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Ben Reed has worked with Frank Ocean, David Byrne, Sampha and many others, but his own music is unpredictable, passionate and tinged with melancholy and has drawn comparisons to the so-called Canterbury sound of Progressive rock.


‘Bandaged’ is much more in the singer/songwriter vein than Ben's previous releases, albeit tinged with an undeniable British proggy-ness. The richness of melody and harmonic vocabulary remains, and the influence of jazz is still detectable, this time via more concise song forms.


Past review comparisons to the Canterbury sound aren't too far wide of the mark here, especially as Jimmy Hastings (Caravan, Hatfield & the North) is present on two of the songs.


Throughout the album there is a detectable combination of sentimentality and melancholy combined with playfulness and a dark sense of humour making ‘Bandaged’ one of the most interesting and innovative new albums of its genre in 2023.

Warehouse Find!

As I-Robots launches a new compilation series that celebrates the roots and influences of Italo disco in Turin and the Piedmont region, the Opilec Music boss also offers up various singles from it with some special remixes and edits. After an EP from Johnson Righeira last summer comes the latest one featuring the legendary Captain Torkive and two of his tracks as well as some special versions by I-Robots. Captain Torkive is Daniele Torchio, an Italian artist active in the late seventies & early eighties who got his nickname from a love of UFOs and space, in fact the titles here are inspired by the Superman DC Comics classic.
He has worked with the likes of Valero Liboni and all the material here is officially licensed from Ponzo Records master tapes. His tracks here are some of the most rare 7" Italo space disco tunes from Turin's rich history and feature synthesizers and electronic effects that he made himself, as well as guitars and keys he also played. Up first comes the I-Robots 1979 Reconstruction of Flying Saucers To Krypton which marries both tunes into a lush retro space odyssey that shimmers and rockets through the cosmos with live drums and jangling bass. Rounding off the A side is 1979 original version of Krypton' which is just as dazzling and spaced out with layers of synths and arps all sounding squelchy beneath some robot vocals. Kicking off the B side is the I-Robots 1979 Space Reconstruction of Flying Saucers To Krypton that strips some of the layers and keeps one lead synth line and some ascending spaceship sounds, as well as a lovably loose groove that really stomps along with real character. Last but not least is the original 1979 version of Flying Saucers, a cosmic tune with sci-fi sounds and melodies shooting about above big disco grooves with the keys and synths that carries you away to another galaxy. This is another essential package from Opliec Music that shines a light on an artist and era that deserves all the attention it can get.

PANORAMA Records is thrilled to announce the reissue of 'Salsa Na Ma' by the legendary Colombian band Fruko Y Sus Tesos. Known for their infectious rhythms and vibrant energy, this track captures the essence of salsa with a dynamic blend of percussion, horns, and vocals. Originally released in 1973, 'Salsa Na Ma' is a timeless classic that continues to ignite dancefloors, with the B Side 'El Preso' originally released in 1976, pairing nicely here.

Following the successful reissues of Gitte and Inger's electrifying cover of 'Can't Hide Love' and Gustav Brom's dancefloor gem 'Calling Up The Rain,' PANORAMA Records once again proves its dedication to bringing hidden musical treasures back into the spotlight. This limited 7 inch release of 'Salsa Na Ma' comes remastered and packaged in a vintage-styled sleeve, complete with a handstamp for an authentic feel, as if you found it in a dusty crate in Bogotá.

The label has garnered serious support from a stellar lineup of tastemakers and selectors in just the first 2 releases, including Patrick Forge, Rainer Trüby, Gilles Peterson, Zag Erlat, and more. This reissue is a must-have for collectors and dj's, promising to deliver a heavy dancefloor reaction. Don't miss out as Panorama Records continues to set the standard for quality reissues in the music world.

Long-awaited reissue of an interesting and rare masterpiece by jazz guitar virtuoso Joe Pass, who took on jazz funk! (Made in 1971) This is the first release on Gwyn Records, a minor label in California, and features a very impressive lineup. Paul Humphrey and Earl Palmer on drums, Carol Kaye (label owner) and Ray Brown on bass, J.J. Johnson, Tom Scott, and Conte Candoli on horns, this is truly a historical session that brought together the top musicians of the West Coast at the time. From the cool funk of "Better Days" at the beginning of the session, almost the entire album was a storm of jazz funk. Free Sample" by Joe Sample, "Burning Spear," with its impressive undulating beat, "Head Start," with its too-subtle bass line, and the boogie shuffle "Gotcha! The jazz bossa "Balloons" and the weepy medium soul "It's Too Late" also have an outstanding presence. Not only can you enjoy Pass' intelligent soul-jazz guitar playing that hits all the right notes in a single tone, but the groovy, funky rhythm section is the best you'll hear on the West Coast.

Tallinn's OG mainstay Nikolajev hops back on Sad Fun camp to hand out two bass loyal dancefloor beasts. A side “Lego Dub” steps on it accurately with its beat all flanged up & pushed to the red of course. Arpeggiator carousels doing the rounds with Niko’s vocals sprayed left & right, front & back like bad hallucinations. Hihat chewing your ear off. Are we there yet? Nope. B side has the funk. And chaos. Let the acidic bass sink in & soundtrack your mid–summer madness. Trust Nikolajev to be your guide, always.

Robin Ordell returns to his own No Time County with Nameless Salesmen EP

I needed to do some recording to cheer myself up. The studio I usually use was booked all month, but before the disasters of Brexit & Covid I’d met pianist Yves Meerschaut in Gent, and he’d shown me his recording studio, Room 13, and that did have a couple of days free in January… I decided to make a record of old songs that other people have liked, and / or that I play differently now, and / or that haven’t appeared on vinyl before. So, here, there’s: “Pennypot Lane”, a fox song that people like, “Winter Turns to Spring” that was Tony Benn’s favourite song, “The Blue Sea Says Yes”, a song about how the sea welcomes us all, heroic or fragile, equally in our mortality (something like that anyway) , that I had forgotten about till people started saying how much they liked it, “More Than Enough”, that Roy Bailey and Martin Simpson have kindly rescued from the obscurity of its previous appearance on a CD in 1992, “Babbecombe at the Closing of the Day”, a song about going to Babbecombe model village, “At the Siege of Madrid” which quite a few people like, but is one of those songs that always somehow eludes a definitive performance, “A True History of Couscous”, a song I like that is more or a less fictionalized autobiography, and lastly.. “You Don’t Have to Say Goodbye”. This is a song from my first CD; Thames Valley folk-stalwart Terry Silver used to enjoy performing it so that afterwards he could shock audiences who’d been happily singing along to it by revealing it had been written by that dreadful lefty Robb Johnson, It’s also, more recently, a song our son Arvin likes very much too, and he graces this version with his characteristically modest tasteful Spanish guitar playing. He also nagged me into doing the artwork for the cover. Three of these songs are lucky enough to have Yves’s breathtaking, exquisite piano playing embellishing them, and Sian Allen gifts “Madrid” some beautiful trumpet accompaniment too. But primarily, for good or ill, it’s mainly me with an acoustic guitar. Robb Johnson, May 24. “in my view one of the best songwriters this country has produced in many a year… the appellation National Treasure is often over-used, but in Robb’s case it is entirely appropriate (St Edith’s Folk) // “an English original”, (Robin Denselow, the Guardian) // “a national treasure” (Mike Harding) // “one of this country’s most important songwriters (no argument!)

