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This album features Pharoah Sanders playing some no-nonsense tenor in a quartet with pianist John Hicks, bassist Walter Booker, and drummer Idris Muhammad. Sanders performs "It's Easy to Remember" (in a style very reminiscent of early-'60s John Coltrane), an original blues, and two of his compositions, including the passionate "You've Got to Have Freedom."

The musicianship is at a high level and, although Sanders does not shriek as much as one might hope (the Trane-ish influence was particularly strong during this relatively mellow period), he is in fine form. Review by Scott Yanow/AMG

Beware! This is hot stuff! Wear asbestos clothing while listening. Four world-class musicians at the very pinnacle of their art relating closely to one another in the vortex of a cyclone of jazz music. They're all burning, but listen particularly to John Hicks (R.I.P Mr. Hicks) on "DOKTOR PITT." Is he not the best thing to happen to the keyboard since McCoy Tyner? And when I state John Hicks was burning, if you've ever had the opportunity to view the video of this performance (maybe still on YouTube) recorded at the Great American Music Hall in 1981, you'll see
Mr. Hicks melting with perspiration. That's cookin' brother...
review by James S. Grogan

At the time of release Ebony reviewer Phyl Garland said "One needn't be a "piano freak" to appreciate a truly new recording. First of all imagine seven gifted and talented pianists sitting down to seven grand pianos and proceeding to tear up these instruments - musically, that is. ...the torrent of sound springing from their 70 fingers is so powerful and majestic as to be unlike anything one has ever heard."

The next release on Phase Group is a truly singular and original album from Rotterdam-based producer Ayaz.

With ‘Unpinned’ Ayaz presents a window into a uniquely crafted and highly personal sonic environment, where intercepted radio broadcasts tune in and out of focus, modulating drones echo through cavernous space and the sound of experimental synth explorations are layered over heady dub-laden beat work, deep bass lines and expertly programmed traditional sampled artefacts from the music of his native Azerbaijan.

This is an uncanny and evocative sound universe both cinematic and driving, music that would work equally scoring science fiction cinema as in the most avant-garde club environments. Mind-bending and visionary music for those that explore.

The Earth is burning, covering all environments in ashes. Smoke comes to us from computers-from social networks accelerating the spread of burnt affects, damaging our ability to feel and respond to what the planet strives to express. We need to cool down. Thomas Köner's music can help change the pace of our perceptions: 1) In DAIKAN (2002) - a Japanese term meaning "the coldest" or "the coldest part of the year"-the ear stretches until touching the depth of time that persists in the ice; a sonic drama offers the slowness thanks to which the skin of perceptions can reconstitute themselves; icequakes awaken listeners to the frozen life without scaring them. 2) Banlieue du Vide, considered by many to be Thomas Köner's most iconic audiovisual work and best kept secret, has not been released previously. It is in the collection of a couple of art museums, e.g. the Centre Pompidou in Paris, and has been awarded the Golden Nica at Prix Ars Electronica in 2004, in the category Digital Musics. Banlieue du Vide is the result of months of time-lapse observations of empty streets in the Finnish Arctic Circle, shown in glacially slow slow-motion. Phase cancellation, on which all noise cancelling technology is based, here affects the perception of time, the sense of the flow of time extinguishing itself. At this stage the void is not yet empty, traces of past noise fill the listeners mind with their haunting presence. A remastered stereo version of the soundtrack is released as a special premiere as Bonus Track of the DAIKAN album. Listening to this album, an excess of heat turns into an empowering coldness-like the transient feeling of our terrestrial embodiment in the midst of entropy.

Ten years after our initial survey of Afro-Latin accented rhythm & blues from the mid-century, Jazzman proudly presents a fourth installment, packed with as many musical surprises as the first. With music plucked from an era spanning the late 1940s into the early 60s, Jukebox Mambo IV highlights yet again the unparalleled musical creativity of the post war era, and shows how the infusion of afro-latin rhythms was key to these revolutions.

Lovingly and painstakingly researched and curated, the album boasts 23 tracks, many previously uncompiled, touching on jazz, blues, doo wop, calypso, rock & roll, gospel and more. Featuring individual track notes for every song along with some never seen before photographs of the artists, Jukebox Mambo Vol IV maintains the same high production values of each previous volume, and indeed the wider Jazzman catalogue.

WRWTFWW Records is very excited to present a new full-length collaborative project by Japanese ambient/environmental legend Takashi Kokubo (Ion Series) and Italian/Swiss trombonist Andrea Esperti (Esperti Project): Music for a Cosmic Garden.

Recorded during the heights of the pandemic and completed in February 2021, the majestic 8-track ethereal/botanical soundscape created by Kokubo and Esperti is available as a limited edition double LP, a digipack CD, as well as in digital format.

Takashi KOKUBO, environmental music figure, celebrated sound designer, and founder of Studio Ion, has released over 20 albums, including the genre-defining and highly sought-after Ion Series. He's also played a major role in the sonic identity of Japan, creating the country’s mobile phone earthquake alert sound, credit card payment validation jingles, and much more. In 2020, Takashi Kokubo received a Grammy nomination for his track "A Dream Sails Out to Sea, Scene 3" off Light in the Attic’s Kankyo Ongaku compilation. He is known for recording “sound scenes from nature” around the world using a binaural CyberPhonic microphone of his own invention and for his very unique brand of healing music.

Andrea ESPERTI is a Swiss trombonist and composer originally from Puglia (Italy). He plays in multiple genres (classical, pop, world, electro, jazz) with a globe-trotting approach: encounters with peers, rhythmic exchanges, and unplanned music projects; this is where lies the foundation of his work.

Music for a Cosmic Garden is an ode to celestial botanics, a contemporary and hallucinogenic take on the soothing ambient genre immortalized by artists such as Midori Takada and Satoshi Ashikawa, a beautiful pairing of synthesizers and the mighty trombone, taking you to a meditative galaxy far, far away, where other-worldly is just another word for cozy.

Recommended track for maximum pleasure: "Gaia’s Love Theme".

Bartosz Kruczyński, also known as artist Earth Trax, is arguably among the leading names in Poland’s current electronic music scene. Based in Warsaw, his music is deeply emotive and explores a wide-ranging sonic palette that is complemented by well-defined artistic concepts. He has already featured on labels including Phonica Records, Growing Bin, Into The Light and Shall Not Fade –with whom he released his acclaimed debut album in 2020–.

His Lapsus release 'Closer Now', takes a different trajectory to his previous album 'The Sensual World' Shall Not Fade, 2022, fundamentally an energetic and high tempo club record. In contrast, 'Closer Now' focuses on fresh and disparate ideas, with tracks that could typically be classified as more unrestrained B-sides that deconstruct sounds aimed at the dancefloor.

