Buscar:q unique

The British progressive rock band Quatermass existed from 1969 until 1971, during those days they released one album, the self-titled Quatermass. The trio, which formed as a power trio with Hammond organ as the main instrument, consisted of bass player and vocalist John Gustafson, keyboardist J. Peter Robinson and Mick Underwood on drums. They keyboard-driven album gained a cult status during the years and received a lot of credits from both critics as prog rock fans. This overlooked masterpiece rocks every moment, sometimes in a funky way and other times in the strength of their heavy sound. The most rock-ish song here is “Black Sheep Of The Family”, later covered by Rainbow on their first album. Progressive parts of the album features surprising time shifts and unique sounds, which gives both lovers of rock as metal the thrills.

Warehouse find

Geophone presents a very special various artists EP. The A side is a hypnotic monster by Voices From The Lake called "Reptilicus", a science fictional techno masterpiece. On the B side, Shifted delivers a powerful remix of the Mike Parker track "Mnajdra", a floor destroying heavy hitter. The EP closes wth a unique and moody contribution by Stanislav Tolkachev titled "Heartbeat" which demonstrates the versatility and emotional depth of this talented artist.

Showcasing CLT DRP’s unique position at the cutting edge of electronic, noise-infused music, Nothing Clever, Just Feelings seamlessly merges various genres to create a unique sound that is both exhilarating and reflective. Focused on themes of queerness and heartbreak, each track explores the raw emotions that come along with these lived experiences, delivering a personal and poignant message at every turn—newfound feminism in vulnerability and gender fluidity; newfound femininity in humour and the fear of being alone.

Ray Charles' 'Modern Sounds In Country & Western Music' plus bonus
track pressed on limited edition 180g blue coloured, comes with it's own
unique sticker

Ray Charles' 'Modern Sounds In Country & Western Music' plus bonus
track pressed on limited edition 180g blue coloured, comes with it's own
unique sticker

Ray Charles' 'Modern Sounds In Country & Western Music' plus bonus
track pressed on limited edition 180g blue coloured, comes with it's own
unique sticker

On "Hy!", industry newcomer A.L. Viktor combines experimental song structures, electro acoustics, and 4th world-infused sound design to create a unique blend of rhythm-driven electronics, psychedelic ambient, and archaic percussion jams.

Delicate melodies collide with primitive drum work outs - An audio version of a bull in a ceramics shop.

Written, recorded & produced in Berlin, Wedding in 2022, mastered by The Cologne Wizard,
recorded on Studer A80 Mastering Recorder

EASYGOING PORTRAIT OF DOWN-HOME SOUL SINGER COMING INTO HIS OWN AND ESTABLISHING AN INDELIBLE BOND BETWEEN PERFORMER AND AUDIENCE
1/4" / 15 IPS / Dolby A analogue master to DSD 64 to analogue console to lathe


On par with the most treasured concert albums of the 60s and 70s, Bill Withers' transformative Live at Carnegie Hall is a forgotten classic – an easygoing portrait of a down-home soul artist coming into his own in front of an audience eager to share every moment of his brilliance. Soothing with subtlety, charming with calmness, and healing with a vocal timbre as relaxing as his grooves, Withers uses the stage to expand the range of favorites and engage in dialog with the crowd. Distinguished with sonics that restore the performances' balance and improve the sound-staging, this reissue takes you inside the venue.

Moreover, aspects that really make this concert document unique – the energetic crowd, Withers and his band's willingness to extend arrangements, and the undeniable communicative bond between the performer and his fans – are brought into fuller relief. While most live albums give you the sense of what transpired, our reissue allows it to seem that what you're hearing and sensing is happening right now, in the moment. You are as much a participant as listener. For this reason and more, Live at Carnegie Hall ranks with James Brown's Live at the Apollo and B.B. King's Live at the Regal. No small claims, but the proof is in the grooves.

The antithesis of the sweaty R&B shouter that prowls the edge of stages, Withers deals in mellowness and vulnerability, qualities that come to fore. The songs here span soul, blues, and folk and often times, contain elements of all three styles. Live at Carnegie Hall also deals with serious subject matter with unflinching honesty and simple directness. Companionship, poverty, war, maturity, family, and love all crop up within Withers' tunes, yet the messages are never overly cumbersome or preachy. Credit goes to his easygoing style and relatable lyrics, not to mention a tight-as-a-vice band that on this night is simply "on."


"One more time?" Withers asks in response to a request for another stanza during "Use Me," and like the snap of fingers, his musicians are right back on cue, the crowd clapping along on every beat. This classic, as well as the instantly familiar "Ain't No Sunshine," poignant "Grandma's Hands," and all-time favorite "Lean On Me" are delivered with utmost soulfulness, passion, and electricity. Few, if any, live albums demonstrate such a bond between the crowd and artist as Live at Carnegie Hall. You'll definitely want to be there.

Walter “JUNIE” Morrison was a former member of the OHIO PLAYERS and responsible for writing and arranging their early 1970s hit singles “Pain”, “Pleasure”, “Ecstasy” and most notably, the group’s first Billboard R&B Number One “Funky Worm”. In 1978 he joined George Clinton’s Funk Mob PARLIAMENT FUNKADELIC and, as their musical director, played a key role during the creation of the hit albums “One Nation Under A Groove”, “Motor Booty Affair”, “Gloryhallastoopid” and their R&B Number Ones, “One Nation Under A Groove” and "(Not Just) Knee Deep". In between acts he released three solo albums for Westbound Records that showcased his unique take on the funk. “The Funky Worm – Live at Dooley’s 1976” is a one of kind live recording from his mid-70s Westbound solo period that was only recently discovered.

Regrooved Records is proud to present the very first live album of funk icon JUNIE MORRISON.