Mobb Deep was a legendary 1990s rap duo formed in Queensbridge, New York, by Havoc and Prodigy. They are considered the foremost progenitors of hardcore rap and one of the most influential hip hop groups in history. Their music reflects the hostile reality of an era when poverty, drugs and gang violence plagued the streets of New York. Their music is characterised by dark samples, the drums, snares and bass are defined and the raw lyrics are of a very high standard, in the most competitive era in rap history. With their albums The Infamous (1995) and Hell On Earth (1996) they achieved fame within and outside the hip hop community, including hits such as "Shook Ones (Part II)" and "Survival of the Fittest". They would later collaborate with top East Coast rappers such as Notorious B.I.G., members of the Wu-Tang Clan collective, Jay-Z, Nas and 50 Cent, on whose label G-Unit they would release their album Blood Money (2005). Prodigy's sad death in 2017 due to a long and cruel illness only has amplified an already existing legacy. On this album we will be able to enjoy the instrumentals and acappellas of many of their best tracks throughout their career.

English musician Bryn Jones is one of the most original and productive artists on the post-industrial scene. He has released an incredible amount of music in just 16 years. According to current estimates, he has released at least 200 albums for a total of over 1,900 songs in circulation.

The Extreme Years 1990-1994 is a compilation of all Muslimgauze's music, released on the Australian label Extreme Music between 1990 and 1994.

According to many critics and fans, this was a unique and very special period in Bryn's work, during which he went from amateur musician to experimental sound sculptor. Sadly, Bryn passed away in early 1999 at the age of 38.

The original tracks have been perfectly remastered for this first vinyl release and the new masters have been praised by Extreme Music owner Roger Richards.

Outsider ambient soundscape by two musicians from the Paris alternative : Désiré Bonaventure & Zach.

An enchanted yet psychedelic dream-like ballad recorded in one take in an ephemeral delirium; borrowing from dub, drone, IDM & techno, reflecting singular inter-worlds and inviting us to join them.

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Rue des Garderies is a distillate produced by the spontaneous collaboration of Désiré Bonaventure and Zach, two musicians evolving in the Parisian alternative scenes and so named in homage to a former local hotspot of other-music Rue des Gardes - now bygone - where this improvisation took place. Accustomed to exorcising time and space with the multidisciplinary collective †een▲ge g:-)d, Zach has also been evolving in various frequencies - beatmaking, mastering - for over 15 years. Désiré Bonaventure, on the other hand, is a member of the duo Euphonic Alliances Ltd. and R.A.F. Soundsystem.

Rue des Garderies was recorded in one take, using samplers and effects, amidst a tangle of cables, with eyes closed, as dawn approached, in anticipation for another moment of the present. Here, Désiré and Zach delve into the in-between worlds (musical, but not limited to), immersing themselves in their cracks, folds and emanations, attempting to narrate them to us.

From this material they shape a new alchemy lasting over 1h30, akin to a prolonged journey into psychedelia, drawing from various currents (such as ambient, drone, IDM, dub techno, and the English electronic scene of the 1990s), rich in organic and analogue textures that overlap, stretch, fold and expand.

The result is a grand and ethereal fresco, with shifting colours and textures, evoking astral projections and sporadic rhythms; a whole other world, populated by shapes, hues and new lives, forming a complex but enchanting sound essay.

Born of a fragile chaos, Rue des Garderies is an ephemeral harmony that accompanies moments of existence; a dance without tangible movement.

An incredible, uplifting joint from New Zealand soul artist Arjuna Oakes. His second release on the Albert’s Favourites imprint overflows with the clear enjoyment of the band featuring legendary Nathan Haines. We’d say there’s a reasonable nod to D'Angelo’s essential Spanish Joint within these grooves.

The b-side delivers a vinyl exclusive – a downtempo, moody little number with an emotional drive that is deeply compelling – one to get lost inside.

DJ Feedback:

Gilles Peterson (BBC Radio 6 Music) - 'Watch out for a great singer from New Zealand called Arjuna Oakes' Gilles Peterson (BBC Radio 6 Music)

Lithuanian producer Subliminal makes a compelling debut on Distrito 91 with a six-track EP designed for the dancefloor.

Balancing between electro and techno, this release captures raw analog soundscapes.

Recorded in Kaunas studio, each track features saturated four-on-the-floor drums, resonant basslines, acid flavors and dreamy pads, all crafted using hardware instruments. Pure club-oriented material recorded in analog jam sessions.

Finnish drummer/Producer Teppo "Teddy Rok" Mäkynen returns with his alias The Stance Brothers with "Sao Paolo / Timmy", a new 7"/digital single release on July 26th on We Jazz Records. Lauded by the likes of DJ Koco aka Shimokita, Kenny Dope and Gilles Peterson, Mäkynen's studio creation released the new album Duktus in November 2023, the project's first full length in more than 10 years. Back a new version of album cut "Sao Paolo" polus an unreleased new track, "Timmy", the project a treasure-trove for everyone into crunchy jazz funk à la Bob James & CTI, but this is no retro exercise. Teddy Rok moves forward in all directions, constantly bringing new elements into his sound, which is more layered and deep than ever before. At the same time, the crunch & the breaks are there when you need them.

The Stance 7" sides are often dominated by crunchy drums and crystal clear vibraphone melodies, and that's the overall vibe here, too. That being said, Mäkynen keeps things moving forward at all times, achieving moments of pure bliss with tracks that sound compact but expand far and wide both emotionally and musically.

The Stance Brothers are active live as a four-piece band, appearing live over the summer in Finland at Odysseus Festival and Flow Festival in Helsinki, plus G Livelab Tampere.

