Buscar:r jam

2 x black LP + LP Booklet

Die GRAMMY®-gekrönten Progressive-Music-Titanen Dream Theater melden sich mit ihrem 16. Studioalbum "Parasomnia" zurück - eine Ankündigung, die satte 15 Jahre auf sich warten ließ. Es ist das erste Album mit der legendären Besetzung Sänger James LaBrie, Gitarrist John Petrucci, Bassist John Myung, Keyboarder Jordan Rudess und Schlagzeuger Mike Portnoy seit "Black Clouds & Silver Linings" von 2009. "Parasomnia" wurde von Petrucci produziert, von James 'Jimmy T' Meslin aufgenom-men und von Andy Sneap abgemischt. Hugh Syme hat erneut seine kreative Vision für das Cover-Artwork beigesteuert. Vom Opener "In The Arms Of Morpheus" bis zum abschließenden "The Shadow Man Incident" kehren Dream Theater mit einer Samm-lung von Songs zurück, die zeigen, weshalb die Band seit vier Jahrzehnten eine treue Fangemeinde hat. Mit einer Spielzeit von 71 Minuten nimmt "Parasomnia" den Hörer mit auf eine musikalische Reise, die seit Beginn der Karriere zum Synonym für die Band geworden ist

ltd 2 x ultra-clear 2 LP + LP Booklet

Die GRAMMY®-gekrönten Progressive-Music-Titanen Dream Theater melden sich mit ihrem 16. Studioalbum "Parasomnia" zurück - eine Ankündigung, die satte 15 Jahre auf sich warten ließ. Es ist das erste Album mit der legendären Besetzung Sänger James LaBrie, Gitarrist John Petrucci, Bassist John Myung, Keyboarder Jordan Rudess und Schlagzeuger Mike Portnoy seit "Black Clouds & Silver Linings" von 2009. "Parasomnia" wurde von Petrucci produziert, von James 'Jimmy T' Meslin aufgenom-men und von Andy Sneap abgemischt. Hugh Syme hat erneut seine kreative Vision für das Cover-Artwork beigesteuert. Vom Opener "In The Arms Of Morpheus" bis zum abschließenden "The Shadow Man Incident" kehren Dream Theater mit einer Samm-lung von Songs zurück, die zeigen, weshalb die Band seit vier Jahrzehnten eine treue Fangemeinde hat. Mit einer Spielzeit von 71 Minuten nimmt "Parasomnia" den Hörer mit auf eine musikalische Reise, die seit Beginn der Karriere zum Synonym für die Band geworden ist.

Recorded in 1997, Mountain Top features the commanding vocals of Tony Roots, backed by the legendary Firehouse Crew and produced by the visionary Fada Waz (Clifton Carnegie). This record’s release was driven by the people, evidenced and encouraged by the countless wheel-ups and sing-alongs during King Original’s international tour dates over the last three years whenever this seminal recording was dropped in the set.

Tony Roots, known for his cultural and spiritual themes, delivers a powerful vocal performance, reminding us that life’s most important journey is overcoming obstacles to find ‘Jah Love on the Mountain Top.’ This message is as relevant in today’s fast-paced, easy-come-easy-go consumer culture as it was when recorded three decades ago.

The Firehouse Crew renowned for their work with iconic acts like Luciano and Sizzla—shine brightly on this riddim, with the MPC drum machine-centered sound of 90s Jamaican roots reggae. An up-tempo 4/4 steppers beat layered with rich analogue textures and soulful instrumentation defines this timeless recording.

The first of many collaborations between Studio 55, Before Zero Records, and Footsie, the King Original legacy continues into the future, honouring the enduring contributions of Fada Waz and his collaborators.

Clifton Carnegie aka Ras Wazair aka Fada Waz - Clifton Carnegie, known as Ras Wazair, founded King Original Sound System in 1973, establishing it as East London’s foremost reggae sound. Operating under his Studio 55 moniker, he collaborated with legends like Johnny Osbourne, Barry Brown, Michael Prophet, Cornell Campbell, and Frankie Paul through imprints such as Original Sounds, Studio 55, and Original International. A mentor to many of the UK’s top sound systems and a key figure in London’s RasTafari community, Ras Wazair’s connections with prominent Jamaican artists, bands, and producers like Fattis Burrell ensured that Jamaican music remained an influential force in the UK sound system scene.

King Original
Founded in 1973 by Fada Waz, King Original Sound System shaped East London’s reggae scene for over two decades. Fada Waz and his son Footsie—a UK Grime pioneer who in later years expanded the legacy through his KO LP series and sold-out King Original mixed-genre events at London’s top venues—worked together until Footsie assumed full control following Fada Waz’s passing in 2021. Having worked with artists such as Dizzee Rascal, Arctic Monkeys, The Prodigy, D-Double E, Wiley, and Skepta, Footsie’s dedication to King Original has reinvigorated the legacy that underpins all UK bass music—the reggae sound system. Joining Footsie is his brother, Wazair’s last born Ras D also Jah Model, and long-time collaborator Sir Spyro, producer of two UK number-one hits with Stormzy and son of UK reggae stalwart Nerious Joseph. Armed with cutting-edge QSS sound system technology, King Original continues to set trends, shaping the future of UK bass music.

Tony Roots
Hailing from Manchester, Jamaica, in the 1980s, Tony Roots emerged alongside iconic figures like Garnet Silk and Tony Rebel. While his peers remained in Jamaica, Tony moved to the UK, where he went on to release ten albums and numerous singles, including hits like Grow Your Natty Dread Locks and Hola Zion. A steadfast champion of Rastafari, Tony has collaborated with legends such as the Firehouse Crew, earning worldwide respect and a devoted following within both the reggae community and the UK sound system scene.

The Firehouse Crew
Formed in 1986, The Firehouse Crew became a cornerstone of the 1990s roots-reggae revival. Initially associated with King Tubby’s Firehouse label before establishing their own, the band rose to prominence through collaborations with producer Philip “Fattis” Burrell at Xterminator Records. Their contributions to timeless albums like Luciano’s Where There is Life highlight their extraordinary musicianship. Over the years, The Firehouse Crew has backed iconic artists such as Sizzla, Buju Banton, and Beres Hammond, cementing their legacy as masters of roots reggae.

Los Angeles-based experimental jazz collective High Pulp will release
their new album Days in the Desert in peak sweltering summer heat on
July 28
The titular desert is both literal and metaphorical: it's the Mojave Desert that the
band powers through on their many DIY tours around the country, and the band's
founder / drummer Bobby Granfelt perceives the desert as "a spiritual quest" as
well. Amid the trials of our present moment, you must look within, relying solely
on your own instincts to keep moving forward. "You're in the desert and it's a long,
lonesome process and a lot of times you have to check yourself to ask 'Is this
right? Is this good? Is it too out?'" he says.
High Pulp's Days in the Desert makes this vision come true, finding the West
Coast band fully emerging into their own sound. Rooted in the jazz tradition while
also smitten by indie- rock and electronic music, High Pulp was willing to grab
from all these sounds at once to pursue something truly their own. Their third fulllength album (following 2022's promising Anti- debut Pursuit of Ends), Days in the
Desert reveals the band realizing their strengths, deepening their own bonds, and
pushing all these skills into a thrilling new sonic vista all but unimaginable just a
few years before

Veyl is pleased to welcome Harlem back to the label with a new 8 track LP titled Cage. The Stockholm-based duo of Martin Thomasson and Johan Skugge last appeared on the imprint with 2021’s, Bait, and the project now returns diving deeper in to their infectious cocktail of menacing electronics.