‘Closer Now' is influenced by liminal spaces and cultivates surreal and dreamlike qualities. Conversely it also possesses a sense of strength and grit, highlighted by moments where electronic distortion bares its teeth. It is an album that both refers both to IDM and chill out rooms.

Equipped with a cassette porta studio and a mic found in a recycling bin, Your Planet Is Next has put together an album of 10 tracks stripped down to their essentials. Half of the them were produced using a Yamaha CS-01 synthesizer and a Yamaha MR-10 drum machine — the perfect 1982 budget combo — while the other half were made solely with a Yamaha CS-10 synthesizer and a Boss DR-55 drum machine, both from the late 70s and budget options even in their heydays. As many times before throughout music history, pristine sound quality had to be sacrificed for pristine creativity... After all, ideas are what makes the world turn, not high fidelity!

Started as a reggae band, Chequers were formed by the Matthias Brothers, John & Richard, in Aylesbury, Buckinghamshire in 1973. Inititally releasing in the early part of the 1970s (with their first single Rudi's In Love charting in the UK) their sound then developed to also incorporate Philly soul influences in the mid-70s, then releasing a rare but solid LP 'Check Us Out', in 1976. The group eventually evolved into a seven piece funk outfit in the late 70s, playing shows to larger and larger audiences and touring throughout the UK & Europe.

1980 saw the birth of the Matthias brothers' own small independent outlet for the group, Matthias Records. The press release of the new label's first single declared that their "roots in the reggae and soul music of the last mod era" were being brought up to date, now embracing "the music of today and tomorrow...". That 45 (the cheeky pop-punk meets ska cover version of Midnight Hour, backed with the uptempo instrumental funk of Move Up) didn't necessarily come good on that promise. 3 years would then pass until this 45 showcased the throughly-updated & stellar electro-boogie sound of Hard Times and it's equally strong b-side If You Want My Love.

Following this neither Matthias Records nor Chequers as a group ever released anything further - the record's scarcity (and hideously inflated prices on today's secondhand market) hint at low sales and potential distribution problems upon it's original release, perhaps leading to the label and the group calling it a day. Conjecture aside, there's really no denying this record slaps, and with discogs prices reaching beyond ridiculous levels there is only one option - get it before it's gone!

Anne's 7th Opus in 13 Years, Containing 6 Fantastic Covers and 6 of Her Own Songs, Recorded in One of the Most Prestigious Studios in Montreal with Her Original Blue Mind Team

Fresh from the success of her single "Killing Me Softly" from her previous album Keys to My Heart, Anne Bisson, singer-songwriter and jazz pianist, decided to perform and record more standards from the American jazz songbook, as well as new arrangements of classic songs that were so much a part of her teenage years.

Be My Lover, Anne's seventh album is, therefore, a savoury feast of original compositions and classic songs in her own bold new arrangements for acoustic trio. While still in the 'Smooth Jazz' genre, the presence of a Fender Rhodes, the legendary '70s keyboard, along with an electric bass, impart the album with quite a unique tone.

After over 18 months of musical experimentation and other creative endeavours, Anne once again brought together master drummer Paul Brochu (Gino Vanelli, Michel Legrand, UZEB) and proficient bassist Jean-Bertrand Carbou from France, for a series of informal sessions to explore the songs that were being considered for this seventh release.

These two musicians have been valuable collaborators for several years now. Paul has been featured on many of Anne's albums, notably Blue Mind, which made a huge splash when it appeared, with over 35,000 hard copies sold, while Jean-Bertrand's playing has also graced several of her albums.

Since 2009, the three have performed at several important venues, including Le Festival International de Jazz de Montréal, as well as other festivals in the United States and Mexico.

What holds them together is an evident complicity which is present from the very first notes. Their musical contributions are precise and deeply heart-felt. Their virtuoso playing greatly enhances these songs without turning them into mere technical exercises.

With precision playing, subtlety and attention to detail, as well as being recorded in impeccable High Definition, these songs will definitely please Anne's audiophile fans, while also appealing to a wider audience.



All About Ultimate High Quality CD (UHQCD)
Many years have passed since the birth of the Audio Compact Disc (CD) back in 1982. By use of High-Quality materials and a totally different manufacturing method, the definitive version of audiophile audio CD was born. Playable on any CD player, the Ultimate High Quality CD greatly surpasses all previous CDs before it!

The Ultimate High Quality CD (UHQCD):
UHQCD is a radical change to the CD manufacturing process itself. The conventional wisdom about CD manufacturing, which had remained largely unchanged across the world for over 30 years, has been exhaustively questioned. Through this effort, the ultimate in quality was attained - a level of quality that is certainly impossible to achieve with existing CD discs.

The Ultimate High Quality CD was developed through an effort to improve audio quality by simply upgrading the materials used in ordinary CDs to higher quality materials. For the substrate a high-transparency and high-fluidity polycarbonate (a type of plastic) of the type used for LCD panels was used, while for the reflective layer, low-cost, common aluminium was replaced with a unique and expensive alloy of high-reflectivity.

Differences in manufacturing methods:
Conventional CDs are produced using the technique of injection moulding to form "pits" of data on polycarbonate material. Metal plate on which "pits" representing audio source data are formed is used as a die. This is called the "stamper." Polycarbonate is melted at high temperature and poured into the die to duplicate the pit patterns on the stamper.

This method is efficient because it enables high-speed production, but it does not enable totally accurate or complete duplication of the pits on the stamper. As a melted plastic, polycarbonate is inevitably viscous, so it cannot penetrate completely into every land and groove of the tiny pits of the stamper.

The Ultimate High Quality CD photopolymer is used instead of polycarbonate to replicate the pits of the stamper. In their normal state, photopolymers are liquids, but one of their characteristic properties is that they harden when exposed to light of certain wavelengths. The advantage of this property, perfect replication of very finely detailed pits was achieved. Photopolymers in the liquid state are able to penetrate into the tiniest corners of pits on the stamper so that the pattern of the pits is reproduced to an extremely high level of accuracy. The Ultimate High Quality CD reproduces audio with greater precision and at a level that is impossible to achieve using conventional CD production technology!

Russell Small and DNO P jump on remix duties delivering an upbeat house music interpretation that will put your feet firmly on the dance floor and a smile across your face.

Russell Small has had a string of chart topping tunes with Phatts and Small and the Freemasons so this remix has a pedigree that is second to none.

LazerGirl is a Brighton based European Electronic Dance Music singer and songwriter. She is bright and full of sass, just like her music. Her pulse racing dance music with a euro twist allows her to stand out from the crowd as her style is fresh and catchy and each song is packed full of energy.

Brighton producer and DJ Steve Mac delivers a full on acid house excursion with his stylish remix of LazerGirl's "Tocarme".

