M. Standard Jr (Piano), Mark Smith (Drums) and Daniel S. Lee Jr (Lead Vocals). The groups name was taken from a grouping of African American neighbourhoods in the city of Pittsburgh P.A. locally referred to as ‘The Hill’. The recording session was held under the direction of record producer and song writer James Richard Calloway (A.K.A) Rich Calloway. Calloway would go on to release “Your Scared Of Falling In Love” on his own ‘C-Way Records’ label featuring a instrumental version on the flipside. Rich Calloway hailed from Uniontown P.A. with Uniontown being known affectionately by the local black community as ‘Oniontown’ the name which Calloway adopted for his publishing company. Unfortunately for the Hill District the final mastering of their song left something be desired (a scenario we’ve now rectified with our release) and as a result local Pittsburgh Disc jockeys refused to plug their song leaving their one and only 45 outing to fade into obscurity with the group members going their own separate ways to continue their careers as session musicians with other ensembles. Producer and lyricist Rich Calloway also continued with his own C-way Productions company later composing both sides of The Cleveland Ohio group ‘The Entertains’1975 outing for Steel Town records “Love Will Turn It Around/Why Couldn’t I Believe Them”. Calloway was no stranger to Cleveland having been earlier employed by Way Out Records owner Lester Johnson to compose the lyrics to Jesse Fisher’s “Your Not Loving A Beginner”, the songs arrangement’s being originally laid down by members of the Way Out group The Soul Notes, William Bell (A.K.A Bill Spoon), John Washington and Ricki Dannison under the working title of “I’ve Been Waiting For Your Love”. Prior to the Hill’s District release Rich Calloway had penned and released a 45 single on another local Pittsburgh artist Richie Merrett. The 1973 outing You’ll Always Have Yesterday Standing By” b/w “I Gave It Up” (C-Way 103). Merritt a professional singer who performed with several groups including The Electron’s on their 1968 outing “Turn On Your Lovelight (Shock 209) recorded his first solo outing on the Nashville Deltron label “Can I Get A Rebate/It’s Never Too Late” which he later released again on his own R.A.M label followed by two early 90’s outings, the modern soul favourite’s “Where Did I Go Wrong” and “You Got Problems”. Richie still performs today doing one off shows in between his solo performances aboard 7 Day Cruise ships travelling between Los Angeles and Sant Cabos, Mexico. “You’ll Always Have Yesterday Standing By” was later produced by Walt Maddox under the shortened title of “Yesterday’s Standing By” on his own group ‘These Gents’.

Therefore Soul Junction brings you two 70’s soul/Lowrider in demanders back to back for your delectation.

Originally released by Victory Music in 1991, Tin Machine II is the second and final studio album by Tin Machine. After this album and the supporting tour, frontman David Bowie resumed his solo career.

Tin Machine II’s reputation has only increased over the years. Uncut magazine placed the album on their list of 50 Great Lost Albums (their list of great albums not currently available for purchase), calling the album “extraordinary”.

As with all Bowie albums, there are plenty of strong tracks here to make this a must have. Opening track “Baby Universal” is pure Bowie. He re-recorded this track in 1996 for his 1997 album Earthling, but the track was not released on the album. It was eventually released in 2020 on the Bowie EP Is it Any Wonder?. The first single “You Belong in Rock n’ Roll” was released ahead of the album and peaked at No. 33 in the UK. The second single “Baby Universal” achieved success on the Modern Rock chart in the USA, where it reached No. 21, and the third and last single “One Shot” became an even bigger hit, reaching No. 3.





RELEASE: 17-7-2020




• 180 GRAM AUDIOPHILE VINYL
• INSERT
• SPECIAL SPOT VARNISHED SLEEVE
• SECOND AND FINAL STUDIO ALBUM BY THE SUPERGROUP TIN MACHINE, ORIGINALLY
RELEASED IN 1991
• TIN MACHINE = DAVID BOWIE, REEVES GABRELS, TONY SALES & HUNT SALES
• LIMITED EDITION OF 5000 INDIVIDUALLY
NUMBERED COPIES ON SILVER COLOURED VINYL

SIDE A
1. Baby Universal
2. One Shot
3. You Belong In Rock N’ Roll
4. If There Is Something
5. Amlapura
6. Betty Wrong

The album’s cover (which was censored for its original USA release!) was created by Edward Bell, who had previously worked with Bowie in making artwork for Scary Monsters. The MOV cover features a spot varnish finish.

Music On Vinyl gives Tin Machine II its first vinyl re-release since the 1991 original, and it’s pressed on coloured vinyl for the very first time. The initial pressing is a limited edition of 5000 individually numbered copies on silver coloured vinyl.

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

Limited to 100 copies!

For the second release on Subject To Restrictions Discs’ White Series, Los Pashminas from Fribourg deliver a four-track sound experience for dance floors.

The complexity of the human experience has led to many theories, which tried to explain the emotional activity of our everyday experiences. In the ’60s Paul MacLean formulated the ‘Triune Brain’ model. This theory proposes a very simplistic organisation of our brain, which would be too easy to accept since the very notion of ‘change’ is difficult to give credence to. The wiring between our primary and emotional behaviour is much more complex and subject to plasticity and transformations. What if the very essence of music could follow the same path? Maybe music could take conscience of its own environment and develop its own wave, independently from the human will.