Boukou Groove – the soul-funk band from New Orleans – consisting of the charismatic singer/keyboardist/songwriter Donnie Sundal and the virtuoso guitarist/songwriter Derwin 'Big D' Perkins, is the best-kept American soul secret of the moment. Donnie, the frontman of Boukou Groove, is rightly considered one of the best white soul singers of the past fifty years. His soulful and funky voice evokes comparisons with greats such as Curtis Mayfield and Ronald Isley.
But let's not forget Big D, who is celebrated as one of the best guitarists in New Orleans. As a regular session musician, Big D regularly showcases his unique mix of jazzy and funky guitar playing on albums by icons such as Maceo Parker, Dr. John and Snarky Puppy. The latest album, 'Groovin'', released for the first time on vinyl under the 'Juicy Records' label, is a collection of their best work to date. After two successful tours in Japan with performances at the Live Magic! Festival and at the Blue Note in Tokyo, the album serves as a wonderful introduction before the European tour begins. While Donnie controls the vocals and bass role with his funky Moog Bass, Big D enchants with catchy guitar riffs and sublime guitar solos. Together with a talented drummer and sometimes horn players, they create an irresistible mix of New Orleans Funk, Southern Soul and Rhythm 'n' Blues. Boukou Groove has delivered one of the most enchanting modern funky soul records of this decade with 'Groovin''.

Ever wondered what a Brian Wilson solo album
from 1969 would sound like?
Look no further. (No A.I. needed...)
Exquisitely arranged by ex-Animal Vic Briggs and
featuring several Wrecking Crew musicians who
also played on Pet Sounds, MARK ERIC’s A
Midsummer’s Day Dream is a unique blend of
Beach Boys/Four Freshmen sensibilities coupled
with wistful, lush surf psychedelia.
Defiantly soft, the 1969 LP captured the tail end
of L.A.’s pop innocence perfectly, just as it
slipped into infinity. First time on vinyl since its
original release.
Coming this summer! Our 2002 & 2009 CD reissues
of A Midsummer’s Day Dream caught the soft pop
collector’s world entirely off guard: Very few
were aware of the LP’s existence, and the
reaction was united: A masterpiece was
unleashed and a new generation of daydreamers
was born! The result was glowing reviews in MOJO
and UNCUT, a Japanese edition, as well as soaring
prices for the original long out-of-print vinyl
pressing. The full-colour gatefold jacket includes
EXCLUSIVE, rare photos, and UPDATED and
EXPANDED liner notes that feature the
participation of Mark Eric himself. Reissue
produced, annotated, and designed by STEVE
STANLEY.

David Tattersall, the Wave Pictures guitarist and frontman releases a solo album of interpretations of John Fahey tunes, recorded live in the studio. "I have been a fan of John Fahey's music since I was very young; it has always been with me and I can't remember a time when I wasn't affected by it. It is weird music, and very good. Of course, Fahey is an important cult figure in the history of music: as the first man to find a language for steel string guitar that can stand proudly alongside the established tradition of nylon string classical guitar; as one of many men who rediscovered obscure old blues musicians and recorded them for a new generation in the 1960s; as one uniquely able to reconcile 20th century avant-garde music with folk tradition; as an early indie-label DIY pioneer. For me personally, Fahey went beyond technique, and to some extent beyond historical or intellectual justifications for his work. He explored his emotions through his instrument of choice, and in so doing made the case for the guitar as the ultimate conduit for emotional expression. While there are many imitators who try to play ''like Fahey'', I avoided using his fingerpicking style or sense of rhythm, and tried instead to use his music to explore my own emotions, my own dreams and memories. I was more interested in the lyrical and expressive aspects of Fahey's music than in the techniques of it. I tried to find myself within his compositions and without composing anything I feel that I have managed to make a David Tattersall record that says as much about me as any of the many albums that I have written. John Fahey's beautiful discography shows that the guitar can carry as much mystery and soul as the human voice, and simply put, I wanted in on a little of this action. This is my second all-instrumental solo acoustic album, and where this differs from my first attempt, Little Martha, is that here I improvised freely. I used Fahey's originals only as guides. I'm not sure what I was looking for, perhaps something beyond explanation, but I tried to be as free as possible, and I am delighted by the spontaneous results. Hopefully, they will make the listener feel happy and dreamy, just like the effect that Fahey's many albums have on me. One of the most important things that Fahey ever said was his advice to guitarists to try to feel the emotions that each chord they play on a guitar brings forth. He is telling guitarists to not only play the guitar, but to let the guitar play them. I did my best to follow this advice. I hope you enjoy listening to the album, that it brings you some dreamy moments, and that it sends you back to happily explore the originals. I had a great time recording it. Naturally, I can't put the experience adequately into words but that's the whole point. I think Fahey was a genius of the kind that creates a whole genre single-handedly. There could be thousands, millions, of reinterpretations of his compositions. In fact, there probably already are. And long may this continue. All tracks were recorded live with no tampering."

Released on the Cadet label in 1970, this album’s wondrous mix of spiritual and funky jazz and unique instrumentation defy categorization. Harpist Ashby adds the koto, a 13-stringed Japanese instrument to her arsenal, and her long-time arranger Richard Evans blends flutes, vibraphone, oboe, kalimba and Ashby’s own vocals into a singular and soul-affirming set.
This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

A collaboration between two prestigious Italian bands, the wizards of dub and the masters of big-band ska-jazz, in perfect symbiosis. An album full of dub atmospheres mixed with orchestral patterns; compelling rhythms of the ska and reggae traditions together with dilated and hypnotic electronic sounds. A recording fruit of a challenge and a celebration of music, something that is undoubtedly reflected in the spectacular outcome. 22 musicians locked in a large studio to rediscover the beauty of sharing after months away from the stage due to the pandemic, without even being able to rehearse.

The decision to record a live album was instantaneous, it was just about enjoying the energy of the moment. All tracks were recorded strictly live in the studio, without overdubs, with the aim of apprehending something unrepeatable.

The electronics, the melodies of the wind section and the vocal power come together in this work, recorded live at Deep Studio in Treviso (Italy) and mastered by Ibon Larruzea (Bilbao), full of dub atmospheres mixed with orchestral patterns.

All this merges into a unique and explosive sound in which the strength of the big band meets the deep and hypnotic beats of dub music. The instrumental "Cascade Dub" opens the album with a rootsy, majestic brass-led track.

From there on, Michela Grena, Rosa Mussin and Freddy Frenzy jump into their vocal games, inducing a trance-like state from which you can't (don’t want to) get out. A succession of untamed riddims and expansive sounds in which, in many cases, the wind section remains crouched in the background leaving the creative element in the hands of the dubmaster unit. As small depth charges "You Can Fly", "Lion", "Moon", "Beating Heart", generate submission to the beat and texture. "Mama", the successful first collaboration between the two bands, celebrates the bright sounds and colours of mother earth, a glorious song to our home. In the face of inequality, the senselessness of war, injustice, it becomes necessary to "Shine a Light" that offers hope and, at the same time, to "Give Thanks" for what we are fortunate enough to enjoy. The power of the big band merges with the heavy and deep step of the dub.