Bringing with them a vast body of work, ranging from dub to minimal techno, with Harlem the pair fuse electro, no wave, post-punk, disco, proto-body, dub, hip-hop, and grime, creating a unique sound that cannot be categorized. Cage opens with “Shut Your Body”, a muscular piece which drills into the surface, setting the stage for what’s to come. Next up is “Fantasy Scan” a dance floor ready jam that picks up the pace and lures us into the pleasure dome. “Blow by Blow” brings a nihilistic energy to a fictional scenario that takes its cues from the past while remaining firmly in the now.

“Kiss The Steel” continues on the slow burning path, dropping us into a dream like state, blurring the lines of reality and plunging us into a surrealist nightmare or reverie? “Dummy Up” comes roaring back, injecting a dose of electro and body that sounds like a soundtrack to your favorite cult gathering. With “Sleuth”, we hear the repetitive grind of a man at work, searching for the unknown, unlocking new mysteries along the way. As we head toward the finale, “Contact High” brings back a seductive dance, ready to movie bodies and stir emotions. Closing things out is “Wiggle Walker”, returning us to a drifter’s journey, a wanderer’s melody that carries us to the end, or is it just the beginning?

Debut studio album by the Irish singer and rapper. Biig Piig is London-based songwriter Jess Smyth, who, since 2017, has made smouldering hip-hop and neo-soul jams with homespun production. Biig Piig is a genuinely unique modern era pop star. Having come of age through musical experimentation, self-exploration and collaboration she started 2023 with the release of her critically acclaimed debut mixtape ‘Bubblegum’ and continues with the release of her upcoming debut studio album, 11:11. Radiating creative might throughout her releases, Biig Piig has seamlessly woven through various genres and languages to deliver stories and songs that speak effortlessly of youth culture. Her unpredictable and excellent discography encompasses tracks with NiNE8, Meronomy, Emotional Oranges, Lava La Rue and her musical versatility, from nonchalant rap to melancholic lament and melody, has garnered attention from Billie Eilish, Bella Hadid, Lil Nas X and the late Virgil Abloh to name a few. Biig Piig has built a nascent global audience for her instantly identifiable sound via world- wide tour dates and promo across platforms such as Triple J, Studio Brussels, 3FM, DLF, Radio 4, KCRW and more. She splits her time between the US and UK having established a support network of creatives and inventive energy that keeps things feeling fresh and fluid. A standard Black, x11 trk LP Vinyl & CD. The Retail exclusive format is a Transparent/Clear LP Vinyl. Extensive promo & marketing activity.

Mit seinem ersten Blue-Note-Album ”Blues In Trinty” erweiterte der aus Jamaika stammende und damals
in England lebende Trompeter Dizzy Reece seine Fangemeinde um so berühmte Kollegen wie Miles Davis
und Sonny Rollins. Und Art Blakey wollte ihn und den britischen Tenorsaxofonisten Tubby Hayes, der
hier ebenfalls zu hören ist, sofort für seine Jazz Messengers verpflichten. Das Album, auf dem auch zwei
prominente Gäste aus den USA mitwirkten, gilt noch heute als absoluter Bop-Klassiker.

Colemine Records is proud to present the first 45 from Aaron Frazer's latest LP, Into The Blue. The A side, "Fly Away" is a tune largely built on a sample of the Hi-Five track of the same name, and features thudding drums and dense guitar riffs. Cowritten by Lydia Kitto of Jungle, this tune is a perfect mix of 70's soul and 90's R&B. A true summertime jam! On the flip, "Play On" sits a little bit more in the midtempo cut with super tight drums, bass, and synths anchoring the track. The lyrics are a coaching up session and serve as positive encouragement, and Frazer's vocal delivery pushes that home. Mega catchy hook with just the right amount of swagger....play on player.

Causa Sui returns with a new live album, recorded at their home turf – the legendary Copenhagen venue Loppen, located at the famous, and notorious, freetown Christiania – a venue the band has played more often than any other throughout their 20 year career.
This set is the perfect companion to last year's career highlight ‘From The Source”, which saw the band condense the multiple stylistic aspects of their sound into an awe-inspiring 47 minutes. Represented here are key cuts from that album – including the sidelong 7-part epic ‘Visions of a New Horizon” - as well as a few fan favorites such as ‘Red Sun in June” from the band's Summer Sessions series, which has never previously been released in a live version. In this rendition the band let themselves get carried away, riding on the energy of the room, soaring into jammy Grateful Dead territory. Elsewhere the band explores jazzy, improvisatory group interplay (The Spot) and get as heavy as they can (Soledad, Boozehound). Getting carried away is what Causa Sui are all about when playing live, and that mentality is captured in entirety on this set. Mixed and mastered by Jonas Munk from a multitrack soundboard recording

Gatefold Sleeve and on sea blue 180 GSM vinyl. Recorded as an instrumental by Tractor in Rochdale in 1971 and originally released on LP in 1972 “Shubunkin” has now been sampled by LA band Broken Bells (Danger Mouse/ Brian Burton and James Mercer, the lead vocalist and guitarist for the indie rock band The Shins) as the basis of their track “To Anyone a Ghost”. Julian Cope writes about the Tractor track “Shubunkin” : ...“Then, one night in mid 1972, John Peel played a track that was more mysterious than almost anything I had ever heard. It was the music I thereafter wanted played at my funeral and was most certainly the sound of a soul approaching the canopy of heaven as it left the earth for the last time.” ..“without the proper printed Dandelion label there to guide me, I left a blob of marker pen on the side that began with ‘Shubunkin’ and that became the ultimate beginning to any LP in my collection.” Originally Issued in late 2019 as a vinyl LP as a protest against Rochdale Boroughwide Housing’s plans to knock down four of the Seven Sisters/College Bank Flats- these blocks of flats were home to Tractor’s drummer in the 1970s as well as their manager Chris Hewitt and Andy and Liz Kershaws’ dad and a whole host of poets, musicians, tv producers etc. Many Tractor numbers were worked out in these flats prior to recording at various studios around Rochdale and Heywood. All songs written by Jim Milne and Steve Clayton. Jim Milne -vocals guitar (and bass most tracks), Steve Clayton -Drums and Percussion, Dave Addison- bass on Northern City. The album now starts the way Julian Cope always wanted to run.

Luke’s Anger returns in fine form for his 5th full EP on Don’t.

It’s a mixture of straight up ghetto style DJ jams, supremely bendy bangers for Xtra special dancefloor moments and the impactful jugular Electro of ‘Numberz’, all of which have been causing a stir in the hands of a select few. Don’t sleep!

We are so pleased to welcome back Dego on Neroli for the fourth chapter of his ‘dego & the 2000BLACK family’ saga! Songs like ‘Find a way’ and ‘Don’t Stop let it go’ have become modern Classics and here the vocal gem ‘Make The Right Move’ has all the right ingredients to follow the same path. The flipside offers some extra groove and funkiness with ‘The Stakeout’ and the boogie cut ‘Jam Number Six’ closes the ep leaving you wanting for more…
This new release shows once again why Dego and his 2000 Black crew are truly on a league of their own.

