quête:organ

»Follower« is Abrahams’ 6th album for Room 40 and showcases his continuing interest in the ambiguous spaces between music and noise; tonality and atonality; rhythm and texture. All four tracks have piano as a key factor: in one instance, high-pitched and atonal; in another, emotive yet distant as if projected on to a screen. Follower presents the listener with a sound world of colourful juxtapositions, rich orchestration and organically open forms.

On the opening track, bass piano meanders through a wilderness of de-tuned bells and organ swells; a strange sort of festival. Low frequency sighs evenly punctuate, like a pump or a heartbeat. It’s a procession that takes it time as it wanders the terrain, brought to a close with transcendent distortion. On track 2, muscular modal piano surfs among waves of percussion and analogue synthesisers. A buffeting travel.

Tape



By its very nature, intuition is something of which we easily lose sight. Music however, as both bridge and secret technology, connects the natural, artificial, and the earned. It can act as both a reminder of cultures and people gone, while materialising and alchemising from thin air elements not to be found on any periodic tables, and visions no human can see.

»Pin down the dust« is the first meeting of Nighte - Christina Carter (Charalambides) and Mari Maurice (more eaze) - and it feels both automatic and natural. The collaboration stems from a spontaneous decision by the duo to start playing together weekly. “That's how this music was made,” explains Carter, “with gut feeling as the guiding principle. Mari understands the music I've made on such a deep level that playing with her feels so natural.”

The result of this meeting is inarguably some of the most beautiful music to ever emerge from either Carter or Maurice. The structures are spacious, generous, and gentle, with scraped violin strings and seemingly ancient moans strewn sparingly like falling leaves on a picnic blanket. Having begun life as freeform interplays between the duo recorded live at Maurice’s house, overdubs were later added and the material mixed by Maurice alone into finalised pieces.

Maurice’s varied instrumentation litters the background with distant and oneiric miscellanies, from groaned saxophone phrases and heavenly organ drones to glissandi guitars. Carter’s voice sits in the centre, embodying and channelling (mostly) wordless human ecstasy - and at times unease - amidst the allotment of blossoming sounds. Maurice & Carter’s clairvoyant connection notwithstanding, music always offers a portal back to our buried intuitions. “Pin Down The Dust” is both a tribute and a guide to this spontaneity and instinct, putting aside thought in favour of feeling.

Tape



The Manchester based artist Craig Tattersall aka The Humble Bee returns to Dauw with 2 longform compositions centered around piano. The recordings were partly captured by a contact mic attached to his garden bird feeder adding an organic and intimate touch to the music. Hence, the album presents itself as a more outside experience and complements the Autumn season quite well. Susurration is available as a limited risograph cassette edition and digitally with artwork for Skrew Studio.

For the occasion, the label decided to reissue Craig's earlier Dauw cassette releases including "Instruction booklet n. 1232", "Deathless songs" and "Things are sweeter when they're lost". These albums sold out shortly after their release or were not even available publicly until now. The original silkscreen artwork by Femke Strijbol has been reinterpreted with risograph techniques. These albums will be available separately on limited cassette editions.

Club of Jacks presents their 6th vinyl-only release - Hoovers EP.
This heavyweight 4 tracker fuses that trademark Club of Jacks House & Garage sound with an injection of raw Rave energy, delivering an EP that's as upfront as it is nostalgic.

Kicking things off on the A side is 'The Hoovers Track', an homage to a certain UK Garage classic (we'll let you work it out) but with a twist - combining a slamming 909 beat with a dirty Alpha Juno hoover line and a roucous breakbeat on the breakdown. A2 track 'Fall On Me' is a bumping Deep House groove flecked with evocative old-school vox and samples that raise the temperature.

On the flip side, things get a little moodier with the 2-Stepper 'Rub-A-Dub' mixing heavy sub bass with organ grooves, pianos, chopped breaks, dancehall shouts and a sweet female vocal chant. Finishing off the EP is 'Watch It' which samples a voicemail from a conversation the COJ boys had with none other than El-B and cuts it up over a rolling 4/4 bass groove. Limited edition clear vinyl hand-stamped pressing.

Written/Produced/Mixed by Club of Jacks.A Mastered by Henry@Pitchcraft.

The Sol Power All-Stars are back once more on the Rocksteady Disco label with some superb new covers of much-loved British funk band Cymande. Each one brings a fresh perspective while paying heed of the Afro-roots of the originals. 'Anthracite' (feat Denise Henderson) opens up and is designed for moaner dance floors with cosmic synth work and big, bouncing drums. There is a deeper and more steamy sense of rhythm to the tropical sounds of 'Getting It Back' while the Parkway dub of 'Anthracite' sounds like early house music. Two versions of 'Genevieve' offer shuffling rhythms and big horn stabs and stomping, ass-wiggling Afro-jazz.

On his third album Blizz Munich-based drummer and producer Simon Popp further blurs the line between electronic and organic sounds. In carefully crafted, slow-growing tracks tuned metal percussions cut through searing synth pads, sucking the listener into a sonic vortex.
Informed by personal and spiritual themes, Popp's debut album Laya, as well as his 2021 follow-up Devi make use of rhythms as storytelling mechanisms. Contrasting light and dark, organic and synthetic sounds, his compositions engage in a dance of subtle complexities, enticing the listener into the practice of close listening.
Throughout Blizz, a panopticon of metallophones takes flight, floating freely over earth-bound counter rhythms, conjuring up call and response techniques inherent in polyrhythmic music. This technique favors experimentation over perfectionism, leaving space for happy accidents to unlock new melodic possibilities. According to Popp, "it's much more interesting to try to push the boundaries of an instrument to see what's possible."

Moundrag members Camille and Colin from Paimpol, Brittany are giving a
new life to the 'hardprog' sub-genre
Camille plays Hammond organ, Colin plays drums, and both of them sing.
Moundrag clearly shows that you don't need a guitar to make rock music. They
have everything to have a massive and powerful sound: the Hammond organ
sound wrecks everything in its path like hurricanes, the drums rumble like a
storm, the vocals are dubbed, harmonized, highlighted, in that vintage rock style
that has been enjoying a revival for the last few years.
From their instruments to their look, everything is vintage, except them. However,
they seem to have come straight from a 1970s psychedelic trip! In any case, they
didn't forget to bring back the wild energy of the bands of that time to compose
their own music. Bold tracks with lacerating riffs, which evoke ELP, Atomic
Rooster and Deep Purple while adding their personal touch.
'Hic Sunt Moundrages' is the result of a journey where music, imagination and
visuals unite as one, transporting you into a transcendent universe.