This EP is an essay in which symbolic samples are organising themselves into the genesis of a new form of conscience, a result of a survival-mode experience that pushes the music itself to create its new form. This sound journey was created during the 2020 Pandemic.

Loraine James' new ambient-minded alias, Whatever The Weather, follows her 2021 solo LP Reflection (Hyperdub). In contrast to her club music sensibilities, this mode embraces keyboard improvisations and vocal experimentation, foregoing percussive structure in favor of shaping atmosphere and tone. From this divergent headspace emerged new coordinates and climates, a new outlet: Whatever The Weather. A longtime fan of ambient-adjacent Ghostly International artists such as Telefon Tel Aviv (who she'd ask to master the album), HTRK (whose singer Jonnine Standish features on Nothing), and Lusine (whom she remixed at the start of 2021), James saw the label as the ideal home for this eponymous album of airy, transportive tracks as they began to formulate. The titling on Whatever The Weather works in degrees; simple parameters allowing James to focus on the nuances as a mood-builder. Her suspended universe fluctuates; freezing, thawing, swaying and blooming from track to track. James describes her jam-based approach for the sessions as "free-flowing, stopping when I felt like I was done," allowing her subconscious to lead. The improvisations have an intrinsic fluidity to them, akin to sudden weather events passing over a single environment - the location feels fixed while the conditions vary. The album opens at "25°C," a sunshower of soft hums and keys. As the longest piece, it serves to establish stability, the inflection point where any move above or below this temperate breeze breaks the bliss. Given James' proclivity for organized chaos in her production, this scene is fleeting, naturally. From that utopia, we plummet to the most melancholic read on the meter, "0°C," its isolated synth line traversing a hailstorm of steely beats and static. Next, the dial jumps for the propulsive standout "17°C." Like a timelapse of springtime in the city, the single accelerates across a frenzy of frames; car horns, screeching brakes, and crosswalk chatter fill the pauses between rapid jolts of multi-shaped percussion. For portions of the work, James leans neo-classical, rendering pensive vignettes of cascading piano keys and warm delay. "2°C (Intermittent Rain)" ends the A-Side on a short and stormy loop; a resulting sense of reset permeates the B-Side's opener, "10°C." The producer mingles intuitively on echoed organ, locking into and abandoning atypical rhythms that suggest her jazz-oriented interests. "4°C" and "30°C" display the range of James' vocal experiments. The former chops and pitches her voice to a rhythmic, otherworldly effect, the latter reveals James at her most straightforward (she cites Deftones' Chino Moreno and American Football's Mike Kinsella as inspirations), singing tenderly and unobstructed for nearly the duration before beats collide in the climax. Whatever The Weather closes at "36°C," while a sweltering heat by any standards the track eases along comfortably on a chorus of synth waves, acting as an apt bookend for this evocative, sky-tracing collection that started in a similar state. Cyclical, seasonal, and unpredictable, true to its namesake.

Blues from Chicago to Paris pays rousing tribute to two of Chicago's
postwar blues legends, piano-pounding Memphis Slim and bass-slapping
powerhouse Willie Dixon
Focused in particular on the period when the two giants of the genre teamed up
to tour the globe during the late 1950s and early '60s, the album presents a wellrounded collection of favorite songs as well as those innovative tunes that have
inspired and influenced blues players ever since.
"Memphis Slim and Willie Dixon were a team, and their styles worked great
together," says Kenny. "Out of many other blues piano players that I've listened to,
I found a playfulness between these two men unlike the many other great blues
pianists." - Kenny Blues Boss Wayne
Legendary blues piano master Kenny "Blues Boss" Wayne was inducted into the
Boogie Woogie Piano Hall of Fame in Cincinnati, Ohio in 2017. He is recognized
by Living Blues Magazine for his six-decade career of bringing the piano back to
the front ranks of contemporary blues. This Juno Award winner, WCMA winner
and multiple Maple Blues Award winner is at the forefront of modern day blues
piano.
Advertising in Blues In Britain and RnR

The artistic oeuvre of Berlin-based Sonja Deffner is as extensive and diverse as its contexts are high-profile: If the classically trained musician could in recent years be heard as a member of the groups Jason & Theodor, Die Heiterkeit, Globus and PTTRNS, as part of Christiane Rösinger's touring band, or as a recording musician on Andreas Spechtl's (Ja, Panik) albums, she has at the same time produced an acclaimed graphic work, video works and made her theater debut. Under the name Kalme, Deffner now presents her solo debut »Neue Sprache«, which feels like a culmination: Deffner doesn't need much space to present an artistic position of spectacular incisiveness and maturity.

The formal language of Kalme's debut evolves with reference to experimental pop and R&B, but equally informed by ambient electronics or dub techno. Analog and digital sound synthesis meet Deffner's characteristic use of field recordings, acoustic instrumentation (clarinet, percussion) meets musical post-production, sampling meets expressive synthesizer playing. At the center of the album, however, are Deffner's remarkable lyrics, written in German for the first time. Deffner creates a language of stark, emotional poignancy that is as conspiratorial as it is precise. The themes of the tracks develop between the poles of movement and stagnation, understood as motifs of biographical as well as musical ways of being or relating. In this forcefield, personal and political considerations coincide again and again, for example when Deffner reflects on her experiences with the social conditioning of femininity and motherhood.