All tracks Produced by dego & Mr Mensah for 2000BLACK
Vocals performed by Noreen Stewart. Flute on ‘The Stakeout’ performed by Kaidi Tatham.
Mixed by mr goodgood. Licensed from 2000black

Especial welcomes new artist DJ 1985 to the label. As so often, the idea of pushing new music has been the raison d'etre of the past decade. An EP of a love for Acid, from the breaks anthem of the title We Trippin’ to exploring the ethereal and even mind-melting Ambient House and Balearic of how the Roland TB-303 has become a fundamental element in the history of electronic music.

Soviet born; Belgrade exile Stanislav Grishchuk is DJ 1985. A man of many monikers, came to House later, originally progressing from Breaks, Hardcore and onto Drum and Bass as DJ Saint Man, a Mixmaster in the truest sense, switching it up to include Ghetto House and Booty, DJing led to producing, finally seeing DJ 1985 emerged to encompass Acid, Bleep, Breakbeat, Chicago and beyond.

A DJ supreme from the old school – check his Boiler Room mix for live vinyl dexterity – his productions nod to Aphex Twin and the Rephlex / UK lineage, the Techno. Electro of masters Underground Resistance and Drexciya and on to Italo, Italian House and early 90s New Jersey and New York’s golden period and of course the masters Kraftwerk, all influence the sounds of this debut EP.

Starting as 808 and 909 Electro and Techno jams, all the tracks are recorded live, MPC, synth and drum machines, no computers involved. We Trippin’ is built around the “Think” break, with trippy 303 line, some 808, synths and off we go “we trippin”.

Dolphin and Sirens was inspired by the Boka Bay dolphins of Montenegro, near where the recording was made. A flotation bath of warm dreamy acid beats and aquatic found sound, fast, shifting breaks, the Adriatic Sea of Croatia and beyond beckoning.

Catland’s title is a nod to Stanislav’s love of all the feline, but the breaks’n’303 cut is an endlessly uplifting spark, celestial, a cosmic evolutionary odyssey.

DJ 1985 completes his debut EP with the aptly titled The Last One. Spherular, mysterious, this rise of spatial breaks is a reawakening of symbolic music that is touched by both East and West. Stanislav’s music intersects, trans-national, almost spiritual and psychedelic. Live jamming, more hearted, the snap electro percussion, dream-laden pads are twinned with an ethereal otherness via the endless possibilities of the TB-303.

(2018 Remix)

30. Juni 2022 – Im Januar 1977 veröffentlichten Pink Floyd ihr zehntes Studioalbum „Animals“. Das Werk eroberte Platz 1 der deutschen Charts, gilt als eines ihrer besten – und es wird nun, 45 Jahre später, als Deluxe Gatefold, CD, LP und Blu-ray wiederveröffentlicht. Zum ersten Mal überhaupt wird das Album in 5.1 Surround-Sound zu hören sein. Die einzelnen Versionen werden ab dem 16. September 2022 erhältlich sein, die Deluxe-Version folgt am 7. Oktober.

Pink Floyd – David Gilmour, Nick Mason, Roger Waters und Richard Wright – nahmen „Animals“ 1976 und Anfang 1977 in den bandeigenen Britannia Row Studios in London auf und produzierten auch selbst.

„Animals 2018 Remix“ wird als CD, LP (mit Klapphüllen-Artwork), Blu-Ray und als Deluxe-Gatefold-Format veröffentlicht. Die Deluxe-Gatefold-Version beinhaltet eine LP, CD, Audio-Blu-Ray, Audio-DVD und ein 32-seitiges Booklet. Die Audio-Blu-Ray und -DVD enthalten den Remix von 2018 in Stereo, in 5.1 Surround (beide von James Guthrie) und den ursprünglichen Stereo-Mix von 1977. Das 32-seitige Booklet gewährt mit selten gezeigten Fotos einen Blick hinter die Kulissen des Shootings für die Plattenhülle sowie Live-Bilder und Memorabilia. Das Album-Artwork wurde für diese Veröffentlichung mit einem zeitgemäßen Motiv neu interpretiert.

„Animals“ ist ein Konzeptalbum, das sich kritisch mit den sozialpolitischen Verhältnissen im Großbritannien der mittleren 1970er-Jahre auseinandersetzt und damit eine Abkehr vom Stil der früheren Arbeiten der Band markierte. Aus einer Ansammlung ursprünglich nicht miteinander zusammenhängender Songs entwickelten Pink Floyd ein Konzept, das den offenkundigen sozialen und moralischen Verfall der Gesellschaft beschreibt. Inspiriert von George Orwells „Farm der Tiere“, verbildlichen sie die menschliche Natur mit einer Analogie zum Tierreich und teilen die Menschen in drei Klassen von Tieren ein: Die Schweine stehen an der Spitze der sozialen Kette, die Schafe tun als hirnlose Herde, was man ihnen sagt, und die Hunde sind die Geschäftsbosse, die sich am Profit und ihrer Macht über andere schamlos bereichern. Seit 1977 ist viel Zeit vergangen – und dann wieder gar nicht, denn die Erzählung des Albums hat als Kommentar auf unsere gesellschaftliche und wirtschaftliche Situation nichts von ihrer Aktualität verloren.

Das berühmte Cover von „Animals“ zeigt ein aufblasbares Schwein (heute bekannt als Algie), das in luftigen Höhen zwischen zwei Schornsteinen der Battersea Power Station in London schwebt. Die Idee für das Cover kam von Roger Waters, die Umsetzung übernahm der langjährigen Kreativpartner der Band, Storm Thorgerson von Hipgnosis Studios. Für die jetzige Neuveröffentlichung wurde das Artwork von Storms Hipgnosis-Partner Aubrey „Po“ Powell für die heutige Zeit neu gestaltet. Basierend auf neuen Aufnahmen des Gebäudes während der jüngsten Umgestaltungsarbeiten (das ehemalige Kraftwerk wird für die kulturelle und gewerbliche Nutzung umgebaut, gestaltet von Frank Gehry und Norman Foster), experimentierte Po mit neuen Blickwinkeln und erschuf einige beeindruckende neue Varianten des berühmten Originals. Po dazu: „Das Original-Albumcover von 1977 ist ikonisch und steht so sehr für sich, dass ich eine Menge Respekt davor hatte, ihm ein Update zu verpassen. Doch Hipgnosis nahm die Gelegenheit zum Anlass, das Motiv neu zu fotografieren und damit eine sich verändernde Welt widerzuspiegeln. Durch den Einsatz moderner digitaler Färbetechniken konnte ich Pink Floyds düstere Botschaft des moralischen Verfalls beibehalten, und auch die Orwellsche Tier-Analogie in Form des Schweins Algie lebt in dem neuen Artwork fort.“

Pink Floyds „Animals 2018 Remix” kann ab jetzt hier vorbestellt werden.

Singer, songwriter and composer Melike Şahin is set to releases her new album AKKOR via Gülbaba Records in partnership with Day Dreamer

An empowering assertion of survival that propels traditional Anatolian pop and folk influences into the future, AKKOR rises like a phoenix from the flames to reintroduce the Turkish superstar diva to an international audience. An expression of Şahin’s personal growth, the album is an affirmation of her growing status as the voice of a generation, and hose lyrics have been adopted as a callto rights for the women’s movement in Turkey.