2022 Repress

From Piero Umiliani, legendary soundtrack composer for numerous Italian movies of the 60s and 70s, and the man behind Mah nà Mah nà' (Muppet Show, Benny Hill, Sesame Street), the Omnicron label ("sound library' works) and the Sound Work Shop recording studio. - For fans of experimental music, avant-garde, synth experimentations, Ennio Morricone, Riz Ortolani, Giallo movies, Mondo movies, soft erotica, and wonderfully weird stuff. - The album is fully remastered for new levels of enjoyment. We Release Whatever The Fuck We Want Records is thrilled to announce the vinyl re-release of sought-after experimental gem Il Mondo Dei Romani by soundtrack and avant-garde maestro Piero Umiliani, remastered straight from the original reels and available for the first time since 1972! Originally recorded for a TV documentary about ancient Rome and released on Omnicron (Umiliani's label), Il Mondo Dei Romani finds Piero Umiliani experimenting with electronic instruments (his oscillators") to offer a fascinating rendition of what synthesizer-based avant-garde ancient Roman music would sound like - a weird and extremely hypnotizing retro-futuristic experience where faux cithara, lyre, organ, and trumpet sounds are driven by proto-techno sequences and minimalist rhythms. This brilliant electronic oddity is the perfect companion to WRWTFWW's previous Piero Umiliani release, Tra scienza e fantascienza, and is a limited edition of 500 orange vinyl LPs (no digital).

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

LAFMS primarily reached outside Los Angeles via word-of-mouth and the United States Postal Service, foreshadowing the self-publishing and cassette trading networks of post-punk and industrial subcultures. In 1976, Joe Potts solicited recordings from LAFMS affiliates and admirers to edit and compile I.D. Art #2, utilizing correspondence art's technique of "assemblings." (The first installment in this series was a magazine, and the third was a coloring book.) Potts received dozens of pieces by members of Le Forte Four, Doo-Dooettes, Smegma and Ace & Duce as well as painters, filmmakers and non-artists with few recording credits to their name, creating a delirious, winking sound-art collage of field recordings, voicemails and improvisations. Participants purchased time on the record and received one copy each of the finished LP, realizing the philosophy contained in LAFMS' motto: "The music is free, but you have to pay for the plastic, paper, ink, glue and stamps."

This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert.

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

Live At The Brand documents the second performance of newly formed LAFMS core groups Le Forte Four and Doo-Dooettes on July 8, 1976 at the recital hall of the Brand Library in Glendale. Le Forte Four (now joined by Tom Potts) did not actually perform live, but rather created 44 pyramid-shaped headphone helmets with internal quadraphonic speakers and countless wires in order to share their latest tape assemblages with showgoers deprived of sight. The recordings delivered in this Fluxus-inspired manner feature the Buchla synthesizer at nearby CalArts, radio interpolations, group improvisations, addled outbursts and splices from source material lost to time. Doo-Dooettes – Tom Recchion, Harold Schroeder, Juan Gomez, Dennis Duck and Fredrik Nilsen – performed a series of alternately droning and chaotic duets with guitar, percussion, piano, tape loops and synthesizer, all improvised around loosely structured compositions and culminating in a spontaneous group composition at the end of the program. Originally released in 1976, the double LP would be LAFMS' third release.

This first-time vinyl reissue is limited to 500 numbered copies. Comes with inserts.

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

In 1977, LAFMS released Blorp Esette, one of several compilations tracking the collective's growth and wild-eyed experimentation. Ace Farren Ford, an early LAFMS recruit from the Poo-Bah circle, produced the album and solicited cover artwork by Don Van Vliet (Captain Beefheart). Ford appears in various configurations alongside members of Smegma, Le Forte Four and "unknown artist" (as the credit for more than one piece reads). The Residents, showing their affinity with LAFMS, contributed "Whoopy Snorp" for their first non-Ralph Records release. Blorp Esette shows the artists grasping for new, non-idiomatic voicings and collaborative modes, anticipating LAFMS affiliates and offshoots such as Airway, Human Hands and Monitor. A second volume would come out in 1980, featuring Ford's punk band The Child Molesters. If you're looking for the missing link between mid-'70s art practice and outsider music, then look no further.

This first-time vinyl reissue is limited to 500 numbered copies. Comes with inserts.

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

Poo-Bah Records, with its import bins and backroom jam space, attracted the pseudonymous artists forming the initial incarnation of long-running collective Smegma. Early members Ju Suk Reet Meate, Dennis Duck, Cheez-it Ritz, Big Dirty, Amazon Bambiand Dr. Id contributed to various LAFMS compilations and combinations before several core members relocated to Portland, Oregon in 1975, where they recorded their debut album Glamour Girl 1941. Originally released on the LAFMS label in 1979, the LP combines rock instrumentation with tape, synthesizer, horns and voice in a tempestuous cauldron of anti-academy improv and alien noise. Beyond its roots in LAFMS, Smegma would help shape the early Portland punk scene in the late '70s alongside Wipers and Neo Boys. In more recent years, they have collaborated with Merzbow and Wolf Eyes.

This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert.

Y Bülbül is back on the controls accompanied by Yumurta, a percussionist from Istanbul. Pingipung introduced the London based artist in 2020 with his psychedelic, synth-laden debut “Fever”.

“Not One, Not Two” is based on a one-way transmission of improvised drum recordings from an industrial estate in Maslak, Istanbul to another one in Tottenham, London, where Y Bülbül laid down fragmented layers of bass, synths, guitars and field recordings over Yumurta’s singular drum takes. The result is a free-form deep listening album for fans of dub, ambient and kosmische music, where the groove and harmonies are mystically interwoven, yet somehow manage to stay on the brink of collapse. Although the sessions were non concurrent and scattered over two continents, the collaboration evokes scenes of a telepathic communion where individual perspectives, circumstances and stories are exchanged between the two.

Resembling Moondog, Holy Tongue or Luis Paniagua in the sense that they favor the raw over the polished, holistic presence over conceptual perfection and questions over answers, the duo’s focus on bare sounds and repetition guides the listener throughout the album. The ride cymbal opening the minimalistic “I’m This”, for instance, briskly disarms the listener who might have been looking for more traditional songwriting or production clues. There are plenty of immediately rewarding moments too in “Not One, Not Two,” like the organic acid bassline in “Maurin Quina”, the euphoric drum fills of “Big K” and the intoxicating groove of the hypnotic vibe-setter “Jah Oto”.