Steve Mac has a prestigious bio and discography that most producers can only dream about and this remix exudes all the class you would expect from an artist of this calibre.

With its feet planted firmly in 2020, the remix effortlessly transports you back to the second summer of love combining the old school with the new decade.

Pure Class!

First Word Records is extremely proud to welcome the legendary New Sector Movements to the label, and the first new release from this moniker in 15 years! A 5-track EP for 'These Times', comprised of street soul, hip hop, jazz and bruk-tinged vibes.

Founded, headed and produced by DJ & musician IG Culture (CoOp Presents / LCSM), this all-new quasi-group project also features the vocal talents of Allysha Joy, Mike City and Natalie May with additional accompaniment from Wonky Logic, Wayne Francis, Alex Phountzi and the NSM Fusion Starship!

New Sector Movements (aka NSM) were the first out the gate at the dawn of the original broken beat movement, releasing their first single 'Groove Now / New Goya' on the People label in 1997, then releasing several singles and EPs through to the late noughties, and dropping a classic album on Virgin entitled 'Download This'. The previous incarnation featured several other artists from the bruk foundation era, including Kaidi Tatham, Izzy Dunn, Julie Dexter and Eska Mtungwazi amongst others.

Awarded a 'Lifetime Achievement Award' at the 2019 Worldwide Awards, NSM's IG Culture is a hugely pioneering prolific artist in the UK music scene. His catalogue of releases over the years has seen numerous aliases, collaborations, remixes and productions. Appearing on the scene in 1990 as part of Dodge City Productions, to producing several solo albums throughout the noughties, to recent years with his hugely-acclaimed cosmic jazz outfit LCSM (Likwid Continual Space Motion), additionally to co-running the CoOp Presents label, continuing the legacy of the award-winning club night whilst showcasing new artists, IG Culture has been omnipresent at every corner of British black music for three decades deep, influencing many a sound.

This is all additionally to projects like NameBrandSound, Likwid Biskit, Da One Away and Son of Scientist to name just a few. His work has appeared on releases by Roots Manuva, Young Disciples, Les Nubians and Monday Michiru, while remix work over the years has included Gang Starr, Femi Kuti, José James, Miraa May, Slum Village, Digital Underground, Luniz, Naughty By Nature, Airto Moreira & Flora Purim.

As a DJ, he's shut down dances all over the world, recently at places like Fabric, We Out Here festival and Summer Dance Forever in Amsterdam, as well as regularly rocking the airwaves on Worldwide FM and combining the two at BBC 6 Music's All Points East stage in the Summer. IG Culture also founded Selectors Assemble; a collective of forward thinking DJs and producers.

So, as we head towards Winter 2022, New Sector Movements has returned (but don't call it a comeback!). After a turbulent few years in the world, it seemed a poignant moment to reinvigorate the soul, and reflect upon 'These Times'. Here we have five brand new tracks, each illustrating a pertinent mood and attitude representing the current climate. Allysha Joy leads the vocal on EP opener 'These Times', a sumptuous slice of street soul with a deeply infectious horn hook. 'Stand' is next - uptempo boom bap for the dancers, this one featuring the soulful pipes of Mike City. 'Hope' is a midtempo jazz-funk dub again feature vocal licks from Allysha, and introducing the mysterious NSM Fusion Starship into the fold. 'H.E.A.T.' picks up the pace with some infectious jazz-bruk business, this one lead by Natalie May on the vocals, who explains "heat = movement, motion". And finally 'Bless' with closes the set on a four-four riddim with bruk sensibilites, inviting Mike City back with an uplifting vocal requesting we "bless the people just trying to make it".

An essential EP of cross-genre vibes to resonate cross-generations, New Sector Movements do not ramp. IG Culture and crew proceed to give you what you need for 'These Times'.

'These Times' is released on vinyl and digital worldwide via First Word Records late February 2023.

Sound Of Smoke sind eine vierköpfige Psychedelic Soul- & Bluesrock Band aus Freiburg mit einem ordentlichen Vintagevibe. Die Bandmitgliedern um Frontfrau Isabelle Bapté schaffen es mit einem Mix aus Blues, Soul und Stonerrock auf eine Reise durch die Zeit mit zu nehmen, als Klänge a la Jefferson Airplane, Black Sabbath und Led Zeppelin in Ihren Bann zogen. Mit "Phases" veröffentlicht das Freiburger Psychedelic-, Soul- & Bluesrock Quartett kaum ein Jahr nach der Platte "Tales" ihre zweites Album über Tonzonen Records. In zahlreichen psychedelischen Jamsessions entstanden elf neue Songs, welche man im legendären Big Snuff Studio in Berlin aufnahm. Das Album wurde in einer 10-tägigen Session komplett analog mit der Technik aus den 60er & 70er Jahren auf Tonband von Szenen-Ikone Richard Behrens (Kadaver, Elder, Odd Couple, All Them Witches uvm.) aufgenommen. "Phases" überzeugt mit eingängigen Bluesrockriffs, orientalische Klängen, bis hin zu schwebenden, sphärischen Klangwelten aber auch Krautrock. Das Leitmotiv bleibt jedoch Isabelle Baptés versiertes Flötenspiel und ihre warme, individuelle Stimme, welche Grace Slick wieder aufleben lässt. Florian Kiefer, welcher den Titel "Reincarnation of Lemmy Kilmister" mit seinem markanten, grollendem Basssound (und Backenbart) für sich beansprucht, bildet mit Johannes Braunstein ein groovendes Fundament im Stile von John Bonham. Getreu dem Motto "Im just tryin to write the best guitar riff in history" wie schon einst Jimmy Page oder Richie Blackmore und einem Faible für Wildwestromantik, trägt Jens Stöver letztlich das gewisse Etwas zum "Sound Of Smoke" bei. Veredelt wurde "PHASES" danach noch mit Orgel- und Synthoverdubs von Isabelle und Florian. Sound Of Smoke freuen sich mit " Phases" ihr anspruchsvollstes Album einem großen Publikum präsentieren zu können.

At the beginning of the eighties reggae music became increasingly in tune with what was happening in Kingston’s dance halls… probably more so than at any time since the sound system operators had started to make their own shuffle and boogie recordings in the late fifties. The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real, raw roots of the music. Brash, confident, young record producers who were totally in tune with the youth audience stepped forward and seized the moment…

Oswald ‘Ossie’ Thomas began his apprenticeship in the music business at the age of
fourteen and served his time as a record salesman for Bunny ‘Striker’ Lee and Winston ‘Niney The Observer’ Holness before moving on to Miss Sonia Pottinger’s Tip Top Records.

