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Chyskyyrai, whose real name is Valentina Romanova, comes from Yakutia (Republic of Sakha), the northernmost republic of Siberia.

She sings in a variety of traditional vocal techniques, drawing on folk songs, animal imitation but most of all on the ancient mythological epic Olonkho, which has a multitude of archaic delivery styles. Olonkho performance is a traveling one-man theatre and a solo improvisation. Traditionally, the Olonkho storytellers, olonkhosuts, travelled from community to community, tribe to tribe, and performed the same function as a shaman. Mostly they were regarded as spiritual guides, teachers and keepers of cultural values. Their performances could last for several days, and were not just entertainment but also the way of teaching that people are not separate from nature and attuned them to it.

The songs presented on this LP capture a period of her life when she met with Tim Hodgkinson (Henry Cow) and Ken Hyder (Talisker) who had been performing together since 1978, and are well-known for their explorations in the field of shamanic cultures and free jazz. Their collaboration with the “Soviet Jazz Federation” goes back many years until finally in 1990, the duo went on an extensive tour in Siberia as “The Shams” during which they also visited Yakutia. Since then they have made numerous trips to Tuva, Altai and Buryatia playing with the local musicians and studying shamanism.

Recorded in Ken Hyder’s basement, early May 2005. Sleeve artwork by Sophie Lécuyer.

The visionary French musician stays true, in this third compendium too, to his path of planetary asceticism. A new treasure chest of secrets reveals to us the same spirituality of total experimentation, by balancing the universe and the inner soul. In Taste The Fullness Of Life Ariel builds his symphonic pillars toward the cosmos, eternal architectures that always smell of Indian fragrances. The music always communicates a state of full grace, spreading balms of bliss. An unprecedented whispered narrating voice, evident especially in Spiritual Chanson D'Esprit, is embellished with textures of harmonic bells, tropical flutes, spacey harmoniums and drones of mystical light. In the recordings of Going Inward, also made on the occasion of a Tantric workshop, Kalma oscillates between tribal electronic dances, metalic almost industrial rhythms, but then always falls back in a comfort zone made of desert carpets of synths and baths of sound (gong/bells). Harmonica Galactica crowns interestellar dreams with unscrupulous drum-machine gears and pulsing saxes, superb use of VCS3 with arabesque and Schulzian overtones, and suave touches of fingerpicking guitar with freak vibes typical of psych-folk.

Folk Magic Band represents one of the most interesting and original, yet lesser-known experiences of the italian jazz scene of the 1970s. In the legendary alternative environment of the Folk Studio in Rome, an open 18-members lineup is inspired by the free jazz of its time, a music that encompasses the whole world and its polychromy of sound. The echo seems to resonate the pan-ethnic motifs of Don Cherry and his Organic Music Society, but also the spiritual jazz of Pharoas Sanders and the orchestrations of the Sun Ra Arkestra. The textures chase a chinese melody, ignite with african scents and south american jungles, flow into fusion violin drifts a la Archie Shepp's Attic Blues or Mingus-like orchestral sections. The fascination of this collective affair still strikes for its playful and ironic nature, still impressing for its strength and willingness to open and influence new directions.

Since the 1970s Mario De Leo works as a musician and visual artist. His mechanical paintings are hybrid works that reveal the cosmic spiritualism hidden in the meanders of electronics. With Riccardo Sinigaglia (Futuro Antico, Correnti Magnetiche, Doubling Riders) De Leo consolidates an artistic and human partnership with Lettera Cosmica, a work unpublished to date, produced and recorded in 1981. In a wacky electronic vision of the succession of time, the tracks trace the four seasons in a fine process of analog loops, prepared tapes of strings and piano, time and pitch shifts, filtering with Synthi Ems and Teac 3340 4-track recorder. On this seemingly cold palette, De Leo deploys his own personal Mediterranean fingerpicking, with vocal timbres peculiar to the music of the South of Italy, but no longer circumscribed to the origins of his Pugliese regionalism, as much as to an expressive range seasoned also with irony and avant-garde.The sound writing harmonizes with the evocative cover, in which emerges a warmest human note of "technological peasant”.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 2 contains a wealth of notable tracks and slept-on gems. These include Q’s ‘From Within (Body Mix)’, a lesser-known cut from the trio better-known as Quazar (Gert van Veen, R.o.X.Y co-founder Eddy De Clercq and Eric Cycle), Eric Nouhan’s melodic masterpiece ‘Technobility’, which is appearing on vinyl for the first time since 1994, and a rare collaboration between regular production partners Maarten van der Vleuten and Mike Kivits (better known as Aardvarck), which was initially released on a special R&S Records’ offshoot set up by the label’s co-founder, Renaat Renaat Vandepapeliere (Integrity II’s ‘Living In Fantasy’).