Bülbül is Turkish for a singing bird while Yumurta simply means egg. Which one is first? Who is to follow? It’s this enigmatic entanglement between the two artists which creates the lurking tension, emphasized by the Zen Kōan-like title. The beauty in this album is a peculiar one, and it certainly is a rabbit hole too. Dissonance is fluid as everything moves, and whenever two sounds collide, a third one emerges.

Second Editions presents a new collaborative work by Marja Ahti and Judith Hamann.

After their distinguished duet ‘Portals’ for Cafe Oto's Takuroku label, ‘A coincidence is perfect, intimate attunement’ is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in.

What are we opening ourselves to when we tune in to sound? How can one be truly open to a sound? How can the activity of recording move beyond notions of capture and release into more generative frames? Rather than a tool purposed for preservation or ‘conservation’ of memory, of time and place, can recording sound instead form new vibrant or vibratory spaces of attunement?

‘A coincidence..’ is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja & Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. ‘A coincidence..’ reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity.

Recordings & correspondances between 2020-2022. Mixed by Marja Ahti & Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Title quotation from Night Philosophy by Fanny Howe, Divided Publishing, 2020. Photogrpahy by Joshua Bonnetta. Thanks to Nino Bulling, Niko-Matti Ahti and leo. The work was supported by Kone Foundation, Akademie Schloss Solitude and NEUSTART KULTUR.

Marja Ahti (b. 1981) is a Swedish-Finnish composer and sound artist based in Turku, Finland. Ahti works with field recordings and other acoustic sound material combined with synthesizers and electronic feedback in order to find the space where these sounds start to communicate. She makes music that rides on waves of slowly warping harmonies and mutating textures – rough edged, yet precise compositions, rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active in the duo Ahti & Ahti with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

Judith Hamann is a cellist and performer/composer from Narrm/Melbourne in so-called Australia, currently based in Berlin. Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process based approach to creative practice. Currently Judith’s work is focused on an examination of expressions and manifestations of 'shaking’ in solo performance practice, a collection of works for cello and humming, as well as ongoing research surrounding ‘collapse’ as a generative imaginary surface, and the ‘de-mastering’ of bodies (human and non-human) in European settler-colonial heritage instrumental practice and pedagogy. Judith likes working with and thinking-with other artists which sometimes includes people like Joshua Bonnetta, Dennis Cooper, Charles Curtis, Golden Fur (with James Rushford and Sam Dunscombe), Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Yvette Janine Jackson, and Anike Joyce Sadiq.

Welcome to the enchanting Universe of Buddha-Bar This 4-CD box set offers a great selection of hypnotizing sounds, mostly unreleased captivating and exotic tracks. Crafted by the coolest Chill-Out & Organic House artists around the universe, this new selection will take you through the four galaxies of Mr. ID (Morocco), Milo Häfliger (Swiss), The Soul Brothers (Mexico) and Ravin (Buddha-Bar Paris resident DJ). Get ready for an interstellar odyssey, an escape through time and space, where reality fades into dreams, where music is the journey. Welcome to a new dimension, welcome to the Universe of Buddha-Bar

Johannes Schebler's musical output is all about establishing a dreamlike territory where sonic settlements can spread at ease. While Grykë Pyje (Johannes Schebler's duo with Jani Hirvonen) presents musical landscapes as open and clear spaces, Baldruin's miniature pieces tend to narrow them down, zooming into domestic sceneries that shift like malleable rooms inside a magic building. These are the quarters where the inhabitants of Schebler's musical world are configured.

Rendered in a tender manner, the tunes in Kleine Freuden (in English: small joys) unfold like a collection of fairy tales and bedtime stories. Fables and lullabies performed in whispering tones seem to carry us through a child's dream where images blend into each other. Compact, yet gauzy and free flowing melodies gather up revealing an ensemble of households where fanciful entities play care freely, leading us along their musical maze. The music is placid, childlike and playful. It wanders around in unwavering estrangement, organizing an unprecedented and intimate space as seen from a bird's eye view.

In the landscape of a bedroom where the night lamp is the sun, we take part in a lively journey, as wonder is warrant and keeper of a warm and pristine environment. Perspective shifts as we rise from bed sheet folds that turn into fragile mountain ranges. We crawl behind furniture and take shelter in secret hideouts while dust falls upon us like a blizzard. Transfiguring notions of scale and time, we are left wondering how long have we been here, wondering if music is the only true measurement of time.

A slice of Norwegian cultural history in album form – a unique
interpretation of traditional Norwegian Travellers' songs.Elias Akselsen,
Ola Kvernberg and Stian Carstensen take us on a journey through
Norwegian music history
The album's title, "Horta", means "authentic" in the language of the Travellers,
Romani. Elias Akselsen (74) is a member of the oldest generation who knew and
can remember the "authentic" life of the Travellers, and is today one of the
foremost representatives of the musical heritage of the Norwegian Travellers/
Roma. He was born on the road and learned to play and sing the traditional songs
while gathered around the bonfire with his relatives. He has a deep and inborn
appreciation of these songs. Musician/producer Stian Carstensen and musician/
arranger Ola Kvernberg join him in raising these old songs to a new level. With the
addition of guest artists Anita Kleppe and Sara Wilhelmsen, three voices from
three generations of Travellers meet one another. Together they have recorded
their unique interpretations of nine Travellers' songs, some known and some
unfamiliar, with the aim of preserving and carrying on the rich, but partly hidden,
cultural heritage of the Travellers, and of making it more widely accessible.
The musical tradition of the Travellers is vivid and complex, featuring elements
from a variety of countries and cultures – from broadside ballads and folk songs
to Russian folk tunes and Balkan rhythms. In many ways this music bears
witness to the way the Travellers drew musical inspiration from their travels. In
addition to the treasure trove of songs the Travellers have kept alive, they have
also had a strong influence on Norwegian folk music. Many traditional fiddle
tunes that are well known today can be traced back to the Traveller fiddler FantKarl, and one of Norway's most famous fiddlers, Myllarguten, often learned tunes
from Travellers passing by.
This is the Norwegian equivalent of blues and soul, and has at least as much
authenticity as the American genres we know so well. But it belongs to us
Norwegians, and to the Norwegian landscape, nature and people. Today Akselsen
is the leading practitioner of the musical heritage of the Norwegian Travellers/
Roma. He was born on the road, with genuine Travellers on both sides of his
family; he was the great-grandchild of the "Traveller king" Stor-Johan on one side,
and of "sea vagabonds" in Bergen on the other. Today he is the last remaining
representative of the original song tradition, and also practises traditional
handicrafts, making knives and whisks.
The album was produced by Skøyerstaten Teater, a voluntary organisation that
works to present the cultural treasure trove of the Travellers/Roma in an artistic
form