Animals on Psychedelics welcomes Swiss/Tunisian producer Ish for its 9th release, with another suitably lysergic 3 track EP.

A1 kicks off with vintage Sci-fi mind exploration samples and quickly evolves into a pulsating and accelerated acid trance rumpus, with the sample weaving its way around the tracks main goan filtered synths and throbbing bass, for a perfect, reflective end of night closer.

Still keeping things pacey and sci-fi, B1 guides us into more traditional trance territory, with lighter 808 kick drums and a progressive arpeggiated synth line that links up with his paranoid friend half way through for some machine talk , before metallic bass and electric guitar mates comes barging in to abruptly end all chat.

B2 continues the trip and lands us on an unexplored planet deep in the outer universe. Pensive, melancholic and breaksy IDM frequencies transmit through our vessels radio, whilst a woman reminds us that we still have our 'Body's' as we float in space.

Prepare to be engulfed in the sonic maelstrom that is The Jonny Halifax Invocation as they unleash their blistering new single "Thank You”. Renowned for their mesmerising forays into extended sun-scorched psychedelic soundscapes on the critically acclaimed albums Açid Blüüs Räägs Vols.1 & 2, The Jonny Halifax Invocation now emerge with a thunderous new proposition in the form of their latest 7" single. A dynamic shift of gears in The Invocation’s sonic landscape, “Thank You” is a two minutes and thirty-seven second explosion of raw, primal energy, a revolutionary last call, an arrow shot of burning malcontent for this time. “Thank You” goes for the kill from the first beat of filthy amphetamine buzzsaw swagger cutting some heavy sonic rug with spiritual forefathers The Stooges and MC5. Cosmic free jazz saxophonic squawks soar, while the preacherman of the apocalypse invites the congregation to question the root of their original gratitude with life or death urgency. Meanwhile over on the flip side, "Gratitude Dub” slows the rumbling groove to a lurching, swaggering rollercoaster ride of hallucinogenic dub exotica just before the wheels fall off.

I was sent an unfinished version of Dose Your Dreams so that I might contribute string parts. I couldn’t stop listening to the rough mixes I received. A friend asked me how the record was. I replied, “My God, Fucked Up have made their Screamadelica.” And psych-rock-groove it is. The drums mixed wide, propensity for drones, for delay pedal, for repetition, groove. The politics and aesthetics of hardcore married to an “open format” approach to genre. Elements of doo-wop, krautrock, groove, digital hardcore. “None of Your Business Man” opens the album in familiar enough territory, a sax assisted exit from an office space. But things get psychedelic very quickly. By the time the title track arrives, Mike Haliechuk is whispering, wah pedals are in full effect, and we’re wearing oversized t-shirts and pinwheeling. “Accelerate,” the lyrical centrepiece of the album, storms in like Boredoms on a bullet train and dissolves into a digital nightmare. The album closer, “Joy Stops Time,” finds Fucked Up at their most Düsseldorfian, nearly eight minutes of blissful motorik. At the center of it all is Damian Abraham’s scream a man chained, a man tortured, a true protagonist. The effect is one of an epic, every chapter attempting its own narrative devices, its own genre hybridization and it works, it works so insanely well. The drama unfolds like a miniature world of many parts being explored, a map being illuminated, location by location. As with David Comes to Life, there is a story here. David who once came to life is now indentured to a desk job. David meets the elderly Joyce who closes his eyes, opens his mind, and sends him on a spiritual journey. David embarks on his own metaphysical odyssey. He sees a stage adaptation of his own life. He speaks to an angel in a lightbulb. He sees an infinite series of universes as simulations within simulations. Meanwhile, Lloyd Joyce’s lover was sent, decades ago, by Joyce on the same odyssey, but was lost in the void. Lloyd seeks to be found and reunited with his lover. Where will David end up? Will Joyce and Lloyd be reunited? Dose Your Dreams meaning: treat your dreams as you would a dream, allow yourself to be lost within them, allow them to open your heart and your mind, enjoy them as you would a drug. Reach out for my hand and pull me close. Owen Pallett.

On his new album, Samurai, Lupe retreats inward to give fans one of his most personal albums in his deep catalog. “I sometimes get tagged by my fans as not doing personal records,” Lupe says, “but I always tell people there's me in there if you listen closely enough. This album is one of my more personal records to date. It's not a full biography, but my personal experiences are tied up in all of my music. A lot of the records are me. Some are from the POV of a character. and some are me. The album weaves things from my life as an artist, touching on things other artists go through.” The narrative follows a battle rapper through various moments in his career, starting with how they honed their battle rap skills, following their career through different moments. Musically, the new album finds Lupe delighting in the simple pleasures of assembling assonant syllables into playful and poignant narratives. The 8-track album is smooth, yet cerebral, brimming with ideas, but always radiating Lupe’s pure love for the art of emceeing and committing himself as a servant of the rap game. The album was produced in full by longtime collaborator and friend, Soundtrakk (“Superstar,” “Kick, Push,” “HipHop Saved My Life”), their second time linking up on a full album after 2022’s DRILL MUSIC IN ZION, and is also the first time Lupe, Trakk, and longtime manager Charles “Chill” Patton were in the studio together since Patton’s release from prison in 2023. “It felt great to be back in the studio again as a family,” Lupe says. It’s the first time they’d worked together in the studio since Lupe’s seminal album, The Cool in 2005. “The word ‘samurai’ means to serve,” Lupe says on the album’s title. “My relationship to that word has always meant that you need to be at the service of other people, either in the overall community, or in this instance, the rap community at large that I’ve been a part of for years. You have some duty, some purpose to serve. The title alone is very important to me. Before rap even, martial arts was my whole life, and it still plays a huge role in my life. The album is me, but also inspired by a quote I heard from one of my favorite artists. The overall themes of the album speak to the constant fight and the battle one goes through being in the entertainment industry. Some of the things we need to defend.”

Nach 30 Jahren wurde die zentrale 4-Track-EP "Until Eternity Ends" von EDGE OF SANITY nun neu gemastert und sogar von Songwriter/Frontmann/Produzent Dan Swanö (Opeth, Dissection, Katatonia, etc.) neu abgemischt. Das Re-Issue wurde erstmals 1994 veröffentlicht und ist nun zum ersten Mal auf Vinyl als 12-Zoll Maxi-Single (A-Seite: Remaster / B-Seite: Remix) erhältlich. Mit dem genresprengenden "Until Eternity Ends", dem ultra-eingängigen "Eternal Eclipse", dem Hardcore-Punk-Death-Bash "Bleed" und einer Killer-Coverversion des The Police-Hits "Invisible Sun" von 1981 ist "Until Eternity Ends" nun in der ultimativen Edition für langjährige Fans und neue Anhänger von EDGE OF SANITY erhältlich.