Other highlights include Exposure’s ‘Love Quest’, a highly sought-after 1991 track by The Hague-based DJ/producer Maurits Paardekooper, and an ambient-infused Andrew Weatherall favourite originally released by Stealth Records in 1993, Hole In One’s ‘Spiritual Ideas For Virtual Reality’.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 1 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

WEB WEB führen mit ihrem fünften Album WEB MAX II die Kollaboration mit Max Herre fort, die auf WEB MAX (2021) begann. Dabei ist ihnen mit diesem neuen Album weitaus mehr gelungen als lediglich die reine Weiterführung einer Serie. WEB MAX II ist musikalisch und emotional die wohl vielfältigste Destillation dessen, was die ursprünglich im Spiritual Jazz verwurzelte deutsche Jazz-Supergroup in den sieben Jahren ihres Bestehens hervorgebracht hat.

Unveil Sterac's journey on Somov, immersing in a spiritual opening and euphoric soulful revelations that shape his unique sound. A dimension where Amsterdam's electronic pioneer connects rhythm and heart.

Named for the rewind mechanism on the reel to reel tape machine on which the band tracked the album, Auto Locator coils up the chemical trails of ribbon binding old places and head spaces to our consciousness. Static and hiss leach between analog track layers, blurring the normal and paranormal to remind us that no memory is totally separate from a fiction - just like no drum track is totally separate from bass.

Over Auto Locator's ten songs, Del Paxton rip shit like a band entering their second decade of existence. On-the-nose opener "Freight Train Metaphor" throws listeners face first into the band's first album since 2017, with a syncopated pulse and arpeggiating guitar foreshadowing a record replete with punkish, serpentine composition. "Up With a Twist," the album's lead track, deals in Del Paxton's crashing punk vibrance, through which the band explores and laments the uninspired architecture of American sprawl.

Second single "Chart Reader", whose origins trace back to a psychedelic dream inspired by Wayfaring Strangers: Cosmic American Music, sees the trio dabbling in emo Americana, even featuring a nod to John Denver's "Take Me Home, Country Roads." Such unashamed references abound throughout Auto Locator, which takes further inspiration from bands like Mock Orange, Third Eye Blind, and Jimmy Eat World, all of whose influence can be heard on "Palpitations" and third single "Spiritual Gymnastics."

“Praying to god whether or not I believe there is one” - PH

Petra Hermanova and Unguarded announce In Death’s Eyes (UGD-009), the debut solo LP under the artist’s own name. This LP features nine tracks utilizing folk and sacred musical technique and instrumentation which drift between song and heavy distorted drones. In a disciplined display of beauty, pain, and astute musicianship, Hermanova brings forth a notable accomplishment of an album. In Death’s Eyes confronts death from start to finish with a rare fervor that leaves one feeling it was utterly necessary for Hermanova to produce - to survive. The transcendent impulse, or the influence of religious music, bears heavily on Hermanova’s compositions in her choir arrangements, but is most apparent in her use of pipe organ, opening the record on Black Glass. Having written organ parts for a significant portion of the record, she sought out the renowned organist Denny Wilke to record with her in the Merseburg Cathedral. Captivated by Wilke's profound skill as a player and knowledge of the Ladegast organ, Hermanova invited him to collaborate on Two Deaths where he delivers an impressive improvisation. While religious music offers spiritual solace from grief, folk speaks to the human and earthly as told by the individual, be they songs of suffering or joy, sin or salvation. To Hermanova, the clean promise of liturgical music is not enough to alleviate the blunt pain of grief. Contrasting the spiritual is the voice of the individual sufferer - the folk musician. For Hermanova, the autoharp embodies this contrast. The autoharp, a familiar sound in Appalachian folk music since its mass production in the late 1800’s, is an affordable instrument designed for the unskilled player. It is the antithesis of the organ which is costly, gargantuan, reserved for skilled players, and quite literally a part of the church. Through In Death’s Eyes the sounds of transcendence blend with the worldly, the tension between them poignantly expressing Hermanova’s struggle for spiritual resolution against the reality of death and loss. Like Hermanova’s lyrics, the artwork, conceptualized by Enes Güç and Evelyn Bencicova, is riddled with symbolism and allusion. We find Hermanova on the cover, digitally rendered. Reclining like an anatomical Venus, her vital organs are exposed, suggesting she is denied a transcendent death and is instead immaculately human. Bearing a sickle, her legs are metallic like armor, both symbols of protection. We see here in this image, as we hear in the nine tracks of IDE, the metaphoric state of someone ravaged by loss, choosing to tear herself open in an attempt to heal. - Reece Cox Petra Hermanova is a musician and visual artist based in Berlin. In 2018, Hermanova began working with the autoharp, which has since become the central pillar of her musical practice. Drawing inspiration from folk, medieval drone, and contemporary textural expressions, as well as Appalachian autoharp music, she creates emotionally driven arrangements accompanied by vocals. In her lyrics, she speaks to the fragility and tenderness of the human condition, religious conceptions of death, and introspective landscapes through narrative and symbolism. Hermanova debuted live at the Berliner Festspiele event The Sun Machine is Coming Down, performed at Trauma Bar und Kino accompanied with her choir, and recently took part in Sorour Darabi’s durational performance From the Throat to the Dawn. Her debut solo album, In Death’s Eyes, is set for release in 2023 on the art platform and label Unguarded. The album, where she wrote for the autoharp, pipe organ, solo voice and choir, features the acclaimed organist Denny Wilke playing the 19th century Ladegast organ of the Merseburg Cathedral. She has toured internationally with previous projects, including extensive sound and visual collaborations with Jon Eirik Boska (Hydropsyche) as well as with her award-winning band Fiordmoss. She was recently announced as a SHAPE+ platform artist.