Secret Affair recorded live at the O2 Academy Islington London on the
23rd October 2010
Line up:
Ian Page - Vocals
David Cairns - Guitars, backing vocals
Martyn Blagden - Trumpet
Steve Rinaldi - Trombone
Andy Brush - Saxophone
Bryn Barkham - Hammond organ
Sean Kelly - Bass
Russ Baxter - Drums
Advertising in Record Collector and Shindig

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

For Fans Of: Bacao Rhythm & Steel Band, Menahan Street Band, El Michels Affair, The Poets Of Rhythm. Debut LP from The Winston Brothers! Featuring members of Bacao Rhythm & Steel Band. Hot on the heels of their debut 45 released on Colemine Records, German funk powerhouse The Winston Brothers re-up with their first-ever full length LP. “DRIFT” is the name of the game, presenting eleven versatile cuts to invite listeners on an all-instrumental trip back to the future of funk. But make no mistake: Though audibly steeped in the deep funk tradition, this retrophile outfit is anything but dusty. The Winston Brothers are a modular studio project by Hamburg-based multi-instrumentalist and producer Sebastian Nagel (The Mighty Mocambos, Bacao Rhythm & Steel Band) and drummer / percussionist extraordinaire Lucas Kochbeck (The KBCS, Bacao Rhythm & Steel Band, Hamburg Spinners). Industry veterans with a penchant for analog music production, the two combine a boom bap state of mind with well-rounded funk acumen and able frequent collaborators to create dynamic arrangements that are both an audible nod to the genre’s past as well as a contemporary blend of like-minded organic styles. Lacing heavy drums with juicy breaks, headnodic grooves, scorching riffs and melodic instrumentation, “DRIFT” draws on the raw energy inherent to ‘60s / ‘70s funk and takes it from there. Catchy, repetitive motifs gain musical momentum as they evolve into vibrant and autonomous soundscapes with a distinct drive of their own, ranging from incendiary to more laid-back and almost dreamlike. Strutting an irresistible bounce to their step, The Winston Brothers are poised to light up dance floors, river cruises and backyard BBQs alike. Catch our drift? Tracks: 1. Winston Theme 2. Boiling Pot 3. Hang On 4. Drift 5. Northern Light 6. Metering 7. One Thing 8. Free Ride 9. High Life 10. Think 11. Brother's Strut

For fans of - Booker T & The MGs, James Taylor Quartet, Georgie Fame, Big Boss Man. Groovy Hammond garage rock instrumentals from Billy Childish (Thee Headcoats/CTMF etc) and featuring James Taylor (Prisoners/JTQ) We’re loving this new album by The Guy Hamper Trio! Who’s in the band sunshine? Mainly myself on guitar, Julie on bass, Wolf on drums, and of course Jamie on Hammond. A great bonus is Thee Headcoats with Bruce and Tub guest as rhythm section on a track or two. You and James Taylor go back a long way. Do you remember how you first met? The Prisoners were a young group who played with us (the Milkshakes) in the early 1980s. One day they turned up with an organ player, Jamie. Jamie used to then borrow my Selmer guitar amp to play through. You’ve revisited a few old classics on this album, and given them a true makeover. How would you describe The Guy Hamper Trio’s sound? I guess there must be a derogatory term for it but I might need some help finding it. In the very early days of The James Taylor Quartet (Wolf was their drummer back then), I was in the Natural Born Lovers (A blues group with Big Russ and Sexton Ming). We used to be the support for them. I really liked their sound and I guess The Guy Hamper Trio is not a million miles from that blues-influenced, film soundtrack vibe, man. There you made me say “man”. Next thing you know I will be saying “cool!” Let’s just say it's a wizard sound, Jamie is such a great player. Prior to this album The Guy Hamper Trio’s sole release was the ‘Polygraph Test’ 7” from 2009. Why such a big gap? It takes time for all of us to get all our solders in line. “Get on with it mush! And trifle not, your time is but short!” What inspired the album’s title track All The Poisons In the Mud? It’s actually the title of a novel I’ve been writing, and rewriting, over the past 12 years, and is taken from a quote from I Claudius by Robert Graves - a formative influence on me as a 15 year old. The sleeve art is pretty different to your other recent records, could you tell us a about that? Who designed it? I nominally designed it but the truth is that it's essentially a rip off of a Saul Bass sleeve he did for Duke Ellington. We started mining that seam back in the Milkshakes when Bruce (Brand) did the sleeve for Thee Knights of Trashe. The album closes with a storming cover of Jimi Hendrix’s “Fire”. What do you think Jimi would make of your version? I've been a fan of Jimi since my elder brother brought his records home in the '60s. Jimi was well known to “dig” others work and interpretations and would no doubt smile, narrow his smoky eyes and say “cool man!” and I would no doubt reply "wizard Jimi!" TRACKLISTING 1. All The Poisons in the Mud 2. Come Into My Life 3. Moon of the Popping Trees 4. Girl From '62 5. Full Eclipse of the Sun 6. Sally Sensation 7. 7% Solution 8. Step Out 9. Polygraph Test 10. The Kids are all Square 11. Skinwalker 12. Fire

Formed approximately three years ago, before the world changed (temporarily?), Odd Men Out are something of a garage-psych international super-group, with members originally hailing from Italy, Spain and the UK, brought together in the sprawling megalopolis of London in the sticky heat of summer 2019. Lois (drums) and Alessandro (guitar, organ, vocals) had already been playing together in legendary freakbeat trio The Embrooks since '96 (with a 10-year hiatus between 2005 and '15), while bassman Bruno had served time with moody-psych-turned-spiky-British-Beat exponents The Liquorice Experiment and Looking Glass Alice. The untried 'x' factor in this equation is frontman, guitarist, songwriter Nicolino whose love of moody 12-string folk rock and florid psychedelia shapes the overall sound of the band. Late in 2019, the quartet gathered at North Down Sound Studios in south east Kent to record the material presented here. Engineer and State Records mogul Mole was at the controls, manipulating the analogue 8-track recorder to capture the best and most exciting vibes they could offer, in a swirling sea of reverb and audio compression. Tracked predominantly live with a bare minimum of overdubs, this is classic 60s-inspired garage-psych, with elements of The Lemon Drops, Basement Wall and The Baroques to name but a few, yet the four never let their influences get in the way of producing quality original material. The pandemic caused many cancellations and postponements, but Dirty Water Records and Odd Men Out are finally ready to unleash this almighty beast!