Italian producer Toto Chiavetta returns to Mind Against's HABITAT with a spellbinding new single titled "My Eyes Are Failing". Off his new EP of the same name, the song is a haunting journey where crunchy textures and hypnotic melodies come together with the refrain, "I think my eyes are failing, but I feel my lungs inhaling," to envelop listeners in a dark, atmospheric soundscape. Featuring the mesmerizing Thom Yorke-esque vocals of Trenton, the new track showcases Chiavetta's mastery over immersive, emotionally-charged electronic music.

Bolstered by b-side single “The Sacred Space” and a club-ready alternative version from Toto himself, plus remix from Echonomist, the new EP rounds out to create a defining statement from Chiavetta. With a growing list of supporters that include industry heavyweights like Âme, Sasha, John Digweed, and Camelphat, to name a few, and previous releases on Innervisions and Diynamic, Toto Chiavetta is poised to make a big impact with this landmark release on HABITAT.

2024 Reissue

Dark Entries celebrates its 15th anniversary by returning to where it all started, our initial darkest entry: Eleven Pond’s masterpiece Bas Relief, an ultra-obscure album from 1986 that would become a definitive dark pop holy grail. Eleven Pond was James Tabbi (vocals, acoustic guitar), Jeff Gallea (drum machine, synthesizer, vocals), Jack Schaeffer (guitar) and Dan Brumley (synthesizer, samples, vocoder, melodica). They met in Rochester, NY, while attending art school, brought together by their shared love of 4AD and Factory Records. Taking cues from acts like Joy Division, Fad Gadget, and For Against, Eleven Pond’s infectious basslines, churning guitar riffs, and atmospheric synths will charm all fans of moody music. But what really makes Bas Relief shine is the timeless songwriting on classics like “Tear and Cinnamon”, “Portugal”, and the anthemic “Watching Trees.”

With only 500 copies in it’s initial release, Bas Relief resurfaces with a fresh remaster that corrects a pitch shift from previous reissues. Each copy is housed in a screen printed jacket, like the 1986 edition, and includes a lyric sheet, two postcards and a bookmark. Bas Relief is a true lost relic of the cold 80’s and an essential piece Dark Entries history.

The Brazilian composer, pianist and producer, Mário Castro Neves and his group, Samba S. A.'s self-titled album from 1967 is oozing with class. It possesses that archetypal 60's bossa nova, jazz, samba sound. We’d place it up there with Sergio Mendes at his finest, Tambo Trio or Milton Banana. It’s a breezy ride that touches on easy listening at times, but it holds it together with a cool swagger. Biba and Thaís Do Amaral's vocals are on point, with a relaxed delivery that compliments the tracks with the sublime beauty à la vocal groups such as Quarteto Em Cy, who Biba also sang with, as well as with Antonio Adolfo's e A Brazuca. Also appearing on the record is bassist extraordinaire, Novelli who worked with Milton Nascimento, Nelson Angelo E Joyce, Airto, and many of the greats of Brazilian music of the time.

The album has long been a favourite with DJs and collectors over the years, with songs selected for compilations by Gilles Peterson and Nicola Conte. One of the centrepieces of the album, 'Candomblé’, has been sampled by Cut Chemist on his track 'Povo De Santo'. The song 'Naña' is punchy and light with dancefloor-jazz appeal. The gloriously catchy 'Vem Balançar' is a brilliant bossa shuffler. A superb listen throughout, the album sticks to a framework but delivers in spades.

Though released on the major-label RCA Victor, original copies are elusive, sought-after items with a price tag to match. For this reissue, we have opted for the Mono master, mirroring the original 1967 Brazilian pressing. Instantly familiar, the album has a welcoming feeling of nostalgia and is something that stays with you from the first listen.

Air is the central element in Antonina Nowacka's third solo album Sylphine Soporifera. The title names an imaginary species and the land they inhabit, inspired by the unreal desert landscape of Paracas and the undulating tree-less hills of the Outer Hebrides, and comes from the writings of Rudolf Steiner, who describes creatures called Sylphs as the spirits of the air, and the Latin word sopor which means deep sleep.

As with all her releases, Nowacka's other-worldly vocals coming as if from beyond the veil, at once haunting, alien and utterly entrancing. "The voice is the most beautiful and resonating instrument,” she says. “When I sing I feel I create a field in between myself and the air in front of me," she explains. "It is not just that I'm singing – something in the space in front of me is happening, and I merge with this sphere.”

She conjures and is inspired by open environments and infinite landscapes: places full of light and air, manifested here in the sound of ocarinas from Budrio in Italy, whistles from Mexico, simple bamboo flutes from Nepal, alongside tremulous zithers, synthetic Hawaiian sounds from a vintage organ and the uncanny wind instrument presets from a 90s synth.

Nowacka’s first album was informed by vocal sketches made in caves in Indonesia, later recorded at a fortress in Poland; she studied Hindustani music in India with vocalist Shashwati Mandal, fell in love with early Cumbia in Mexico and Peru, and has more recently found inspiration in the landscapes of Italy. Hers is a new New Age soundworld that finds its origins everywhere and nowhere. Sylphine Soporifera gathers these sounds, visions and experiences into an album permeated with a sense of hope and fulfilment, that feels like sitting in an enlivening white beam of afternoon sunlight, as dustmotes swirl in the stillness.