Recorded live in London with producer Martin Terefe (London Brew, Buika, Jamie Cullum), AKKOR features a selection of the most talented and forward-thinking musicians on the scene, including guitarists Dave Okumu and violinist Raven Bush, as well as terling Campell (David Bowie) on drums, Glen Scott (Eric Bibb) and Nikolaj mTorp Larsen on keyboards. Bringing an international feel to her mheart-rending performances, the record represents the most focussed and complete expression of Şahin’s sound to date. Melike Şahin has made a career of facing down criticism and censorship to make sumptuous and provocative music that captures the defiant tone of progressive creativity in contemporary Turkey. Having performed around the world with Turkish psych legends BaBa ZuLa, Şahin released her debut album Merhem in 2021, gathering billions of streams and building a reputation for unforgettable live performances in the process. Influenced by the style of Sade, cutting an elegant and beguiling figure on the stage. Where Şahin describes Merhem as about healing, she says AKKOR is about survival, both on an emotional level, coming to terms with difficult relationships, childhood trauma and the pressures of newfound fame, and on a social level, in continuing the champion the rights of the oppressed in the face of state and media violence. Powerful and vulnerable in equal measure, AKKOR demonstrates an orchestral grandeur and a dramatic flair drawn from Şahin’s love for traditional Anatolian pop and folk music, injected with the urgency of contemporary production. Bound together by Şahin’s inimitable voice AKKOR skips between Middle Eastern melancholy and classic disco hedonism, for an album that is as stylistically open, pluralistic and affirmative as the messages the music carries.

Although she does not describe herself as an activist, Şahin’s poignant lyrics have come to define the women’s movement in Turkey, with the words, “I deserve each and every inch of this smile,”adorning protest banners on International Women’s Day and celebratory posters at Pride.

“This is the moment that I told myself, Yes, I am an artist,” Şahin says. “I am bearing all of the other things because of this, because I am affecting people's lives, and I am giving some power.” AKKOR – which translates as candescent – finds Melike rising again and burning brighter than ever before.

Overall though, Şahin says AKKOR is her rebirth album – a statement of self-empowerment, through which she hopes tocontinue to raise up the voices of those around her. “You are seeinga woman who falls down, but who rises again and flies,” sheexplains. “Maybe she doesn't win, maybe she doesn't lose, but she's a survivor,” Şahin concludes. “She is a phoenix.”

Frank Sinatra was one of the greatest performers and first musical superstar of the last century. His voice, timing and performance created the standards for vocalists ever since. Even today’s performers like Michael Bubble, Jamie Cullum and Robbie Williams are highly inspired by “Ol’ Blue Eyes.”

On Frank Sinatra Collected, his career and musical legacy is celebrated on 2 LPs, spanning over 5 decades. In association with Frank Sinatra Enterprises, the 31 recordings on Collected include not just his most famous songs, but also delves into some of his best album tracks and collaborations with Count Basie, Quincy Jones and his daughter Nancy, all showcasing the versatile artist he was.

Frank Sinatra Collected is available as a 2LP, housed in a deluxe gatefold sleeve with liner notes inside. 10.000 numbered copies are pressed on “Sinatra Ol’ Blue Eyes” translucent blue coloured vinyl.

Mark Broom drops the fifth volume of ‘Mutated Battle Breaks’.

Mark Broom’s ‘Mutated Battle Breaks’ series on Radio Slave’s Rekids Special Projects dates back to 2021; since then, he’s released four volumes, with its next chapter arriving to mark the label’s first EP of 2025. Each ‘Mutated Battle Breaks’ EP consists of an extended runtime of eight tracks, supported by the likes of Robert Hood, Ben UFO, I.Jordan, Pariah, Carista, Mumdance, Lauren Flax, and many more.

Across volume 5 of ‘Mutated Battle Breaks’, Mark Broom primes eight more dancefloor-ready cuts complete with rugged grooves, punchy stabs, and wild Techno sequences. From the opener ‘Romance’ and its frenzied arrangement, through to the rolling bleep-infused ‘Ranger’, Broom once again shows his mastery of rhythm and the breath of his Techno productions - one thing is certain: he continues to be one of the most significant producers in Techno after more than three decades.

Techno, House, and rave, Mark Broom is one of UK dance music’s legends and has a myriad of production credits to his name dating back to 1989. Warp, M-Plant, Hardgroove, and his own Pure Plastic and Beardman imprints are just a handful of the labels he’s worked with, while studio collaborations with the likes of Baby Ford and James Ruskin have cemented his reputation as a storied and vital part of electronic music culture.

Another 4 tried and tested club weapons straight from the Toolroom with huge support across clubland from LF System, Bob Sinclar, Claptone, David Penn, Ferreck Dawn, Danny Howard, Low Steppa, Roger Sanchez, Jodie Harsh, MK, James Hype, ACRAZE, Tiesto, Adam Beyer, Duke Dumont, Dombresky & the Solardo boys!

Ocean Moon - alias of producer Jon Tye (MLO).

In addition to running the long-standing label Lo Recordings, Tye has recorded under various names and been involved in numerous projects over the past three decades. Keen fans of the label may also notice that this isn't Tye's first collaboration with MFM; his work during the 1990's as part of UK ambient group MLO captured our attention years ago, leading to the release of their retrospective album 'Oumuamua' in 2021.

Releasing archival work alongside new material from an artist has been a fundamental aspect of Music From Memory's identity since we began the label, and is something that continues to bring us immense joy. With Jon continuing to produce work under a wide range of names to this day, the short step to releasing this new work was organic and natural. Working under the name Ocean Moon Jon carries echoes of his work with MLO into the modern day, weaving an ambient electronic music that radiates gentle positivity.

The title 'Ways To The Deep Meadow' is inspired by the poem 'Universal Solar Calendar' written by poet, mystic, shaman, and visionary Angus Maclise. Maclise began as the percussionist in an early iteration of La Monte Young's Theatre Of Eternal Music and later played with the Velvet Underground before moving to Nepal, where he wrote and published an impressive collection of poetry and music.

Side one of the album was created at a time when Tye had been exploring ideas around artificial intelligence, delving into books such as 'The Physics Of Immortality' by Frank J. Tippler, 'Novacene' by James Lovelock, and '12 Bytes' by Jeanette Winterson, seeking an alternative to the prevalent, negative views of AI. He was also inspired by the Buddhist perspective of AI as an integral part of consciousness evolution, as evidenced by the creation of a Buddhist robot that preaches in the Kodaiji Temple in Kyoto.

Side two consists of two long-form pieces, one composed for Janine Rook's 'Made In Dreams' exhibition and the other for Vix Hill Ryder's 'Wild Edges' film. For 'Made In Dreams', text from the exhibition catalogue was processed via the Holly Herndon Holly + app to create an environment that is simultaneously otherworldly and warm.

As with much of Jon's work, this music seeks to nurture an optimistic outlook in the listener, something he achieves here with subtlety and a truly delicate touch. The immersive ambient music of 'Ways To The Deep Meadow' reaches out to the listener like gentle trails of light, offering it's spells,invocations and enchantments to all who choose to listen.

'Ways To The Deep Meadow' will be released on 31st January 2025 on LP as well as digitally. Sleeve art and design by Michael Willis.

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder/CEO of Rock The Bells, LL COOL J continues his trailblazing career with upcoming album 'The FORCE'.

LL’s highly anticipated 14th studio album The FORCE (Frequencies of Real Creative Energy) set for release September 6th follows over a decade long hiatus. The record was executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings. As LL was the label’s first release, there is no better way to represent the legacy of Def Jam Recordings on its 40th year

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder and CEO of Rock The Bells, LL COOL J has created one of the most multifaceted careers and brands in entertainment and continues to display his wide range of talents with every project.