The rising Tamil-Swiss artist Priya Ragu is set to release her long-awaited debut album ‘SANTHOSAM’ on October 20th.



‘SANTHOSAM’ (the Tamil word for ‘happiness’) is a standout dynamic album which takes her raguwavy sound – simmering R&B, masterful pop hooks, earthy soulful vocals, dance beats, and the warm tabla rhythms, and spiralling melodics of Tamil music – to even more adventurous heights. Defined by Priya’s contagiously positive spirit, it pulsates with gorgeously varied musical textures and urgent political themes. Once again crafted in collaboration with her brother and producer Japhna Gold, it’s an album that originates from Priya’s quest for self-discovery.



‘SANTHOSAM’ opens with ‘Ammama’s Note’, which features a voice recording in which Priya’s grandmothers is questioning why she isn’t married. Like many young South Asian women, Priya felt like she wanted to achieve much more before she settled down, regardless of other people’s preconceptions of what direction her life should take. That ability to write one’s own destiny continues the euphoric ‘School Me Like That’, set to a rumbling tambla beat and breezy synths. More universal issues are explored in the blazing anger of ‘Black Goose’, which was written in the wake of the murder of George Floyd and the Black Lives Matter protests, and ‘Let Me Breathe (Reprise)’, a spiritual call for freedom, emancipation, and peace.



Elsewhere, the record brims with highlight-after-highlight, taking in everything from the dancefloor disco energy of ‘One Way Ticket’ to ‘Power’ which features a rousing string arrangement that was written by Indian composer Bala and recorded with an orchestra in Budapest. It closes with ‘Mani Osai’, a song which continues a yearly family tradition in which Priya, Japhna and their father write a song together. Never intended to be a Priya Ragu track, it nonetheless felt like the perfect way to close the album – especially as the concluding “santhosam” chant conveys the meaning of the word with life-affirming zest.

This fall „Nice Girl’s“ highly anticipated follow up to „Ipsum“ is finally going to be out. 2 years have passed since „Ipsum" was released, back then the wild 15 track long ride has been paraphrased as „mind boggling, tongue in cheek, spiritual & danceable“ by RA.
Ruby‘s second Album titled „UPP“ is more lighthearted compared to its predecessor as she moves away from the somewhat darker, earthy tones of „Ipsum“ to create a fun, quirky, bleepy and fast universe where pitched vocals meet breakbeats and cosmic melodies.
The Album includes features by "Eden Burns" as well as "Michael Kime“, who as it happens is Ruby’s father ; ) Enjoy!

Limited repress of the post-hardcore quartets debut album """"Feel Something""""

Music and emotion share a timeless physiological, psychological, and spiritual bond. A chord, a melody, or a lyric can lift spirits and inspire. Movements achieve that sort of reaction on their full-length debut, Feel Something Fearless Records. In the sessions, their signature style crystallized and coalesced. Bolstered by intricate instrumentation and explosive vocal delivery, these 11 tracks signify the musicians' evolution and bring emotion to life in each note.