"The Glass Frog" ist das Ergebnis einer grossen Gruppensession des profilierten, britischen Jazzpianisten Greg Foat mit befreundeten Musikern, wenn tief-spiritueller Modal-Jazz auf New-Age/Ambient-Synthesizer-Pads trifft.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Archeo Recordings' rewarding relationship with Tony Esposito continues on AR027, as the label provide a remastered reissue of his transcendent fusion-pop masterpiece "Pagaia" alongside a trio of brand new reworks from Perugia's mighty Feel Fly. Whether you're looking for cosmic house, mellow acid, trancey techno or dubby downbeat, these remixes have you covered, and the original remains a true work of art. Available in all good record stores on 12th July as a 50 copy super limited edition on Solid Blue Vinyl (including gadget scarf) and limited black vinyl edition.
50 copy Solid Blue Vinyl Edition (including gadget scarf), and also limited black vinyl run "Pagaia" hails from the Neapolitan percussionist's 1982 LP Tamburo, his first release for the brilliant Bubble imprint. Though the album delights and excites from start to finish, dancing through jazz-funk, Mediterranean pop, slow disco and smooth fusion, it's "Pagaia" which is first among equals. Esposito's nuanced hand drums lay the foundation for Claudio Pizzale, Sara Borsarini and Simona Pirone's wordless vocals, a life affirming chorus which carries us onto the swell of bass, piano and horns which drive the track through four and a half minutes of emotional release. Emphatic and expressive, the track transports the listener into a state of body moving rapture, all driven by Tony's rhythmic fluency. The song found its way into Italian living rooms over the credits of TV show Domenica In, and found its way into club culture thanks to fanatical support from the likes of Daniele Baldelli, who even included it on his first official Cosmic compilation.
Following a string of essential releases for the likes of Internasjonal, International Feel and New Interplanetary Melodies, Daniele Tomassini, better known as Feel Fly, now joins the Archeo family with a trio of contemporary club translations of the killer "Pagaia". The Perugian's "Cosmical Remix" extends that familiar introduction into a deep and DJ-friendly blend of drum and voice, awash with airy reverb and augmented by additional percussion, building through the original piano and bass into the churn of a dance floor wormhole. Driven by an unstoppable sequencer throb, the interpretation skirts the dark side of space before landing in the light of the miracle, those heavenly vocals and lush keys leading the way. The "Instrumental Cosmical Remix", not entirely instrumental, but utterly cosmical nonetheless, sees Daniele serve a tense and tracky arrangement of his first rework, perfect for deep space exploration. Stripped of the joyful exuberance of the original, this variation is a complex blend of shadowy trance idents and the mature techno we'd expect from the likes of François K. Not content with soundtracking either side of the peaktime, Feel Fly serves up a third version, following the Compass Point through a musical map of club-dub to turn out an immersive interpolation of deep bass, spring reverb and stabbing keys that sits perfectly beside the Rhythm & Sound catalogue. Each interpretation is an emphatic demonstration of Tomassini's musical talent, production prowess, and stylistic range, and furthermore a fitting tribute to the lasting genius of Esposito's original.

Acid Jazz's announcement of the 30th anniversary 2LP remastered edition of Mother Earth's The People Tree is a momentous occasion for fans of acid jazz and soul music alike. Originally released in 1994, this album holds a significant place in the genre's history, blending elements of soul, funk, and folk-tinged rock from the 70s with a modern twist. The special edition reissue boasts the original album, along with three previously unreleased tracks and six making their vinyl debut. Remastered from the original analogue recordings, this release promises to breathe new life into the beloved classic. Featuring guest appearances from iconic artists like Paul Weller, Dee C Lee and Simon Bartholomew of Brand New Heavies, The People Tree is a testament to the collaborative spirit of the acid jazz scene. Notable bonus tracks include the previously unreleased alternative version of 'Apple Green,' an alternate take on 'Illusions,' and the title track itself. First-time vinyl cuts offer fresh perspectives on tracks like 'Jesse' and 'Slide Sweet Baby,' adding depth to the listening experience. The album's presentation is equally impressive, with a beautiful 'wide-spine' layout, printed inner sleeves, and insightful notes from label-founder Eddie Piller, accompanied by unseen photos from the original cover shoot. Overall, this anniversary edition of The People Tree is a album worth your time as it often selected for one of the best examples in the genre.

Four years after his last album "TRICKSTER," DJ KRUSH has faced, sharpened, and overcome himself during a new coronavirus pandemic with "Rebirth -Saisei-,"

his first album since becoming independent. In Japanese, "Rebirth" means "Play" to regenerate music and art, "Rebirth" to be reborn, "Reconstruction" to be reborn,

"Renaissance" which is also translated as "literary revival".... With its multifarious connotations, the year 2024 will see DJ KRUSH take the opportunity of his

independence to "Play" and repeatedly "Rebirth" his way into the future. Guest artists include Jinmenusagi, Chinza DOPENESS, and D.O.

Last month, Chase and Status returned to the limelight unveiling their hard-hitting and trailblazing singles “When It Rains” ft. BackRoad Gee, complete with a Jack McMullen starring, Hector Dockrill-directed cinematic visual and the addictive smash “Don’t Be Scared” ft. Takura. Today, the duo are making a true statement of intent for the year ahead, with the announcement of their sixth studio album, What Came Before. Created by Crown & Owls, the accompanying artwork captures a truly special and magnetic live moment. Speaking on the concept, Crown & Owls state:

“We wanted to create an image that captured the very human compulsion to gather in a dark room and dance and sweat. Such scenes have a different weight to them after they were off the table for a good while, and we were very interested in capturing a moment of collective catharsis in the shadow of a period of history that pushed isolation on so many. We were really interested in the stories of the individuals in the image - what drives them to want to be in that room? The whole campaign kind of works backwards from that moment in the photo really - the intersecting stories of the dance floor, and the sense of freedom and release it brings to the individual. The record sleeve, the single covers, visualisers and elements of the music videos were all captured at this special night - it’s been a joy to work on.”

Landing alongside the album announcement is new single “Mixed Emotions” - a euphoric and recognisably brilliant dose of true Chase and Status energy that landed alongside an incredible video, filmed in two halves and directed by UKMVA-winning Femi Ladi (Pa Salieu - “My Family”). Femi Ladi states:

“On nights out like this, sometimes you just want to get fucked up. Trying to get to that moment, when you’re out of your head and completely in the moment. Sometimes music gets us there, sometimes drugs and alcohol, sometimes it’s a combination of all 3.

I want to connect our camera to the chasing of that high. A visual metaphor for trying to reach that euphoria. Each time she takes a bump, a line or a pill, the camera closes in on her. The closer she gets to that euphoric moment, the closer the camera gets to her.

By the end I want the audience to have an uncomfortable and claustrophobic feeling as our hero goes slightly overboard, a feeling that most of us know but won't dare to admit.”

Consisting of 13 tracks, What Came Before distills 15 years of unparalleled experiences into a bold, invigorating sixth album; informed by global tours, sold out headline shows, five albums, multiple awards, chart success, underground kudos, top tier collaborations and remixes, and, above all else, that unwavering dance floor energy that remains as tangible and transformative now as it has since the very beginning. This pure, unadulterated exhilaration is the glue that binds all of these experiences together, cultivating a legacy of positive vibes, unforgettable moments and the continued progression of British club culture.

For trailblazers Chase and Status, the story is cyclical - a constant process of regeneration and refinement that comes full circle. Everything that came before, from their inception point to now, has brought them back to their essence.