The album title »Neue Sprache« (»New Language«), then, describes a search for forms of articulation of solidarization: language as a tool of a new relationship to the world that allows testimony to individual experience without reproducing categories of repression. In this way, Kalme's debut simultaneously achieves a radical intimacy, just as, on the other hand, the confrontation of language and sound repeatedly opens up fissures that deny any semblance of comfort. »Neue Sprache« does not stop at this modernist gesture, however, but unquestionably takes a stand. That's what Kalme's »Neue Sprache« ultimately is: the taking of a position. A statement.

Deliciously seasoned with a more than a little kick! Following up his 2020 debut, TYPE returns to SweetBox with two fiery jungle cuts built on his Akai MPC X.

Known as the MPC Jedi, TYPE is the tech wiz behind the Tubedigga YouTube channel, where he serves up music production and sound design tutorials from his hoard of MPCs and other vintage and modern tech. As a hardware devotee, he performs live on MPC rather than DJing, and it was during one of these live sets, for the launch of his previous SweetBox EP in 2020, that Dexta and the Diffrent crew first heard ‘Cherry Bomb’ and ‘Eclipse’ and immediately snapped them up.

‘Cherry Bomb’ is a quintessential junglist workout, pushing a combination of four sampled and homemade breaks to their limits over an otherworldly sound bed. With kicks that land like a mortar strike and the explosive militancy of a supercharged drill sergeant, this one’s ideal for peak-time switch-ups and ready to send any dancefloor into a frenzy.

‘Eclipse’ shuffles and steps with the South London producer’s signature precision, though the percussion takes something of a backseat this time. Front and centre instead are an array of monstrous technoid rasps, elasticated subs and an LFO-esque, earworm bleep repurposed from TYPE’s days as a video game sound designer. This is heavyweight business screaming out for a dark room and a big rig.

Back by popular demand is DJ Crisps with his third solo contribution to the Time Is Now catalogue: the fierce 4-tracker which explores the many flavours of garage and justifies the Rotterdam producer's ever-growing ubiquity in today's UKG circuit.

Kicking off proceedings is "Keep It Up" - a high-octane speed garage banger, prepped with intervals of slamming reverse sweeps which carry their own rhythm. After "Alright's" unique blend of old skool grime samples and diva-esque vocals which play in dialogue beneath a sharp two-step beat, "Today" strips things back a little with a modest bassline melody and ragga vocals. Finally, with pitched-up, syrup smooth vocal licks "Bounce" captures UKG at its most soulful.

The idiosyncratic musical style and production practices by Sheldon, Sidney Thompson (aka Sid Le Rock) are shaped by the DIY electronic-music movement that has encouraged his creativity to develop and thrive since the late ’90s. This is a contributing factor to his impressive discography that currently stands at twelve albums under his various aliases, including Sid’s collaborations with artists from various fields and musical genres such as Depeche Mode, DJ Koze, Placebo, and persistent impressions of the journeys he has made throughout the world as a result of his live music performances.

These invaluable experiences are the supplements for his next important leap forward as follows: As a tribal member of the Algonquin First Nations, Sid seeks to explore his ancestral heritage to uncover the traditional, ceremonial soundscapes of the Native American indigenous peoples as an integral component for his new solo album project – Invisible Nation. It is his respectful endeavour to bind this seamlessly together through his knowledge of music theory and his own distinctive production sound. Sid Le Rock’s current album concept is a fusion of traditional music and organic elements utilised by the Aboriginal peoples of Canada, combined with the modernisation of electronic-based music. Mixing of both sound styles achieve balance with a shared importance to rhythm as a source of impulse and functionality. It is his equitable attempt to produce and deliver a complementary synthesis of sonic peculiarities, modern electronic methods and the repurposed use of ceremonial music, to showcase a profound pride and pay homage to his forebears.

The Algonquin First Nations otherwise referred to as Anishinaabe, are a group of indigenous peoples present in the Great Lakes region of Canada. They consider music and dance to be sacred and an integral part of their lives. It is a culture in which it heavily relies on rich oral traditions to pass on its stories, teachings, history, and cultivates their verbal language. Membranophone, idiophone, aerophone, and chanting are traditionally essential components to our sacred sound, "Drumming is the heartbeat of Mother Earth, chanting is the heart”. This musical connection produces a narrative depth that can transport an effective atmosphere to dance-floors, bridged by the unconventional virtues, to which electronic music permits limitless possibilities. Sid Le Rock’s latest release, marks his eighth studio album – Invisible Nation, is an exploration into his cultural roots, combining myth and musical expression to bring forth a prideful nation.

Spencer, geschrieben von Steven Knight, zeichnet sich nicht nur durch die hochkarätige Filmbesetzung aus.

Kristen Stewart als Prinzessin Diana von Wales, wird neben Jack Farthing, Timothy Spall, Sean Harris und Sally Hawkins auch von einem einzigartigen Soundtrack begleitet.

