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Echospace Detroit is the label launched by Rod Modell (Deepchord) and Soultek's Steven Hitchell, two leading lights of the minimal dub techno scene. And as with anything Deepchord, the entire release has an air of mystery to it. Previously, as a near-mythical vinyl pressing with minimal packaging and restricted pressings, everything about Vantage Isle was geared toward the underground, or 'those who know.' However, there's nothing but love of craft driving these grooves, and now a lot more people will finally be able to hear this absolutely brilliant collection of spacial dub wonder on CD. Vantage Isle Sessions consists of a whopping 13 takes of the title track, reworked by Modell and Hitchell in various guises (cv313, Deepchord, Echospace, Spacecho), as well as a guest spot (and first ever remix) from Gerard Hanson (Convextion). Across their 13 versions, Modell and Hitchell manage to take the Deepchord template (analog synths, deep bass, gently throbbing beats, bursts of static and noise, and deep, deep chords) into a surprising variety of directions, akin to looking at the same giant glacier from a helicopter from every angle possible: some are beatless and undulating, some are pulsing and dynamic, some are looking up from under the ice and some are towering overhead. The aforementioned Convextion version is revelatory. It's built on cascading and echoing pieces of the original that are layered like shifting sands, for a distinctly dark and shimmering journey to the bottom of the frozen ocean and back. It's remarkable enough to get all these takes on one basic template to sound somewhat different, given that the source material is really just a skeletal array of sound sheets. Vantage Isle Sessions is for anyone looking for the logical successors to the Basic Channel throne, or just looking for something mellow for those steamy late summer nights. A stone-cold classic of the genre. Don't miss it." -Todd Hutlock, Stylus Magazine/Beatz by the Pound

"Steeped in mystery, Detroit musicians Rod Modell and Mike Schommer (aka Deepchord) are legendary for their hard to find twelve-inch dub techno releases. Their sound is heavily influenced by Berlin dub techno producers like Maurizio, Basic Channel, Chain Reaction, Rhythm & Sound, Blue Train and Pole. While the German sound often has a futuristic metallic edge, Deepchord are known more for the rust and grease, which is part and parcel of those metal parts. Static, analog sounds, deep bass thumps and, of course, deep chords blend in a timeless minimal manner. However, the real gems on this disc are the drifty ambient cuts devoid of beats. This is an excellent album that is on par with the classics from a decade ago!" -Exclaim


"In terms of ambient dub, if Basic Channel is the Father (the source, remote and inaccessible and very powerful) and Pole is the Son (dazzling but ultimately stranded halfway between man and the divine), than Rod Modell’s Deepchord and his Echospace label he run with Steve Hitchell is definitely the Holy Spirit." -Popmatters


"Deepchord’s dub-techno stealthily peels away melody, leaving a bare chassis of beats to ghost-ride down Woodward Avenue. Vantage Isle Sessions, which collects remixes of a 2002 Detroit Electronic Music Festival performance, finds the duo swerving through empty, neon-smeared streets, and recalls Berlin’s Chain Reaction label, minus the anemic minimalism." -XLR8R

"The album scales a magnificent peak in “Spacecho Dub II - Extended Mix” when smeary chords ricochet over a massively deep, bass-heavy pulse, and Hanson's light-speed missile of vaporous propulsion (“Convextion Remix”) is beautiful too.
Long may they run." -Textura

‘Vantage Isle’ is a tremendous achievement that will most likely be held up as a high water mark of the genre for years to come." -Resident Advisor

"My favorite mix is by Convextion (his first remix for another artist). Reedy, distant synth tones sound like a science fiction soundtrack overheard rooms away. An undercurrent of echoes, many difficult to describe, drift in a sonic syrup." -Gridface

"Modell’s music always seems to be in this suspended animation, adrift and afloat in a majestic emptiness." -Dusted Mag

CREDITS:
Written & Produced by Deepchord. Redesigned and Reshaped by Convextion (Gerard Hanson) cv313 (Stephen Hitchell) echospace / spacecho (Rod Modell + Stephen Hitchell)
Additional Mastering, Mixing and Engineering by Ron Murphy @ NSC Mastering, Detroit, USA. Side E/F Remastering and Lacquer cutting by Dietrich @ Complete, NYC, USA. (2018)

Dennis Brown has always been cited as Jamaica’s favourite singer. While Bob Marley set out to conquer the world, Dennis’s popularity on the island grew with every year. Overseas success also came Browns way with crossover hits like the massive ‘Money In My Pocket’. He will always be fondly remembered on the sound systems across the caribbean as the Crown Prince of Reggae.

Dennis Brown (b Dennis Emanuel Brown,1957, Kingston, Jamaica) began his illustrious career at the grand age of eleven like many of the other child singers at Coxsonne Dodds Studio One stable. His first hit in 1969 a cover of Van Dykes ‘No Man Is An Island’ still stands the tests of time and also its follow up cut ‘If I Follow My Heart’ as Reggae classics. The 1970’s saw Dennis build on his reputation by working with all the top Jamaican producers and
studio’s perfecting his sound. Lloyd Daley, Impact, Joe Gibbs, Aquarius and Derrick Harriott to name but a few. But it was his work with producer Winston ‘Niney’ Holness that he enjoyed the most success and many say recorded his best work for. Where many of the other producers stayed with the tried and tested Lovers Rock formula that did prove so popular with Dennis’s voice, producer Niney the Observer as he is fondly called, pushed him into a more roots led direction, over stark rhythms created by Niney’s studio band Soul Syndicate.

Two outstanding albums were put together ‘Just Dennis’ (1975) built on a collection of singles they had recorded together, ’Cassandra’, ’Westbound Train’, ’No More Will I Roam’ and ‘Conqueror’. The second 1977 set ‘Wolf and Leopards’ made up again of singles the prolific two had cut including, ‘Here I Come’ (a live favourite that Dennis always liked to start his set with) and ‘Children of Israel’ made these both strong roots era albums.

We have stayed with this period for our Dennis Brown album. Some of the above-mentioned cuts are present alongside the timeless crossover hit ‘Money In My Pocket’ (1979) produced by Niney but often credited as a Joe Gibbs production as it was released (and sweetened by adding Orchestration for the foreign market place) on his label. By the way this is the original Jamaican version (unsweetened) that you will find on this album a more truthful version in our humble opinion. His voice reigns supreme across these Niney produced cuts ‘Smile like An Angel’ ‘Silver Words’, ‘Play Girl’ and the fantastic ‘Poor Side Of Town’ (helped along by the great harmonies of the Heptones group), ‘Tribulation’ and ‘We Will Be Free’. Dennis Brown’s prolific catalogue of tunes that also found an outlet on his own DEB inprint (named after his initials) stands to show what a great artist he was and what a fine team he and Niney made when in the studio creating these magical moments. So sit back and enjoy a killer set of tunes compiled by Niney himself...Tribulation Times indeed and long may the records of the Crown Prince of Reggae Dennis Brown rule the world.....

Soul Jazz Records journey into early 1990s ragga, drum & bass and jungle. The album features all-time classic jungle anthems such as General Levy’s ‘Incredible’ alongside some serious Ragga heavyweight tunes like Cutty Ranks ‘Limb By Limb’ and Congo Natty’s classic re-make of Barrington Levy’s Under Me Sensi’.
The renowned album tells the story of how Jungle developed out of acid house but with its roots in the UK Dancehall scene of the 1980s and comes with extensive sleevenotes, exclusive interviews and photography.

Presenting an official reissue of Coke’s audacious, engrossing self-titled album from 1972, originally released on Manuel J. Mato’s collectible Sound Triangle Records imprint. It’s a heavy hit of Miami Latin-funk, dosed up with psychedelic garage rock and gritty soul excellence, making for an intoxicating blend of styles and genres on this highly sought-after LP.

Predominately sung in English, Coke’s only album under this moniker is a sumptuous melting pot of influences, tied together with bright funk drumming, flavourful organs and zesty horns. With a garage band attitude and sensibility, the lineup consisted of Paul Garcia on guitar, Ariel Hernandez on bass, Ruben Perez on drums, Jose Rubio on the keys, a host of guest horn players and Peter Fernandez on vocals, whose tone and delivery was often mistaken for that of a woman.