“I ended up working in three record stores on Orange Street from 1976 to 1981… Yeah man! Me deh ‘pon me bicycle till I buy my motorcycle! Them days records were coming out left, right and centre… every day!” Ossie Thomas.

It was during his time with Miss Pottinger that Ossie began to produce records for
himself and in 1979 Ossie and Phillip Morgan began the Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue. Phillip initially inspired Ossie to start the label and soon Triston Palma, Phillip Frazer and “a youth named Gary Robertson” joined in although Gary later left for Canada.

The Soul Syndicate rehearsed in the Delamere Avenue area and Tony Chin gave Ossie a cut of a rhythm that he used for Triston Palma’s ‘A Class Girl’… the label’s inaugural release. The record was a sizeable success and paved the way for hit after hit after hit on Black Solidarity. Ossie worked with just about everybody who was anybody during this critical period of the music’s development including vocalists Robert Ffrench, Little John, Sugar Minott, Frankie Paul and most notably Triston Palma.

For this release we have compiled some of the version sides to those releases. Dub still being an integral part of the Reggae Sound System Sound. So sit back and listen to what Black Solidarity, one of the most important and often overlooked labels were bringing to the dance, dubwise, back in those heady 1980’s times.

With grateful thanks to: Paul Coote, Nick Hodgson & Hasse Huss

The 2LP Great Moments With documents the music of Pharoah Sanders from 1983 to 1990, showcasing both the raw energy and tender nature of his music. It contains 12 of his recordings, including “Africa”, “Naima”, “You’ve Got To Have Freedom” and also the previously unreleased version of “Central Park West”. Featured guest musicians are John Hicks, Idris Muhammad, Curtis Lundy, Benny Golson, Cedar Walton, Ron Carter and more jazz masters. For this compilation, Bret Primack has written new liner notes and Timeless Records founders Ria and Wim Wigt here share additional great moments from Sanders’ sublime work.

Great Moments With is available as a limited edition of 1500 individually numbered copies on translucent blue coloured vinyl, housed in a gatefold sleeve.

First time on vinyl, expanded version of Japan-only CD album from 2006! Now a double LP with unreleased tracks on audiophile grade colored vinyl (Disc 1: Opaque Baby Blue, Disc 2: Opaque Brown) The Jungle Bros embraced of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz sample , on this reissue double LP Release on Colored Audiophile grade Vinyl , the I got U album is remastered and re-released with additional tracks .Michael Small (Mike Gee), Nathaniel Hall (Afrika Baby Bam), and Sammy Burwell (DJ Sammy B). Known as the pioneers of the fusion of jazz, hip-hop, and house music, they were the first hip-hop group to collaborate with a house-music producer. The trio released their debut album, Straight out the Jungle in July 1988. Their hip-house club hit single, "I'll House You" was added to the album in late-1988 reissues. Fostered by Kool DJ Red Alert, the Jungle Brothers success would pave the way for De La Soul, A Tribe Called Quest, and eventually the Native Tongues collective that they founded. Hip-Hop-House with a jazzy feel including "I Got U", a re-recorded "Sunshine" and four bonus tracks/versions. -- The Jungle Bros embrace of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz samples -- _John Bush, All Music

Mit dem 2008 erschienenen Album „Gumbo“ fiel der Startschuss für Brenk Sinatras interna-tionale Producerlaufbahn. Vom JUICE Magazin zu einem der Top 20 besten Instrumentalalbenaller Zeiten gewählt, schaffte „Gumbo“ mit seinen brachialen und zugleich sehr souligen,sample-basierten Instrumentals den Sprung raus aus Österreich und rückte Brenk als Aus-nahmeproducer erstmals in den Fokus.Der Nachfolger„Gumbo II“erschien 2011 über das Kölner Label MPM, das mit Brenk Sinatra so-wie weiteren Ausnahmeproducern an Bord den wachsenden Hype um instrumentalen Hip-Hopmitzündete. Brenks kompromissloser, zweiter Part der Gumbo-Reihe katapultierte ihn kurzer-hand in die Riege der gefragtesten Beat-Produzenten Europas. Seither war auch der dritte undfinale Teil der Gumbo-Reihe in Planung, jedoch hinderten die immer mehr werdenden musi-kalischen Projekte und nicht zuletzt auch der Druck, die ersten beiden Albumteile zu toppen,Brenk an der Fertigstellung seiner Instrumental-Trilogie. Der Folder mit den dafür selektiertenInstrumentals wuchs auf weit über 100 Beats, wurde teilweise gelöscht und ständig in seinerZusammenstellung verändert, bis Brenk das gezielte Sammeln von Gumbo-Material 2017 vor-erst einstellte. Damals vollzog Brenk einen stilistischen Wechsel, der ihn weg von klassischen,Samplebasierten Beats hin zu jenen entspannten Trap-Hybriden führte, die heute als seinTrademark-Sound bekannt sind. Auch wollte sich das Mindset für die Fertigstellung von „Gum-bo III“ nicht einstellen und andere Projekte wurden vorgezogen, bis das Album komplett in denHintergrund rückte. Über die Jahre wurden Fans und Journalist*innen auf die Frage nach einemRelease Date immer wieder von Brenk vertröstet, „Gumbo III“ wurde zu einem sehnsüchtigerwarteten Phantomprojekt.

Fast Forward in das Jahr 2021: erstmals seit vier Jahren klickt sich Brenk wieder durch den Folder mit den einst für die „Gumbo III“ produzierten Interludes, musikalischen Skizzen undbereits fertiggestellten Beats. Mit einer neuen Label- und Verlagssituation im Hintergrund(2021 gründete Brenk das MusiklabelWave Planet Recordssowie den dazugehörigen VerlagWave Planet Publishing) fällt er den Entschluss, dass die Zeit für den Abschluss der Gumbo-Trilogie nun reif ist und Wave Planet Records zur neuen Heimat dieses Projekts werden muss.Danach folgt eine wochenlange und mühselige Wiederherstellung der in den Jahren 2012 bis2016 produzierten Instrumentals. Brenks Hauptaugenmerk war es, den musikalischen Spiritder Instrumentals unverändert zu lassen und den Sound nicht zu modernisieren. Aus heutigerSicht klingt das mit unzähligen Vinyl-Samples gespickte Chop-Gewitter auf der „Gumbo III“wie man es von Brenks früheren Beats kennt, anachronistisch und gerade dadurch erfrischendanders. Als einziges Update für die „Gumbo III“ Instrumentals wurden lediglich ein neuesMixing von Brenk sowie das Mastering seines hochkarätigen Producer-Kollegen Dexter zu-gelassen.Für die perfekte visuelle Ergänzung des Gumbo-Sounduniversums sorgt das verspielte, vorDetails strotzende Cover-Artwork von Cone The Weird, der bereits das markante Artwork zum„Gumbo II“ Album lieferte.Die Vollendung der Trilogie wird unter anderem mit einer ganz besonderen „Gumbo TrilogyBox“ zelebriert, die im Oktober 2022 erscheinen und das Herz jedes passionierten Sammlershöherschlagen lässt