Der Soundtrack, zum Film, geschrieben vom renommierten und ausgezeichnetem Komponisten Jonny Greenwood, welcher bereits mit Filmmusik zu Phantom Thread, There Will Be Blood und Norwegian Wood begeistern konnte, verleiht der bewegenden Geschichte von Prinzessin Diana Einzigartigkeit.
Über den Film:

Dezember 1991: In der Ehe zwischen dem Prinzen und der Prinzessin von Wales herrscht seit Langem Eiszeit. Trotz der wilden Gerüchte über Affären und eine Scheidung wird für die Weihnachtsfeierlichkeiten auf dem königlichen Landsitz Sandringham ein Frieden verhängt. Es wird gegessen und getrunken, geschossen
und gejagt. Diana kennt das Spiel. Dieses Jahr wird es eine ganz andere Wendung nehmen.

Loraine James' new ambient-minded alias, Whatever The Weather, follows her 2021 solo LP Reflection (Hyperdub). In contrast to her club music sensibilities, this mode embraces keyboard improvisations and vocal experimentation, foregoing percussive structure in favor of shaping atmosphere and tone. From this divergent headspace emerged new coordinates and climates, a new outlet: Whatever The Weather. A longtime fan of ambient-adjacent Ghostly International artists such as Telefon Tel Aviv (who she'd ask to master the album), HTRK (whose singer Jonnine Standish features on Nothing), and Lusine (whom she remixed at the start of 2021), James saw the label as the ideal home for this eponymous album of airy, transportive tracks as they began to formulate. The titling on Whatever The Weather works in degrees; simple parameters allowing James to focus on the nuances as a mood-builder. Her suspended universe fluctuates; freezing, thawing, swaying and blooming from track to track. James describes her jam-based approach for the sessions as "free-flowing, stopping when I felt like I was done," allowing her subconscious to lead. The improvisations have an intrinsic fluidity to them, akin to sudden weather events passing over a single environment - the location feels fixed while the conditions vary. The album opens at "25°C," a sunshower of soft hums and keys. As the longest piece, it serves to establish stability, the inflection point where any move above or below this temperate breeze breaks the bliss. Given James' proclivity for organized chaos in her production, this scene is fleeting, naturally. From that utopia, we plummet to the most melancholic read on the meter, "0°C," its isolated synth line traversing a hailstorm of steely beats and static. Next, the dial jumps for the propulsive standout "17°C." Like a timelapse of springtime in the city, the single accelerates across a frenzy of frames; car horns, screeching brakes, and crosswalk chatter fill the pauses between rapid jolts of multi-shaped percussion. For portions of the work, James leans neo-classical, rendering pensive vignettes of cascading piano keys and warm delay. "2°C (Intermittent Rain)" ends the A-Side on a short and stormy loop; a resulting sense of reset permeates the B-Side's opener, "10°C." The producer mingles intuitively on echoed organ, locking into and abandoning atypical rhythms that suggest her jazz-oriented interests. "4°C" and "30°C" display the range of James' vocal experiments. The former chops and pitches her voice to a rhythmic, otherworldly effect, the latter reveals James at her most straightforward (she cites Deftones' Chino Moreno and American Football's Mike Kinsella as inspirations), singing tenderly and unobstructed for nearly the duration before beats collide in the climax. Whatever The Weather closes at "36°C," while a sweltering heat by any standards the track eases along comfortably on a chorus of synth waves, acting as an apt bookend for this evocative, sky-tracing collection that started in a similar state. Cyclical, seasonal, and unpredictable, true to its namesake.

The start of the new "Live At Fabrik Hamburg" series on Jazzline in
cooperation with the legendary venue and NDR Kultur - is this previously
unreleased concert from jazz greats Freddie Hubbard and McCoy Tyner
from 1986
It will be released as a double CD in a three-part digipak and as a triple LP in a
triple gatefold cover that includes detailed Liner notes by Michael Laages. In the
Altonaer Fabrik in 1986, the master trumpeter Freddie Hubbard was a guest in the
trio of one of the most important pianists of contemporary jazz: McCoy Tyner,
whose extremely powerful attack always added percussive power of the most
energetic kind to his virtuoso playing.
McCoy Tyner died in March 2020, the recording from 1986 (he was 58 years old
at the time) show him at the height of the unmistakable jazz expression that
defined him. His piano and the enormous radiance of the Hubbard trumpet (born
in the same year as Tyner in 1938, but died in 2008) are the outstanding
protagonists. But the recording also features bassist Avery Sharpe, born in 1954
and with excellent acoustic and electrical credentials, as well as Louis Hayes, still
today the most indestructible of all modern drummers at well over 80 years of
age. Together they refine the nine titles of this two- hour concert on this truly
remarkable evening of music!

Shawn Lee goes on a soul trip. Together with Hamburg/Germany based The Angels Of Libra he recorded two modern soul steppers for this special 7inch single release. "Bless My Soul" is truly blessed by it's magic hookline, while "Souvenir" tells a smooth soul story.