Produced by Mato, the record and band were well-received in Miami and Southern Florida at the time. Due to a lack of promotion outside of Florida and the threat of a lawsuit from the Coca-Cola corporation for usage of their name, the band fell into relative obscurity, becoming Opus following the dispute.

They say the cream always rises to the top though, with Coke being rediscovered by diggers and collectors searching for a rare groove. One of the standout cuts on the album 'Na Na' was recently featured on the soundtrack to the Netflix drama 'Griselda' (a biopic of Miami/Cuban crime boss Griselda Blanco). Other highlights include the crooner-jazz-rock ‘Got to Touch Your Face’, the psych ballad 'You Turn Me On' with a guitar line reminiscent of The Doors, and the Latin-rock groover, 'Te Amo Mas'.

Coke is a sensational crossover record, that draws from a sea of different influences. Fans of early Santana, garage-pysch, Nu Yorican and Latin-funk productions should all investigate this cherished album - it will have something for you.

Max Buchalik has been shaping Frankfurt’s music scene for many years now. Thanks to the deep connection to his hometown and the artists surrounding him, Max has constantly developed his production skills that now fuel his rising career.

His debut EP “Higher State” released in 2024 turned heads and his remix for Lauer’s “Don’t Let The Music Stop” on the Spanish imprint SOULMEEX truly made waves. Now, the Madrid-based label proudly presents Max Buchalik’s latest EP: Lucid Dreams.

With “Lucid Dreams”, reality blurs into fiction: a personal dreamscape entwines with the pursuit of perfection. The track soars into cosmic dimensions – timeless and weightless. Driving basslines blend with sparkling synth textures and shimmering pads, crafting an immersive, emotional atmosphere. It takes you on a journey where your feet stay grounded while your mind takes flight – Lucid Dreams become endless!

“Soar and Sway” is a pulsating ode to life – a celebration of constant growth despite the ups and downs of reality. The soundscape ventures through rhythmic percussion and radiant harmonic melodies. At times, ethereal pads take center stage; at others, punchy kicks and sharp hi-hats dominate. Continuously evolving, Soar and Sway radiates a vibrant aura, seamlessly merging energy, motion and harmony.

By teaming up with the charismatic and passionate artists Chinaski and Llewellyn for the remixes both tracks have been infused with fresh perspectives and luminous energy, making the EP shine even brighter.

NOW Music is pleased to announce NOW Presents…Classic Soul, a stunning 5LP boxset of 85 of the greatest 60s & 70s Soul tracks ever... Out September 22nd!



LP1 opens with ‘I Say A Little Prayer’ from the “Queen of Soul”- Aretha Franklin, the peerless ‘Walk On By’ from Dionne Warwick and followed by massive hits from Marvin Gaye with the #1 ‘I Heard It Through The Grapevine’ and Stevie Wonder’s ‘I Was Made To Love Her’, plus classic tracks from The Temptations and Otis Redding. Flip to the other side for legendary groups – The Supremes, The Ronettes, The Marvelettes, The Velvelettes and Martha Reeves & The Vandellas.



LP2 begins with the powerhouse vocals of Tina Turner (with Ike) on ‘River Deep, Mountain High’. Top tracks from the Jackson 5 & the Four Tops give way to a run of Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, ‘Tainted Love’ from Gloria Jones, Frank Wilson’s legendary ‘Do I Love You’, and ‘Green Onions’ from Booker T. & The M.G.'s. Side 2 begins with the superb vocals of Ben E. King with ‘Stand By Me’ and Percy Sledge with ‘When A Man Loves A Woman’. Another Otis Redding classic alongside the genius of both James Brown and Nina Simone brings this LP to a close.



The A-Side of LP3 kicks off with the signature smash from Aretha Franklin ‘Respect’ before the first UK #1 for the Motown label from The Supremes with ‘Baby Love’, and there’s still room for Smokey Robinson & The Miracles, The Drifters, and another #1 from Freda Payne. Side B begins with one of the most iconic and funky baselines ever on ‘Papa Was A Rollin’ Stone’ from The Temptations and the classic grooves ‘Move On Up’ from Curtis Mayfield, Isaac Hayes’ ‘Theme from “Shaft”’, the emphatic ‘War’ from Edwin Starr and the cool sophistication of ‘California Soul’ from Marlena Shaw lead to the closing track ‘Could It Be I’m Falling In Love’ from The Spinners.



LP4 begins with a run of beloved tracks from iconic artists opening with the politically charged masterpiece ‘What’s Going On’ from Marvin Gaye, followed by Al Green, Bill Withers and Billy Paul, plus The Stylistics and The Delfonics to add to the selection of celebrated groups on this release. The second side begins with the exceptional ‘Killing Me Softly With His Song’ from Roberta Flack, before the stunning vocals of Minnie Riperton’s ‘Lovin’ You’ and Deniece Williams, The Three Degrees and Gladys Knight. The Jackson 5 bring this disc to a close with their timeless ballad ‘I’ll Be There’.



LP5 contains a run of 1970s favourites beginning with ‘Ain’t No Mountain High Enough’ from Diana Ross and ‘You're The First, The Last, My Everything’ from Barry White. ‘Fantasy’ from Earth, Wind & Fire, ‘Summer Breeze, Pt. 1’ from The Isley Brothers and ‘Love Train’ from The O’Jays all feature before the Commodores kick off the final side with ‘Three Times A Lady’. Rose Royce, Peaches & Herb and a second selection from Gladys Knight & The Pips feature along with George Benson, before the “Prince of Soul” Marvin Gaye brings this essential collection home with ‘Let’s Get It On’.



85 tracks across 5 stunning LPs, NOW Presents Classic Soul... Out September 22nd!

Neck-snapping soul masterpiece from Freddie Scott, famously sampled by Biz Markie for his melancholic pop-rap hit "Just A Friend" and a surefire piano-driven basement party anthem in its own right.

The work of the legendary producers Gamble & Huff, the track was also sampled by Ghostface Killah for the wonderful "Save Me Dear" with Jay Dilla also utilising the crunching drums to lace many memorable productions for A Tribe Called Quest and Slum Village.

A peerless piece of deep soul and hip-hop history, here's your chance to own the first ever officially licensed reissue on 45.

On the flip, "Powerful Love" is uptempo guitar-soul with finger-popping swing. Featuring delicate horns and gorgeous backing vocals, it's an unfairly slept-on gem but, given the weight of the A-Side, this is perfectly understandable.

This special 7" single comes housed in a heavy duty custom printed full-colour company sleeve and is limited to just 500 copies.

Pat Kelly out of all the Jamaican singers was influenced most by the voice of American soul singer Sam Cooke.As were indeed many of the singers from that time,few however could carry out this daunting task as well as Pat Kelly.
His delivery was perfect and so was his ability to carry any song that came his way.
Pat Kelly (born 1949,Kingston,Jamaica) began his singing career in 1967 when he replaced Slim Smith as lead singer of The Techniques,his voice working so well with the impeccable harmonies of Winston Riley and Bruce Ruffin.
Their first hit for the mighty Duke Reid stable was a version of Curtis Mayfield's tune 'You'll Want Me Back' retitled 'You Don't Care' which held the Number 1 slot in Jamaica for the six weeks.
For this release we have focused on material that Mr.Kelly had recorded with legendary Jamaican prodcer Bunny'Striker'Lee.
A match made in heaven and one that produced some of their finest work.
Tracks such as 'One In a Million','One Man Stand','Man Of My Word','I Started a Joke'.. .
So sit back and you better get ready for an albums worth of great songs sung and delivered as only the great Pat Kelly could...
Respect Jah Floyd........

Much sought after “Everyone Has Got To Go”, a militant 1976 roots stepper by Jamaican/Canadian singer Prince Robinson, aka R. Man Prince.

Born in Rockfort, East Kingston, Robinson auditioned, like many other hopefuls at Studio One, in his early teens, but it was not his time and he would not record in Kingston until a decade later.

After migrating to New York and then Canada, Robinson returned to Kingston in 1976 to record two incredible roots anthems at Joe Gibbs studio “Everyone Has Got to Go” and the impossibly rare “Funny Dream”. He was joined by The Soul Foundation, a vocal trio who laid the track's beautiful harmonies plus some of Jamaica’s greatest session musicians, including Sly Dunbar and Robbie Shakespeare, who were not yet superstars.