Track list:
1. Summer 2. Magic Fudge 3. Mary B 4. Can’t Get Over 5. Big Worries (Big Troubles) 6. Look At Her 7. No 8. Knock On My Door

On her Signature Sounds debut Til It's Gone, Ali McGuirk delivers a sublime set of songs that pairs her trademark soul sound with rootsy turns and raw rock n' roll detours McGuirk co-produced Til It's Gone with Jonah Tolchin (a star singer-songwriter in his own right) and a set of session legends: Little Feat guitarist/mandolinist Fred Tackett, organist Larry Goldings (James Taylor, Norah Jones), singer Valerie Pinkston (Ray Charles, Luther Vandross), percussionist Lenny Castro (Stevie Nicks, Stevie Wonder). They provided the astounding chops, but the true magic of the album comes from McGuirk's singular voice as both singer and songwriter. The nine tracks run from intimate introspection to wider meditations on oppression and justice, from tough r&b and tender soul to big rock guitar and twangy folk. And McGuirk's voice bold, buttery, spellbinding " carries each song to the next til they're gone.

Revealing a more expansive and reflective dimension to his sound, Tammo Hesselink produces a varied set of deep tools on Blank Mind’s eighteenth release. Tammo’s sound-design is crisp, unique and organic - built with an instinctive sense created from personally recorded percussive recordings.

'Silicon' is a lethal masterstroke in propulsive minimalism, bridging between broken styles and fluid minimalism, and has already featured across clubs and festivals this summer.

Whilst 'BBR', 'Lesssim' and 'First Supposed' are waking-dream like psychedelic trips. The experimentation concludes with blinding down-tempo roller 'There is One Thing'.

One of the rarest private pressings from the US, originally released in 1972 by this band from Mansfiel, Ohio. Psychedelic hard rock with a charming, homemade feel. Including the monster psych opus "Song Of A Sinner" plus more cool tracks with great guitar/organ interplay.

*Sourced from the original master tapes

*Hard cardboard sleeve + OBI

*Insert with liner notes by band member Steve Geary and photos

*Digital Download Card

"...one of the original legends of the private and local press scene..."
- Patrick Lundborg (Acid Archives)

Delights label is wrapping the year 2022 with yet another project from the restless minds of Shay Landa and Markey Funk.

With Voxatone, the two set to explore the otherworldly sound qualities of vintage keyboards with "vox" in their name: the 1950s Univox keyboard, the 60s Vox Continental organ and the 80s Soviet Polivoks synthesizer. Joined by Elia Yakin on drums and Estonia's most prolific artist today, Misha Panfilov, - on Vox Phantom bass, Shay and Markey have crafted yet another way-out groovy psych double-sider: the mid-tempo mind-bender "Figure I.108" and the upbeat floor-stormer "Figure III.122" - on the flip.

Wah Wah 45s are proud to present a new set of remixes, as well as originals released on vinyl for the very first time, from Afrobeat supergroupEparapo. Having come togetherduring the unprecedented events of the pandemic and the Black Lives Matter movement, and despite being a project born from the privations of lockdown, their music is ultimately an expression of hope, resilience & resurgence.

The word "eparapo" means "join forces" in Yoruba, the language of Afrobeat. It's also the title of a track by the late, greatTony Allen- drummer for Afrobeat legendFela Kutiand lifelong friend and mentor of our very own "Afrobeat Ambassador",Dele Sosimi. Not only did Tony help to invent Afrobeat, he always looked for ways to push the boundaries, never content with recreating what had gone before but constantly expanding and developing the genre. This project hopes to pay homage to his legacy, and that of Fela Kuti himself. Its aim is to innovate, fuse and diversify while still retaining the essence of the music.

The force behind Eparapo is bassist, composer & producerSuman Joshi.He has been a member of Dele Sosimi's Afrobeat Orchestra for nearly a decade and has performed on stage with the likes of Tony Allen, Seun Kuti, Ginger Baker & Laura Mvula. He is also bassist with UK jazz ensemble Collocutor and fusion project Cubafrobeat.

Featured vocalist on both original tracks, and remixes, is the aforementioned Dele Sosimi - keyboard player and musical director for Fela's Egypt 80 as well as Wah Wah 45s recording artist on both his solo material and the recent collaboration with house music producer, Medlar.

The rest of the group comprises of bandleader ofAfrik Bawantuand percussionist for Ibibio Sound Machine and Keleketla,Afla Sackey; highly rated UK jazz vocalistSahra Gure; saxophonist, composer, producer and bandleader of the renowned forward thinking jazz outfit Collocutor,Tamar Obsorn; keyboard player, producer and front man for Lokkhi Terra and Cubafrobeat,Kishon Khan; one of the UK's finest and most in demand trumpeters,Graeme Flowers, who has played with Quincy Jones, Gregory Porter and many more; trombonist for Bellowhead and mainstay of Dele's Afrobeat Orchestra,Justin Thurgur; and finally drummer for Steamdown and Sons of Kemet, as well as the man behind the Nache project,Eddie Wakili Hick.

From London To Lagoswas inspired by a talk given by writerRoberto Savianoat the Hay Book Festival in 2016, just before the Brexit referendum. In it he described the UK as the "most corrupt country in the world". This was a reminder of how the leaders of so-called developed countries, conveniently suffering from colonial amnesia, still point disparagingly at the rest of the world and talk of "endemic corruption" and "Banana Republics". All the while the ill-gotten gains of organised crime syndicates, corrupt multinationals and military juntas across the globe are funnelled through financial centres such as London. Same trouble, different methods, greater scale. Of course the best way to divert the population from all this is to find distractions such as populist leaders who declare their countries "world beating" and scapegoats such as refugees, immigrants and other members of the underclasses. It has always been thus but it doesn't always have to be so.

This track was once more recorded remotely during lockdown and features an all star lineup of world class musicians from the UK Afrobeat and jazz scenes. Members of the Dele Sosimi Afrobeat Orchestra, Keleketla, Sons of Kemet and beyond have come together to create this powerhouse of a band. They encapsulate the meaning of "eparapo" and "join forces'' to fight a common enemy in the shape of corrupt and divisive ideologies.

Its remix comes fromWheelUP- the moniker of West London broken beat revivalist Danny Wheeler, who here delivers something of a smoother straight up Afro flavoured house workout that's sure to be heard across dance floors and festivals this summer. The Tru Thoughts signed artist adds gliding synths and tight drums that ride the original's hypnotic melody perfectly and make for a future club classic.