The Angels Of Libra consists of the wrecking crew in Hamburg's soul musician scene. They set out to work and recor with a variety of talented singers and artists, while producer Dennis Rux (Yeah! Yeah! Yeah! Studios) aims to create a vintage, but modern sound.

Joe Tatton, keyboard player with UK/US funk/soul jazz kings The New Mastersounds, releases this new 7 inch single in March 2022 and this time there is a lovely double A-side 7" physical vinyl option. Two tracks that showcase Joe's skills as a pianist and vocalist and confirm his talent for writing quality original compositions.

"Timeline" is Joe's spotlight on today's social media obsessed society delivered in the style of his musical hero Mose Allison. The latter was the legendary Mississippi born/New York based jazz/blues musician and singer whose wry and intelligent lyrics married to amazing original music shone a light on society and the world from the mid-1950s until his death in 2015. Mose was a huge influence on musicians like Georgie Fame, Van Morrison and Ben Sidran and was and still is one of Joe Tatton's favourite musicians of all time. This song is the title track for Joe's debut solo album due for release later this year on Rodina Music.

"Stomp" is a slow bluesy instrumental funk burner that has a New Orleans swagger about it and features Joe's grand piano solo followed by JTQ band member Gareth Lockrane cutting loose on the flute. If you like music by Allen Toussaint, Ramsay Lewis and Herbie Mann, you'll be feeling this one.

Joe Tatton has been a member of The New Mastersounds now for 16 years now and has recorded over a dozen albums and many singles with them playing organ, piano and keyboard. Annually, he tours 8-9 months a year with the band, mainly in the USA but also across Europe and Japan too. Prior to joining The New Mastersounds, Joe held down the keyboard role with UK jazz-funk kings The Haggis Horns appearing on their first two albums "Hot Damn!" and "Keep On Movin". He's also featured on piano/keyboards on the worldwide hit single "Put Your Records On" by Corinne Bailey Rae.

Over the years he has played live sets with Maceo Parker and Fred Wesley as well as Art Neville, George Porter Jr and Zigaboo Modeliste of The Meters. He's always maintained his own trio under his own name as a side project, releasing singles and EPs via ATA Records (UK) and Color Red Music (USA).
A few years ago, he needed to find the time and place to record them. So in 2020, between New Mastersounds gigs, he managed to book a few days at a studio near Nashville USA, "The Rockhouse", run by Grammy winning engineer Kevin Mckendree. He hooked up with a couple of Nashville session musicians, Steve Mackie (double bass - longtime Dolly Parton bassist) and Kenneth Blevins (drums), and put down all his original songs and also a cover of Mose Allison's "Ever since the world ended", the first single released last year

Now comes the second double A-side single and a further taste of what's in store from Joe and the band later this year when the "Timeline" album drops later in the year. However this time, there's a lovely little black vinyl offering for all the record lovers out there. Just a small first pressing which will no doubt sell out very quickly so people need to jump on it super fast. Once they're gone, they're gone.
"Time line / Stomp" double A-Side single by the Joe Tatton Trio. Released worldwide on Rodina Music - March 31st March 31st 2022.

Repress

Introversion, one of our most prominent discoveries, joins the golden side of the label with a stunning release that confirms his great skills. He vigorously continues to deliver this very unique 90's rave sound melted to some modern aspects of hip-hop and Techno with 3 Original cuts, on the flip side the debut of a duo that doesn't need much of an introduction, Obscure Shape & SHDW remixes Onryo, taking this already amazing record to a bigger and wider space.

Haze - released via Ki Records - is Greek producer and composer, Hior Chronik's latest creation. Aligning with his previous critically acclaimed album, Descent, Haze creates an electro-ambient world which accentuates modern classical minimalism. It is an album which deeply embodies tranquility, fulfilment and meaningful connection, aspirations born out of Hior Chronik's past in Athens, and realised by his relocation near to a forest in Berlin, where he can truly feel at-home, surrounded by the awe-inspiring beauty of nature. Through 15 tracks, Hior Chronik guides his listeners in an immersive journey which features magical soundscapes built using DX7 and Roland synthesizers, beats from the Lofi drum machine and Volca samples. Inspired by the best of his previous work in moody electro soundscapes, alongside his own history as a listener and lover of early 90's electronic music, artists like, Lali Puna, Solvent and Remote Viewer, this album demonstrates a new dimension to Hior Chronik's artistry which exudes light optimism.