The track was mixed at Channel One and the explosive “Super Bionic Version!” Dub by Ernest Hookim and Barnabas enters truly apocalyptic territory.

Luckily for all of us, inside a now battered briefcase that he took to Jamaica in 1976, Prince has kept his mastertapes and promo photos in pristine condition, knowing that his music had value and biding his time.

Rosettes are finally here with their debut album on Timmion Records, Lifestyles, a compelling journey into psychedelic soul, jazzy funk, and introspective grooves. For the listener, it creates an experience that manages to be both sophisticated and raw to the bone. Expanding on the sound they refined with their previous singles, this 10-track album captures the group in top form while crafting intoxicating sonic potions that pull you in. Featuring standout tracks like the soulful opener "The Call," the Isaac Hayes-inspired title track "Lifestyles," and the introspective groover "Spirals," the album weaves together cinematic instrumentals, intricate horn arrangements, and deeply personal storytelling, courtesy of lead singer Tytti Roto. Drawing inspiration from a range of vintage and contemporary masters_Cymande, SAULT, and Sade, to name a few_the rest of the eight-piece group doesn't linger in the shadows. Instead, they make it their mission to position the groove front and center. The album closes with "The Queen," the sole instrumental track, which evokes the spirit of 1970s blaxploitation soundtracks with its wah-wah and fuzz guitars and jazzy changes. Every track on Lifestyles is a testament to the Rosettes' ability to craft genre-blending masterpieces that are as emotionally gripping as they are musically intricate. For fans of adventurous soul and funk, this album offers a rich and rewarding journey.

"Fred van Zegveld's album ""Dynamite,"" released in 1969, is a remarkable showcase of his prowess on the Hammond organ. The album features a blend of original compositions and covers, all highlighting Van Zegveld's soulful and jazzy style. The album comprises nine instrumental tracks, with the majority being Van Zegveld's original works. Notable originals include ""Family Blues,"" ""Blue Organ,"" and the title track ""Dynamite,"" which are celebrated for their dynamic Hammond organ performances. The album also features covers such as ""Here, There and Everywhere"" and ""I Wanna Be Your Man"" by Lennon-McCartney, as well as ""Misty"" by Erroll Garner. The supporting musicians on the album include Ruud Jacobs on bass, Louis de Bey on drums, and Rick Beekman on guitar, all contributing to the album's rich and engaging sound. Finally available again on vinyl in a limited edition of 500 copies on translucent red coloured vinyl."

Every so often an album of such deceptive genius, of such aesthetic clarity, comes across our desk and transfixes us. Thought Leadership's III Of Pentacles is one such work of art. It's an instant classic and glides into the pantheon of timeless guitar-soul totems. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Thought Leadership has already garnered big support from such tastemakers as Ruf Dug, Jason Boardman, Nathan Gregory Wilkins, J Walk, Evan Woodward, Justin Robertson and Heavenly's Jeff Barrett. The first time we heard III Of Pentacles, we nearly wept at the thought that something so beautiful, so bursting with real hope, could even exist in this brutal world. To quote the Quietus, "imagine if Stockport was situated somewhere along the Pacific Coast Highway rather than the M60, and you’ll have some idea of the coordinates to the post-industrial, sunburnt dream space opened up here."

So, who is Thought Leadership? What do we know about them? They reside in Stockport and are obsessed with ethereal guitar records. That’s about it. That and these X ideas shared with you, the listener.

Captured on a multitrack recorder in a terraced house in Stockport, this is as DIY as it gets. Glaringly obvious is a love for classic Factory and early 4AD. Perhaps it is the proximity to the River Mersey where the ideas arrived, and there being but three miles between where this and the Durutti Column’s classic “LC” was recorded, as the two operate across a familiar aural plain. Be it geographic or otherwise, limited by a true economy of means, namely guitar, pedals and drum machine, the fruit borne from these humble tools has been indelibly shaped by the perma-gloom that hangs low over the Manchester and Stockport environs.

Ushered in on 808 kicks, “I” opens the record as a beautiful Sketch for Stockport; a chiming maj7 chord dripping in chorus and delay sets us on our way. The Vini Reilly comparisons are unavoidable. “II” is all John McGeoch, with its trippy goth-psyche arpeggiated pattern cascading across the stereo image. Do those drums swing? But goths don’t swing?! They do here. We’re treated to a bit of crunch on the lead guitar part and some really lush reverb. We even step forth into shoegaze territory, albeit briefly, for the middle eight. “III”, a firm Be With favourite, continues the dreamy psyche leanings of the previous track, with an even bigger melody this time. We’re hearing The Teardrop Explodes on quaaludes here. A proto-dream pop cut soaked in melancholy. But watch out! The coda finds Johnny Marr has gotten into the ‘ludes and gatecrashed the final bars with some incredibly ignorant B minor pentatonic noodling.

“IV” ditches the drum machine for the first in a suite of three beatless electric guitar duets. The first of these semi-improvised rubato ideas is a striking departure from the earlier playful pieces, coming over emo and moody. Greyscale sulking for Stratocaster. Sign us up. “V” contains some really lyrical phrasing; a gorgeous conversation between two guitars. Real Stopfordian Primitive; meditative, crude, rain-soaked. We cycle through the same feels, then end on an alluring chord that breaks the pattern. Sometimes thoughts are like this. “VI” creeps in all plaintive, then a huge reverberating descending guitar line comes tumbling in like something off those classic Dif Juz 12”s. There’s some Maurice Deebank in there too, for sure, and the coda nods to early Meat Puppets.

“VII” rounds out the A Side, and succinctly presents a summary of all ideas explored thus far on our journey. The drum machine is back, this time with some wispy delay, before both guitars enter together playing interlocking lines. As we start, we end, with the delayed 808 guiding us out.

Opening Side B, “VIII” sees us embark on the other side of our journey as we slow down and space out. The drum machine is here, but the guitars are different now. Think Sensations Fix or Göttsching at his most peeled out. Drones, ambient drifts of broken chords and distorted lead lines all swirl round the mix. Side B is one for headphones for sure. “IX” is almost too exquisite for words. A New Age Mixolydian voyage through the cosmos. If you’re unmoved by the end you’ve probably got no pulse. We were left blunted ineffable by this one, such is the smudged elegance radiating from this idea. All hail the Thought Leader.

“X” is a full circle moment, and a fitting end. If you’ve not already elsewhere across the platter, you will be getting heavy Robin Guthrie vibes from this piece. Like the rest of Side B, this improvised jam sticks within a framework of related chords but the celestial energies channelled might invite us to wander “outside”, especially when the Tubescreamer is engaged.

RIYL Durutti Coulmn, Cocteau Twins, Dif Juz, Sensations Fix, Spike and adjacent guitar musicks – but, ultimately, this is just its own thing; such is the strength of ideas presented. "It’s good music to chill out to." (??)

Be With is honoured to present the first ever vinyl release of III Of Pentacles, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With. Its stark presentation befits the music contained within. They inform us that they shuffled their tarot deck to ask what the album should be called and the card you see on the cover popped out. The III Of Pentacles tarot card represents teamwork, shared vision and the ability to achieve goals through collaboration. We like to think Thought Leadership and Be With have nailed this one.

Peter Matson is a Brooklyn, NY based musician, producer, DJ, and founder and leader of the seminal NYC post-punk dance outfit Underground System.

Hotel PMis the debut LP from Matson and third release with Bastard Jazz having released two EPs Short Trips in 2019 and The Right Way in 2022.

Album features a who's who of artists collaborating with Matson including Toribio, Kendra Morris, Pahua, The Phenomenal Hand Clap Band, and core members of The Rapture, Ibibio Sound Machine, Poolside, and Sly5thAve.

Including Bastard Jazz, Matson has released music with Soul Clap, planet e, Razor N Tape, Heist Recordings, Heavenly Sweetness, and Hell Yeah.

Recording, production and mixing by Ross Orton (M.I.A., Arctic Monkeys) and Ewan Pearson (Depeche Mode, Confidence Man) between London, Sheffield, UK, Mexico City and Oaxaca, Mexico and Peter's home of New York City.

Press, Radio, and Sync support include Apple Music's WWDC22 Keynote Speech, Rolling Stone, DJ Mag, NTS, Worldwide FM, BBC Radio 6, KCRW, Ibiza Global Radio and more.