Four decades after he first burst onto the scene, LL COOL J continues his vibrant, trailblazing career. LL COOL J helped elevate the burgeoning rap and Hip-Hop scene of the 80’s, which developed into the musical and cultural phenomenon that is Hip-Hop as we know it today. Of LL’s many contributions to the culture, he also is credited with the creation of the acronym “G.O.A.T.” - short for “Greatest of All Time.”

First introduced to the world in 1984 as a Def Jam Recordings’ flagship artist, LL is the first rap artist to amass ten consecutive platinum-plus selling albums, including his critically-acclaimed debut album, RADIO, and the international, timeless anthem and album of the same name, MAMA SAID KNOCK YOU OUT. LL’s hit singles include “Going Back to Cali,” “Doin’ It,” “Around the Way Girl,” “Loungin’”, “Headsprung,” and Hip-Hop’s first rap ballad “I Need Love.”

Up next, this fall LL is back to make his latest artistic contribution and continue to elevate Hip-Hop culture after over a decade long hiatus with the release of his highly anticipated new album, The FORCE (Frequencies of Real Creative Energy), executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings.

In December 2017, LL became the first rapper to earn the prestigious Kennedy Center Honor, which is America’s highest achievement for any performer. In addition, he received his star on the world-renowned Hollywood Walk of Fame on January 21, 2016.
In March 2018, LL launched his own SiriusXM timeless Hip-Hop channel entitled “LL COOL J's Rock The Bells Radio,” garnering millions of daily listeners. The channel features a wide range of innovative and timeless Hip-Hop content, music, interviews, and in-depth retrospectives curated, programmed, and presented by the award-winning artist himself. Since founding the radio station, Rock The Bells has developed into a global platform that has become the preeminent voice for timeless Hip-Hop. Rock The Bells focuses on content, commerce and experiences that honor the CULTURE and the core elements of Hip-Hop – MCs, DJs, Breakers, Graffiti Artists – and more. Rock The Bells hosted its inaugural eponymous music festival in Queens, New York in August 2022, which sold out back-to-back years in 2022 and 2023, where LL headlined both festivals.

LL COOL J was inducted into the Rock & Roll Hall of Fame on October 30, 2021, in Cleveland, Ohio for the 36th annual induction ceremony. Considered by most as the crowning achievement for one’s musical career, the ceremony was a celebration of LL’s lasting impact on Hip-Hop and the music industry.

In Summer 2023, LL COOL J, Rock The Bells, and Live Nation Urban kicked off his first arena tour in 30 years across North America called The F.O.R.C.E. Tour, inspired by the name of LL’s forthcoming album. Living up to the acronym for Frequencies of Real Creative Energy, the lineup for this tour was personally curated by LL COOL J. Building off their amazing performance together on the GRAMMY® Awards earlier that year celebrating the 50th Anniversary of Hip-Hop, all dates featured collaborative live performances with preeminent Award-winning Hip-Hop band The Roots, the legendary DJ Jazzy Jeff, and DJ Z-Trip.

LL hosted the GRAMMY® Awards for an unprecedented five years in a row from 2012-2016, for which he earned rave reviews. In addition, he hosted and produced the GRAMMY® Nominations Concert Live Special for seven years and has also been a presenter at the Emmy®, Golden Globe® and SAG Awards. Most recently, at the end of 2023, LL helped produce CBS’ live concert special A GRAMMY Salute To 50 Years Of Hip-Hop, which celebrated the 50th anniversary of Hip-Hop and was nominated for an NAACP Image Award.

LL has always been an avid philanthropist involved in numerous causes, including literacy for kids as well as music and arts programs in schools. Founded in 2005, LL’s charity “Jump & Ball” – which takes place every August in his hometown of Queens, New York – aims to give back to his local community by offering an athletic and team building program dedicated to bringing wholesome fun to young people.

Between being a musician, actor, philanthropist and entrepreneur, LL COOL J is the ultimate multi-hyphenate whose career continues to expand and where he remains one of the most beloved and innovative brands in entertainment. He currently resides in both New York and Los Angeles.

"Enjoy The Ride Records in conjunction with Curry Cuts proudly presents Songs, Bond Songs: The Music of 007. For over sixty years, people around the world have been thrilled by the ongoing adventures of James Bond. And it's not hard to see why. The combination of death-defying stunts, cool gadgets, beautiful women, and sinister villains is nearly irresistible.

But there's another feature of the James Bond films that's just as crucial to their success: The music.

Songs, Bond Songs: The Music of 007 pays tribute to that great Bond music, with some of today's best indie pop artists - including members of Drive-By Truckers, The New Pornographers, Fountains of Wayne, and Bowling For Soup - offering updated interpretations of 26 James Bond themes, from Dr. No up to Spectre.

Songs, Bond Songs: The Music of 007 is available on vinyl for the first time. Featuring new gatefold and back cover art by Garreth Gibson, this release is sure to delight fans of 007. This pressing is limited to 500 copies across 2 color variants. "

"Enjoy The Ride Records in conjunction with Curry Cuts proudly presents Songs, Bond Songs: The Music of 007. For over sixty years, people around the world have been thrilled by the ongoing adventures of James Bond. And it's not hard to see why. The combination of death-defying stunts, cool gadgets, beautiful women, and sinister villains is nearly irresistible.

But there's another feature of the James Bond films that's just as crucial to their success: The music.

Songs, Bond Songs: The Music of 007 pays tribute to that great Bond music, with some of today's best indie pop artists - including members of Drive-By Truckers, The New Pornographers, Fountains of Wayne, and Bowling For Soup - offering updated interpretations of 26 James Bond themes, from Dr. No up to Spectre.

Songs, Bond Songs: The Music of 007 is available on vinyl for the first time. Featuring new gatefold and back cover art by Garreth Gibson, this release is sure to delight fans of 007. This pressing is limited to 500 copies across 2 color variants. "

Repress!

There are few names as instantly recognisable, revered and respected in the world of dance music than Jamie Jones. This three-track vinyl release celebrates his 2022 anthem ‘My Paradise’, which quickly became one of the summer’s must-know tracks, as the Hot Creations label boss explored disco influences while his signature high-energy bassline and groove gave the heater boundless dancefloor appeal. What followed were remixes from respected exponents of contemporary electronic music that helped ‘My Paradise’ continue its clubland ascent. Brazilian superstar Vintage Culture gave the record a distinctly tougher feel, as a chugging bassline, rolling synths and melodic piano breakdowns worked together to captivate a dancefloor. Crosstown Rebels, Day Zero and Get Lost founder Damian Lazarus created an otherworldly mix that plays on the joyous disco feel of the original, while distorted synth lines and playful glitches offer a new edge to the club weapon.