• Jah Cure is one of the best known and most loved singers in the reggae genre with multiple hits to his credit.
• His 2015 effort The Cure topped Billboard's Reggae Album Charts its debut week and earned Cure a Grammy nomination, thanks in part to a hit cover version of John Legend 's "All of Me." 2019's guest-heavy Royal Soldier also topped the same Billboard chart and featured contributions from Damien Marley, Junior Reid, Popcaan, Phyllisia Ross, and many more.
• David Jeffries, Rovi Now comes Undeniable, the eleven song collection that returns Jah Cure to his roots as a singer of love songs.
• The album features performances from Stonebwoy and newcomer Kaylan Arnold on the title track. ¨ Targeted digital advertising campaign will support album launch.

Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Peach Vinyl

Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Tape
Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Red Vinyl

Initial LP copies pressed on opaque red vinyl! As its name suggested, the intimate and sultry Cuntry Covers Vol. 1 was always going to have a follow-up. Led by the brooding vocals of Bria Salmena, Cuntry Covers Vol. 2 is every bit as potent as its predecessor whose noir-inflected alternative country-rock stood in sharp contrast to the singer's commanding delivery as leader of post-punk revivalists FRIGS. Debuting the project in 2021, the languid, reverb-drenched Cuntry Covers Vol. 1 saw her artfully collaborating with multi-instrumentalist Duncan Hay Jennings and reimagining a carefully picked collection of Americana anthems. Vol. 2 pushes the envelope further and harder. Encompassing feverish takes on tracks by Gillian Welch, Paula Cole, Mary Margaret O'Hara, Robert Lester Folsom, Glenn Campbell - by way of Nick Cave - and the late, great Loretta Lynn, Bria's deliciously dark approach shimmers through these six startling songs. Created during a break from Salmena and Jennings' work in Orville Peck's world-conquering backing band, Vol. 2 was recorded directly after Peck's second album and Bria's US tour supporting Wolf Alice. Embracing contrast, the sunny circumstances in which Vol. 1 was made were flipped on their head. Instead of a bucolic barn in the Canadian countryside, they recorded the new tracks in chilly Toronto, huddled together in their tiny makeshift home studio, with Jennings at the controls. They enlisted the help of local Toronto musicians Lucas Savatti (FRIGS), Simone Baril (US Girls, The Highest Order, Darlene Shrugg, Partner), Andrew Manktelow, and frequent collaborator Jaime Rae McCuaig. While Vol. 1 was Bria's attempt at subverting country music's conservative roots and primarily white and heterosexual agenda, here the emphasis was on experimentation. While Vol. 2 might be less personal, it's just as idiosyncratic, with half of the reversions staying true to the originals and others taken to a different universe entirely. Building on the tried-and-true/bold-and-new duality of Cuntry Covers' first offering, Vol. 2 delivers a deeper dive into the duo's brilliant alchemy of traditional and contemporary reinterpretations. The added experimental flourishes, from dizzying electronica and pulsing bass to sax-driven soul, take Bria's new EP into previously uncharted territory, signalling a thrilling new step in Bria's adventurous evolution.

One of the most popular instrumental songs ever, “Green Onions” started out as a band jam at a demo recording session for rock’n’roll singer Billy Lee Riley with the famed Stax Records house band. Stax label head Jim Stewart liked what he heard and recorded what would become the basis for the band’s debut album. Christened Booker T. & The M.G.s, they released “Green Onions” with original members Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass), and Al Jackson Jr. (drums) in October 1962. The title track became a worldwide hit, covered by dozens of artists including the Blues Brothers, the Ventures, the Shadows, Deep Purple, Mongo Santamaria and Count Basie.

The deluxe 60th Anniversary Edition of “Green Onions” releases as a 1LP 180g vinyl in a green translucent colorway similar in hue to the vegetable it celebrates plus a 4-page insert, including band photos, Stax Records ephemera and David Ritz’s new liner notes.

Souk is delighted to present the sophomore album from a true fixture in Cairo seething electronic scene who should, by now at least, remain anonymously famous behind the 3Phaz moniker. Both as a way to make focus on the music itself regardless of identity and to sever ties with past projects, 3Phaz acts like an entity in itself, a most suitable conjuration of sounds past and future gravitating on their own dimension. Though connections are inevitable and welcoming with home turf artists such as ZULI or Rozzma, the Souk catalogue or percussion obsessed travelers like DJ Plead or errorsmith, 3Phaz's dalliance with the traditional sounds of Shaabi and Mahraganat and possible intersections with Grime, Techno and Bass-heavy subcultures feel very much their own.

Stripping away some of the dankest & darkest layers that made his debut album - Three Phase - such a dystopic proposition, Ends Meet envisions a different kind of future, that while not necessarily utopian, feels less tense and more celebratory in the capture and release mastery of its syncopations. Through seven percussion workouts summoned from hard hitting kicks, flinty hand drums, darting rhythmic excursions and traditional flute-like synth melodies, 3Phaz creates a set of raw and ever-intriguing dj tools for adventurous dancefloors that escape the mere functionality associated with the term to bristle with a life of their own.   

After Belgian electro-samba wunderkinds Antena split at the end of 1985, singer Isabelle Antena immediately shed her cold wave crown for a sophisticated pop princess tiara. On 1986's Martin Hayles-produced En Cavale, echos of Madonna and city pop abound, with a lipstick stain of L80s Euro dance and spilled cosmopolitan's worth of bossa nova stirred in for good measure. This elegant second chapter of a French pop diva has been expanded to include Antena's shelved Island Records demo, adjacent B-sides and rarities, plus an expansive essay and previously unpublished photographs.

SEASIDE SILVER VINYL

After Belgian electro-samba wunderkinds Antena split at the end of 1985, singer Isabelle Antena immediately shed her cold wave crown for a sophisticated pop princess tiara. On 1986's Martin Hayles-produced En Cavale, echos of Madonna and city pop abound, with a lipstick stain of L80s Euro dance and spilled cosmopolitan's worth of bossa nova stirred in for good measure. This elegant second chapter of a French pop diva has been expanded to include Antena's shelved Island Records demo, adjacent B-sides and rarities, plus an expansive essay and previously unpublished photographs.

Futurismo present their new anthology series: Altered Vision, beginning with SUBURBAN ANNIHILATION The California Hardcore Explosion / From The City To The Beach: 1978-1983.