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Teakup is Lauri Reponen, the Columbus, Ohio DJ, producer and torch-bearer for the city’s proud Techno heritage. Following in the footsteps of Columbus originators, Titonton Duvanté, Archetype and Todd Sines, Teakup has spent the past decade forging a sound of his own via a genre alchemy that embraces genres past and present. Hardcore’s staccato samples and chopped breakbeats, UKG’s crunchy triplet hi hats and mellifluous House melodies combine in novel forms. Titonton’s wonky Tech House takes, Todd Sines’ stripped minimalism and Archetype’s broken rhythmic exploration are more key ingredients in the Teakup stew. This recipe has cooked up a massive cache of unreleased tunes as well as previous 12”s on is / was, Residual, Shut Off Notice and Lauri’s recently-minted TKP imprint.

Compiled from over 200 demos, Signal 23 has Lauri flexing a new level of genre-mastery. The title track explores Spiral Tribe’s ripping, psychedelic Freetekno. ‘Valve’ is cutting-edge rhythm hypnotism. ‘Felopzd’ loops into ecstatic trippy crescendo and ‘Pad Thai Mystic’ takes you on the spiritual voyage of late-night food delivery in middle America. Four modes, four hitters – to warm floors, open hearts or split psyches.

OVERVIEW: This is essential. We don't just refer to the album title: this new record by multi-instrumentalist and producer Thysenterprise is essential material for lovers of spiritual jazz with a hip-hop edge. As described in the liner notes: "The spirit of Pharoah Sanders, Archie Shepp, and Coltrane permeate the music here. At times, Thysenterprise and his guests meld the influence of the great jazz cannon with the rhythms of hip-hop."

'ESSENTIAL' moves with ease from spiritual sounds to hip-hop-infused head nods. The liner notes by writer John Morrison perfectly encapsulate the type of sonic trip you're in for: "While the improvisational heights that Thysenterprise and crew reach throughout the album owe a debt to hardbop and the avant-garde, there are beats and textures here akin to the work of Karriem Riggins or A Tribe Called Quest. The result is a truly contemporary sound that plays freely within the depths of human feeling."

'ESSENTIAL' is by far Thysenterprise's most personal album to date. From beginning to end, he pays a heartfelt tribute to his late father. The artist revisits and rearranges melodies from iconic jazz records that formed a profound connection between the two of them. Throughout the album, there are nods to songs that were essential for Reinier's musical upbringing. It shows that the saxophonist plays with heart and doesn't shy away from expressing grief and loss. Or as stated in the liner notes: "We play for pleasure, we play to understand ourselves and the world around us, we play to celebrate and remember our loved ones."

Renowned Dutch alto saxophonist Benjamin Herman joins Thysenterprise for intimate call-and-response on "Feedback of Silence." Next to that, Michael Moore graces "Happiness Is a Memory" with a heartfelt bass clarinet solo. Moore is part of the Han Bennink-founded ICP Orchestra. It's safe to say that Thysenterprise builds on that rich lineage of improvisation, playfulness, and distinct originality. On 'ESSENTIAL,' he takes that to new heights. The album comes beautifully packaged as a gatefold 2LP with vinyl-exclusive alternate takes on the D-side.

Marcus Belgrave's Gemini II album has never been reissued before with the original artwork, but here it comes with a Japanese Obi-strip and featuring prominent musicians and legends like Wendell Harrison, Phil Ranelin, Roy Brooks and Harold McKinney. This is a diverse record with plenty of spirituality and a loud and proud sense of blackness. The standout tune 'Space Odyssey' is the best known, not least because it was later covered by pioneering Detroit techno talent Carl Craig. Next to that tense cosmic workout are two parts of 'Gun Finger' which are both horn led and upbeat grooves, the seductive sounds of the title tune and free-bop jam 'Marcia's Opal'. 'Odoms Cave' is a tender and introverted closer.

Repress.

If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. 'We won't have to cry no more,' the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. 'It'll all be over.' Prepare to dance and contemplate death all at the same time.

A band of brothers and cousins, the group was founded from two familes: brothers Joe and Dave Kingsby plus Dave's son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price-who belonged to neither family-completed the line-up that recorded the group's first-and, prophetically, only-album, It'll All Be Over.

Released in 1980 on the group's own S&K (Sanders & Kingsby) label, It'll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it's a feel captured by the album cover-a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand new liner notes, 'both apocalyptic and seductive.'