Straight outta Rockaway Beach, Queens, New York City, USA, THE WORLD, Prison is a state of mind, an experience, a loose collective, a band, a jam band and a bunch of psychedelic dudes who aren"t your average bunch of jambanders. All that, all at once, ALL THE TIME. You get what you"re dealing with here? No...you don"t. The only way to REALLY get it is to go to Prison -- and if you"re not from greater NYC and haven"t showed at any of the shows, here"s your best bet: their breakout album, Upstate. And whatta breakout! So high, you can"t get under it; so wide, you can"t get over it! How wide? Every song has two titles, that"s how wide. And almost everybody sings, like, all the time. That wide. Sure, you can break down the numbers -- five guys, five songs and four sides of vinyl in one gatefold sleeve -- but that won"t get you Upstate, either. Prison is the sound of everybody in the room figuring out where to go, individually and collectively. As they go through it, the meaning changes, the destination changes, the words mean something different. It"s meaning and no meaning, rising and falling, sinking and flying on the back of something massive cacophonized by three guitars, four vocals, a bass and drums. A lot of information bouncing around and enough time to really get you out of yourself! Take a look at the titles: each one a dichotomous inquest that the assembled Prison-ers march upon with fervor, glee, vengeance -- a whole spectrum of feels and perspectives woven into the jam for you to see. The Prison population changes with the seasons, and during the season this album was recorded, Sarim Al-Rawi, Mike Fellows, Sam Jayne, Matt Lilly and Paul Major were in Prison. Sarim you might know from Liquor Store, Mike"s made a bunch of scenes and records as Mighty Flashlight, Sam, who passed away in 2020 (R.I.P., brother) was in Love as Laughter -- and Paul Major you know from Endless Boogie, who Matt had roadied for -- and despite being "just a skateboarder who loves music" with no previous experience on the drums, he and Sarim inaugurated the Prison experience, like, seven years ago. Since then, it just fell together and it keeps doing so. A free thing called Prison.

Recorded in New York City and Los Angeles in 1972 and released the following year by Impulse!, Pharoah Sanders' album Wisdom Through Music features the leader with flutist James Branch, pianist Joe Bonner, bassist Cecil McBee, drummer Norman Connors, and percussionists Badal Roy, James Mtume, and Lawrence Killian. The recording was produced by Lee Young, the younger brother of saxophonist Lester Young. According to AllMusic reviewer Thom Jurek, "most notable is 'High Life,' on which Sanders emulates the West African style of music with roiling, celebratory drumming and singing, and killer flute playing. A compelling whole, revealing a chapter in Sanders recorded history."

The long-awaited new full-length from legendary electronic pioneers THE ORB with cover design from iconic graphic wizards THE DESIGNERS REPUBLIC • A fascinating sonic journey over four epic tracks, constantly switching between psychedelic flourishes and beat-driven focus

Veritable pioneers of electronic music, iconic act THE ORB returns to Kompakt with the new full-length MOONBUILDING 2703 AD - another major slice of psychedelic synth bliss, obscure loops and deep ambient textures tossed in swinging breakbeats and powerful basslines. Installing a forward momentum rather unusual for a genre-defying project like this, the latest effort from masterminds Alex Paterson and Thomas Fehlmann follows their 2005 album success on Kompakt, the cheekily named "Okie Dokie It's The Orb On Kompakt" (KOMPAKT CD 45), as well as several contributions to our Speicher and Pop Ambient series - but more importantly, it finds the legendary duo at the peak of its creativity, ringing in another essential phase in what can only be called a ground-breaking career.

True to form, the new offering MOONBUILDING 2703 AD features a small track list, but turns each one of its four cuts into a mini epic in its own right. Opener GOD'S MIRRORBALL hits the ground floating, employing a handful of cozy statics to great effect before finally discharging into an intricate mosaic of atmospheric melodic sketches and gripping rhythms. With a hypnotic runtime of more than 14 minutes, it immediately establishes a blueprint for the other album tracks to follow, perfectly illustrating the vast extent of the artists' vision and their impressive skills in luring in listeners - welcome to THE ORB's sonic labyrinth, where nothing is what it seems and the unexpected waits just around the corner.

Likewise, follow-up track MOONSCAPES 2703 BC presents itself as a uniquely versatile affair sitting comfortably between ambient flourishes and beat-driven focus, holding as many twists and turns as a caper movie, but carefully grounding every single one of its cliffhangers in its impeccable flow. With a runtime of approximately 9 minutes, LUNAR CAVES is the shortest jam of the bunch - and also the most ethereal, keeping its rhythmic content to a bare, pulse-like minimum and opting for enticing, freewheeling synth textures instead. Album closer and title cut MOONBUILDING 2703 AD introduces a surprisingly jazzy vibe mingling rather well with the wealth of electronic tricks up its sleeve - even indulging in abrasive bass sweeps and a breathtaking multitude of different rhythm sections constantly switching places. It's a fitting closing act for a full-length as multifaceted as this, as idiosyncratic as possible and as muscling as needed.


• Das langerwartete neue Album der legendären Elektronikpioniere THE ORB mit einem Coverdesign der gefeierten Graphikschmiede THE DESIGNERS REBUBLIC • Eine faszinierende Klangreise über vier epische Tracks hinweg, permanent zwischen psychedelischen Schlüsselreizen und beatgetriebenem Fokus changierend

Mit THE ORB kehren echte Pioniere der elektronischen Musik zu Kompakt zurück - der Langspieler MOONBUILDING 2703 AD präsentiert erneut einen grossen Wurf in Richtung psychedelischen Synthie-Segens, obskurer Loops und porentiefer Ambient-Texturen, geschwenkt in schwungvollen Breakbeats und wirkmächtigen Basslines. Mit einem für genresprengende Projekte wie diesem hier eher unüblichen Vorwärtsdrang beerbt das neue Album von den Großmeistern Alex Paterson und Thomas Fehlmann ihren 2005er Erfolg auf Kompakt, das augenzwinkernd benannte "Okie Dokie It's The Orb On Kompakt" (KOMPAKT CD 45), sowie einige Beiträge zu unseren Speicher- und Pop-Ambient-Serien - viel wichtiger allerdings, daß wir das legendäre Duo auf der Höhe ihrer Schaffenskraft antreffen, eine neue wesentliche Phase einläutend in einer Laufbahn, die nur als bahnbrechend bezeichnet werden kann.

In bekannter Manier hat das neue Werk MOONBUILDING 2703 AD eine eher kleine Tracklist vorzuweisen, baut dafür aber jeden seiner vier Tracks zu Mini-Epen von eigenem Recht um. Der Eröffnungsakt GOD'S MIRRORBALL schwebt einem da vor Ohren, zuerst nur mit einer Handvoll gemütlichen Rauschens bewaffnet, später dann in ein feingliedriges Mosaik von atmosphärischen Melodieskizzen und mitreissenden Rhythmen explodierend. Mit einer hypnotisierenden Lauflänge von über 14 Minuten etabliert das Stück die Blaupause für die folgenden Ereignisse, perfekt die enorme Reichweite der künstlerischen Vision und ihre Fähigkeit zur massenhaften Verführung nichtsahnender Tänzer illustrierend - willkommen in THE ORB's Klanglabyrinth, wo nichts ist wie es scheint und das Unerwartete um jede Ecke lauert.

Ähnlich präsentiert sich der Folgetrack MOONSCAPES 2703 BC als einzigartig vielseitige Angelegenheit, bequem zwischen ambienten Ornamenten und beatgetriebenem Fokus sitzend und mit sovielen Drehungen und Wendungen wie ein Gaunerfilm - doch stets seine Cliffhanger im makellosen Flow erdend. Ein wenig über 9 Minuten lang, ist LUNAR CAVES der kürzeste Entwurf in der Gruppe - und auch der ätherischste, hält er doch die Rhythmusanteile auf einem puls-ähnlichem Minimum und optiert stattdessen für freilaufende Synthie-Texturen. Das letzte Kapitel des Albums schließlich ist auch der Titeltrack: MOONBUILDING 2703 AD besitzt eine überraschend jazzige Note, die sich ziemlich gut in den Reichtum an elektronischen Tricks einfügt, welche hier aus dem Ärmel geschüttelt werden - sogar in rauem Bass schwelgend und eine atemberaubende Vielfalt an Rhythmussektionen aufrufend, die ständig die Plätze tauschen. Es ist ein passender Abschluss für ein derart facettenreiches Album, so idiosynkratisch wie möglich und so anschiebend wie nötig.