In the vast musical archive that is Roman Flügel’s discography, Ro70 holds a special place. Written, performed and produced between January and July 1995, it is his debut album as a full-fledged solo artist. Enquired and inspired by a certain David Moufang from Heidelberg, who used to share a classroom with Jörn Elling Wuttke at the SAE Institute and revealed himself to be an Acid Jesus fan and also of the Roman IV 12“ project, it seemed like a good fit for his (and Jonas Grossmann’s) Source Records label.
In the days before file sharing that meant going back and forth with various DATs in his mom’s Volkswagen Polo Fox for actual listening sessions between Darmstadt and Heidelberg. The time was as special and idiosyncratic one as was the sound of Source Records and of course Ro 70 itself. While the rave-olution was ready to eat its kids with the commercial outlook of former underground phenomena looked bright and the scene’s prophecy seemed grim, enterprises like Source and artist like Roman Flügel were defying any competition out of those corners with their own means.
Listening back to the ten tracks of Ro 70, it proves them, their taste and artistic vision right. Probably still being put into the ambient, downtempo, electronica or chill out sections of most record shops, this music could have been made, relished and cherished anytime between 1995 and now. Made in Roman’s home studio in his parent’s house or in the Klangfabrik studio in Egelsbach, this was made for before or after the rave – or for people who din’t want to have to do anything with it at all. His signature is all over it. Well balanced soundscapes with an almost uncanny presence and clarity. Bittersweet symphonies that doesn’t seem to be in an inferior position to modern classical or electronic studies.
It is also a very personal testament to a time in the artists’s life that was ready to get caught in the maelstrom of the oscillating techno city called Frankfurt am Main and its halcyon days between the Delirium record shop, Sven Väth’s marathon sets, the early days of the label triumvirate Playhouse, Klang & Ongaku. In a musical journal without lyrics, those memories will have to stay pantomimic and private. All for the better, that we can at least still listen to them.

In a career spanning more than three decades, composer and multi-instrumentalist Arjen Lucassen has established himself worldwide as a driving force in progressive rock. The multi-talented Dutchman is best known for his rock opera project Ayreon, but also regularly devotes himself to musical side projects that explore all different aspects of his musical personality

Lucassen is committed to maintaining a consistent vocalist lineup on Star One. For "Victims of the Modern Age," he reunited the high-powered cast of lead singers from the first album, "Space Metal" (2002): Russell Allen (Symphony X), Damian Wilson (Headspace, Threshold), Floor Jansen (ReVamp, ex-After Forever), and Dan Swanö (Nightingale, Second Sky, ex-Edge Of Sanity). The different vocal styles of these great vocalists, ranging from soaring power vocals to haunting melodic passages to brutal growls, give each song a stunning variety of vocal textures

As for the instruments, the Dutchman recorded the rhythm guitars, Hammond organ, Mellotron, Solina strings and analog synthesizers himself and invited drummer Ed Warby (Ayreon, Hail of Bullets, Gorefest) and bassist Peter Vink to provide the powerful rhythm tracks. He also enlisted the intimidating solo skills of former After Forever keyboardist Joost van den Broek and guitarist Gary Wehrkamp (Shadow Gallery), both of whom contributed characteristically blistering solos. In addition to this formidable lineup, Lucassen recruited three other vocalists - Mike Andersson (Cloudscape, Full Force, Silent Memorial), Rodney Blaze and former Black Sabbath frontman Tony Martin - for several bonus tracks on the album

For the first time, "Victims of the Modern Age" is available on vinyl as a gatefold 2LP+2CD & LP booklet, as well as a Ltd. 2CD digipack.

In seiner mehr als drei Jahrzehnte umspannenden Karriere hat sich der Komponist und Multiinstrumentalist Arjen Lucassen weltweit als treibende Kraft des Progressive Rock etabliert. Der vielseitig begabte Niederländer ist vor allem für sein Rockopernprojekt Ayreon bekannt, widmet sich aber auch regelmäßig musikalischen Nebenprojekten, die alle verschiedenen Aspekte seiner musikalischen Persönlichkeit erforschen.Lucassen ist bestrebt, bei Star One eine gleichbleibende Sängerbesetzung beizubehalten. Für 'Victims of the Modern Age' hat er die hochkarätige Besetzung der Leadsänger des ersten Albums 'Space Metal' (2002) wieder zusammengeführt: Russell Allen (Symphony X), Damian Wilson (Headspace, Threshold), Floor Jansen (ReVamp, ex-After Forever), und Dan Swanö (Nightingale, Second Sky, ex-Edge Of Sanity). Die unterschiedlichen Gesangsstile dieser großartigen Vokalisten, die von hochfliegenden Power-Vocals über eindringlich-melodische Passagen bis hin zu brutalem Growl reichen, verleihen jedem Song eine atemberaubende Vielfalt an stimmlichen Texturen.Was die Instrumente betrifft, so spielte der Holländer die Rhythmusgitarren, die Hammondorgel, das Mellotron, die Solina-Streicher und die analogen Synthesizer selbst ein und lud Schlagzeuger Ed Warby (Ayreon, Hail of Bullets, Gorefest) und Bassist Peter Vink ein, die kraftvollen Rhythmusspuren zu liefern. Außerdem holte er sich die einschüchternden Solokünste des ehemaligen After Forever-Keyboarders Joost van den Broek und des Gitarristen Gary Wehrkamp (Shadow Gallery), die beide charakteristisch glühende Soli beisteuerten. Zusätzlich zu dieser formidablen Besetzung rekrutierte Lucassen drei weitere Sänger - Mike Andersson (Cloudscape, Full Force, Silent Memorial), Rodney Blaze und den ehemaligen Black Sabbath-Frontmann Tony Martin - für einige Bonustracks des Albums.Zum ersten Mal ist 'Victims of the Modern Age' auf Vinyl als Gatefold 2LP+2CD & LP-Booklet erhältlich, sowie als Ltd. 2CD Digipak und Digitales Album (2CD).