Manchester-based original soul collective The 7:45s release their debut single.

Named after 7-inch 45-rpm vinyl, The 7:45s write short and snappy soul singles. Their debut is a double A-side, giving you two bops for the price of one. Inspired by Charles Bradley, 'The Way that I Love You' is full of contrasts: the piano chimes and horns respond, a man calls and a woman answers. It's laidback then intense, major then minor, nostalgic then heartbroken. On the flip-side, 'Too Little Too Late' is an upbeat northern soul stomper, featuring an earworm of a vocal hook over an infectious bassline that's sure to ruffle tail feathers.

Recorded with vintage equipment at EVE Studios in Stockport, both songs feature the captivating vocals of collaborator Martin Connor. On 'The Way that I Love You', Connor's vocal rises from a crooning baritone to a fever pitch, culminating in spine-tingling ad libs. Magic moments like this are heightened by songwriter and bassist Sam Flynn's perfectionist arrangements, which feature dozens of musicians: spotlighting vocal harmonies, horns, and even strings on 'Too Little... more

credits

releases March 7, 2025

Been in UK soul chart and played on all the indie soul stations , Starpoint , solar etc

Too little Too Late was Played on BBC radio six Craig Charles Funk and soul show twice and the Way That I Love You was played on BBC radio six Craig Charles day time show

Track of the week on Simon Phillips Jazz FM

Featured in Blues and Soul and Echoes Mag

dreamcastmoe is the recording project of singer, songwriter, producer, and DJ Davon Bryant, a lifelong resident of Washington, DC. His music moves freely between moods and modes, hypnotic, romantic, traversing electronic, R&B, funk, soul, and hip-hop... Resident Advisor dubs it "soulful, cross-genre dance music." This ability to adapt and finesse, to twist in different directions while staying true and coherent in vision, can be traced to his home city and its complex cultural history. "Most Black kids in DC don't ever get to this point," he says. "This is what I am making this music for, in the DC tradition of soul and empathy and love that is rooted in this city. My music is for real people dealing with shit every day." A versatile, modern artist and collaborator, dreamcastmoe has thrived in the underground since his first uploads to Soundcloud and Bandcamp in 2017 and subsequent releases with labels like People's Potential Unlimited, Trading Places, and In Real Life Music. Bryant's laid-back personality, emotional honesty, and infectious energy shine through his work and how he talks about it, as Crack Magazine notes in their 2021 Rising feature: "a steady combination of confidence, creativity, and calmness." He grew up playing drums in church; he's worked dead-end jobs, had ups and downs, even sold off all his gear one time, but never stopped reinvesting in himself. He is quick to praise his co-producers, rattle off influences _ the visual feel of NBA 2K, the comedic timing of Bernie Mac, the savvy legacy of Duke Ellington, for starters _ and credit resourceful DC breakouts like Ankhlejohn that showed him the roadmap. His voice, a steady instrument, seemingly connects it all, capable of slow falsetto flow, swaggering talk-rap, and outright croon. His storytelling style is choppy yet fluid, like a mixtape, which is how Bryant sees Sound Is Like Water, his debut on Ghostly's International's freeform label, Spectral Sound. The two-part project culminates as a full-length LP release in November 2022. The first side, released as Part I, opens on the blurred beats of "El Dorado," which dreamcastmoe dedicates to his journey. It's a head-nodder, an off-kilter earworm co-produced by Max D (Future Times, RVNG Intl, etc.), with Bryant harmonizing hooks with synth jabs and a pitched-down presence. "Complicated" is the slow jam, delivered smoothly from a Saturday night crossroads. dreamcastmoe is contemplative and committed... gliding and locking ad-libs into skittering rhythms courtesy of co-producer Zackary Dawson _ but also willing to let something go, "acknowledging that everything in life IS NOT easy." "RU Ready" takes off from the jump as a tribute, challenge, and promise to his partner and his city ("The times you sat with me when I needed you the most / Told me the things that I needed to see / Young black man, really trying to be what I can be / And I'm really from DC). In its potent two-plus minutes, the sonics (co-produced by ZDBT) press the message, all cymbal crashes, breakbeats, and serrated synth lines. "Cloudy Weather, Wear Boots" is a blitzing dance-punk track made in collaboration with Jordan GCZ on Bryant's first trip to Amsterdam. The album's flipside opens on "Much More," the first of two synth-and-beat ballads co-produced by ZDBT. Later on "Long Songz," he claims, "I'm not writing love songs no more," prioritizing the vibe with "all my day ones." He calls it "a cry for more normal moments. Everything doesn't have to be a fantasy love story, more time spent getting to the money, growing, and making a way." He saves two of his most propulsive cuts for the finale, co-produced by Sami, co-founder of DC dance label 1432 R. As their titles suggest, "Take A Moment" and "Make Ya Mind" operate as anthems for movement, with Bryant free-flowing commands above wildly-styled percussion. Per Bryant, the latter is both "wake & bake jam" and a "dance floor bomb." His parting line: "Action / You got to show me action / Reaction." The world of dreamcastmoe straddles virtual reality and the realness of DC, images both imagined and lived-in. Bryant has a knack for unexpected melodies but what makes his music so exciting is his capacity to defy the expectations of genre and image. A fluid ingenuity and vulnerability bottled by Sound Is Like Water, and this is just the beginning.

Back in what now feels like a golden period in music and creativity, in the 1970s, many bands were formed by students. It almost seems like so many people could either sing, play, dance or write songs! This was also the case of several Woodland High School students in New York, who created Newban with fellow classmates.
The group started gigging around the tri-state area of New York, Connecticut and New Jersey, and were soon brought to the attention of legendary Bell Recording Studios audio engineer Malcolm Addey, who recorded with the band over a two-month period in 1974. Three years later the tracks made up two superb and sought-after albums released by tax scam label Guinness.
In 1977, Newban headed out to play the Los Angeles nightclub scene, closed a deal with A&M, and changed the band name to Atlantic Starr at the request of Herb Alpert.
For the first time on a 7” format, Soul4Real brings you two of the best songs from Newban. Enjoy the music...

Bells Are Ringing is the debut EP by Melbourne Funk 10 piece outfit Mondo Freaks, released following on from the single of the same name and a thrilling Dub Version by Harvey Sutherland.

Mondo Freaks formed originally as a concept band, equipped with an ever-evolving setlist of late '70s and early '80s Funk classics, their journey has seen them invited to be the backing band for the Australian tours of such luminaries as Leroy Burgess (the producer and artist behind Boogie and Disco favourites Black Ivory, Logg, Aleem, Inner Life, and Universal Robot Band) and the iconic Evelyn "Champagne" King. Having performed at the iconic local Meredith Music, Golden Plains and Panama festivals and at numerous residencies Mondo Freaks have carved their mark, returning now to ring in a new era of groove-soaked original music.

The band revolves around the rhythm section of in demand session bassist Luke Hodgson and drummer Graeme Pogson (GL, The Bamboos). Gathering some of the finest musicians from Melbourne's legendary Soul scene, they're accompanied by five incredible vocalists including Jade McRae, Susie Goble, Francisco Tavares, Aaron Mendoza and Jason Heerah.

New tracks on the EP include "Find A Way", which hits straight away with a percussion and synth hook, blending Jade McCrae's vocal delivery with an uplifting message about finding hope in trying times.

Also included is the Harvey Sutherland Vocal Mix of "Bells Are Ringing", which keeps much of the spaced out Larry Levan, Shep Pettibone re-edit approach that was on his much lauded Dub Version.

It's easy to see why his remix skills have been in demand and utilised by Disclosure, Khruangbin, BadBadNotGood, Tycho, Boston Bun, Lucius, Jungle Giants, Genesis Owusu and Franc Moody. On his own releases Sutherland has collaborated with the likes of DāM FunK and Nubya Garcia.Tightening its hold on the dancefloor, the beefed-up rhythm section rolls deep into the nocturnal hours, as mesmerising reverb loops elevate the track skywards.

Luke and Graeme got to know Harvey Sutherland when they played together backing Leroy Burgesson his Australian tour in 2018. After that Luke and Graeme played in Harvey's live band across the world and then contributed his 'BOY' album. "We were thrilled when he turned in his Dub of "Bells"", Luke said. "A kind of 'what would Shep Pettibone or Larry Levan do?' moment. It's like being transported to Compass Point Studios in '81!"