A progression of organic, pressing cadences, as in the solidest of the ska and reggae traditions and, at the same time, electronic resonances, dilated and deep. "Sinking Sand" closes the album in a sort of sonorous fencing of styles that makes us guess (as well as the title of the album itself) that WDD and NESJO still have a lot to debate. WDD began their journey as a quartet in 2014 and prior to Studio Session #1 they had already released two albums and several singles. NESJO formed in 2012 and have previously released two albums (both available on Brixton Records) and are working on what will be the recording of their next full-length.

Northeast Italy is a border area and it's easy to connect with each other in those territories made of enchanted landscapes. That energy, that desire to experiment and get involved, have made possible this ambitious project in which a ska-jazz orchestra and a dub band, each with its own language, are assembled in an amazing sonority

A1 - Healing Properties
Opening his Spatial account with Healing Properties, Eusabia immediately throws down the gauntlet showcasing an inimitable versatility with breakbeats, permeated with a jungle flex so rarely captured in the atmospheric D&B landscape. Pivoting effortlessly as the track progresses from drumloop to thunderous drumloop with a simmering haunted atmosphere and deep, weighty basslines to yearning filtered vocal samples, this track has it all.

A2 - The Space Between
Smooth jungly synthwork seizes the foreground before crisp breaks begin to reveal our direction through The Space Between, jittery key stabs and familiar old school FX create a unique sci-fi style backdrop as the breaks drive the vibe forward, switching and weaving in style, constantly mixing it up to ram the point home that you cannot fully appreciate a Eusabia track until every second has been consumed - many times over, as The Space Between demands.

AA1 - Scope of Understanding
A more contemplative piece, Scope of Understanding strips things back with a synthwave-esque vibe tinged with intrigue and allure. Soon the breakbeats leap into gear and develop with an incredible level of refined detail, expertly edited, chopped and cut to a darkly undertone of sub bass and subtle micro melodies. Scope of Understanding will leave you in awe of the quickfire ideas Eusabia can conjure in the space of 6 minutes.

AA2 - Self Reflection
A smooth atmospheric introduction ushers in a thumping drum tools workout, somehow perfectly in sync with the calm harmonies dancing around in the composition. Certainly a track to enjoy both on the discerning dancefloor and while driving home with rain lashing at the windscreen at 2am, Self Reflection's synths and breaks conclude the EP in style leaving a long lasting memory of a Spatial debut you will not forget.

Words by Chris Hayes.

Emerging from the heart of Brussels, Azo is poised to set the electronic music world ablaze with her latest EP, "Astroculture," scheduled for release on SNC Recs. Featuring four vibrant original tracks and a stellar remix from Offenbach Frankfurt's very own Maruwa, this EP takes listeners on an ecstatic journey through the realms of acid, trance, and high-energy drums.

Azo has consistently captivated her audience with a rich tapestry of influences. Renowned for her rock-solid radio shows and dazzling productions, she skillfully blends a myriad of musical elements to create a sound that is uniquely her own.

Inspired by the enigmatic and pulsating vibes of Electro, Trance, and the expressive melodic flavors associated with Rave culture, Azo's "Astroculture" EP promises a sonic exploration like no other. Each track invites her audience to embark on an exhilarating adventure, guiding them through a musical landscape that defies boundaries and expectations—just as the scientific endeavor of astroculture explores new possibilities for cultivating plants beyond the boundaries of Earth.

The EP wouldn't be complete without the hypnotic remix by Maruwa, a vital contributor to the scene. Maruwa's reinterpretation adds a fresh twist to Azo's sonic canvas, enhancing the EP's already electrifying atmosphere.

Azo's "Astroculture" EP is set to ignite dancefloors and inject a surge of energy into the new club season. With its intoxicating beats and boundless creativity, it's a must-listen for electronic music enthusiasts worldwide.

Don't miss out on this sonic adventure. Join Azo on her "Astroculture" journey as she delivers an EP that's as unique and mesmerizing as the artist herself. Experience the magic of Azo's musical journey and get ready to dance like never before.

Part two of our various artists series is a well narrated intergalactic journey that teleports listeners to different spheres whilst remaining in the same galaxy. The curation of forward thinking techno is tailored to those who strive transcending planet earth.

Tracks by Chlar, Holden Federico, Julian Muller and VNNN. make this release not only a unique piece of music but an energizing big room filler - acceleration and drive guaranteed. T3R VA Series 02 convinces with four euphoric and bright sound comets that claim ultimate presence and eliminate gravity. Out on December 1st - Make sure to grab your limited copy and be ready for the
next one!

Van Halen did more than announce to the world the earthshaking arrival of a revolutionary guitarist. Performed by an enterprising California quartet that took its name from two of its principal members, the 1978 debut ripped headlines away from punk, injected fresh energy into a then-moribund rock 'n' roll scene, reimagined how heavy music and throwback pop could coexist, and invited everyone to experience the top-down pleasures of a beach-front Saturday night every day of the week no matter where they lived. Painstakingly restored by Mobile Fidelity Sound Lab, and the first of a multi-album series in an exciting partnership between the famous reissue label and Van Halen, Van Halen delivers feel-good thrills and hormonally charged desires like never before.

Limited to 12,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and allows fans to experience Van Halen's original blend of raw power, Hollywood flair, and vaudeville fun for generations to come. Playing with reference-setting sonics that elevate a 10-times-platinum landmark whose importance cannot be quantitatively measured, this definitive version provides a clear, clean, transparent, balanced, and turn-the-volume-up-to-11 view of an album that birthed entirely new styles. Since MoFi's unique SuperVinyl compound allows you to crank the decibels to your wildest desires without risking noise-floor interference, prepare to not only hear but feel Van Halen in your chest, no fifth-row concert seat necessary.

The premium packaging and gorgeous presentation of the UD1S Van Halen pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic cover art to the meticulous finishes and, yes, of course, Eddie Van Halen's pioneering fretwork and his brother Alex's double-bass percussion.