As is the case with fellow 'enforcers'-turned-producers, Henry 'Junjo' Lawes and Philip 'Fatis' Burrell, George Phang had been involved in the internecine street battles that had split Kingston into rival politically-aligned zones during the 1970s, when the broader effects of Cold War politics were played out in Jamaica. Following some encouragement from Sly and Robbie, Phang changed focus, putting the politics aside to concentrate on music production, becoming one of the most important producers of the early 1980s in the process. Phang took over the rhythm twins' Power House label around 1982, and with the duo forming the mainstays of his productions, the result was guaranteed audio dynamite, as this killer devotional track by Barrington Levy from 1983 so amply suggests—a beautiful extended slice of late roots, heading towards the emerging dancehall style.

First Word Records is extremely proud to welcome aboard Takuya Kuroda.

A highly-respected trumpeter born in Kobe, Japan, Takuya is a forward-thinking musician that has developed a unique hybrid sound, blending soulful jazz, funk, post-bop, fusion and hip hop music.

After following the footsteps of his trombonist brother playing in big bands, he relocated to New York to study jazz & contemporary music at The New School in Union Square; a course he graduated from in the mid-noughties. It was here that Takuya met vocalist José James, with whom he worked on the 'Blackmagic' and 'No Beginning No End' projects.

Following graduation, Takuya established himself further in the NYC jazz scene, performing with the likes of Akoya Afrobeat and in recent years with DJ Premier's BADDER band (also including acclaimed bass player, Brady Watt). Premier said "The BADDER Band project was put together by my manager, and an agent I've known since the beginning of my Gang Starr career. He said, 'What if you put a band together that revolved around a trumpet player from Japan named Takuya Kuroda? He's got a hip-hop perspective and respect in the jazz field…"

Takuya Kuroda is already incredibly prolific, releasing five albums in the past decade and fortifying a solid reputation in the global jazz scene. 2011 saw the release of Takuya's independently-produced debut album, 'Edge', followed by 'Bitter and High' the following year and 'Six Aces' on P-Vine in 2013. Takuya was signed to the legendary Blue Note Records in 2014 for his album 'Rising Son', as well as appearing on their 2019 cover versions project, 'Blue Note Voyage'. He released his 5th album 'Zigzagger' on Concord in 2016, which also featured Antibalas on a reimagining of the Donald Byrd classic 'Think Twice'.

Late Summer 2020, Takuya Kuroda returns with his sixth album 'Fly Moon Die Soon'.

In his words, "this album is about the irony between the greatness of nature and the beautiful obsceneness of humanity. Melodies and grooves fly back and forth from being spiritual to being vulgar."

It took two years to make this album. In 2018, I decided I just couldn't make albums the same way I had been in the past anymore. As a birthday treat to myself, I booked a studio in Brooklyn for two days, with only myself and an engineer, Todd Carder. I brought along some tracks I'd been building at home to see if we could complete them within that time. We began replacing sounds and adding texture, sampling noises from all over the studio; me sipping coffee, hitting a 26" kick drum, speeding up snares. At the end of the two days we were like "wow, I didn't know we could make tracks this good in this way". This is how the process of the full album started. Everything was based on my beats I made at home, inviting musicians in one by one, adding or replacing parts. I was very careful when developing these tracks; just note by note, part by part. I wanted to make the music effectively from a blend of two different recording methods; one very slickly produced part and one very organic part played by live musicians. I remember mixtapes from when I was kid, and wanted to make an album that wasn't just a bunch of flashy singles, trying to catch people's attention in the first 30 seconds, or full of guest features. Instead, I'm essentially just trying to let the grooves breath."

The album consists of nine tracks of excellence. The uptempo jazz-funk of 'ABC' and 'Moody' sit alongside soulful jazz cuts like 'Fade' and 'CHANGE', also featuring Corey King on vocals. The title track is a downtempo groove lead by a heavy Moog bassline, whilst 'Do No Why' contains an infectious piano riff throughout. Aside from Takuya's original compositions, he revisits two classics from Ohio Players ('Sweet Sticky Thing' featuring Alina Engibaryan on vocals) and Herbie Hancock ('Tell Me A Bedtime Story') whilst the album closes with the epic 'TKBK'.

Takuya adds "this special cover was inspired by the Golden Moon I saw during a photoshoot in Death Valley with my homie Hiroyuki Seo".

Takuya Kuroda is a truly unique talent, and this album is a realisation of the evolution of his sound.

'Fly Moon Die Soon' is released on Worldwide Award-winning UK label First Word Records on vinyl & digital in September 2020.

2025 Repress

DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.

The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.

“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.

Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.

The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.

“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.

Robot 84 has fired up his machines and kicked out four superb new jams for this latest Magic Wand release. Opener 'AGAL' is a slow, percolating jam with shimmery synths and squelchy bass then 'Galaxies' brings some dusty broken beats and sugar chords for a nice laidback vibe. 'Feels Good' is another loose-limbed rhythm with wispy pads, DIY percussive sounds and bass that is rich in reverb. Last of all is 'Where Is The Dub' which slows things right to a crawl with plucked guitars and loads more echo to sink into.

A brand new collaboration between established saxophonist and flautist Sarah Tobias and veteran Jamaican producer, drummer and one-time member of the Cimarons.

`The Reggae Panther’ is a cover version of one of the most distinctive instrumentals and melodies of all time.

Dropping in a jazzy reggae style backed with a raw-to-the-bone stripped-down dub cut, mixed by Dougie Wardrop.

‘In Session’ is the new album from platinum selling & MOJO Awards winning artist Rumer. Having moved to the USA for a period of time, Rumer began working on a studio project to celebrate the work of Joni Mitchell. It was then that she first collaborated with London based, funk band Redtenbacher’s Funkestra, the original and mostly instrumental wall-to-wall Jazz Funk Collective of world class players who have previously collaborated with esteemed musicians such as Brand New Heavies, Cory Wong (Vulfpeck) and Andy Snitzer (Paul Simon).

Through new arrangements of music that emerged during their work together, the idea of presenting an ‘In Session’ record was born. Coming together at James Welch’s Masterlink Studios, the songs that made her a worldwide million-seller like soulful singles “Slow” and “Aretha,” have been re-recorded here with Redtenbacher’s
Funkestra to offer a timeless collection for the seasoned fan and newcomer alike.

‘In Session’ is the new album from platinum selling & MOJO Awards winning artist Rumer. Having moved to the USA for a period of time, Rumer began working on a studio project to celebrate the work of Joni Mitchell. It was then that she first collaborated with London based, funk band Redtenbacher’s Funkestra, the original and mostly instrumental wall-to-wall Jazz Funk Collective of world class players who have previously collaborated with esteemed musicians such as Brand New Heavies, Cory Wong (Vulfpeck) and Andy Snitzer (Paul Simon).

Through new arrangements of music that emerged during their work together, the idea of presenting an ‘In Session’ record was born. Coming together at James Welch’s Masterlink Studios, the songs that made her a worldwide million-seller like soulful singles “Slow” and “Aretha,” have been re-recorded here with Redtenbacher’s
Funkestra to offer a timeless collection for the seasoned fan and newcomer alike.