Making the album was not easy. Sessions began in Trac Record Co, a country and western studio in Fresno, CA, where the engineer was so put out by the group's requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs-one side of the album-and the record was completed at Sierra Recording Studio in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album's title track in a single take.

After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did. 

A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbeque in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time.

World-renowned Tibetan singer Yungchen Lhamo makes her finest offering yet. A collection of songs, prayers and mantras devoted to spiritual awakening, unconditional love and compassion for all beings, Lhamo's seventh album finds her otherworldly voice framed by an array of western and global instruments. From quiet, shimmering beauty to rhythmic tribal trance, this is sound healing for the world.

Trumpeter, composer and bandleader Nick Walters returns to his D.O.T. Records imprint with his majestic new album, Marine Moods. The album revives his sextet, who last appeared together on his 2019 album 'Active Imagination' (22a). This stellar collection of musicians picks things up where they left off, delivering an exquisite suite of contemporary jazz-fusion, gleaning the very best elements from afro, modal and spiritual jazz.

It's a sparkling Spiritual Jazz album, featuring three extended, stellar compositions by Bromander, performed by some of the most urgent voices from the Swedish scene of jazz- and improvised music, together with the otherworldly voice of dhrupad singer Marianne Svase. Published by Thanatosis produktion, the album is released on LP, CD and digitally.

Sublime ethereal minimalism from Hiroyuki Onogawa on this retrospective compilation album for
Mana, the first dedicated release and remaster of his soundtrack compositions.

The album August in the Water: Music for Film 1995-2005 plots a decade of Onogawa’s compositions for films by the renowned filmmaker Gakuryū Ishii (formally known as Sogo Ishii). Ishii’s leftfield and trailblazing cinema has proven highly influential - Crazy Thunder Road (1980) is frequently cited as the starting pistol for the Japanese cyberpunk genre - and unfathomably difficult to source outside of Japan. This, coupled with the mysterious and artistic nature of the films, has seen him build a cult-like following. Most of his oeuvre remains undistributed outside Japan, though Third Window Films has recently taken great strides toward making some titles available internationally.

This retrospective publication, sequenced into an album by Onogawa himself, spans a fertile period of collaboration with Ishii, through soundtracks for three remarkable films: August in the Water (1995), Labyrinth of Dreams (1997), and Mirrored Mind (2005). Each feels texturally and sensually linked with the spiritual, ambient, dreamlike quality that lingers in Onogawa’s music.

The sound Onogawa conjures for these films is elegant and patient, often minimal or essential in form, but saturated in a poetic emotion and atmosphere that feels strange and otherworldly, touched by the metaphysical in subtle ways. Boundaries are crossed between New Age and science fiction, locating a blissfulness, melancholy and paranoia within the same spectrum, and moving toward an enchanting sense of mood and colour.

It’s notable that the compositions on this album straddle the millennium, and the mix of divine and uncertain themes in the music carry that currency. New listeners might hear links to Mark Snow’s compositional work for the X-Files and Millennium, or other celebrated future-facing and future-fearing Japanese anime or cyberpunk.

Onogawa’s music adds great depth and tenor to the sensory experience of the films themselves, but it stands just as strongly as a listening experience on its own terms, a virtuosic example of ambient that changes in hue when turned in the light. Remarkably, and in similar circumstances to Ishii, Onogawa’s work has never been widely available outside of (always highly enthusiastic) underground fan posts, usually sourced from extremely limited and private CDs limited to Japan. This retrospective seeks to remedy that, and hopes to achieve recognition for Onogawa as one of the great composers of the last three decades.

Onogawa continues to work in film, both in the creation of soundtracks, and now as a producer and director. He composed the music for Koji Fukada’s Harmonium (2016), which won the Jury Prize in the Un Certain Regard section at the Cannes Film Festival, as well as for Fukada’s A Girl Missing (2019). As a director, he received the Grand Prize for Best Short Film in the Noves Visions category at the Sitges Festival in 2022 for Flashback Before Death (Guu), co-directed with Rii Ishihara.'