This aggressive collection draws from California’s rich history of punk, more specifically hardcore: a new sound that eschewed melody for intensity, a sound that took punk harder and faster, a sound intrinsically American. Whilst hardcore was also burning over on the East Coast, it was in California that it had ignited and sprawled, a sonic punch in the face that raged socio-political disdain and total abandonment for commercialism, fuelled by a crumbling American Dream and the collapse of family values.

Suburban Annihilation takes you from the major cities, to the coastal towns, to the SoCal suburbs, showcasing some the most important bands of the West Coast. Blasting off with the Adolescents ‘I Hate Children’, it heads from the year zero of Middle Class’s ‘Out Of Vogue’ to the surf punk of Agent Orange’s ‘Bloodstains’, from the blues tinged outlaw of The Gun Club’s ‘She’s Like Heroin to Me’ to the classic anti-anthems: ‘Live Fast Die Young’ by the Circle Jerks, lifted from their seminal Group Sex album, and the hardcore staple ‘California ÜberAlles’ by the Dead Kennedys. Also present are so many other bands integral to the era: T.S.O.L, Wasted Youth, Germs, Social Distortion, Suicidal Tendencies, Negative Trend, Flipper and many more.

Though the music was designed to repel, this historical document has been lovingly designed to remind us that this genre created some of the most immediate and acutely-realised music ever produced. Making this collection of choice cuts essential for long-time fans of hardcore and punk, just as those new and inquisitive about one of the most angry and pissed off genres to have given birth in America.

This 2xLP comes in a choice of limited edition coloured vinyl, it has a tracklist co-curated by Henry Rollins, it contains liner notes by Lisa Fancher of Frontier, a bio by award winning author Benjamin Myers, and contains a booklet featuring an array of images by the legendary punk photographer Edward Colver.

Jens Brands has created a large number of installations, musical performances and Interactive Media works. He uses the concepts of parallel activities rather then ideas of fusion. The pieces presented on this recording focus on sonic events related to electronic music (such as intense volumes and dynamics, white noise, square or sine waves) but stay entirely acoustic.

On a live performance of »Ratchets«, the sounds are generated with the idea of a physical, sculptural, yet invisible presence. It might happen that the body of a person moving around in the audience has more impact on the sound then the variations produced by instruments themselves.

"I was always interested in the idea of making acoustic music that has the quality of electronic music," muses Dortmund based musician and visual artist Jens Brand. "Electronic music is fantastic, but I don't like speakers very much."

Take his performance entitled »Motors And Styrofoam«. Pieces of glistening white styrofoam fitted with small motors hang from the ceiling above the audience's heads, squatting balefully in mid-air like lopsided clouds. Acting as a resonator, the styrofoam amplifies the whirr of the motors, which builds up into a loud, persistent drone overlaid with overtones.

Equally uncompromising is »Ratchets«, which deploys a number of football rattles, those small wooden devices originally used by hunters. The ratchets are set in motion by motors whose speed and direction are controlled by a computer: they click busily away, producing a dense, enveloping sound reminiscent of heavy rainfall. In performance, the sound of the ratchets is spellbinding in its rawness and intensity, attaining impressive volumes as it interacts with the features of the space.

Red Vinyl

Nachdem Meg Remy, alias U.S. Girls, zuletzt schon in Form der Singles "So Typically Now" und "Bless This Mess" nach zweijähriger Abwesenheit neue Lebenszeichen aussendete, kündigt die kanadische multi-disziplinäre und experimentelle Pop-Künstlerin nun auch ihr neues Album an! "Bless This Mess" erscheint am 24. Februar 2023 bei 4AD und zeugt von der langen künstlerischen Evolution, die Remy unter ihrem musikalischen Alter Ego vollzogen hat: Eigentlich geboren in Illinois, hat sich Remy in den letzten Jahren zu einer der Stimmen und Performer*innen der Torontoer Szene entwickelt. Von den ersten Anfängen in Kellern in Philadelphia und Chicago, als sie durch Delay-Pedals über rohe Loops summte, hin zur selbstbewussten Frontfrau eines achtköpfigen Art-Soul-Orchesters, das die Welt bereist, hat die Vision, sowie das Talent Remys das Projekt über die letzten 15 Jahre zusammengehalten und geprägt. Mit "Half Free" (2015), "In A Poem Unlimited" (2018) und "Heavy Light" (2020) veröffentlichte sie drei Juno Award nominierte Alben (in der Kategorie "Best Alternative Album"), die auch jeweils auf der Shortlist für den Polaris Prize standen. Und das neuste U.S. Girls Album fügt der eh schon ausufernden Palette an Einflüssen, Themen und Sounds noch Bausteine wie Funk, ihre Mutterschaft, griechische Mythologie, langsame Jams, Erwachen und Schmerzen in das lebhafte Hymnen-Treiben hinzu! "Bless This Mess" entstand dabei, während in Remy ihre beiden Zwillings-Jungs heranwuchsen, in Kooperation mit einer ganzen Reihe an Musikern (Alex Frankel von Holy Ghost!, Marker Starling, Ryland Blackinton von Cobra Starship, Basia Bulat, Roger Manning Jr. von Jellyfish und Beck), sowie mithilfe einiger Tontechniker (Neal H Pogue, Ken Sluiter, Steve Chahley, Maximilian Turnbull). Da es weder eine feste Band noch immer gleiches Aufnahme-Personal während der Produktion gab, fühlt sich das neue Album vielmehr wie ein Mixtape an, gleichzeitig befindet sich Remy darauf selbst im stetigen Wandel. Denn während sich ihr Körper der Schwangerschaft anpasst, verändert sich auch ihre Stimme, verlor etwas Raum zum Atmen, bei einigen Gesangsaufnahmen waren ihre Neugeborenen sogar auf ihrem Arm. Keine Überraschung, dass Remy sogar ihre Milchpumpe auf "Pump" sampelte. Und doch beinhaltet das neue Album so viel mehr - mehr Blut, mehr Gefühle, die miteinander verflochtenen Wunder und Wunden des Lebens. Dementsprechend variieren auch die Songs in Tempo, Instrumentierung und geben sich zwischen experimenteller Hingabe, Entdeckungen und Delirium der aktuellen Gefühlslage der Künstlerin hin.