Black Lives Matterwas obviously inspired by the movement of the same name and was the first track to be released by Eparapo in late 2020. Dele's voice tell the story slave ships leaving West Africa in the fifteenth century, the brutal conditions that were experienced on board, and the continued suffering of the African diaspora today. As always, half of the artist's income for this song will be donated to the NAACP - a civil rights organisation in the United States, created for the advancement of black people by means of following judicial policies.


The remix here comes from Birmingham based producer signed to Jalapeno Records,Sam Redmore. Sam's love for breaks and beats comes into play well here, subtly chopping up the original to create a bass worrying version that still sends that very important message of justice and equality - Black Lives Matter!

a 01: From London to Lagos (WheelUP Remix) feat. Dele Sosimi

[c] 03: Black Lives Matter (Sam Redmore Remix) [feat. Dele Sosimi]

Pusher returns to his own Indicate at the end of October with the two-track ‘Pianos By Day / Sounds Like Voodoo’ EP. Over the past few years Ireland’s Pusher has been unveiling a series of EPs on his own Indicate imprint, showcasing his own twist on contemporary House while stirring in elements of progressive, trance and electronica throughout. Here Pusher offers up the eighth release on the label and leading the way is ‘Pianos By Day’, as the name would suggest a piano laden, sun-drenched house anthem laid out across six and half minutes with robust, swinging drums, bumpy bass stabs and a sweeping, filtered hook at its core.
‘Sounds Like Voodoo’ follows on the flip side and embraces a more classic tech house feel via gritty bass stabs, intricately intertwined synth sequences, metallic melodies and playful vocal chants running atop an up-tempo organic drum groove throughout.

The second volume of El Búho's "Tributaries" remix compilation series brings together 14 more remixes from UK born producer and remix extraordinaire Robin Perkins aka El Búho. Building on 2018's first volume, the evolution of the producer's sound and influences becomes clear. The album is threaded together by reinterpretations of traditional music in a new electronic-organic context. Be it Galician, Estonian, Colombian, Irish, Garifuna, Reunionnaise or Frenchfolkmusic, El Búho makes his own unique tribute to the originals, bringing them into his owlish universe.

The album mixes club-ready bangers with beautiful and moving interpretations, easily making sense both in your living room or behind the decks. We are treated to a wide delta of influences, styles and sounds, moving between the slow, psychedelic electronic cumbia take on Chadian group Pulo NDJ's Dabadji Am Alcorama across the Atlantic to the upbeat, dancefloor fire remix of Garifuna Collective Ideruni, from an anthemic version of No Más Velorio by Colombia's Plu Con Pla to a refreshing, driving remix of up and coming Reunionnaise producer Eat My Butterfly.

Tributaries offers both a nod to the past, paying tribute to traditions andfolkmusic around the world, and a vision of the future, carving out new channels and directions, transporting the flows of the past into the future.




d 04: Biomigrant - La Muerte (El Búho Remix) feat. Toño García & Fredys Arrieta
[e] 05: Eat My Butterfly - Dann Ton Zié (El Búho Remix) [feat. Sibu Manaï]

[g] 07: The Garifuna Collective - Ideruni (Help) [El Búho Remix]

Having first met in 1991, music photographer STEVE GULLICK and JAMES JOHNSTON, founder of Gallon Drunk, began blurring the boundaries between audio and visual in 2004 when they formed their own band, '...bender'. They’ve maintained the habit ever since, with Gullick subsequently founding Tenebrous Liar and Johnston pursuing a career, alongside his work with PJ Harvey and a tenure in Nick Cave & The Bad Seeds, as an acclaimed visual artist and painter.After working together on an art show in late 2019, the idea of making music again immediately resurfaced. Without any firm strategy, Johnston and Gullick began recording, unprompted, drawing upon a shared love of noise, folk, and classical. This became the album ‘We Travel Time’, a compelling and mysterious record that bravely embraced beautiful piano, voice, violin, and guitar to create a drifting haze, forging an imagined soundtrack which offers echoes of Big Star, Nico, Lee Hazlewood and Palace Brothers alongside the haunting influence of contemporary minimal classical. Due for release this coming November 18th via God Unknown Records, Johnston and Gullick have returned to their craft to create a stunning new selection of songs and moods, brought together for the album ‘Everybody’s Sunset’. Recorded at their homes throughout 2021 and 2022, the ten songs on this new album take the fragile intimacy and agenda-free approach of its predecessor and go out even further into the fringes of tone and feeling. Utilising a vast selection of instruments between them (violin, organ, guitar, banjo, autoharp, harmonica, piano, synthesisers….), ‘Everybody’s Sunset’ ebbs and flows, bringing different instruments and signals to the fore as the album progresses. a bold, adventurous musical trip that finds Johnston and Gullick’s musical bond grow ever deeper and closer. Tune in and watch the Sunset glow. All songs written, arranged and recorded by James Johnston and Steve Gullick James Johnston: Violin, voice, organ, piano, guitar, banjo, autoharp. Steve Gullick: Voice, guitar, piano, organ, harmonica, harmonium. 1. The Moon & The Stars 2. Shimmer 3. Fear of Everything 4. Save Our Souls 5. Ice Moon 6. The Town That Couldn't Sleep 7. Medieval Death Song 8. Greater Silence 9. Who I Who 10. Everybody's Sunset

Hot on the heels of their debut 45 released on Colemine Records, German funk powerhouse The Winston Brothers re-up with their first-ever full length LP. "DRIFT" is the name of the game, presenting eleven versatile cuts to invite listeners on an all-instrumental trip back to the future of funk. But make no mistake: Though audibly steeped in the deep funk tradition, this retrophile outfit is anything but dusty. The Winston Brothers are a modular studio project by Hamburg-based multi-instrumentalist and producer Sebastian Nagel (The Mighty Mocambos, Bacao Rhythm & Steel Band) and drummer / percussionist extraordinaire Lucas Kochbeck (The KBCS, Bacao Rhythm & Steel Band, Hamburg Spinners). Industry veterans with a penchant for analog music production, the two combine a boom bap state of mind with well-rounded funk acumen and able frequent collaborators to create dynamic arrangements that are both an audible nod to the genre's past as well as a contemporary blend of like-minded organic styles. Lacing heavy drums with juicy breaks, headnodic grooves, scorching riffs and melodic instrumentation, "DRIFT" draws on the raw energy inherent to `60s / `70s funk and takes it from there. Catchy, repetitive motifs gain musical momentum as they evolve into vibrant and autonomous soundscapes with a distinct drive of their own, ranging from incendiary to more laid-back and almost dreamlike. Strutting an irresistible bounce to their step, The Winston Brothers are poised to light up dance floors, river cruises and backyard BBQs alike. Catch our drift?