Mondo Freaks make Funk inspired by late '70s / early '80s era as it gently moved beyond Disco. That era has continued to inspire many artists, but what sets Mondo Freaks apart is their live instrumentation plus a focus on vocals and great songwriting, creating something beyond simply instrumental grooves.In the studio and in their full live lineup Mondo Freaks are a formidable ensemble who take their sound beyond mere homage, without a hint of irony or any knowing winks. Mondo Freaks simply breathe life into a timeless sound and make it feel more relevant than ever.

Soul music has always been in Paul Weller’s blood from early Jam covers of Martha & the Vandellas 1963 classic ‘Heatwave’. Along with other forms of music, soul found its way into Paul’s record collection, nourishing his ears and informing his own songwriting

We don’t need to recap a questing musical career from the Jam to the Style Council and then blossoming into one of the most productive and revered careers of any UK solo artist. Paul has written anthems, standards and a songbook that have always developed from his own feelings.

Whilst Paul has talked about his love of soul music he has, before now, simply been too busy to sit down and curate a collection of his favourite tracks and get it into the record racks.

Ace Records are honoured and delighted to finally release that Paul Weller curated collection which he has aptly titled, “That Sweet Sweet Music”.

This 2-LP set and CD open the curtains on 26 tracks that are some of Paul’s favourite soul records most of which nestle on vinyl in his own collection. He can still recall paying £70 for his copy of Jon Lucien’s 1971 ‘Search For The Inner Self’ 7” at a record shop in Leicester in the 90s. Some of these tracks are soul classics like James Carr’s 1966 ‘Pouring Water On A Drowning Man’ and Brother to Brother’s brilliant take on Gil Scott Heron and Brian Jackson’s ‘In The Bottle’ from 1974. Others are deliciously obscure wonderous gems like the A-side of Blackrock’s sole 1971 single ‘Blackrock “Yeah, Yeah”’, ‘Life Walked Out’ from the same year by the Mist or Syl Johnson’s ‘Black Balloons’ taken from his 1970 album “Is It Because I’m Black?”.

There are plenty of big vocal hitters such as Darrell Banks, Spinners, Joe Simon, O.C. Smith, the Dells and Betty Davis. Whilst the core is vocal soul the music does branch out with Paul selecting a wicked instrumental from the flipside of the Isley Brothers’ ‘Twist & Shout’ from 1962 and the funky jazz of the Headhunters ‘God Made Me Funky’, the A-side of their first 1975 seven-inch.

Diese Sonderveröffentlichung feiert den 20. Jahrestag von The Grind Date. Die LP ist als Splatter-Vinyl
in limitierter Auflage erhältlich und enthält neben dem Originalalbum 4 Instrumentalversionen der Haupttitel. Die 2CD enthält außerdem 2 brandneue Titel, die während derselben Sessions wie The Grind Date
aufgenommen wurden. Diese noch nie zuvor veröffentlichten Titel mit den Titeln „Respect“ und „Bigger“
ergänzen dieses bereits bekannte Album perfekt.
De La Soul ist eine einflussreiche Hip-Hop-Gruppe, die Ende der 1980er Jahre gegründet wurde. Das
Trio, bestehend aus den Mitgliedern Kelvin Mercer (Posdnuos), David Jude Jolicoeur (Trugoy the Dove)
und Vincent Mason (Maseo), ist für seinen einzigartigen Sound und seine innovative Herangehensweise an
Hip-Hop bekannt. Ihnen wird oft zugeschrieben, dass sie mit ihrem eklektischen Stil, ihrer Verwendung
von Sampling und ihren positiven Botschaften die Landschaft des Genres mitgestaltet haben.
„The Grind Date“ ist das sechste Studioalbum von De La Soul und wurde 2004 veröffentlicht. Das Album markierte eine bedeutende Rückkehr der Gruppe nach einer Pause seit ihrem letzten Album im Jahr
2001. „The Grind Date“ zeigt De La Souls charakteristische Mischung aus cleveren Texten, innovativer
Produktion und einer Mischung aus verspielten und introspektiven Themen. Das Album enthält eine Fülle
spannender Gastauftritte von Künstlern, darunter MF Doom, Ghostface Killah, Flava Flav und Sean Paul.

This incredible triple album is the result of decades of history, and many years of work, between the legendary Micky Finn and Vital Elements. It is a musical journey and a definitive document of the scene from the early rave years to modern jungle, in all its many aspects and styles, produced in a way that only a pioneers such as Micky Finn & Vital Elements could do.
Perfectly planned and beautifully executed, this album will never be repressed, and once stock is gone, it is gone.

Because Sound Matters' meticulous One-Step process creates the definitive sounding audiophile version of k.d. lang Ingénue. This all-analog release comes from the original first-generation master tapes for the first time. Vinyl guru and editor Michael Fremer says, "This k.d. One-Step is insane – It's otherworldly great!"

This One-Step version is strictly limited to 3,000 copies. The album is housed inside a top-quality, foil-stamped, uniquely designed numbered slipcase. The enclosed gatefold jacket will feature an "old style" tip-on jacket with the original artwork.

Special care has been taken to faithfully preserve the original sound with exceptional clarity and depth, capturing the recording's nuances and subtleties at every step to create the best sounding record possible.

The One-Step process is highly regarded among audiophiles and collectors for its unparalleled sound fidelity and represents the pinnacle of vinyl manufacturing craftsmanship.

Ingénue was originally released March 17, 1992 and is k.d. lang's second solo album.

Upon release, the album charted at #18 in the US, #13 in Canada, #3 in the UK and Australia and #1 in New Zealand. Nominated for six Grammy® Awards with the breakout single "Constant Craving" winning a Grammy® Award for Best Female Pop Vocal Performance. "Miss Chatelaine" and "The Mind of Love" were follow-up singles.

k.d. received universal critical acclaim for the album from publications like Mojo, Pitchfork, Rolling Stone, Uncut and dozens more! Today, Ingénue is a true classic album and considered one of the great audiophile recordings of the modern era. This One-Step version certainly proves that!

Notes for This Release:

Ingénue was originally recorded and mixed on analogue tape and produced by Greg Penny, Ben Mink and k.d. lang. The original analogue master tapes were directly used as the audio source for this One-Step pressing! This is the first time the analogue tapes have been used as a vinyl source for this brilliant recording. The results are stunning.

Because Sound Matters used the Neotech VR900-D2 180g High-Performance vinyl compound, which is the same as what is known as Super Vinyl – the best in the world.

Chris Bellman at Bernie Grundman Mastering cut the lacquers with meticulous care! He also did the original mastering of the CD release in 1992.

Dorin Sauerbier at Record Technology, Inc (R.T.I.) has been plating records for decades and is considered the best in the world – he also has done more One-Step processing than anybody. This is a vital step in the process to ultimately delivering the absolute best sounding version of Ingénue ever.

Record Technology, Inc did the pressing – using the exact pressing machine used for so many other One-Step releases. The QC team is constantly monitoring each copy as it comes off the press.

Because Sound Matters' slipcases and gatefold "old style" tip on original art jackets were printed by world-renowned Stoughton Printing Company.

This new all-analogue edition will draw you into the music as never before—at least it did me. The sonic picture is rich, well-textured, harmonically saturated, spatially deep and all the rest of the audiophile buzzwords that no doubt the producers (who include lang) intended to give listeners but until now couldn't fully deliver. The musical flow will have you swooning in your seat. Before the opener 'Save Me' concludes you may already feel overwhelmed and in need of lifting the stylus to catch your emotional breath...What a treat!
-Michael Fremer, Tracking Angle, Music 11/10, Sound 11/10

DJ Jewel Debuts with Mesmerizing 8-Track PHONK tape

Manchester DJ/Producer Glinks lands on Astral Black with ‘The Killaz’ his first project under the 'DJ JEWEL' alias, dedicated to diving deeper into the southern inspired phonk he explores monthly on @balamii with his 'the influence of memphis rap' show.

DJ Jewel's sound draws inspiration from Memphis rap, phonk, and ghettotech, infused with dusty soul and jazz samples, heavy 808s, and sharp snares that cut through the mix.

"This record is my introduction to the world as a producer," says DJ Jewel. "I wanted to pay homage to the sounds that shaped me while bringing my own twist to the genre." THE KILLAZ will be available on all major streaming platforms starting Feb 21st, with limited edition cassettes available via Astral Black.