In 1964 Dave Davies of the Kinks singlehandedly made rock history when he sliced his little green Elpico amp speaker with a razor blade. Little did he know he was creating the 1st heavy metal guitar tone and riff in rock n roll, which he played on his band The Kinks' worldwide hit 'You Really Got Me.' Nearly fifty years after influencing generations of guitarists Dave continues to rock and tour. His 2013 return to the U.S. to support the album I Will Be Me was a triumph both creatively and spiritually as he found new inspiration for his soon to be follow up album, the highly acclaimed, Rippin Up Time. Released in 2014, Dave embarked on yet another U.S. tour to support it. He was joined by Jonathan Lea on guitar, Tom Currier on bass and keyboards and legendary drummer Dennis Diken of the Smithereens. The tour swept through venues in Milwaukee, Chicago, New Jersey, NYC and many more. Jim Sclavunos played drums for one gig in Bethlehem, PA. On every date Dave Davies and band played a highly charged set of solo album favorites, Kinks classics and new tracks. At the City Winery NYC on November 24 and 25, 2014 Dave and band put on an amazing concert to an audience of new and longtime Kinks fans, music industry stars and legends. They delivered two exhilarating nights of performances that rocked and ripped up the city's nightlife.

"Bob Shad's Master Sound" Okayplayer

"A Legendary Producer" Mojo UK

"Visionary" Liberation FR


WEWANTSOUNDS are back with a superb selection of Spiritual Jazz and Funk grooves from legendary Producer BOB SHAD's Mainstream Records catalogue.

The iconic voice of Luzmila Carpio rings out from the Andes, spreading messages of indigenous struggle, female empowerment and unceasing love for both the people and planet around us. An undeniable icon of Bolivian Andean culture whose career spans multiple decades, Luzmila has released more than 25 albums (there’s a reason that Rolling Stone described her as”one of the most prolific indigenous singers of South America”), inspiring millions while singing in both her native Aymara-Quechua language and Spanish. Yet Luzmila Carpio isn’t someone who’s content to simply rest on her laurels; she continues to take risks and push her music into vibrant new soundworlds. On new album Inti Watana: El Retorno del Sol (her first LP in a decade), she’s teamed up with Argentinian producer Leonardo Martinelli (a.k.a. Tremor), a ZZK veteran who’s spent the bulk of his career finding the common ground between Latin American folk rhythms and modern electronics. Building off the momentum created by 2015’s Luzmila Carpio Meets ZZK collection in which her music was reworked by not only Tremor, but standout electronic artists like Nicola Cruz, Chancha Vía Circuito and El Búho this new album is meant to stretch across genres, generations and continents, with Luzmila’s sonorous, occasionally birdsong-inspired vocalizations gracefully gliding amongst ambient textures, programmed beats and (of course) a bevy of traditional instrumentation from around the globe. Over the course of the LP, Bolivian charangos and quenas sit comfortably alongside the sounds of harmonium, violin, acoustic and electric guitar, Argentinian bombo leguero and sacha guitar, Armenian duduk and a litany of Asian percussion. Inti Watana: El Retorno del Sol which will be accompanied by a full length documentary might not sound like previous Luzmila Carpio releases, but on a spiritual, political and lyrical level, her core values remain unchanged. A native of Bolivia’s Potosí region, she’s long been a beacon for indigenous communities in not just her home country, but throughout Latin America, her voice inspiring joy and pride amongst ancient peoples whose culture and inherent beauty are often overlooked. Her pursuit of music a field traditionally dominated by men in Andean communities long ago made her a pillar of women’s empowerment, but Carpio has also been a vocal proponent for social change, using her influence to advocate not just for the rights of women, but for the protection and increased visibility of all indigenous people. Yet it’s the planet itself that Carpio is most passionate about, and she’s devoted much of her new album to conversations with Mother Earth and Father Sun

2023 Repress

2001, the first year of the 21st century, but especially for many born in the 60's, 70's and 80's, the year that was surrounded with an aura of "the Future" and which became symbol of the new and unknown things that life has in store, the starting year of a new transgression period in both scientific, cultural and spiritual evolution. In that year Transllusion recorded music in the Dimensional Waves Productions studio of which till date two known productions saw a release: "The opening of the Cerebral Gate" and shortly after that the mysterious "L.I.F.E." album on Rephlex. More than 15 years later, an unknown wave resurfaced, washing up an incomparable emotional state of electronic depth. Music from the Future rooted in an underwater Afro-futurist realm and the grandiose cosmological truths. This time rushing over us in a much more personal, reflective and more introspective way, yet leaving behind sonic confusion. We now know who was responsible for all these futuristic recordings perfectly reflecting what the year 2001 stood for, James Stinson can be seen as one of the last few techno musicians from his generation that lived up to the high expectations of moving forward, finding the unknown and embracing the future without reliving the past. This recently discovered DAT-tape, using his Transllusion alias, is the 3rd outing of the project and, surrounded with an even brighter aureole than the previous recordings, confirms the status of its producers mastermind. No further details are known, except for the project name written on the tape, but these intimate moments in the studio tell us what the future sounds like according to James Stinson!