Deadletter release their new 7” single, ‘Pop
Culture Connoisseur’. Hailing from Yorkshire, the
now South London rooted band channel the droll
fury of The Fall and the lopsided rhythms of Talking
Heads into a strain of danceable post-punk,
exploring the darker side of existence through a
ens of narrative-driven levity.



Previously supporting the likes of Squid, Viagra
Boys and Pip Blom, Deadletter have emerged as a
genuinely thrilling live prospect. Experts in the field
of intensity, the band seamlessly switch from
conversational verses into a mix of unadulterated
post-punk fury and irresistible rhythm, addressing
hemes such as bureaucracy, loss of personal
dentity and modern-day consumerism.

New single, ‘Pop Culture Connoisseur’, produced
by Theo Verney (TRAAMS, Lazarus Kane, FEET),
finds singer and frontman Zac Lawrence switching
from the overt politicism of previous releases into a
more tongue-in-cheek narrative centred around the
case of PC Read, a police officer fired for stealing
doughnuts through a self-service checkout. In
addition to providing a case study into the fashion
hose in positions of authority often consider
hemselves above the law, the track also aims to
comment at the manner modern morality so often
relates to PR optics, as the cultural trope of law
enforcement eating doughnuts is played out in real
ime.

Lauded London 6-piece Melt Yourself Down are back armed with a new approach for their fourth studio album Pray For Me I Don’t Fit In. Created for misfits, by misfits, Pray For Me I Don’t Fit In sees Melt Yourself Down embrace a celebratory punk agenda. Having realised they are never going to fit the mould, the group deliberately draw on their myriad influences, speaking all languages musically and lyrically. Led by the potent sounds of Sax pioneer Pete Wareham, the punchy sax hooks pay homage to the traditional horn sections of late 60’s early 70’s era of Jazz, Soul and Rock n Roll, while showcasing African pentatonic scales and dance-inducing rhythms with raw 70’s rock and punk. This album sees vocalist Kushal Gaya celebrate his diversity - tonally, texturally, and emotionally while embracing lyrical depth. Recorded and produced by band favourite Ben Hillier (Blur, Depeche Mode & Nadine Shah), delivering his distinct musical depth, resonance, and dark drive so essential to Melt Yourself Down’s sound. This album is the band’s most cohesive work to date.

Montparnasse Musique is a balance of two distinct sensibilities: Algerian-French producer Nadjib Ben Bella’s passion for raw organic beats, and South African DJ Aero Manyelo’s love of DIY synthesis in the digital realm. It’s a bold blend of fresh and processed flavours; the acoustic grit of traditional Africa combined with the pulse of modern Johannesburg — gqom, kwaito, techno, afrohouse. Together they produce an electro-acoustic sound, loaded with infectious hooks, uncompromising and authentic. For their self-titled debut EP, the cross-continental duo collaborates with Congolese bands Kasai Allstars, Konono Nº1, Mbongwana Star and Basokin on five audacious dance tracks forged from the tribal rhythms and mystic voices of the Kasai rainforests, amplified by the aggressive growl of hand-wrought instruments from Kinshasa’s urban wilderness, and augmented with the slick precision of an EDM toolkit. The end result is an inevitable evolution of Congotronics into a sharp-edged, club-ready sound. Nadjib Ben Bella is a DJ and producer who draws influences from the gnawa music of his North African roots and a diverse range of Sub-Saharan sounds from musicians he has worked with over the years. Most recently he has been touring Europe with West African band Les Amazones d’Afrique. Aero Manyelo, a name now synonymous with the burgeoning South African house scene, has honed a distinctive electronic sound that translates across the international club circuit and has attracted a broad range of collaborators — including Idris Elba and The Mahotella Queens on the opening track of an album inspired by the Nelson Mandela biopic Long Walk to Freedom. The EP was recorded and mixed by Kwezydoctor at Khaima Studio in Lille, France.



c 3 Bitumba (feat. Mbongwana Star) Extended
d 4 Sukuma (feat. Muambuyi) [Extended]
[Extended]