Landing in the wake of their critically acclaimed specialist album RTRN II JUNGLE, and the more recent news of their headlining ParkLife festival this Summer, Chase and Status’s musical return is highly anticipated. After a series of teasers were published on their social media, the duo directed their fans to whatcamebefore , unveiling a plethora of forthcoming Summer festival dates.

The forthcoming album marks the inception point for the duo’s next phase; while on forced hiatus they also went back to square one with their live show. With What Came Before Chase & Status prepare to embark on the next chapter of their illustrious career as a seasoned act ignited by the same excitement

Boxed set of five 7-inch vinyl records, 300 copies limited edition. Artwork poster included.

All tracks remastered from the original master tapes.

Alessandro Alessandroni is no longer remembered simply as 'the whistler' in Morricone's spaghetti western soundtracks – and rightly so, since he was the key figure behind much of Italian 'secret music' from the 60s and 70s, always there in the studio during recording sessions, whether as a multi-instrumentalist or as the leader of session vocal group I Cantori Moderni di Alessandroni. Today his pervasive presence and important role has been finally recognized by music professionals and enthusiasts alike, so much so that he is now considered the true father of Italian library music – a genre whose sound he shaped since 1968.


As a film composer, Alessandroni often worked for small productions that had very limited (and often regional-only) distribution, and whose budgets were worlds apart from those in the 'top league' where friends and colleagues like Morricone, Bacalov, Trovajoli or Piccioni thrived. Rarely released as a soundtrack, this music ended up, at best, forgotten inside dusty ¼-inch reels or, at worst, disappearing into thin air.

After a string of releases that have brought back to life forgotten or lost works by Alessandroni (Sangue di Sbirro, Afro Discoteca, Lost and Found, etc.), it was pretty natural for us at Four Flies to start delving into a little investigated area of his filmography: his scores for erotic films, the last genre to gain popularity in the flourishing Italian film industry of the 60s and 70s, and perhaps the most extreme too, the one that, by pushing things too far, eventually put an end to that industry and its genres.

So, we're now very proud to present Alessandroni Proibito, an exclusive boxed set of five 7-inch records. It contains a total of 14 previously unreleased tracks from the soundtracks of 4 soft-core erotic films that included hard-core sequences and, therefore, fell somewhere in-between normal commercial distribution and the underground scene of adult movie theatres.

Taking an artisanal approach to his musical craft, Alessandroni was not afraid of having to deal with spicy subject matter, wobbly productions, implausible plots, improvised actors, or cinematographers who were clearly no disciples of Storaro. And he was so good at making a virtue out of necessity, at turning budget constraints into creative advantages, that he created soundtracks that far surpass the films' quality, with music that at once captures and elevates the spirit of the erotic genre as if into a condensed symbol.

More specifically, the maestro recorded many of the pieces in a DIY fashion at home, using a 4-track Teac tape machine to arrange his compositions. The Teac allowed him to play different instruments on each track, which meant he could basically put an entire soundtrack together all by himself, or almost all by himself.

These recordings often feature drum machines – which provide that retro, early electronic music vibe – as well as funk guitars and exotic-sounding percussion in the rhythm tracks. In addition, there is an extensive, almost bewildering use of synthesizers to replace solo instruments that would have required a paid session player. On top this minimalist arrangement, Alessandroni layered what he could: some piano chords, a little flute and, most importantly, his signature 12-string guitar phrasing.

The result is just stunning: a unique mixture of electronic music and acoustic instruments, in a style that stops short of kitsch and ranges from cinematic ambient pieces like "Tensione erotica" to disco-funk tracks like "Snake Disco" and "One Sunday Morning", both of which feature vocals by Alessandroni himself.

Alessandroni Proibito comes with artwork by Eric Adrien Lee and a matching 30x70cm folded poster inspired to the insert-size posters which used to be hung outside movie theatres to attract cinema-goers.

The boxed set is being released in a limited edition of just 300 copies and will never be reissued. First come, first served.

Scottish experimental/electronic musician Drew McDowall's lifelong interest in an elegiac solo bagpipe style called pibroch (ceòl mòr in Gaelic) has been an inspiration for much of his previous work (including Coil's legendary Time Machines). This form, often traditionally used for laments and for tributes to the dead, fuses modal drones with flickering dissonance and plaintive melody evoking an ancient, solemn mood. His latest work, A Thread, Silvered and Trembling, both incorporates and transforms these elements via exploratory electronic processing, weaving an electro-acoustic tapestry of strings, shudders, voids, and voices, alternately disembodied and displaced. Co-produced with engineer Randall Dunn at Circular Ruin Studios in Brooklyn, the collection's four pieces capture McDowall at his most elevated and elusive, in thrall to "the ineffable - that which refuses to be spoken." McDowall's palette here is unusually eclectic, sourced from a dynamic orchestral ensemble arranged by Brent Arnold and comprised of cello, viola, violin, harp (Marilu Donovan of LEYA), and french horn. Ebbing between shrouded electronics and enigmatic, sometimes spectralist orchestration, the album moves with a seething, simmering energy, surging into elegant, uneasy crescendos. The first two pieces are inspired by a liberatory hijacking and inversion of a grim biblical story (and by a cryptic and strange UK simple syrup branding). Opener "Out of Strength Comes Sweetness" shivers with short echo and resonant pads, before shifting into the album's centerpiece: the 14-minute saga "And Lions Will Sing with Joy." A murmuring electrical storm of keening strings and disorienting drones gradually grows darker and denser, until suddenly there's a crack in the clouds, revealing mutated choral voices and sparkling harp. McDowall describes the track as "an incantation to help usher in a break, and a new beginning." The record's latter half evokes a deep untamed animism shot through with spiraling radiance. "In Wound and Water" sways with harp, plucked strings and eerie cello undertows while lush layers of disorientated electronics hang in the dusk. There is no resolution, only a faint gradient of fragile dissipation, leading into the album's harrowing and climactic closer, "A Dream of a Cartographic Membrane Dissolves." Processed voices (credited on the liner notes to "The Ghosts Who Refuse to Rest") contort, whisper, and gather as the rest of the ensemble sharpens, poising to strike. Then it does - grand, tragic stabs of strings and horns lashing the sky, storming heaven by force. The fallout is poetic and inevitable, raining embers into a dark sea. But the journey and catharsis of A Thread linger long after it goes silent. Like so much of McDowall's multifaceted catalog, this is music of immanence and alchemy, attuned equally to the sacred and the profane, to the tile and the mosaic.