Stone Foundation return with their 11th studio album. Collaborative as ever, the band's first LP in 3 years boats appearances from a diverse range of soul artists from Omar and Laville to J.P. Bimeni and regular collaborator Mick Talbot (The Style Council). Following a year celebrating their 25th anniversary as a band with a major compilation release alongside a summer touring with Grace Jones and Paul Weller, Stone Foundation's sights are now firmly fixed on the future. Join them as the sound of small town soul transforms itself once again.

Stone Foundation return with their 11th studio album. Collaborative as ever, the band's first LP in 3 years boats appearances from a diverse range of soul artists from Omar and Laville to J.P. Bimeni and regular collaborator Mick Talbot (The Style Council). Following a year celebrating their 25th anniversary as a band with a major compilation release alongside a summer touring with Grace Jones and Paul Weller, Stone Foundation's sights are now firmly fixed on the future. Join them as the sound of small town soul transforms itself once again.

Von seiner Arbeit in der explosiven frühen Hollywood-Punk-Musikszene mit seiner Band The Plugz über das Produzieren von Bands wie The Gun Club bis hin zur Filmmusik, seiner beachtlichen Schauspielkarriere und der Gründung von Fatima Records - Tito Larriva verdient den Titel, den ihm die LA Times einst verliehen hat, durch und durch: "Renaissance Man".

The Plugz, 1978 in Los Angeles von Tito Larriva gegründet, waren inspirierend für die frühe Latino/Latinx-Punk-Gemeinschaft und ihr "West Coast Punk" hatte einen anhaltenden Einfluss auf ganze Generationen von Rockbands.
Kenner der Latino-Kultur würdigten die Band für ihre unkonventionelle Version von "La Bamba" und ihren Einfluss auf die Chicano/Xicanx-Rocker in Südkalifornien.

Mit "Hombre Secreto", einer spanischen Version des 60er-Jahre-Klassikers "Secret Agent Man", brachte Larriva seine einzigartige Handschrift in die Filmmusik des Kult-Klassikers "Repo Man" ein. Seine Karriere ging von hier aus kontinuierlich und vielfältig weiter; zu den wichtigsten Etappen zählen seine Arbeit als Produzent des Cast-Albums der "Pee-Wee Herman Show" und des Debüts "Fire of Love" von The Gun Club, sein Einsatz als Schauspieler in David Byrnes "True Stories" und die von ihm 1984 gegründeten The Cruzados. 1992 entwickelte sich aus The Cruzados die Band Tito & Tarantula, mit der Larrivas intensive Arbeitsbeziehung zu Robert Rodriguez und Quentin Tarantino begann. Er spielte in einem halben Dutzend ihrer Filme mit, unter anderem auch in "From Dusk Till Dawn", wo sein Song "After Dark" und sein musikalischer Auftritt im legendären "Titty Twister Club" eine legendäre Rolle spielt.

Nun veröffentlichen Tito & Tarantula ihr mit Spannung erwartetes Album "!Brincamos!". Das neue Werk ist eine Soundreise, die die Tiefen der menschlichen Seele erforscht, durchsetzt von der rohen Kraft des Rock und dem reichen Erbe des Latino/Latinx-Punkrock. Jeder Track ist ein Beweis für die Fähigkeit Larrivas, Grenzen, Genres und Sprache zu überwinden und einen Sound zu kreieren, der bei Fans auf der ganzen Welt Anklang findet. Mit rohen Balladen und emotionalen Rock-Hymnen ist Larriva mit "!Brincamos!" ein musikalisches Meisterwerk gelungen, das die Geschichte von Tito & Tarantula mehr als würdig fortschreibt.

Neben der Veröffentlichung dieses Albums bereiten sich Tito & Tarantula derzeit auf ihre "!Brincamos!"-Europatournee vor, um ihre berüchtigten Live-Performances auf die Bühnen des europäischen Kontinents zu bringen. Die Fans werden eine Verschmelzung von Rock'n'Roll und cineastischen Welten erleben und Teil unvergesslicher Konzerte sein. Mit Titos intensivem Gesang und der unvergleichlichen Bühnenpräsenz der Band schickt diese Tournee sich an, eines der großen Highlights des Jahres für Musik-Enthusiasten zu werden.

Mit der Veröffentlichung von "!Brincamos!" und dem Beginn ihrer Europatournee im März 2025 laden Tito & Tarantula alte und neue Fans ein, sie auf dieser aufregenden Reise zu begleiten. Die Musik dieser Band ist ein Zeugnis für die Energie des Rock und den vereinenden, kulturellen Stolz der Latinos.

"!Brincamos!" erscheint am 14.03.2025 als Vinyl (aufgrund der Spiellänge des Albums fallen 2 Live Tracks weg), limitierte Vinyl mit einer separaten 10" incl. der Livetracks, CD und digital auf allen gängigen Streaming Plattformen

The Crystal Hum is the debut vinyl release by Taiwan-based artist Yuching Huang and her first release for Night School.
A beguiling dreamscape of crackles, spluttering, love-struck Casios presided over by the the spectral vocal and guitar work of Huang, Yuching sings love songs at the end of this world and the beginning of the next. Recorded during a hiatus from her group Aemong (a duo with artist Henrique Uba) in Berlin, these songs elevate Huang’s unique vocal style and grasp of atmospherics. The Crystal Hum deconstructs balladry, Garage, guitar music and reforms it into a
unified ghostly otherworld version of these languages.

The Crystal Hum thrums with buried desire, trails of nocturnal reverb seeping out of apartment windows, diaristic vocal performances and deeply emotive, evocative Western-style strings. Formulated by Yuching Huang after periods of frustration and experimentation, the album is an exercise in minimalism and paring back, with some tracks like JohnJohn featuring little else than an elastic bass, spring reverb trails, an interjecting vocal and swelling, dislocated synths. The effect is spellbinding, the soundtrack to getting lost in the labyrinthine, closed streets of Venice, Taipei, Hong Kong, or mirror versions of them in the imagination.

On opener Fly! Little Black Thing, a subterranean funk bassline roots Huang’s singing, a rudimentary, unreliable beat floundering in whimsy underneath. Demure, dream Dance music, Huang references classic lo fi experimenters Suicide and Arthur Russell as well as Night School label mates The Space Lady and Ela Orleans. In fact, after the release of Aemong’s third album Crimson, Huang credits the direction of The Crystal Hum to being enchanted by The Space Lady’s Greatest Hits,
the landmark lo-fi recording made by Susan Dietrich Schneider in 1990. The new, minimalist approach to her sound world reveals and shrouds in equal measure. On the heart-melter Love, a sultry mid-tempo Casio + bass backing drops into the ether with Huang’s vocal swimming in preternatural void before emerging anew, in awe at the world. Every chord change heralds new perspectives, every guitar flurry swells and drips emotion, nothing is wasted and space billows out from between the grooves.
Huang never reveals more than necessary, making this an in-between love album: the right amount of mystery and darkened mirror shines wanely on The Crystal Hum while remaining fragile and vulnerable in the sweet spots. Turning over in pillowing smoke and night in the dark corners, Huang sings in both Mandarin and English. The songs speak of earthly matters seemingly at the edge of dissipating into nothing. Distorted, beguiling Sambas warble like sweating dancehalls in an imagined Lynchian 60s, as on Thoughts. Closer You, An Illusion warps a classic 60s Girlgroup bassline beloved of the likes of Les Rallizes

Denudes into a slight ballad on the edge of the void, held back by the teary-eyed, wistful and enveloping vocal cooed by Huang. Each song feels like a love song dedicated to the bits between worlds, between beats, the negative space between people where desires, feelings and loss hangs in the air, resolute and unresolved.