With Plum, the songwriting partnership rooted in the creative rapport between bandleader Molly Hamilton and guitarist Robert Earl Thomas continues to expand on shared visions, delving deeper into what was always there: dusty guitars, ear-worm melodies, warm expansive arrangements. Each entry to their catalog has marked a subtle reimagining of Widowspeak's sound, though perennial points of reference remain the same: 90's dream pop, 60's psych rock, a certain unshakeable Pacific-Northwestness. Speaking to the timeless feeling of each, the albums continue to be discovered well beyond their respective PR cycles, made beloved by new listeners through word of mouth. The band's fifth album feels comfortable and lived-in: humble in structure, heavy on mood. Perhaps that came taking time off from the touring grind, instead working full-time jobs and settling into the rhythm of daily life in a small upstate New York town. Plum was recorded over a handful of weekends last winter by Sam Evian (Cass McCombs, Kazu Makino, Hannah Cohen) at his Flying Cloud studio in the Catskills, and was mixed by Ali Chant (PJ Harvey, Aldous Harding, Perfume Genius). In addition to Hamilton (vocals, guitar) and Thomas (guitars, bass, synth), it features instrumental contributions by Andy Weaver (drums), Michael Hess (piano), and Sam himself (bass, synth). Plum nestles into the band's canon like it was always there, but with new textures coming to the fore, like the polyrhythmic pulse of "Amy" and "The Good Ones", or the watery, Terry Riley-influenced track "Jeanie" Plum navigates the spaces between the lesser emotions of modern life. Hamilton's lyrics speak to the unique turmoil of anyone who creates as their work, who must somehow survive off such "fruits of their labor." Yet, Widowspeak have always made a bitter pill much easier to swallow. The majestic "Breadwinner", the luminous "Even True Love" - these songs here were made to be listened to, enjoyed. "Money" is particularly hypnotic, built around a repeating, cyclical motif that serves as both skeleton and body. "Will you get back what you put in?" Hamilton asks over an insistent guitar riff. The line is delivered with a knowingness that transcends its surface critiques of late-stage capitalism, asking both herself and the listener whether this is, in fact, the world we want to live in. Through Plum, Widowspeak have brought something into the world that seems to know its own worth, even as it wonders aloud about what is to come. What value and meaning do we assign ourselves, our time, and how do we spend it?

Tammo Hesselink inaugurates his newly launched imprint Rear View Memory, intended for occasional dumps of personal works. On this first release the Dutch producer combines his rhythmic side with his modern hypnotic techno approach. The A side contains two UK techno inspired tracks that lie between soundsystem-ready dj tools and atmospheric floaters. The B side contains a percussive techno-not-techno roller and a halftime drum & bass workout in collaboration with Romanian producer DYL.

Die junge Britin Hannah Peel ist eine hochtalentierte und erstaunlich vielseitige bildende Künstlerin und Emmy-nominierte Komponistin elektronischer Musik, moderner symphonischer Musik sowie von Film- und TV-Musik. „The Unfolding“ ist ihre außergewöhnliche Zusammenarbeit mit dem Paraorchestra, einem in Bristol ansässigen Orchester professioneller behinderter und nicht behinderter Musiker, die über einen Zeitraum von drei Jahren entstand.

Das Ergebnis ist eine stimmungsvolle, zukunftsweisende Mischung analoger und digitaler Klänge, die einen über die Grenzen von elektronischer Musik, Jazz und Klassik hinweg tragen.

Gerald Clayton gehört zu den wichtigsten Modern-Jazz-Pianisten unserer Zeit. Auf seinem zweiten BlueNote-Album will sich der sechsfach Grammy-nominierte Musiker mit den Auswirkungen der abstrakten Kraft der Zeit auseinandersetzen.

Bei der spannenden Umsetzung in mal lyrische, mal swingende, mal treibende Jazz-Klänge unterstützen ihn niemand Geringeres als sein berühmter Mentor Charles Lloyd am Saxophon, sein Vater John Clayton am Bass, Justin Brown am Schlagzeug und erstmals MARO als Vokalist.

Zu hören sind Originale, Stücke des katalanischen Komponisten Federico Mompou und von Geralds Onkel Jeff Clayton sowie zwei atemberaubende Solo-Klavierversionen des Standards „My Ideal“

Roxy Music veröffentlichen am 1. April eine neue Half-Speed gemasterte Version ihres gleichnamigen Albums „Roxy Music“.
Mit dem ursprünglich 1972 erschienenen, bahnbrechenden Klassiker der Band konnten sich Bryan Ferry und Brian Eno innerhalb der Art Rock Bewegung etablieren. Ihre Vorliebe für Glamour kam in den Texten zum Ausdruck und wurde auf dem Albumcover im Stil der 1950er Jahre verewigt. Das Album landete in den britischen Top 10 Charts und wurde zu einem der bedeutendsten Art Rock Alben aller Zeiten.

'Das Album wurde von Miles Showell in den Abbey Road Studios neu gemastert. Um die verbesserte Audioqualität widerzuspiegeln, wurde das Artwork überarbeitet und mit einer glänzenden Laminierung
versehen, sodass das Album nicht nur eine Schallplatte, sondern ein Kunstwerk ist.

Das Album erscheint als 1LP.

NAPPYNAPPA is a prolific artist from Washington DC with a highly creative and free approach. ONDAMICUNDERDACOZMIKLYTZ coalesces his expressive hip hop soundscapes with layers of eclectic influences. The album features production from long-time collaborator Black Moses, as well as Pat Cain, Zac Clare, Tooth Choir, Jelani Kwesi and RICTHESUPERSONIC.

NAPPYNAPPA is one half of the group MODEL HOME alongside Pat Cain. He has featured on over twenty albums in the last two years alone, including the celebrated Disciples compilation ‘One Year’, the acclaimed ‘SE’ on Max D’s Future Times label and ‘both feet en th infinite’, released by Don Giovanni Records.

From Dreams To Dust, the latest studio album by The Felice Brothers was recorded in the fall of 2020 in an old one room church in Harlemville, NY - Produced by The Felice Brothers and mixed by Mike Mogis

The record ranges over a variety of topics and themes, including isolation, the world of dreams and delusions, environmental collapse, and the inward and outward chaos of modern life.