There are certain occasions when you can truly feel the stars align. One of these is when the interstellar voyager of cosmic soul Jimi Tenor finally lands his spaceship at full force on a Timmion recording. In 2024, he will be serving us two spaced out album sessions recorded together with Cold Diamond & Mink. Jimi is no stranger in these space ways as he has operated behind the Timmion scenes for years, furnishing several of the label's artists with his flute and reeds artistry. The first album out is titled "Is There Love In Outer Space?", which begs the question with the force of five extended tracks that are guaranteed to blow your mind to the stratosphere. The pieces are loaded with whooshing and glistening synth noises and span from lofi space funk to cinematic soundscapes. The sweetly floating title track is like some of those galactic ballads that rare soul collectors are spending their pensions on. At the other side of the spectrum, album closer `What Are You Doing?' sounds like Sun Ra sat down at a JBs session, and is straight up meant to get that booty moving. Combined with the raw soul prowess of CD&M, Jimi is able to refine new shades from his already impressive repertoire of talent. Even if you are a friend of his previous work you might not have heard him get down quite like this.

Weniger als ein Jahr nach ihrem Album „Through and Through“ kehrt Baby Rose mit „Slow Burn“ zurück, einer Sammlung von Songs, die ihre Klangpalette von progressivem R&B zu einer raueren, reichhaltigeren und weitläufigeren Linse amerikanischer Musik erweitern. Hier behauptet sich Rose nicht nur als einmalige Sängerin, sondern auch als formidable Songwriterin, die die Punkte verbindet, an denen Muscle Shoals auf Psych trifft, Psych auf Jazz, Jazz auf Americana, und die richtigen Musiker bringen alles zusammen. Produziert von BADBADNOTGOOD, fanden Rose und die Band eine sofortige und scheinbar endlose Quelle der Inspiration; was als Einleitung begann, wurde zu einem Tag, zu einem Song, zu einer Nacht, zu „Slow Burn“. Baby Rose war bereits eine kraftvolle Performerin - sie kann die Bühne mit Robert Glasper teilen, ohne in Schweiß auszubrechen, oder einen epischen Film wie Creed III, für den sie den Abschlusssong sang, mit stählerner Zuversicht beenden. Als Rose sich das erste Mal mit BADBADNOTGOOD traf, war sofort eine Verbindung da, und gemeinsam nahmen sie die Leadsingle "One Last Dance" gleich bei diesem ersten Treffen auf. Es war Roses erster Freestyle-Song, und er brachte entscheidende Teile ihrer Vision auf den Punkt. "Ich wusste schon immer, dass es neue Räume und Sounds gibt, in die ich vordringen kann", erklärt Rose. "Ich war schon immer an verschiedenen Sounds interessiert, die diese raueren Texturen einbringen." Während die Geschwindigkeit ihrer Zusammenarbeit Rose begeisterte und überraschte, waren das Potenzial und die Endergebnisse es nicht. "Wir haben uns schnell bewegt", sagt sie, "und es war wirklich wie ein Wasserhahn. Sobald wir “One Last Dance“ hatten, wurde klar, dass alles fließen würde." Die Songs auf „Slow Burn“ wurden zum Teil von Roses Erfahrungen inspiriert, die sie auf den Fahrten zwischen den Wohnorten ihrer Familie machte: dem Lärm und Chaos von DC und der ruhigen Landschaft von Carolina. Rose drehte die Musik auf und ließ ihre Gedanken schweifen, um Raum für innere Monologe und imaginäre Dialoge zu schaffen, die man sonst vielleicht nicht zu hören wagt. Diese Momente haben etwas Verträumtes, und sie schwelen auf Slow Burn: Erinnerungen verlieren ihre Realität, Gefühle ersetzen Geschehnisse. Der Titeltrack zum Beispiel setzt sanfte, schlendernde Drums gegen Roses lyrische Wiederholungen, während sie diesen Erinnerungen - manche leben, manche fühlen - mit geduldigem, beharrlichem Verlangen nachspürt. Das herausragende "One Last Dance" kommt als Liebeslied getarnt daher, ist aber eigentlich eine Ode an eine verlorene Freundschaft und ein imaginärer Traum von einem weiteren Tag wie in alten Zeiten. Die Realität verschwimmt wieder mit dem Gefühl, der Gesang geht in ein Wiegenlied über, und BADBADNOTGOODs Bassist Chester Hansen bringt diese traumhafte Qualität in einen schleichenden, vorsichtigen, aber liebevollen Unterton. Tatsächlich haben die meisten Songs auf „Slow Burn“ dieses schleichende, schattenhafte Gefühl, als würden sie auf Zehenspitzen daherkommen: intim, aber ein wenig gefährlich, zärtlich, aber ein wenig geheimnisvoll. So vollständig und überzeugend dieses Werk auch ist, Slow Burn weist auf einen größeren, höheren Aufstieg in Baby Roses Zukunft hin.

Cassandra Jenkins ist ganz einfach eine der besten Songwriter-Geschichtenerzählerinnen, die derzeit Musik machen. Sie gehört zu den großen amerikanischen Songwritern, zu Künstlern wie David Berman, Adrianne Lenker, Jeff Tweedy und Sufjan Stevens. Es sind Künstler, die durch ein Gefühl der Unmittelbarkeit verbunden sind, nicht nur durch ihre Texte - die präzise, aufrüttelnd, manchmal brutal und im richtigen Moment witzig sind -, sondern auch durch die Art und Weise, wie sie singen, mit einer tiefgehenden, totalen Überzeugung, die einen durch ihre Lieder trägt. Das sind die Künstler und Lieder, die sich anschleichen und wirklich für immer mit uns leben, und auf „My Light, My Destroyer“ reiht sich Jenkins in diese Reihe ein. Das Bemerkenswerteste an „My Light, My Destroyer“ ist, dass es eine Künstlerin an einem aufregenden Sprung in ihrer Entwicklung zeigt. Vieles an diesem Album unterscheidet sich von seinen Vorgängern; Field Recordings und Found Sound durchdringen es, erzählerisches Songwriting kracht in berauschende, wirbelnde Kompositionen. Jenkins singt mit einer Stimme, die man nur als Powerwhisper bezeichnen kann (man denke an Sufjan Stevens, Annie Lennox, Margo Timmins oder Tweedy aus der YHF-Ära), ihr Gesang ist nah und intim, aber subtil konfrontativ. Aber hier fühlt sich alles größer an, ausgefeilter, kühner und reichhaltiger als bei ihren früheren Arbeiten. Geboren und aufgewachsen in New York City, ist Jenkins seit ihrer Kindheit auf Tournee und tritt auf. Ihre ersten Aufnahmen veröffentlichte sie im Eigenverlag, bevor sie 2021 ihr bahnbrechendes Album „An Overview auf Phenomenal Nature“ veröffentlichte. Auf „My Light, My Destroyer“ sind viele der Songs bestimmten Gefühlen gewidmet, und es geht darum, sich in diese Gefühle hineinzuversetzen, im Gegensatz zu einem erzählerischen Bogen. Die Leadsingle "Only One" ist ein Beispiel dafür, dass ein Moment oder ein Song völlig kurzsichtig sein kann; er kann ein einzelnes Gefühl verkörpern und bietet keine Antworten. Songs wie "Devotion", "Delphinium Blue", "Clams Casino", "Echo" und "Only One" sprechen von der befreienden Qualität einer fokussierten Beobachtung, selbst bis zum Punkt der Desillusionierung. "Es gibt diese Idee der Desillusionierung, an der ich festgehalten habe", sagt sie. "Ich schätze Desillusionierung als einen Prozess, bei dem man neue, unerwartete Ergebnisse entdeckt. Wir lassen auf diese Weise Erwartungen los. Erwartungen halten uns zurück. Es ist leicht, sich auf Abstumpfung oder Enttäuschung zu konzentrieren, aber ich sehe es eher als Freiheit".