"Visionary director, photographer and producer, Robert Ascroft unveils a captivating musical odyssey akin to the cinematic allure of Wim Wenders' ""Until The End Of The World"" and the ethereal resonance found in 4AD's This Mortal Coil. Emerging as a prominent photographer in the 2000s, Ascroft forged his path through collaborations with luminaries of the Oscars, Grammys, Tonys, and Emmys. With an innate ability to capture the essence of his subjects through his camera lens, he redefines photography, infusing it with depth, emotion, and narrative. A classically trained guitarist turned music producer, Ascroft weaves intricate melodies and evocative songwriting with cinematic narratives.

Drawing from a diverse array of talented friends, Ascroft curates a mesmerizing ensemble of vocal performances featuring luminaries such as Zumi Rosow (Black Lips), Kid Congo Powers (The Cramps, Gun Club), Tess Parks, Ruth Radelet (Chromatics), Britta Phillips (Luna), and more. With Ascroft's multi instrumental performances on guitar, bass, and keys, complemented by the rhythmic contributions of friends Derek James and Roger Brogan, the album takes on a rich and dynamic sonic journey.

""Echo Still Remains'' transcends traditional musical boundaries, beckoning listeners into a world crafted from Ascroft's vivid imagination. Each track unfolds like a technicolor scene in a cinematic narrative, with each melody and lyric evoking a sense of profound introspection and wonder. Accompanied by stylized music videos in Ascroft's distinct visual world, ""Echo Still Remains"" emerges as a multifaceted work of art, inviting listeners to stir the soul and lose themselves in a world of sound and sensation."

It’s safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus: Live at Carnegie Hall. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis’ career — a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum ‘n’ bass.

Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the famous New York venue, it gets its first-ever domestic issue on vinyl — and on a definitive-sounding pressing at that.

Mastered at Mobile Fidelity's California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, this numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. We hope your turntable and speakers are up to the challenge.

This collectible reissue presents the improvisational magic that unfolded onstage — the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals —with incredible detail, color, and pace. It also captures the band’s unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At its core, MoFi’s audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company’s efforts like never before.

The story behind Dark Magus is nearly as unbelievable as the spur-of-the-moment compositions that resulted when Davis brought drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, horn virtuoso Dave Liebman, and guitarists Pete Cosey and Reggie Lucas together, and, in a new twist for the concert’s second half, added guitarist Dominique Gaumont and tenor saxophonist Azar Lawrence to mix. That the latter two instrumentalists had never seen each other until that night adds to Davis’ legend — and penchant for bold, unorthodox moves.

Ditto Davis’ own actions that spring evening, which reportedly included showing up to the show an hour late and taking the stage with his back facing the crowd. The strategy worked. Davis inspired the group to play in a bold manner that few, if any, had heard before. Dark Magus is a rhythmic bonanza. Rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, the songs eschew set arrangements and solos, and, for the most part, melodic devices.

For Davis, Dark Magus represented a personal triumph amid a period marked by health issues, addictions, and critical decline. The latter slight would be corrected, but not until decades later when Dark Magus saw Stateside release in 1997 via a CD reissue. Of course, the free-form patterns, unpredictable passages, dense structures, and distorted blues that course through the songs — titled after Swahili numerals — are not for everyone. And certainly not for the fainthearted. Though Dark Magus contains majestic moments marked by quiet restraint and something on the level of balladry, its rich and radical concoction of tormented thwacks, thumps, cracks, clatters, wails, bleeps, burbles, stomps, and enigmatic beats remains its adventurous heart and soul.

Primal and enigmatic, fierce and jagged, forceful and revolutionary, jolting and terrifying, Dark Magus seemingly attacks from any and all directions. Turn it up loud and let the prophetic brilliance of this inimitable and relentlessly funky album wash over you.

"Double Vinyl edition of their 2016 live album • 15 tracks – including two performances not on CD (one featuring Robert Buck) Their greatest hits and more – performed live!

For over 40 years, 10,000 Maniacs have been doing what they do best – Playing Favorites!

Originally released on CD and Digital in 2016, Playing Favorites documented their dynamic live shows. Recorded before an adoring crowd in Jamestown, NY, Playing Favorites included hits and fan favorites from the group’s storied and influential career. The 6 piece band (Jerome Augustyniak, Dennis Drew, Jeff Erickson, Steven Gustafson, John Lombardo, and Mary Ramsey) was augmented by strings, horns, and backing vocalists, making their lush sound even fuller and more engaging.

For Record Store Day, Playing Favorites returns on an Opaque Red double LP. 15 tracks, including two previously unissued performances not on the CD/Digital release: “Candadee-i-o” from the Playing Favorites era and “Angels Of Stone,” a recording from 2012, recorded at Lake Forest College, Illinois, featuring original guitarist and founding member Robert Buck. (Buck sadly passed away in 2000 He was also named one of the 100 Greatest Guitarists of All Time by Guitar Player.)

As the Maniacs continue to perform, devotees in cities across the country are able to experience the band in concert. For those who can’t be there, they don’t have to miss the show. Every 10,000 Maniacs fan can be Playing Favorites—in the venue, at home, or both!"

** CASSETTE RELEASE

Spanish-born producer Digge Shim relocated to Malmö, Sweden a few years back and found his calling in the reincarnation of electro through his relentless output of acid-flavored 303 jams. Besides establishing the Malmø Traxx label he also ran the city’s foremost record shop for electronic dance music.

For his first release on @blundar.co the producer has sourced tracks from his archive of tapes and found a batch of unreleased gems that seemed to fit nicely together in a sort of megamix style. On Side I, he collects some indica-infused ambient and goes all in on Gregorian chants and samples of political speeches. Side II is a head nodding trip through leftfield experiments in downtempo, dubby disco and the tropical ghosts of boom bap.

More than a decade into his career, Harlem emcee Smoke DZA has become one of hip-hop’s most recognizable voices. Vividly narrating his own remarkable lifestyle with slick wordplay, DZA has amassed an unprecedented catalog for an independent artist, with more than 40 projects to his name featuring the likes of Kendrick Lamar, A$AP Rocky, Wiz Khalifa, Action Bronson, Ty Dolla $ign, ScHoolboy Q, Cam’ron, Wale, and more. A key member of burgeoning Buffalo collective Griselda Records, Benny The Butcher is a formidable lyricist known for powerful flows and complex punchlines steeped in his real criminal past. In recent years, Benny has continued his ascent, signing with iconic label Def Jam and releasing a series of acclaimed studio albums featuring collaborations with Lil Wayne, J. Cole, Snoop Dogg, Rick Ross, Big Sean, and more. In 2019, Smoke DZA and Benny The Butcher linked for the joint project Statue Of Limitations, entirely produced by the legendary Pete Rock. The union of three supremely talented artists drew immediate attention online, leading to coverage from outlets like Complex, Okayplayer, The Fader, HipHopDX, RapRadar, Stereogum, Hypebeast, and more. Finding genuine chemistry over Pete’s raw instrumentation, DZA and Benny deliver a cohesive exploration of Empire State street life on this memorable collection, which features appearances by Westside Gunn, Conway The Machine, and Styles P. To celebrate the 5th anniversary of its release, Statue Of Limitations is now available on vinyl for the first time in years, complete with the previously unavailable Pete Rock instrumentals.