Nachdem Meg Remy, alias U.S. Girls, zuletzt schon in Form der Singles "So Typically Now" und "Bless This Mess" nach zweijähriger Abwesenheit neue Lebenszeichen aussendete, kündigt die kanadische multi-disziplinäre und experimentelle Pop-Künstlerin nun auch ihr neues Album an! "Bless This Mess" erscheint am 24. Februar 2023 bei 4AD und zeugt von der langen künstlerischen Evolution, die Remy unter ihrem musikalischen Alter Ego vollzogen hat: Eigentlich geboren in Illinois, hat sich Remy in den letzten Jahren zu einer der Stimmen und Performer*innen der Torontoer Szene entwickelt. Von den ersten Anfängen in Kellern in Philadelphia und Chicago, als sie durch Delay-Pedals über rohe Loops summte, hin zur selbstbewussten Frontfrau eines achtköpfigen Art-Soul-Orchesters, das die Welt bereist, hat die Vision, sowie das Talent Remys das Projekt über die letzten 15 Jahre zusammengehalten und geprägt. Mit "Half Free" (2015), "In A Poem Unlimited" (2018) und "Heavy Light" (2020) veröffentlichte sie drei Juno Award nominierte Alben (in der Kategorie "Best Alternative Album"), die auch jeweils auf der Shortlist für den Polaris Prize standen. Und das neuste U.S. Girls Album fügt der eh schon ausufernden Palette an Einflüssen, Themen und Sounds noch Bausteine wie Funk, ihre Mutterschaft, griechische Mythologie, langsame Jams, Erwachen und Schmerzen in das lebhafte Hymnen-Treiben hinzu! "Bless This Mess" entstand dabei, während in Remy ihre beiden Zwillings-Jungs heranwuchsen, in Kooperation mit einer ganzen Reihe an Musikern (Alex Frankel von Holy Ghost!, Marker Starling, Ryland Blackinton von Cobra Starship, Basia Bulat, Roger Manning Jr. von Jellyfish und Beck), sowie mithilfe einiger Tontechniker (Neal H Pogue, Ken Sluiter, Steve Chahley, Maximilian Turnbull). Da es weder eine feste Band noch immer gleiches Aufnahme-Personal während der Produktion gab, fühlt sich das neue Album vielmehr wie ein Mixtape an, gleichzeitig befindet sich Remy darauf selbst im stetigen Wandel. Denn während sich ihr Körper der Schwangerschaft anpasst, verändert sich auch ihre Stimme, verlor etwas Raum zum Atmen, bei einigen Gesangsaufnahmen waren ihre Neugeborenen sogar auf ihrem Arm. Keine Überraschung, dass Remy sogar ihre Milchpumpe auf "Pump" sampelte. Und doch beinhaltet das neue Album so viel mehr - mehr Blut, mehr Gefühle, die miteinander verflochtenen Wunder und Wunden des Lebens. Dementsprechend variieren auch die Songs in Tempo, Instrumentierung und geben sich zwischen experimenteller Hingabe, Entdeckungen und Delirium der aktuellen Gefühlslage der Künstlerin hin.

Beggars Arkive will release a long-awaited vinyl reissue of THE CULT"S second album LOVE on February 24th. THE CULT is fronted by Ian Astbury on vocals and Billy Duffy on guitar. Their music and albums at this point need no introduction as they have cemented themselves over the years since they began in 1983, as one of the greatest rock bands around. Love was the Cult"s second album, originally released in 1985. It was their breakthrough and produced many singles including "Rain", "Revolution" and the epic anthem "She Sells Sanctuary" - songs that still resonate today - in fact "She Sells Sanctuary" was recently featured in Season Two of the hit TV show Euphoria. The album eventually defined their career, but at the time, it flew in the face of everything that was going on in music.

Kouslin returns to Livity Sound with a second collection of slippery club tracks after the 2020 Vision E.P. With an emphasis on head-twisting sound design and a detailed line in percussive programming, the London-based producer continues to reach into intriguing new areas without forsaking soundsystem-ready physicality.

The tracks which make up the Patterns E.P. stemmed from a period of personal experimentation, where Kouslin returned to making music for its therapeutic benefits rather than a fixed purpose. The loops and sketches he returned to and expanded upon for this EP bristle with originality at every turn.

There is a continued exploration of dancehall rhythms on ‘King’, while ‘Five Four’ toys with time signatures for a jagged, fast-paced abstraction of techno. ‘Why Don’t You Don’t’ is harder to pin down thanks to its knotty beat and mutant synthesis, and ‘Michael’ flips the script further with an unexpected swerve into pearlescent melodic lead lines – the perfect demonstration of the honest and instinctive approach Kouslin took when making these tracks.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Pure Adult are a Brooklyn-based experimental rock duo formed
by Jeremy Snyder and Bianca Abarca. At the centre of their
music is the far-left political ethos and DIY attitude the pair
share.
Having grown up in the unusually sheltered environment of a
church-turned-cult, Snyder has always found himself drawn to
the harsh, dissonant music that was off-limits during his
formative years. In 2017, he and contemporary dancer and
visual artist Bianca Abarca formed Pure Adult, who released
their debut EP, ‘Pure Adult I’, in 2019. Now they are set to
release their debut album, ‘II’, on FatCat Records.
After leaving the church in 2007, Jeremy began studying
religion, philosophy and politics whilst working as a sound
engineer. “I ended up touring with some small pop rock bands,
while my studies brought me through an array of beliefs and a
far-left political worldview. While I’ve identified as a communist
for almost 20 years now, I didn’t fully give up on religious belief
until around 2010. A fundamental element to our belief system
was this sort of unverifiable feeling that must be something and,
because I’ve experienced that feeling, virtually nothing can
make me deny it. And it’s comforting, in a world of quantifiable
uncertainty, a guise of certainty,” he says.
In more recent years, Jeremy has become the engineer of
choice to internationally acclaimed acts such as Mdou Moctar
and IDLES, both of whom are big fans of Pure Adult. IDLES
lead singer Joe Talbot says of the band’s forthcoming album:
“Pungent chaos that serves no pomp, instead it throws around
dark innuendo like a rag doll to the cadence of fury and fucking.
The best album I’ve heard in ages. The best band you haven’t
seen. Go dig, it’s beautiful at its worst.”
As well as the release of their debut album at the start of 2023,
Pure Adult are also preparing to release a collaborative EP with
Gustaf, Thank and Heavy Lungs in the Spring. They will support
Gilla Band on tour in the US early next year.
“Blown-out, hyperactive, aggressive, and danceable rock
informed by punk and post-punk.” - Brooklyn Vegan
“A furious piece of work” - Steve Lamacq, 6 Music

A showcase of Paco De Lucia’s mesmerising Montreux Jazz Festival live performances between 1984 to 2012.

The audio has Expertly restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital. The release includes brand new liner notes and rare photos from his Montreux shows.

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” *click, click, click.

He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?

He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.

”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”

New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.

She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”

”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” *click, click.