Cassandra Jenkins ist ganz einfach eine der besten Songwriter-Geschichtenerzählerinnen, die derzeit Musik machen. Sie gehört zu den großen amerikanischen Songwritern, zu Künstlern wie David Berman, Adrianne Lenker, Jeff Tweedy und Sufjan Stevens. Es sind Künstler, die durch ein Gefühl der Unmittelbarkeit verbunden sind, nicht nur durch ihre Texte - die präzise, aufrüttelnd, manchmal brutal und im richtigen Moment witzig sind -, sondern auch durch die Art und Weise, wie sie singen, mit einer tiefgehenden, totalen Überzeugung, die einen durch ihre Lieder trägt. Das sind die Künstler und Lieder, die sich anschleichen und wirklich für immer mit uns leben, und auf „My Light, My Destroyer“ reiht sich Jenkins in diese Reihe ein. Das Bemerkenswerteste an „My Light, My Destroyer“ ist, dass es eine Künstlerin an einem aufregenden Sprung in ihrer Entwicklung zeigt. Vieles an diesem Album unterscheidet sich von seinen Vorgängern; Field Recordings und Found Sound durchdringen es, erzählerisches Songwriting kracht in berauschende, wirbelnde Kompositionen. Jenkins singt mit einer Stimme, die man nur als Powerwhisper bezeichnen kann (man denke an Sufjan Stevens, Annie Lennox, Margo Timmins oder Tweedy aus der YHF-Ära), ihr Gesang ist nah und intim, aber subtil konfrontativ. Aber hier fühlt sich alles größer an, ausgefeilter, kühner und reichhaltiger als bei ihren früheren Arbeiten. Geboren und aufgewachsen in New York City, ist Jenkins seit ihrer Kindheit auf Tournee und tritt auf. Ihre ersten Aufnahmen veröffentlichte sie im Eigenverlag, bevor sie 2021 ihr bahnbrechendes Album „An Overview auf Phenomenal Nature“ veröffentlichte. Auf „My Light, My Destroyer“ sind viele der Songs bestimmten Gefühlen gewidmet, und es geht darum, sich in diese Gefühle hineinzuversetzen, im Gegensatz zu einem erzählerischen Bogen. Die Leadsingle "Only One" ist ein Beispiel dafür, dass ein Moment oder ein Song völlig kurzsichtig sein kann; er kann ein einzelnes Gefühl verkörpern und bietet keine Antworten. Songs wie "Devotion", "Delphinium Blue", "Clams Casino", "Echo" und "Only One" sprechen von der befreienden Qualität einer fokussierten Beobachtung, selbst bis zum Punkt der Desillusionierung. "Es gibt diese Idee der Desillusionierung, an der ich festgehalten habe", sagt sie. "Ich schätze Desillusionierung als einen Prozess, bei dem man neue, unerwartete Ergebnisse entdeckt. Wir lassen auf diese Weise Erwartungen los. Erwartungen halten uns zurück. Es ist leicht, sich auf Abstumpfung oder Enttäuschung zu konzentrieren, aber ich sehe es eher als Freiheit".

Next up in Mr Bongo's Groove Merchant Records reissue series, sees an outing for a much-loved and heavily sampled funk/soul/blues album by Junior Parker. Originally issued under the title The Outside Man on Capitol Records in 1970 with an alternative cover, this reissue replicates the Groove Merchant release titled Love Ain't Nothin' But A Business Goin' On featuring the car cover released in 1971.

The Mississippi-born, Memphis-based blues singer, harmonica player and songwriter Junior Parker (aka Little Junior Parker) had a stellar career in music. Since the early 1950s he released records on labels such as Duke, Mercury, United Artists Records and more. Sadly though, Parker died at the young age of 39 during surgery on November 18, 1971.

Originally released under the alternate title a year before his untimely death, Love Ain't Nothin' But a Business Goin' On is drenched in Parker’s trademark buttery vocals and soulful grooves, swaggering between smokey blues, raw funk outings and orchestrated soul ballads (with sublime arrangements by Horace Ott).

The album also features three Beatles cover versions in the form of ‘Taxman’, ‘Lady Madonna’ and ‘Tomorrow Never Knows’. For 'Taxman', Parker completely reinterprets the song taking into a New Orleans funk realm, a sample of which was used as the main hook line on Cypress Hill's classic 'I Wanna Get High'. Elsewhere, 'Tomorrow Never Knows' is flipped into a tripped-out, psychedelic soul-swamp blues ballad, whilst 'Lady Madonna' is given a funky blues makeover.

As shown with Cypress Hill’s use of ‘Taxman’, since the ‘70s Parker’s legacy has been immortalised for future generations through the deep well of samples that his music has become a source of. Tracks from Love Ain't Nothin' But a Business Goin' On have been sampled by some of the biggest names out there, such as A Tribe Called Quest, DJ Shadow and De La Soul.

A seriously smooth album oozing with soul and emotion from a Blues Hall of Fame inductee, Junior Parker’s Love Ain't Nothin' But A Business Goin' On is a superb example of the early ‘70s crossover funk/soul sound.