In their new album Bagola, Trio Da Kali present newly composed songs accompanied on balafon and ngoniba, that provide a rich accompaniment to the spectacular voice of Hawa Kasse Mady Diabaté. She inherits her singing style from her father, the late Kasse Mady Diabaté, who was widely recognized as one of Africa"s all-time greatest singers and won a Grammy nomination in 2004. Hawa"s voice has an exquisite purity and expressiveness, with a wide emotional range. She is equally at home in the lively, 9/8 rhythms of the title track Bagola, a light-hearted critique of men in Malian society, to the soulful Orpaillage, a song that laments the destruction of land from gold-panning. Orpaillage was in fact composed on the spot in the studio, reflecting the creative chemistry between these three musicians. The musical director of the trio is balafon (xylophone) player Lassana Diabaté, born in Guinea into a well-known family of balafon musicians. His remarkable dexterity on the balafon earned him a place in Toumani Diabaté"s Symmetric Orchestra, and later on in the group Afrocubism (featuring Eliades Ochoa). He has collaborated with many musicians, including bluesman Taj Mahal on the album Kulanjan. With two balafons of 22 rosewood keys each, tuned to play chromatic scales, Lassana Diabaté achieves a perfect balance of rhythm, melody, harmony and virtuosic embellishment. David Harrington, leader of Kronos Quartet, compares him to none other than JS Bach. Underpinning the balafon with compulsive groove, is the large ngoniba, played with brilliant musicality by Madou Kouyaté (son of Bassekou Kouyaté and member of his group Ngoniba). Madou, the youngest member of Trio Da Kali, also adds rich harmonies with his deep breathy voice to the songs. Trio Da Kali were founded in 2013 under the initiative of the Aga Khan Music Programme, with the help of three-times Grammy-nominated music producer Lucy Durán. The Trio first rose to international fame with their sublime album Ladilikan (World Circuit Records 2017), featuring an unprecedented and multi-award-winning collaboration with Kronos Quartet, the legendary classical string quartet from San Francisco. Bagola is a showcase of Trio Da Kali"s entrancing and unique sound, only equaled by their magical performances on stage.

Letters from the Atlantic displays a seamless blend of jazz, house, indie, funk, R&B, soul, bossa nova, and more. The band elevates to a new level of sophistication with their genre defying approach, while featuring numerous female guest artists: Yaya Bey, Melanie Charles, Leanor Wolf, Mia Gladstone, Victoria Victoria, along with Nicholas Payton and Neal Francis. With the new album, the band ventures closer to a indie vibe, rather than the hip-hop style displayed on Solar Music (2023). The Richmond, Virginia based collective consists of friends and bandmates Corey Fonville (drums), Andrew Randazzo (bass), Morgan Burrs (guitar), Marcus “Tennishu” Tenney (trumpet, saxophone, vocals) and Devonne “DJ Harrison” Harris (multi-instrumentalist), who make music that is as diverse as their own varied tastes and backgrounds.



Butcher Brown has a storied touring history having played many of the world biggest and most prestigious festivals including Afropunk, Pitchfork Festival, Monterey Jazz, and more have toured with the likes of Pink Siifu, Tom Misch, Galactic, Lettuce, and Kamasi Washington. In support of Letters From the Atlantic, Butcher Brown has plotted headline tour dates across North America in spring of 2025 followed by an extended European festival tour this summer.

Get ready to be moved by the powerful return of Kaito Winse, the multi-talented artist from Burkina Faso based in Brussels, with his new album set to release on March 21sth, 2025. Following the critically acclaimed debut ‘Kaladounia’ in 2020, Kaito continues his journey through music and tradition, offering deep, reflective lyrics drawn from the rich well of oral history. The album ‘Reele Bumbou’ will be out on Rebel Up in collaboration with Zephyrus Records.

With a voice as commanding and enchanting as an opera performance, Kaito's masterful scansion and storytelling draw the listener into timeless truths. His connection with French writer and playwright Tartar(e) has only sharpened his ability to captivate through rhythm and word. Armed with a versatile skillset, he plays an array of instruments—calabash, mouth bow, Peul flute, toutlé flute, and the tama, a drum known for mimicking human speech.

Between proverbs and ancient sayings, music and dance, Kaito Winse’s new work is an invitation to find strength in the face of life's trials. His art is a reminder that while one may laugh at the old man, no one can mock his walking stick. Let Kaito guide you through the storms of life with his timeless wisdom and soulful melodies.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

A multifaceted artist, who over his career has traversed between singer-songwriter, hit producer, DJ and curator, Ben Westbeech debuts on Glitterbox Recordings with a fully realised and fresh artistic vision, delivering ‘Times Are Changing’ featuring RAHH. A manifestation of Ben’s long-held career reputation as a magnet for talent, RAHH’s flawless vocal and the considered songwriting is ready to captivate listeners, creating an uplifting and anthemic quality with its jazzy bass with journey-like arrangement. The record has been committed to wax along with house legends Louie Vega and Josh Milan’s array of remixes and a Takin’ It Back Dub from Louie’s son Nico Vega. A 12” delivery already sought after by selectors of the highest order, this joyous soulful record is easily transformed into club-ready heat, without losing any of its heart across the mixes.

SUNAGA tatsuo (sunaga t'experience)
DJ and Music Producer. Basing his activities around his own club ‘Shibuya Organ Bar’, holds regular club nights throughout Japan. Apart from his own mix CDs such as the ‘Organ b. SUITE’ which many say is in a class of its own, has produced remixes for the ‘Soul Source 2: Jackson 5 Remix’ and Yasuharu Konishi’s ‘Punch the Monkey’. He began his own label ‘AFTERS OR’ in 1998,acting both as artist and producer. Releasing records under the alias of ‘Sunaga t experience’ on avex/cutting edge records, the ‘It’s you’ 12 inch made record sales of 7,000 records, an incredibly large number in the vinyl market. His name is known in Europe through such labels as IRMA and SCHEMA records, and has remained in the forefront of the industry since the beginning of the Tokyo club scene.

Steeped in classic dancefloor rhythms and sounds, ARTIFACTUAL RHYTHM presents a re-interpretation of club and DJ music through the lens of a live band with a jazz edge. Tapping into sounds of the 90s and 2000’s while keeping his foot very firmly in the now and beyond, Flood’s new body of work is both for the dancefloor and the listener.

Dubbed 'nu-jazz', 'jazztronica' and 'jazz house music', at its core Alex’s sound takes influence from house, UK garage, drum n’ bass, and broken beat. 'Artifactual' can be defined as 'made by human hands', and that’s exactly what Alex explores with this record; taking sounds and styles that are inherently electronic and giving them new life through the rawness of a live band underpinned by jazz and improvisational explorations. Music made by human hands.

Recorded live in a studio in Naarm / Melbourne and engineered, mixed, and co-produced by Lewis Moody (Energy Exchange Records), the album features a list of some of the finest players 'Down Under' including Erica Tucceri (flute), Finn Rees (keyboards), Dylan Paul (bass), as well as guest vocal features from the lyrical legend Cazeaux O.S.L.O on LIFE IS A RHYTHM, Kara Manasala on UK garage cut DON’T WAIT 4 ME, and New York soul queen Vivian Sessoms heating up some classic house energy on CAN’T GET ENOUGH.

Alexander Flood is one of Australia’s commanding beat-masters, possessing a unique and finessed arsenal of groove, power, and expertise on the drums. Leading his own band from the drum chair, Alex’s music pushes a fresh rhythmic and dynamic realm of live dance music leaning on nu-jazz, deep-house, broken beat, DnB, funk, and experimental sounds. The band has recently featured at Wellington Jazz Festival, Melbourne International Jazz Festival, SXSW Sydney, WOMADelaide, JazzMontez Frankfurt and various clubs across Europe and Australia.

Winning Australia’s Best Up and Coming Drummer Competition in 2016 was just the beginning of Flood’s accelerating trajectory in music. After graduating top of his University jazz degree in 2017, Alex signed with US label Stretch Music to release his debut album HEARTBEAT, followed by his sophomore release The Space Between in 2022. Later that year Alex toured Europe with heavyweight 6x GRAMMY nominee Christian Scott aTunde Adjuah’s band. While in Berlin Flood recorded his third album 'Oscillate' with an all-star lineup including Horatio Luna and Abase, releasing via Jakarta Records in May 2023. In 2023 Alexander was also the recipient of the highly prestigious Young Achiever Award at the Ruby Awards, as well as receiving the Robert Stigwood Fellowship (Government of South Australia).

2024 sees Alex join forces with Atjazz Record Company to release new music from his forthcoming album ARTIFACTUAL RHYTHM, as well as touring his band across Australia, New Zealand, Europe and the UK.