Essential South African jazz, funk and soul - An anthology dedicated to the legendary Black Disco ensemble. Distilling the group’s recorded output into a single commemorative document, Discovery 1975-1976 compiles cuts from the lauded Night Express album alongside rare gems from the group’s long-out-of-print first and third albums. The newly remastered selection features previously unissued single versions of the mighty “Night Express” itself, a funk juggernaut with piercing flute whistles and rapturous sax cries as well as “Dawn” from the album Black Disco 3, a trippy, flute-driven awakening of soft light and gentle colours.

With a Yamaha organ and a dream, Pops Mohamed started his musical journey in the mid-1970s as the bandleader and composer of Black Disco, creating a hip melange of chill-out jazz with futuristic drum machine sounds and spiritual overtones. His cosmic organ transmissions were accompanied by two of the most sought-after session players on the South African scene, the sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy who was already rubbing shoulders with the old guard at the outset of his career. Backed at first with polyphonic beats from Mohamed’s electric organ and later taking on a drummer, Black Disco created a signature sound and a trilogy of innovative albums in a burst of studio creativity between 1975 and 1976.

On the heels of their epic various artists compilation, As-Shams Archive have produced a doozy of a compilation of some very essential South African jazz.

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.

The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).

Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

The influential Detroit pianist’s sole 1970s album. Remastered and lacquered by Bernie Grundman. Now-Again presents the denitive Tribe Records reissues. Deep, Spiritual Jazz of the highest order. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

Miss Tiny is a brand-new musical project featuring acclaimed record producer and Speedy Wunderground label founder Dan Carey (Wet Leg, Slowthai, Fontaines D.C.) alongside Ben Romans-Hopcraft of Warmduscher / Insecure Men / Childhood fame.

A spiritually, and methodically united front, Miss Tiny’s universe is a thoroughly explored romance between heritage, rebellion, and years old friendship; a triptych of variables all gravitating towards one signalled output, with no real sense of time, or external pressures. Having spent the best part of a decade orchestrating haphazard jam-sessions, Carey and Romans-Hopcraft would eventually go on to discover a fundamental principle of their own. One which would come to define Miss Tiny, throughout her various forms and guises.

“We called it anti-recording,” continues Carey. “Only doing it for the pleasure of doing it”. When fully committing to this practice, the music meticulously follows two courses; refine, or degrade. Perfect the moment, or let it go; never to be heard, or re-lived ever again for fear that the action of pressing record, would inevitably take ownership of the occasion and lead the experimentation into a downward spiral towards something all-together tangible.

The irony of a seminal producer and critically revered musician banding together out of mutual distaste for recording, is not one that’s gone amiss. In fact, they’ll be the first to proudly call it into question- and yet still, Miss Tiny holds her own despite all peripheral associations, and would eventually go on to be documented. These aren’t ‘sit-down-and-write-a-song’ kinda songs. These spurts of spontaneity which would, in time, ultimately form the duo's debut EP ‘DEN7’, are years’ worth of trial and error. Trial and elation. A process in which strong technique and melodic-manipulation are the sole foundations required to reinvent the meaning of memory; be it guitar and drums, or flesh and blood.

Produced and recorded at Carey’s ‘Speedy Wunderground’ studio in Streatham, ‘DEN7’ is a masterful introduction to a group whose members need none. Through chopping, editing, and re-defining their improvised segments into songs which they could eventually go on to learn, Carey and Romans-Hopcraft by chance, stumbled upon gold-dust. Like Alice and her looking glass, our two protagonists effortlessly pass through all notions of engineered logic in order to see beyond the expected. The bigger picture perhaps. Or the magic in the small things that matter most.

Haunting in situ recordings from Parchman Farm Maximum Security
Prison in Mississippi (usa) producer Ian Brennan (Tinariwen,Ustad Saami,
Ramblin' Jack Elliott, Zomba Prison Project) recorded the prison's Sunday
gospel service and the results are unforgettable
The performances range from solo a-capella to a floor- shaking electric band. The
repertoire includes both traditional and newly penned spirituals. "some
Mississippi Sunday morning" is an unfiltered and deeply resonant journey into a
musical world rarely seen or heard

"Space Trip" is a cult record released in 1973 on the legendary Amigo catalog, the longest-running independent label in Sweden.