Indeed, could a piece of music that transformed how countless guitarists approached their instrument be more fittingly named than "Eruption"? Likely not, and in just 102 seconds, Eddie Van Halen rewrote, reimagined, and reconfigured a vocabulary last significantly updated a decade earlier by fellow six-string wizard Jimi Hendrix. Akin to the Washington State legend, Eddie Van Halen developed his own techniques and tones all the while making his seismic accomplishments seem effortless. Devoid of the pretence, ego, and showiness that infected many of his imitators, the Dutch native sticks to a straightforward approach that underlines the authority, prowess, and visionary scope of his playing and then-unheard-of finger-tapping skills. Throughout Van Halen, he establishes himself as an instant idol – a savant whose otherworldly combination of breadth, poise, feel, speed, force, and melody seems beamed in from another galaxy.

As does nearly every song on the record, whose cohesiveness and dynamic put into perspective the advanced chemistry and one-for-all spirit the youthful band had out of the gates. Having paid its dues for years in bars and clubs – going as far as recording a 24-track demo for Kiss bassist Gene Simmons at Village Recorders only to be spurned by management companies that felt its music wouldn't go anywhere – Van Halen finally got a deserved break when Warner Bros. executives signed the group in 1977. The subsequent recording sessions further testify on behalf of the band's synergy and alignment. Completed in just a few weeks with producer Ted Templeman, Van Halen was primarily cut live in the studio with minimal overdubs and edits. The explosiveness, energy, and electricity remain definitive, and as heard on this UD1S set, put the group on a private stage – humming amplifiers, Frankenstrat guitar, bright spotlights, sweaty headbands, and then some.

Van Halen yielded just one hit in the form of a Top 40 single (a breathless cover of the Kinks' "You Really Got Me") but practically every song on the revered LP has become a staple. Named the 202nd Greatest Album of All Time by Rolling Stone and considered by countless experts as one of the best debuts in history, the record displays what can happen with four distinct talents gel and strive for the same purposes. In Van Halen's case, the latter almost always involved partying, freedom, sex, and, in the immortal words of singer David Lee Roth, living "life like there's no tomorrow." The celebration manifests from the opening notes of the strutting "Runnin' with the Devil" – announced with the blare of droning car horns, Michael Anthony's robust bass line, and Alex Van Halen's thumping drumming – and continues through the conclusion of the white-hot "On Fire," goosed by Eddie Van Halen's race-track-ready lines, Roth's flamboyant deliveries, and the rhythm section's cat-like pounce.

Picking out individual highlights on Van Halen is akin to trying to count all the stars in a clear nighttime desert sky: There are far too many to identify, once you see one you notice another dozen you didn't spot before, and the cluster is best enjoyed as a whole. What's evident over repeat listens is the sheer diversity, a fact that's often overlooked: The high harmonies and background funk of "Jamie's Cryin'"; the insistent cane-and-a-tophat shuffle and doo-wop shoo-bop vocal break on "I'm the One"; the throwback acoustic blues that spreads into fast-paced, single-entendre wildfire on the Roth-led standout interpretation of John Brim's "Ice Cream Man." Like the man says, on Van Halen, all the flavours are guaranteed to satisfy.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior


Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl


Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Parisian quintet En Attendant Ana's third album "Principia" is without a doubt their best yet. Bandleader Margaux Bouchaudon's voice anchors many of the songs on "Principia". The songs were composed from a place of confusion about the state of the world and their place in it, looking outward and inward for answers. Guitarist Max Tomasso - newly joined just before the recording of "Juillet" - feels more "moved-in", his guitar-work gliding effortlessly through. New member Vincent Hivert's bass-work is rubbery & flexible, urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone add a new layer of sophistication to the group's debonair indie pop. 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". "Principia" is a great step forward without sacrificing the things that make the band unique, and absolutely feel like the next great phase of an already great band.

Unlock the Groove: Trax Couture Unleashes Vinyl Magic with Exclusive Limited Release

Prepare to embark on a sonic journey like never before as Trax Couture, the trailblazing genre-bending record label, unveils its latest vinyl gem—the first in many years! Brace yourselves for a sweated out experience from Welsh producer Tru Method, with a two-tracker that's set to define your dancefloor encounters.

In a world saturated with predictability, Trax Couture continues to break the mold, daring to explore uncharted musical territories. The highly anticipated release boasts a scanty run of only 100 copies, ensuring that each fortunate owner becomes part of an exclusive adventure.

The star of the show is none other than the lead track, "Music." Brace yourself for a mind-bending experience as this trippy, breaks-infused dub-techno warper weaves its spell over your senses. It's not just music; it's a voyage into unexplored dimensions, where beats and breaks collide in a cosmic dance.

But that's not all. Enter the realm of euphoria with the second track, "Studio 77." A classic in the making, this euphoric breaks-driven hitter is designed to lift your spirits and transport you to a realm where every beat is a celebration. It's not just a track; it's a euphoric escape, a sonic sanctuary.

Trax Couture's commitment to pushing boundaries is encapsulated in this unique release, signaling a return to the vinyl scene with a bang. The limited edition ensures that these musical treasures are as rare as they are extraordinary.

With only 100 copies available, each sleee is hand painted and comes with unique insert in true TC style. Secure your slice of this sonic magic is not just a choice; it's a necessity for anyone

2023 Repress

New York, early 90's, the haydays of the New York and Jersey clubhouse! With labels such as NuGroove, Nervous, Freeze, Strictly Rhythm, Henry Street Music taking all the spot light, there is Jovonn working on a small but sensational catalogue of music that somehow gets overshadowed by the popular releases on the mentioned labels. The honest productions, jazzy melodies and playful vocals (rooted in gospel) were taking things into a more musical, more spiritual way, lacking gimmicks or dispensable samples. For the real diggers, the true lovers of House music Jovonn always was a name to watch, a producer of some of their favorite NY house tracks, tracks that have a raw edge combined with a sincere human touch and pure underground house vibes. People such as Rex resident Dj Deep was a huge fan, and also collaborated on couple later productions with Jovonn. Slowly he started getting recognition from europe which resulted in a handfull of records on European labels such as Distance, Coco Soul and Estereo. Now after almost 25 years since his first release the man's small discography on his own Goldtone label and Emotive records stand out with his unique musical personality. More then 20 years after their original release dates these tunes are still very relevant and stand for many things we love about house music! We are happy to offer this selection of his hard to find early works remastered by Alden Tyrell and pressed on fresh clean high quality vinyl.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

"Dance My Hurt Away" is the first single from the debut album by The Faithful Brothers from Tel Aviv/Israel.