True concept albums are actually few and far between. While it can be said that The Who’s Tommy and Quadrophenia, or Pink Floyd’s The Wall were designed from the ground up, that’s not necessarily the case for equally mythical, yet composite, albums such as Bowie’s The Rise And Fall of Ziggy Stardust…, or Lou Reed’s Berlin. In France, the genre established its pedigree in the 1970s with Serge Gainsbourg, then in the early 1980s with Léo Ferré. Cri d'amour by Mélanie Chédeville adds to this list of albums that tell a story through characters.

Cri d'amour was produced in a seaside setting, which may explain its flowing, organic character. It is all by herself that the violinist-by-training composed, wrote and arranged this collection of string-drenched songs that recall Jean-Claude Vannier’s work for Serge Gainsbourg. The latter would undoubtedly have been impressed by Mélanie’s fine-cut lyrics and melodies that are as raw as they are sophisticated, vocalized in a sprechgesang recalling his own. The deliberately retro palette, up to the bass sound so typical of 1960s English rock, betrays an artist indebted to the creator of Bonnie & Clyde and Initials B.B. through a sensual, clear tonality. Yet, polyrhythms borrowed from the late afro-beat legend Tony Allen, and the touches of guitar, piano, percussion and synthesizers distilled here and there by Éric and Mélanie, end up giving the whole affair a resolutely atemporal color.

Mélanie was sixteen with a head full of Beethoven and Brahms when she succumbed to an unexpected fascination for the world of Éric, a pianist, composer and sound engineer, who regularly delivered scores for Marc Dorcel’s X-rated films. She evokes him in L'Alpha-bêta and Le Pornographe, through whispered choruses that would suit the late Julee Cruise or Vanessa Daou to a tee, and explicit allusions to a “sword of Damocles” of “XXL” dimensions.

These are not the only texts on this album that remind us of the Franco-American author Anaïn Nin’s erotic poems, a model that Mélanie willingly takes on, adding to the list of her literary influences alongside Apollinaire and his Debauched Hospodar:

Some may find this album old-fashioned, which, far from being a flaw, is a credit to the fine musician that Mélanie is. Others will call it a charming album, which is not a bad way to describe it, provided that it is a powerfully relentless charm.

Bari-based producer Frhanks visits Bucharest via Chicago on this organic and entirely distinctive EP for Lisbon label Welt Discos. ‘Bonus Beat’ is a raw blend of jazz and jack trax that leaps straight out of the Music Box to slap you round the face. The extended meditation of ‘Spring’ adorns a minimal groove with delicately plucked improvisation, striking a pastoral mood for the first glimmers of daylight. On the flip, ‘When Is Time To Go Home’ trips along like a late morning walk back to the tent, caught somewhere reassuring between reverence and whimsy.

20th Anniversary Edition of the Grammy Award Winning album by the King of Rock ‘n’ Soul - the great Solomon Burke. Newly mastered and includes the bonus track “I Need A Holiday”. The newly packaged
booklet includes exclusive photos from the recording session and new liner notes.

Recorded live in the studio in a raw, organic style by Joe Henry, the album features new compositions by writers and artists including Bob Dylan, Van Morrison, Tom Waits, Elvis Costello, Barry Mann & Cynthia Weil, Nick Lowe, Brian Wilson, Joe Henry and Dan Penn, all of whom credit Solomon with deeply influencing their work. None of these songs have ever been released commercially before now, and Solomon makes each of them his own with his dynamic delivery.

Clear Vinyl

th Anniversary Edition of the Grammy Award Winning album by the King of Rock ‘n’ Soul - the great Solomon Burke. Newly mastered and includes the bonus track “I Need A Holiday”. The newly packaged
booklet includes exclusive photos from the recording session and new liner notes.

Recorded live in the studio in a raw, organic style by Joe Henry, the album features new compositions by writers and artists including Bob Dylan, Van Morrison, Tom Waits, Elvis Costello, Barry Mann & Cynthia Weil, Nick Lowe, Brian Wilson, Joe Henry and Dan Penn, all of whom credit Solomon with deeply influencing their work. None of these songs have ever been released commercially before now, and Solomon makes each of them his own with his dynamic delivery.

Berlin electronic duo Donna Regina recorded two songs for the 10th edition of the Snowflakes Christmas Singles Club. In ‘Weihnachten Woanders’ (‘Christmas Somewhere Else’), singer Regina Janssen reflects on how it feels to spend Christmas away from home. Somewhere else, in a strange town where nobody knows your name and no one is waiting for you. You miss the familiar sounds of Christmas, like the child that sings ‘Stille Nacht’ and you dream of being home again. It’s a feeling many people can relate to. Especially this year, a year in which so many people were forced to flee from their homes. Günter Janssen, the other half of Donna Regina and Regina’s husband, lays down a minimalistic tapestry of synths and drum rolls. A loop of street sounds, a sample taken from sound artist Paula Schopf’s 2021 album ‘Especios En Soledad’, forces its way into the song, and in the end overpowers voice and other instruments. ‘Weihnachten Woanders’ very much captures the year 2022 and the worrying times we are living in, in both lyrics and music.

‘Christmas With You’, the B-side of the single, was originally written and recorded by Polish indie band Old Time Radio for their 2009 Christmas album 'Sketches For Another Christmas Songbook'. Donna Regina again goes for a minimalistic electronic sound, but also adds a certain melancholy to the song. Partly due to the synths that in places resemble the sound of an organ, an instrument that appeared on so many Christmas recordings from the 1950s and early 1960s. The love-hate relationship many people have with Christmas is perfectly laid down in the lyrics: “We watch the cartoons / We sing out of tune / Kiss by the fireplace / Listen to those horrible songs / Do we know / It’s Christmas time at all?”.

Regina and Donna Janssen debuted as Donna Regina in 1990 with the single 'Avec Le Temps' and released their debut album 'Lazing Away' in 1992 on Our Choice, a German sublabel of Rough Trade. In 1999, after four albums on Strange Ways Records, they signed to their current label Karaoke Kalk. Since then, they have released eight albums for the label. In 2015, Karaoke Kalk also released 'Dis Cover', a compilation of Donna Regina songs recorded by other artists like Dean & Britta, Bernard Burgalat, Mouse On Mars and many others. Donna Regina’s songs have been featured on compilations of labels like Rough Trade, Sonar Kollektiv, Klant Elektronik, Milan and Rolling Stone. Donna Regina was not Günther’s first band. In the early 1980s he was part of a Neue Deutsche Welle act with a very Christmas-related name: Heilige 3 Köninge ('Holy 3 Kings'). Their sole album, 1982's 'Zum Teufel Met Dem Kamel' has become very collectable. Günther was also featured as songwriter and musician on German singer Romie Singh's 1986 CBS album 'Masters' and later ventured into writing music for television and film. Regina Janssen also recorded as a vocalist with French musician Bertrand Burgalat, and sang several songs on his 2005 album ‘Portrait-Robot”.