Some notable collaborators of Alex’s include Chief Christian Scott aTunde Adjuah, Abase, Horatio Luna, Atjazz, Vivian Sessoms, Cazeaux O.S.L.O, Nelson Dialect, the ASO, WASO, QSO, as well as working with brands including Red Bull Music and Istanbul Cymbals.

Originally released in 1971, produced by the legendary Sandy Roberton and featuring the likes of Richard & Danny Thompson, Keith Christmas and members of Mighty Baby & Fotheringay, the album has been talked about in glowing terms by an ever increasing fanbase over the years & is highly sought after. It’s a beautiful mixture of folk, psychedelic flourishes and adventurous production combining majestically with Shelagh’s exquisite songwriting and purity of voice. It will immediately appeal to fans of Pentangle, Incredible String Band and Joni Mitchell, as well as the solo records from members of some of the biggest U.S. bands of the 1970s; David Crosby’s ‘If Only I Could remember My Name’ and Gene Clark’s ‘No Other’, and is presented here for the first time ever on vinyl re-issue.

Born in Edinburgh in 1948 before moving to Glasgow and attending the Glasgow School of Art, Shelagh McDonald’s reputation grew rapidly on the London and Bristol folk circuit, gaining a cult following. In her early twenties she cut her first album titled simply ‘Shelagh McDonald’, the following year entering the studio with producer Sandy Roberton (Ian Matthews, John Martyn, Chocolate Watch Band, Steeleye Span) to cut ‘Stargazer’. Unfortunately for Shelagh, following a bad LSD experience, she withdrew from not only the music industry but public life shortly before commencing work on her third album.

However, it is ‘Stargazer’ that continues to grow its reputation, with original copies changing hands for hundreds of pounds.

Imbued with the finest instrumentation and vocal delicacy in late ‘60s folk, the record is heightened by a progressive production approach; the slow organ grooviness in the traditional ‘Dowie Dens of Yarrow’, uplifting gospel overtones of ‘Odyssey’ and the perfect match of melancholic piano and haunting strings by Robert Kirby on the title track. These sublime arrangements all serve Shelagh’s songwriting and soulful voice that invoke the finest folk traditions but at the same time look forward.

The album is the inaugural release on new label Different Strokes For Different Folks with more genre bending, rare and cult records scheduled for 2025.

This special release marks the 20th anniversary of The Grind Date. The LP is available on limited edition splatter vinyl with the original album bolstered with 4 instrumental versions of the leading tracks. Meanwhile the 2CD also includes 2 brand new tracks which were recorded during the same sessions as The Grind Date. These never before released tracks entitled ‘Respect’ and ’Bigger’ perfectly compliment what is already a renowned album. "The Grind Date" is the sixth studio album by De La Soul, released in 2004. The album marked a significant return for the group after a hiatus since their previous album in 2001. It showcases De La Soul's signature blend of clever lyrics, innovative production, and a mix of playful and introspective themes. The album includes a plethora of exciting featured artists including MF Doom, Ghostface Killah, Flava Flav and Sean Paul.

"Float like a butterfly and sting like a bee" said the famous boxer Mohammed Ali, in reference to his legendary strike. This punchline also works wonderfully in music, listening to Roseaux's third album. A French success story, created with all modesty and honesty by the Parisian trio: Emile Omar, Alex Finkin and Clément Petit.

The three musketeers of sound cultivate their know-how, now acclaimed by critics and an ever-growing audience since their first project in 2012. It took them time to take a step back and gain perspective in order to offer us a return that is both joyful and resounding.

Roseaux takes root on the banks of soul, folk, jazz, and songs from all eras, a cascade of inexhaustible sounds, where the three composers draw their inspiration and merge their experiences.

The leaves of Roseaux soar to the breath of wonderful voices, chosen with precision by the three friends, like that of the American singer Aloe Blacc, present since the beginning of the adventure, essential enchanter of the three episodes.

Conceived as a dreamlike escapade full of emotions, on the fringes of the massive, instantaneous and often disembodied production, Roseaux is a totally artisanal group, a sort of UFO in the French musical landscape, which operates on instinct and above all on desire.

Thus, Roseaux has become an expert in bringing together, for the duration of a record, the artists who specifically form the DNA of their host: captivating voices, a plot on the piano and cello, but also encounters and reunions, in a poetic and deliberately nebulous universe.

A welcoming nebula, where the listener is invited to listen and immerse themselves without hindrance, in a luxuriant, wild, exciting sound forest. This third album is the work of 3 music lovers, capable of switching roles: writing, arrangements, production, from which emerge this time, eleven tracks with chiseled melodies including three colorful and unusual instrumentals.

A journey between melancholy and euphoria, which led Roseaux to the ends of the planet, from the Caribbean to Europe via Africa to unearth other vibrations and unique performers: the captivating Grenadian-British singer Ala.ni, the little English afropop prince from Ghana, Ghetto Boy, and the disturbing Swedish Isabel Sörling, sign here a first flamboyant collaboration with the group.

While the talented Haitian-Canadian Mélissa Laveaux, the hypnotic Scandinavian singer Olle Nyman, the sparkling French-Canadian Anna Majidson and our remarkable national Ben, already present on the second part, still manage to create a surprise by revealing new aspects of their range.

Roseaux's voices are decidedly impenetrable and its magic is renewed today by making the strength of all these scintillating elements dialogue, to be discovered in a setting of softness and voluptuousness.

Nature is full of reeds, this one is unique.

Strut Records is proud to announce a new official reissue of Simigwa by Gyedu-Blay Ambolley, launching a series of releases on Strut celebrating the legendary Ghanaian label Essiebons.

Essiebons, founded by Ghanaian music producer Dick Essilfie-Bondzie in 1959, is one of Ghana's most important independent labels featuring prominent artists such as Gyedu-Blay Ambolley, C.K. Mann, and Ebo Taylor. Ambolley’s Simigwa is a groundbreaking album, recognised as a Ghanaian classic and boasting one of the most iconic covers of the 1970s. Originally released in 1975, the album introduced Ambolley's unique "Simigwa" style, which combined highlife with funk and soul, influencing the evolution of a new generation of Ghanaian artists.

This new Strut LP reissue features an exclusive interview with Ambolley himself, offering fresh insights into the creation of this classic album.

Gyedu-Blay Ambolley’s innovative fusion of highlife with influences from American soul and funk solidified his position as a key figure in Ghana’s vibrant 1970s music scene. His solo career followed work with iconic bands such as Houghas Extraordinaires, Meridians of Tema, Ghana Broadcasting Band and the Uhuru Dance Band. Inspired by the legendary James Brown, Simigwa delivers infectious rhythms, dynamic horn sections, bold vocal stabs, and mesmerising percussion breaks. An enduring classic for all fans of highlife and Afro-funk.

Repressed for the first time in 2 years, Note price change. Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy/Roc-AFella era of nihilistic excess in the late 90's, Dead Prez also signed to a major label (Loud/Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing – using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself – consisting of MCs stic.man and M-1, who produced or co-produced most of the duo’s music – was formed in Tallahassee, Florida in the early 1990's.

By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to “Soul In The Hole” and “Slam,” as well as appearing on albums by Big Pun and The Beatnuts. By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian. After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let’s Get Free.

The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets). Let’s Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of the Last Poets); and the poignant “I’m An African.”

But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000's peers. Highlights: the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” “They Schools” and “Propaganda” . All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time.

‘Ora che non ho più te’ by Cesare Cremonini is one of the most successful Italian electro pop singles of 2024 with 100 million streams.

Many DJs have remixed it and included it in their electronic DJ sets; Mondo Groove decided to put 4 of them on vinyl.

– Benny Benassi is an internationally renowned Deejay and record producer, pioneer of electro house, a genre brought into the mainstream by his 2002 summer club hit “Satisfaction”.
He received the Grammy Award for best remix in 2008.

– Deborah De Luca, born under the shade of the sails of Scampia, a difficult neighborhood at the periphery of Naples, over the years has refined her style, which is reflected in this remix: a solid techno base skillfully mixing melodic and minimalist elements.

– DJ Ralf, the most underground of the ranks, tries his hand at a lengthy Future Acid House remix.

– Samuele Sartini and Nicola Zucchi, respecting the soul of the song, project it into a more club-like dimension, enriched by a magical riff that enhances its intensity.

Limited edition hand numbered copies on white colored vinyl