Is there a Northern Soul scene in Tel Aviv? The surprising answer is – yes, there is. If you're a soulie and in town, look for the Tel Aviv Soul Club, and you might find yourself swaying across a talcum-powder covered floor to Tel Aviv's own unique blend of classic Northern Soul 45s and early 1960s R&B sounds.

Chances are that those 45s will come out of the record boxes of one of the brothers Neeman, Johnnie and Bin. Tel Aviv Soul Club, aka TASC, is the brainchild of Yashiv Cohen, a DJ who, in 2006, lured the brothers Neeman, whose massive soul collections been hitherto confined to their respective living rooms, into playing their records to the Tel Aviv public. Yashiv is also the lead singer of Men of North Country (MONC), a Tel Aviv band with a distinct sound, blending rock, British pop and soul. Since Neeman means Faithful in Hebrew, Yashiv woke up one morning with the crystallization that MONC must create a spin-off, a more puristic soul band, called the Faithful Brothers. It took a few more years, but gradually the brothers succumbed to their fate, to continue their musical progression, from collectors to DJs to musicians. Johnnie took his guitar, Bin took to the piano, and the brothers began pouring out some of their influences, creating new songs. It is finally all coming together now.

Airto Moreira and Flora Purim, the legendary King and Queen of Brazilian Jazz, have captivated audiences for over six decades with their vibrant albums and exhilarating live performances. With a dedicated global fan base including the UK's jazz funk and jazz dance scene to Japan's concert halls, the power couple continues to make waves in the industry – Flora's 'If You Will' (2022) album was even nominated for a Grammy! The duo met and came together musically in Sambalanço and the Sambrasa Trio. The mixture of Airto's rural Brazilian background and percussion talents and Flora's classical training and involvement in the underground Bossa Nova movement, created a unique blend of sounds that resonates across generations. They have not only collaborated with music legends like Miles Davis and Chick Corea but have also produced ground-breaking music alongside the likes of Hermeto Pascoal. Despite facing numerous challenges, including Flora's arrest and incarceration in 1974, the duo's close connection with friends-musicians like Thelonius Monk and Cannonball Adderley, their persistence and absolute passion for music have propelled them to the pinnacle of success. They worked with renowned musicians like Wayne Shorter, Jaco Pastorius, Herbie Hancock, Joe Henderson, McCoy Tyner, George Duke and producers such as Orin Keepnews and Creed Taylor. Having been a part of numerous prestigious ensembles, including Dizzy Gillespie's United Nations ensemble, Airto and Flora's journey is a testament to their innovation and devotion to their craft. This collection offers a glimpse of that incredible journey, showcasing their extraordinary talent and unique sound and it’s also the first comp scanning their 60 year careers Compiled by Straight No Chaser editor/publisher Paul Bradshaw & Totally Wired Radio presenter Roberta Cutolo. Àṣẹ.

The long out-of-print breakthrough third album by the forever forward-thinking New England collective, Cerberus Shoal, is rightfully considered a high-water mark for the band, and a quintessential example of what would eventually be commonly defined as "post-rock." The first studio album to feature the members of fellow local experimental rock troupe, Tarpigh, Homb exemplifies the transitional magic and mystery that marked Cerberus Shoal's brilliant early era. Unraveling their various influences - early 90s post-hardcore, shoegaze, avant-rock, psych-folk, early New Age - and weaving them into something uniquely rich and resonant seemed almost effortless to Cerberus Shoal, and perhaps no album epitomized that more than the lush tapestry of Homb. Finally available on vinyl for the first time ever, Homb - Anniversary Edition is packaged in restored artwork with extensive new liner notes written by the band. The record has been newly mastered for vinyl by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl.

The long out-of-print sophomore album by the pioneering, creatively restless troupe, Cerberus Shoal, highlights the earliest phase of their transition from experimental hardcore band to transcendent exploratory collective. Originally released in 1996, _And Farewell To Hightide combined the group's unique command of patient anticipation with a significantly expanded musical palette and a refined musicianship. Shedding virtually all obvious references to the frenetic post-hardcore of their eponymous debut album, Hightide saw Cerberus Shoal incorporating elements of Talk Talk, Tortoise, and the early Windham Hill catalog into a sound that was incomparable at the time. Now, more than 20 years later, it's proven astonishingly prescient and truly timeless. Beautifully remastered and finally made available digitally for the first time ever, this expanded deluxe edition includes the Lighthouse In Athens EP recorded during the same era as _And Farewell To Hightide. Finally available on vinyl for the first time ever, _And Farewell To Hightide - Deluxe Expanded Edition is packaged in restored artwork with newly uncovered photos and extensive new liner notes written by the band. The record has been newly mastered for vinyl by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl.

Skatune Network follows up one of their most beloved releases with another unique set of emo and pop punk covers - ranging from 90s and 00s classics by Blink-182, Paramore, and Jimmy Eat World to modern day favorites by bands like PUP and Title Fight.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.

The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.

Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.

However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."

It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

It’s rare to come across new talent that hits the spot with their music at just the right time. But then again you never know when it will happen, when that right one comes along, and for Vega Records that time is now. Mr. X a young new talent from Northern Jersey, USA takes it to the raw underground with driving electronic stabs and a deep pulsating bassline with swinging beats and unique perc sounds that pop in and out abruptly within the arrangement on the track entitled “The Curse” on Side A1.

Early distribution of the track to impacting djs in the dance scene, Honey Dijon, Kenny Dope, Anané, Luke Solomon, Melvo Baptiste, Joseph Capriati, & Louie Vega have all been championing the new hot track entitled “The Curse”. Side A2 “The Underground” has a hooky flip flop keys action happening with vocals saying “Thank You” creating a hypnotizing groove ala Mr. X Style. The B-side of the 12” starts with a steaming revisit to “The Curse” giving it another life on the dance floor along with the sample hits and catchy groove on “B-Side Only” created only in the way Mr. X can to make you jump on the dance floor. All hot club bombs, CATCH THE FIYAAAH

Element, co-founder of Riddim Chango imprint, introduces his latest creation, a 4 track EP, under the freshly forged subsidiary label, Parallel Line.

The EP opens with the abstract dancehall mic-man in Kingston I Jahbar, reprising his collaboration with Element from their 2021” Andromeda EP on Bokeh Versions, narrating rhythmic tales of style and ambitious hustle. The records transitions to the intense dubwise cut to the A1,“Chicken Gravy Dub”, and the B-side unfolds“Nine Mall”and“Martian Gravity,”instrumentals resonating with obscure yet atmospheric dancehall/dembow echoes.