RIGHTFUL RULER returns the legendary Jamaican vocalist Earl 16 to the center stage of international roots reggae music. This four song showcase style ep demonstrates that matching an A-class veteran singer/ songwriter with the sounds of the Zion I Kings (ZIK) production team serves to revitalize the musical forces long associated with the classic reggae tradition- roots, reality, and culture!

Earl 16's career now spans five decades and is marked by hits and highlights throughout. HIs Jamaican recordings from the cornerstone studios (Studio One, Black Ark, Channel One) are still sought after gems from the golden age. But, unlike many of his peers, Earl 16 successfully adopted the changing sounds and styles of reggae in the U.K.(where he resides) and collaborated with top producers like Mad Professor and Nick Mannaseh. He has remained current into the new millennium with "Release The Pressure", a notable vocal to LeftField's breakthrough drum & bass hit.

The all star lineup of musicians on RIGHTFUL RULER is anchored by drums provided by ace producer and multi-instrumentalist Roberto Sanchez (A-Lone Productions). Keyboards by Pau "Nattykeyz" Dangla Valls and trumpet by Patrick "Aba Ariginal" Tenyue complement the rhythmic foundations set by ZIK core players David "JAH David" Goldfine (bass) and Laurent "Tippy I" Alfred (rhythm guitar, piano, organ). Sheldon Bernard's flute and Errol "Blacksteel" Nicholson's background vocals are heard on the title track and lead guitars by David Prout and Andrew "Moon" Bain appear on "Find A Way", a feature with the dynamic toasting of Mr. Williamz. All dub mixes are done by JAH David with cover art by Ato K.D. Roberts .

TELE MUSIC is a label of Éditions Musicales Sforzando now owned by BMG Production Music. It is entirely devoted to the music library, that is to say, music for sound illustration used in audiovisual productions. Created in 1966 by Roger Tokarz,
just before advertising was allowed on French television, Editions Sforzando specialized from the outset in sound illustration for radio and television.
This collection, soberly entitled “Volume 2”, is the sequel to “Volume 1”, produced with equal care, passion and fervour by Lord Funk & DJ L.C. In the mid-90s, Tele Music vinyl was sold at ridiculously low prices. Often disparaged by collectors and record shops, considered by some as lift music or vulgarly called “music by the meter”, the music store was only of interest to fans of instrumental music! But in the 2000's, it had a second life and saw its prices soar on Discogs, thanks to sampling and digging in Hip-Hop mainly. This advent of the library is an era that Lord Funk, curator of this compilation, experienced when he brought several music library collections to New York City (NYC) to his A1 Records stronghold in 1997.
In this 2nd volume, Lord Funk & DJ L.C. have chosen a range of music from 1969 to 1983, from psychedelic jazz to electro funk via rnb, soul and jazz-funk. Most of the titles in this collection were recorded in the magic place that was the famous CBE recording studio set up by Georges Chatelain, Janine Bisson and Bernard Estardy. Bernard, nicknamed the giant, was a sound genius and a mixing perfectionist. Georges Chatelain was an electronic engineer. Together, they brought a sound,
a colour, a trademark. Bernard Estardy was also considered as one of the greatest French sound engineers and an energetic organist for Nino Ferrer or Nancy Holloway. We warmly thank Julie Estardy for her total and unreserved involvement in these reissue and compilation projects.
The combination of all these prodigies has given TELE MUSIC a phenomenal and unique sound colour in the service of a sound repertoire that is now part of the French heritage.

During the last decade Pedro Alves Sousa has been establishing himself as one of the most inventive and creative musicians of his generation. He is a self-taught musician and continues to learn how to play his saxophone every day. His label Futuro Familiar is born out of the idea that he needed to mark some of his creative evolutions and create more specific paths for his career. “Rahu” and “Ketu” were recorded in 2016 and 2017 with a group of musicians: Alex Zhang Hungtai (Dirty Beaches), Gabriel Ferrandini, Júlia Reis, David Maranha and Pedro Alves Sousa. Both start with the idea of free jazz but soon develop into other stages, manifesting mostly an idea of sound instead of music.

Recorded at Galeria Zé dos Bois, Lisbon, 12-05-2016, by Cristiano Nunes.
Mixed by Pedro Alves Sousa, Edited and co-edited by Pedro Alves Sousa and Gabriel Ferrandini, Mastered by James Plotkin.
Cover by Fátima Moreno

Alex Zhang Hungtai - Percussion ; Saxophone
Pedro Alves Sousa - Percussion ; Saxophone ; electronics
David Maranha - Percussion ; organ
Gabriel Ferrandini - Percussion
Júlia Reis - Percussion


[a] a1 | RAHU
[b] b1 | RAHU

During the last decade Pedro Alves Sousa has been establishing himself as one of the most inventive and creative musicians of his generation. He is a self-taught musician and continues to learn how to play his saxophone every day. His label Futuro Familiar is born out of the idea that he needed to mark some of his creative evolutions and create more specific paths for his career. “Rahu” and “Ketu” were recorded in 2016 and 2017 with a group of musicians: Alex Zhang Hungtai (Dirty Beaches), Gabriel Ferrandini, Júlia Reis, David Maranha and Pedro Alves Sousa. Both start with the idea of free jazz but soon develop into other stages, manifesting mostly an idea of sound instead of music.

Recorded at Galeria Zé dos Bois, Lisbon, 29-12-2017, by Cristiano Nunes.
Mixed by Pedro Alves Sousa, Edited and co-edited by Pedro Alves Sousa and Gabriel Ferrandini, Mastered by James Plotkin.
Cover by Fátima Moreno

Alex Zhang Hungtai - Percussion ; Saxophone ; Drumpad
Pedro Alves Sousa - Percussion ; Saxophone ; Electronics ; Flute
David Maranha - Percussion ; Organ ; Flute
Gabriel Ferrandini - Percussion ; Electronics ; Flute


[a] a1 | KETU
[b] b1 | RAHU