In his youth days, Gontran lived on the road. He describes himself as a member of the alternative hippie generation, not of those who claimed wanted to change the world, but of those who actually took an alternate way of living. He travelled, took any jobs available to make some money to live wherever he was, and wrote beautiful songs accompaining himself on guitar. From time to time, when the stars aligned, when there was the chance, he would rent some studio time and lay down his compositions, always in a pretty bare way with little arrangements added on the spot, mostly by musicians who happened to be there and who improvised their parts - one take, we have it. With this procedure he released Funambule in 1975 and L'envol in 1977. He also worked with Dominique Le Roux on a joint venture LP in 1979.



On offer here is the first ever vinyl reissue of Gontran's second album L'envol, recorded in two hours on a Paris studio with a bass player (F.D. Aldonse) and two female vocalists whose surnames have been lost in the depths of time - Victorine and Theodorine. As the other Gontran albums, it was self released in a limited run private pressing which has nowadays become an elusive piece in the collectors market - so rare that it doesn't even appear on Phileas Folk's great The French Folk Magic Time Guide book.



The beautiful music contained within is a delightful sample of Gontran's excellent singer-songwriter qualities and his commitment to portray his inner world and livings through his musicated poems. He names as his biggest influences big names like Leonard Cohen, who he had the chance to meet and chat with when in Mumbai back in 1999, Bob Dylan or Jack Kerouak, but Gontran was centered in his vivences and commited to his need to express himself that he really doesn't sound like anyone but Gontran.



Amazing homemade folk sounds from an artist who, ironically, was always traveling abroad and stayed little at home!



A very rare private pressing, recently featured in Hans Pokora's last Record Collector Dreams book, valuing an original copy with 4 stars!

Recorded in 1973 at the Church of Saint Mary Magdalene in Paddington, London, Unfinished Picture is Rupert Hine's second LP. The songs where all composed by Hine with lyrics by David McIver and Simon Jeffries. On its sessions, Hine was surrounded by a host of outstanding musicians that included Simon Jeffes (Penguin Cafe Orchestra), Mike Giles (Giles, Giles & Fripp / King Crimson), Mick Waller (Cyril Davis, The Steampacket, Jeff Beck Group), Ray Cooper (Eric Clapton, Elton John) among others.



Rupert Hine's recording adventures started with the release of a 7" 45 by the folk duo Rupert & David "The Sounds Of Silence". In 1971 he was approached by Purple Records for the release of his debut solo LP Pick Up A Bone, which despite its lack of commercial success featured a strong collection of critically acclaimed compositions that made Purple Records want him to record a second album - Unfinished Picture, on which Hine showed a fantastic evolution to a more conceptual, cinematic approach. Echoes of Ray Davies, Kevin Ayers or hints of Nick Drake taken to a more 'happy' territoire mix with beautiful strings by The Martyn Ford Orange Ensemble and even some ARP synth explorations to build a fantastic collection of sounds that take the listener on a trip through the worlds of folk, psych and prog.



Hine's career would soon take off as a famed producer, he did work with Kevin Ayers, Milla Jovovich, Jonesy, Steve Tilston, Anthony Phillips, Camel, Saga, Rush, Tina Turner, Howard Jones, Bob Geldof, Suzane Vega, and many others.

ADN Ckrystall is the pseudonym of French synth experimentalist Érick Moncollin. Armed with a Crumar, Multiman 52 with brass pedal and sustain/volume pedal, two Kawai Synthi 100-F, Roland CR-65, Korg PS-3200, Roland Jupiter-4, a Boss flanger, MXR phasing and a TEAC 8-track recorder he produced his first LP, Jazz'Mad, with the help of synth expert sound engineer benoit Hutin. The LP was self-released in 1982 to critic aclaim and generated a fan base that has turned it into a timeless classic, having been reissued four times since then.



But what most people don't know is that Moncollin produced a second album with songs written 1982/1983 that has remained unreleased ever since. Only recently he found the tapes in his parents' house and transfered them for it's first ever vinyl release.

The Ethiopians was one of Jamaica’s most popular bands during the late ska, rocksteady and early reggae periods. As a much loved harmony group. After a series of major ska and rock steady hits, the group began working with producer, Karl ‘J.J.’ Johnson, with whom they subsequently enjoyed some of the biggest reggae sellers of the late sixties and early seventies, most notably ‘Everything Crash’, ‘What A Fire’, ‘Feel The Spirit’, ‘Hong Kong Flu’ and ‘Woman Capture Man’. The Reggae Power album is chock-full of these tasty melodies and rhythms and comes wrapped in a cool sleeve photo of future Carry On Girls actress Pauline Peart.

Reggae Power is available as a limited edition of 750 individually numbered copies on solid orange coloured vinyl.

A Detroit resident, William Odell Hughes is a much-loved street educated singer-songwriter and music composer. As a regular passenger riding to work on the Detroit East Side bus route in the early eighties, he met jazz pianist Pamela Wise who also rode the bus to work every day and who he noticed was always reading music. Pamela told him about saxophonist, clarinetist, and producer Wendell Harrison (founder of the legendary Tribe collective and a regular collaborator of Pamela Wise). She introduced Odell to Wendell, who was impressed with William’s compositions and felt that it would be a great project for release on his WenHa record label.

Hughes and Harrison began producing and recording the album to be called “Cruisin”featuring musical arrangements by both Wendell Harrison and Pamela Wise. This album (released in 1981) was the first recording for Hughes and the beginning of a long musical journey that continues to this day. Cruisin’ features an all-star line-up that includes Andrew Gibson (The Counts), Pamela Wise (Tribe) and award-winning Detroit Jazz icon Wendell Harrison…all doing their bit and making this a monster of an album!

William Odell Hughes’ debut album has all the best characteristics of an 80s album: it’s filled with funky playful beats and has excellent soulful honey-dipped vocals. On Cruisin’ the listener is treated to both mellow soul sounds and electrifying disco boogie (that’ll make even the shyest of club goers want to get up and dance) and Wendell Harrison’s instantly recognizable flute-playing and synth pads give the record a warm, relaxed groove. Prepare yourself for funky vibes, cool soothing feet-tapping rhythms, fantastic interplays on vocal tempos…all backed by a beautiful array of soulful synthesized and cosmic music.

References to universal awareness are plentiful throughout and the spirituality of The Tribe remains a constant undertone; a gentle reminder of WenHa’s roots. With a sound like this, it’s no wonder that this album has long been considered a grail for crate diggers around the world. All of the above makes this incredible record both timeless and as relevant today as it was back when it was initially released.

Tidal Waves Music now proudly presents the first ever vinyl reissue of this rare funk & soul album (original copies go for large amounts on the second-hand market) originally released in 1981 on WenHa records. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) with obi strip. This vinyl edition also features the original photography by acclaimed British photographer Brian Smith known for his work with artists such as Screamin’ Jay Hawkins, Howlin’ Wolf, Chuck Berry and John Lee Hooker.