The EP embodies a fusion of eclectic influences, resonating with reflecting the innovative and unique soundscapes of Element and his Parallel Line imprint.

1STEP Process 180g 45rpm Double LP Pressed on VR900-Supreme Vinyl!
Mastered From The Original Analogue Master Tapes by Bernie Grundman!
Super-Luxe "Monster Pak" Jacket with a Rich 36-Page Booklet & Striking Outer Slipcase!

New lacquers cut for every 500 pressings!

Strictly Limited To 7,500 Numbered Pressings!

There have been more than 40 U.S. releases (and hundreds more worldwide) of Stan Getz's cultural touchstone album and for good reason: few recordings better capture the breezy warmth and easy-going sophistication of Brazilian bossa nova for an American jazz audience. Fewer recordings can replicate the you-are-there presence and flawlessly tight studio acoustics. Only Getz/Gilberto has Billboard Top-10-charting singles like "The Girl from Ipanema." When Impex Records jumps into this densely-populated fray with our own production, we need to bring maximum value and prestige to it. Challenge accepted. We worked directly with Stan's wife Monica Getz and their son Nicolaus to create the most authentic, best-presented Getz/Gilberto ever.

Exclusive to Impex's 1STEP Getz/Gilberto includes an insightful new interview/essay by Charles Granata featuring Monica reminiscences of the making of this record, the subsequent cultural phenomenon, and Stan's battles with some pretty heavy demons. Also unique to this release are two bonus tracks: an alternate mono 7" mix of "The Girl from Ipanema" (without the added echo, thank you very much) and a live recording of "Corcovado" from Carnegie Hall. Finally, the large-format, 36-page booklet features dozens of rare photos, the original album notes, and a fascinating personal remembrance from Monica Getz herself, celebrating her late husband's work and an inside look at Stan's family life while making the record!

Using the original analog master tapes and no computers at all, Bernie Grundman at Bernie Grundman Mastering sought to keep the sense of space and tone on the master tape intact without unnecessary embellishment. Impex 1STEPs get you closer to the source, not the ideal.

We know you have many choices when it comes to enjoying this singular album. The Impex 1STEP of Getz/Gilberto cuts above all other releases with added-value content that takes you deeper into Stan Getz's life and process in a way never previously possible.

The 1STEP Process:



The Impex 1STEP process relies on short, tightly-controlled runs that require a new lacquer after each 500 pressings. This unforgiving format has the lacquer skipping the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details and deeper bass.

Reducing production complexity to just a single "convert" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies and increases signal integrity from the master tape to your system.

Features:



The only release of this fundamental jazz classic crafted with the full participation of the Getz family, including never-before-seen photos and notes from Monica and Nick Getz
Exclusive new interview essay about Getz's life and the recording of the album by noted producer and historian Charles L. Granata
Exclusive ultra-luxe Impex 1STEP packaging featuring a deluxe 36-page booklet within a heavy-stock two-sleeve Monster Pack jacket and striking colour-matched slip case
Two all-analogue bonus tracks: an alternate mono 7" mix of "The Girl from Ipanema" and a live recording of "Corcovado" from Carnegie Hall
Limited to 7,500 copies

Gaucho — Steely Dan's Grammy-winning seventh studio album now on UHQR!
Definitive reissue Ultra High Quality Record, the pinnacle of high-quality vinyl!
45 RPM LP release limited to 20,000 numbered copies
Mastered by Bernie Grundman from a 1980 analogue tape copy originally EQ'd by Bob Ludwig
Pressed at Quality Record Pressings using 200-gram Clarity Vinyl®
Purest possible pressing and most visually stunning presentation and packaging!
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing


Gaucho — the iconic seventh studio album by Steely Dan, released in November 1980 — and Grammy-winner for Best Engineered Non-Classical Recording, was also Grammy-nominated for Album of the Year and Best Pop Performance by a Duo or Group with Vocals. The album represents the band's musical evolution towards a more polished and sleek sound, featuring a collection of meticulously crafted songs that blend jazz, rock, and pop music, while exploring themes of decadence, longing, and disillusionment.

Gaucho opens with the title track, a jazzy instrumental piece that sets the tone for the rest of the album. The standout tracks on the album include "Hey Nineteen," a catchy and upbeat tune that features a memorable saxophone riff and lyrics about an older man's attraction to a young woman, and "Babylon Sisters," a funky and groovy track that showcases the band's impeccable sense of rhythm and melody.

The sessions for Gaucho represented the band's typical penchant for studio perfectionism and obsessive recording technique. To record the album, the band used at least 42 different musicians, spent more than a year in the studio, and far exceeded the original monetary advance given by the record label. Still, the album features multiple layers of instrumentation, carefully crafted arrangements, and the use of top-notch session musicians to create a lush and sophisticated sound that is uniquely Steely Dan.

Despite its critical and commercial success, Gaucho was a challenging album to make. During the two-year span in which the album was recorded, the band was plagued by a number of creative, personal and professional problems. MCA, Warner Bros. and Steely Dan had a three-way legal battle over the rights to release the album. After it was released, jazz musician Keith Jarrett was given a co-writing credit on the title track after threatening legal action over plagiarism of Jarrett's song "'Long As You Know You're Living Yours."

Gaucho marked a significant stylistic change for the band, introducing a more minimal, groove- and atmosphere-based format. The harmonically complex chord changes that were a distinctive mark of earlier Steely Dan songs are less prominent on Gaucho, with the record's songs tending to revolve around a single rhythm or mood, although complex chord progressions were still present particularly in "Babylon Sisters" and "Glamour Profession." Gaucho proved to be Steely Dan's final studio album that Donald Fagen and Walter Becker would make together until the year 2000.

Gaucho reached No. 9 on the U.S. album chart and was certified platinum-selling. "Hey Nineteen" reached No. 10 on the U.S. Singles Chart and went to No. 1 in Canada. Pitchfork, in its review, describes the almost "pathologically overdetermined production" as elegant, arid and a little forbidding. "Every last tinkling chime sounds like it took 12 days to mix, because chances are, it did." The New York Times deemed Gaucho the best album of 1980, beating out Talking Heads' Remain in Light and Joy Division's Closer.

Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan's popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn't perform live between 1974 and 1993. But their popularity nevertheless grew throughout the '70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations.

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Gaucho remains a testament to Steely Dan's enduring musical legacy and their ability to create timeless music that transcends genre and style.

Repress!

Listeners familiar with Kaitlyn Aurelia Smith's previous album Euclid (an album that prompted Dazed to call her "...one of the most pioneering musicians in the world.") will no doubt notice her heavier use of vocals on her new album EARS. On all but one song, her gently ecstatic swells of vocals emerge to soar over a dense jungle of synths and woodwinds. After initially composing on a Buchla analog synth, she wrote arrangements for a woodwind quintet, added vocals, and further refined the pieces with granular synthesis techniques she developed in her sound design work (she contributed sound design to Panda Bear's "Boys Latin" video, and handled sound design and original compositions for Brasilia co-written by and starring Reggie Watts).

Kinetic arpeggios of synths pulse, often buoying her graceful vocal mantras, while woodwinds breathe and flutter, emulating the wildlife Smith observed while growing up on the West Coast (she even studied recordings of slowed down bird calls prior to composing these pieces). Though some of her gestures echo the musical tropes used by early minimalist composers, the world she creates on EARS is uniquely hypnotic and full of life, not unlike Miyzaki's film Nausicaä, which she cites as an inspiration.

EARS is a masterful articulation of Smith's vision, which she achieved in part by spending time preparing her mind prior to composing the album.

With its tenth record from Fortunato Durutti Marinetti, Quindi continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he's found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022's Memory's Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi's renewed approach is instantly apparent as album opener 'Lightning On A Sunny Day' unfurls, informed greatly by producer Sandro Perri's input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can't help but think of John Martyn's slide into the digital sound of Sapphire or Kraftwerk's bittersweet synthetic tenderness.
Within this sound, there's still space for the energy to fluctuate according to the whims of songs. 'The Flowers' turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. 'Misfit Streams' and first single 'Clerk Of Oblivion' savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener's heart. It's at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer's inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - 'Smash Your Head Against The Wall' snarls its rhythm section before the strings sow their aching beauty to cool the song's temper, winding up as a track of distinct halves jabbing at each other. "I Need You More' leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi's unique exploration of his muse.
The artist himself dubs his musical expression as "poetic jazz rock" with a sideways glance - it's not exactly poetry, far from trad jazz and it doesn't really rock, yet the tag feels uncannily like it fits, just like the curious music it's used to describe.

After releasing his seventh - arguably best and most popular album - The Odd Shower, The Bitter Springs' singer / songwriter Simon Rivers reinvented himself as Poor Performer, whose own debut, Like Yer Wounds Too, followed the same winning formula, widened somewhat by the inclusion of songs with a greater fragile beauty and introspection . . . though rarely without a degree of self-effacing humour and a rather stylish wit. Decades of self-releasing compact disc-only albums from the far southwestern suburbs of London, with scant regard for promotion or the normal machinations of showbiz - touring, for instance - did little to spread the word about Rivers' unique and prestigious talents. A conversational singer with a delightfully warm and convivial stone, Rivers' sense of the absurd and willingness to portray aspects of life generally unrecognised by pop music, one supposes it's not entirely unfair to have expect Top of The Pops to come calling. Yet the relative absence of cult of Simon Rivers fans is somewhat perplexing, for his lyrics, ideas and tunes all do merit it. There's little affectation in the sense of stage persona, but heaps of personality and intriguing, occasional perverse idea. It's hard to listen to anything he's down without a degree of sheer enjoyment. It's real, without affectation. The very real bumps heads with the slightly mental, just like in life! So what does this new guise - Oldfield Youth Club - have to offer? It's partially a revival of Rivers' first 'real' band, Last Party, and it displays hallmarks of that band's youthful energy. There's a bit of teen glam in Good News I'm Afraid and (Theme From Oldfield Youth Club, even while lead track We're The OYC and When Bob Grant Ruled The World add a dollop of an energetic ruefulness to the mix. A Kind Of Loving In A Loveless Town is an immediate classic, a song one could hear dozens of times before really reaching the core of its magic and majesty. Lest this sound like the work of a solo artist, it does feel like a band - a rather clever one, in fact. Including members Kim Rivers and Neil Palmer (both from Last Party), as well as trumpeter / vocalist Alison Targett, Oldfield Youth Club is a band with an obvious musical kinship. There's a connection to the literal style of Vic Godard's Subway Sect (and members have been shared between both acts) or early Go-Betweens . . . there's an alchemical sensibility shared by all three acts wherein their words and tunes inform each other in a deceptively casual but arresting manner. It's hard not to love, a rare work that earns immediate affection and just grows better from there.

Pressed on LP again for the first time in years. Aldous Harding's songs are not for the faint of heart. Disarming in their desolate imagery and vulnerable instrumentation, they deal with the raw materials of life: birth, death, love and grief. Sometimes reminiscent of 60s-era folk singers Vashti Bunyan and Linda Perhacs, Harding's work lies in more harsh terrain than her forebears - piercing the long history of the genre with a grit and sincerity rarely encountered. Based in New Zealand's Southern port town of Lyttelton, Auckland-born Harding began playing to the public in small-town venues and busking on the streets. It wasn't long before her name became synonymous with both the vivid devastation of her wordplay and the stark intensity of her performance; a unique blend of fragility and sinewy, world-won strength that belies her youth. Influential BB6 DJs Marc Riley and Mary Anne Hobbs picked up on tracks and a rigorous festival circuit followed in 2015. The Line Of Best Fit lauded her Great Escape performance: “Aldous Harding mixes traditional folk songs with dirge-y notes and ends her incredible performance with an A cappella cover of Edith Piaf she was told she was too young to be singing. It was spellbinding.” Of her debut record, The 405 said, “the voice is from another time and the imagery is dramatic, the themes are universal....

David Tattersall, the Wave Pictures guitarist and frontman releases a solo album of interpretations of John Fahey tunes, recorded live in the studio. "I have been a fan of John Fahey's music since I was very young; it has always been with me and I can't remember a time when I wasn't affected by it. It is weird music, and very good. Of course, Fahey is an important cult figure in the history of music: as the first man to find a language for steel string guitar that can stand proudly alongside the established tradition of nylon string classical guitar; as one of many men who rediscovered obscure old blues musicians and recorded them for a new generation in the 1960s; as one uniquely able to reconcile 20th century avant-garde music with folk tradition; as an early indie-label DIY pioneer. For me personally, Fahey went beyond technique, and to some extent beyond historical or intellectual justifications for his work. He explored his emotions through his instrument of choice, and in so doing made the case for the guitar as the ultimate conduit for emotional expression. While there are many imitators who try to play ''like Fahey'', I avoided using his fingerpicking style or sense of rhythm, and tried instead to use his music to explore my own emotions, my own dreams and memories. I was more interested in the lyrical and expressive aspects of Fahey's music than in the techniques of it. I tried to find myself within his compositions and without composing anything I feel that I have managed to make a David Tattersall record that says as much about me as any of the many albums that I have written. John Fahey's beautiful discography shows that the guitar can carry as much mystery and soul as the human voice, and simply put, I wanted in on a little of this action. This is my second all-instrumental solo acoustic album, and where this differs from my first attempt, Little Martha, is that here I improvised freely. I used Fahey's originals only as guides. I'm not sure what I was looking for, perhaps something beyond explanation, but I tried to be as free as possible, and I am delighted by the spontaneous results. Hopefully, they will make the listener feel happy and dreamy, just like the effect that Fahey's many albums have on me. One of the most important things that Fahey ever said was his advice to guitarists to try to feel the emotions that each chord they play on a guitar brings forth. He is telling guitarists to not only play the guitar, but to let the guitar play them. I did my best to follow this advice. I think Fahey was a genius of the kind that creates a whole genre single-handedly. There could be thousands, millions, of reinterpretations of his compositions. In fact, there probably already are. And long may this continue. All tracks were recorded live with no tampering

The fragility and balancing act of creativity is an immeasurable factor in the life of any artist, serving as a commanding force in the choices they make over their careers. If the connection and meaning in creativity becomes devoid, there's a transformation process that either channels an ascension or departure. An internal and external battle that can chase and haunt individuals in every part of their life if one falls into the latter position. In the case of Los Angeles based electronic producer Huxley Anne, ascension was achieved during one of these tests of creative endurance and preservation, entering a phase of her life where the process of feeling art on meaningful levels had subsided for a lengthy period and the eventual reprisal of these natural gifts returned. This led to the creation of her debut album and an expansion in creativity that marks an important beginning for her path as an artist. This work is known as Ilium, representing a moment in Huxley Anne's life that's been one of her most testing yet rewarding mountains to climb. Ilium is Huxley Anne's debut album with Los Angeles indie imprint and Alpha Pup Records affiliate, Dome of Doom. Sonically, Ilium is an orchestrated field of unique beauty, drawing together eight tracks of exotic electronic music that calls upon the darkest and most light-driven of emotions. Exploratory textures take on vortexes of shape through cinematic sound designs, fluidly traversing between amorphous undertones, intricate composition mapping and pulsing rhythms. From the submersion of euphoria to the illumination of power, Ilium draws upon as many influences in the realm of mystical antiquity as it does the landscape of experimental music leading us into the future. A sonic portrait of her ascension through creative turmoil, the struggle of sustained determination and a rebirth into timeless artistry. Huxley Anne has created a boldness in sound that was made with the most vulnerable and giving of sides and simply put, Ilium is the continuation of meaningful life

Taking the 2nd half of 2022 to start setting this album up, BILL released singles like "Once Upon A Time In Canarsie", "Leviathan", "Smarten Up", "Root For The Villain", and "Time To Go". The album boasts features from the likes of Vinnie Paz, Kool G Rap, Rittz, Immortal Technique, Nems, Sick Jacken, Slaine, Lord Goat, Tragedy Khadafi, OT The Real, Q-Unique and more.

2023 Reissue

Berlin based HipHop producer S. Fidelity presents his sophomore and full packaged concept album “Fidelity Radio Club” via Jakarta Records.

Four years after his Jakarta Records debut “A Safe Place to Be Naked” S. Fidelity has matured as a producer and as an artist: working and recording in London, Los Angeles, Paris and Johannesburg while building up his Manolo Purple Studios in Berlin with longtime collaborator, labelmate and soul brother Bluestaeb.

In 2021 S. Fidelity finally returns to the main program with his brand new solo album “Fidelity Radio Club” shaped in form of a genre crossing radio show exploring HipHop, R&B, Jazz, House and Funk in all their depths, creating the multi-layered album he always dreamt to do as he orchestrates a stoking line-up of equally talented friends and fellows like Bluestaeb, Melodiesinfonie, Suff Daddy, K, Le Maestro, Àbáse and many more while still delivering that very personal note every classic producer album needs and comes with. Or as the artist himself would put it: “17 different artists, producers and instrumentalists from all over the world helped me to bring this vision to life.”

According to that the albums 1st single features Singer NDO from Florida, giving life to the hard hitting R&B gem “Mixed Signals” where warm neo soul harmonies meet with classic R&B vibes of early 2000. The song made it to Spotify’s Butter Playlist right away and was picked for Deezer’s “Date Night” Playlist and Apple Music’s New Music Daily as well and received shout outs and further Playlist-placements by music blogs like Stereofox or MOW Mag.

The 2nd single comes as a double single featuring pianist, producer and main protagonist of Berlin’s prog-jazz scene Àbáse on “Me At The Zoo” (reminding its listeners of London’s new wave of jazz around Kamaal Williams or Yussef Dayes) on one side and the energetic, funk influenced disco tune “Something Good” on the other side.

The 3rd and final single “Love International Inc.” then comes with a bumpy up tempo drum beat, which develops into an energetic and jazzy lo-fi house/deep house loop, featuring none other than Zürich’s finest Melodiesinfonie as well as Paris-based Bluestaeb, marking this supergroup’s 2nd appearance and giving a glimpse of what’s yet to come.

Each of the album’s single cuts comes with a visual treatment by HipHop’s favorite photographer Robert Winter and his team (The Ottos), matching sound and artwork accordingly while the record’s amazing and unique artwork comes from the Swiss based creative studio HOMI. The record itself contains a sticker sheet with customized S. Fidelity and “Fidelity Radio Club” stickers as well.

The whole album campaign is further accompanied by the Fidelity Radio Show hosted by S. Fidelity himself, sitting down with his featured guests talking about the music they love and they draw inspiration from – broadcasted via S. Fidelity’s own youtube channel releasing its episodes in between the album’s single drops.