This amazing Spiritual Jazz-Funk/Fusion LP was very hard to find. Finally available again, fully licensed and remastered, with original artwork.

This album is a killer one in its entirety, with no fillers.

Some of the best spiritual jazz on record!

Original self-released by Malik king this lp has been on many peoples lists of holly grail private-press jazz wants for years , very rarely turning up on ebay and the like.. selling for up to $500.

Malik King was an important part of the St Louis jazz scene of the 70's & 80's.

He studied under Albert Ayler in NY in the early 70s before returning to the Midwest. He was a member of; The Human Arts Ensemble, the Shirley Le Flore's ensemble "Free N' Concert". He also served as musical director of The Creative Arts & Expression Lab, The African Peoples Continuum, & The Black Arts Alliance, The worrier poets, as well as various Emerging Force Ensembles.

Zimbabwe Nkenya (1953-2022), a creative artist and innovative musician, was brought up on army bases in the USA and Spain. He spent 30 years traveling and performing in New York, New Mexico, Arizona and St Louis. playing with a who's who of jazz. In New Mexico he became an integral part of the scene, producing and hosting the KUNM'S radio show "THE HOUSE THAT JAZZ BUILT" .

Luckily Malik self-released "Time & Condition" in 1982, capturing his work together with Qaiyim Shabazz. It's not just a crate diggers Holy Grail, but an important artistic and historic document of the St Louis scene. Time & Condition stands alone as a (very) individual, spiritual jazz classic.

We hope this reissue will finally grant these musicians the wider acknowledgement & credit they deserved during their life time.

Original self-released by Malik king this lp has been on many peoples lists of holly grail private-press jazz wants for years , very rarely turning up on ebay and the like.. selling for up to $500.

Malik King was an important part of the St Louis jazz scene of the 70's & 80's.

He studied under Albert Ayler in NY in the early 70s before returning to the Midwest. He was a member of; The Human Arts Ensemble, the Shirley Le Flore's ensemble "Free N' Concert". He also served as musical director of The Creative Arts & Expression Lab, The African Peoples Continuum, & The Black Arts Alliance, The worrier poets, as well as various Emerging Force Ensembles.

Zimbabwe Nkenya (1953-2022), a creative artist and innovative musician, was brought up on army bases in the USA and Spain. He spent 30 years traveling and performing in New York, New Mexico, Arizona and St Louis. playing with a who's who of jazz. In New Mexico he became an integral part of the scene, producing and hosting the KUNM'S radio show "THE HOUSE THAT JAZZ BUILT" .

Luckily Malik self-released "Time & Condition" in 1982, capturing his work together with Qaiyim Shabazz. It's not just a crate diggers Holy Grail, but an important artistic and historic document of the St Louis scene. Time & Condition stands alone as a (very) individual, spiritual jazz classic.

We hope this reissue will finally grant these musicians the wider acknowledgement & credit they deserved during their life time.

David Eugene Edwards has always been larger than life. His music with innovative heavy droning folk band Wovenhand, and before that the haunting revivification of high lonesome sound antique Americana of 16 Horsepower breathed a near apocalyptic sense of urgency and power into musical archetypes long abandoned in the latter-20th Century. On his first-ever solo album under his own name, Hyacinth, David Eugene Edwards delivers a sound uniquely his own, with a vulnerability and introspection unheard from him before. Stripping back the heavy rock of his recent work with Wovenhand, Hyacinth puts the man's voice, and sparing instrumentation into the main focus. There's a somber beauty and world-weary tone throughout these songs. The album could've been considered a slight return to the more melodic sounds of 16 Horsepower's Secret South (2000) and the first, self-titled Wovenhand album (2002). But there's more going on here: a rhythmic, pulsating undercurrent reminiscent of the tape loops and rudimentary rhythms of 80s Industrial post-punk as well as 808 Drill Style beats. The overall effect is often as if we're hearing the clock ticking away our own mortality. "Hyacinth was a sort of vision," Edwards says. "A dream. I sought out of my old wooden banjo and nylon string guitar a hidden path. Secrets they had kept from me within themselves all these years and created a new Mythos to myself of philosophical and spiritual ideas or concepts." Once he'd harnessed the music within, he enlisted multi-instrumentalist and producer Ben Chisholm (The Armed, Chelsea Wolfe, Converge) to help him realize the album's recording and mix. "Overall, the album is a weaving of narratives ancient and modern, of humankind's search for understanding of this world we find ourselves in and of each other. In all its simplicity and complexity," Edwards continues. "Hyacinth is a reference to the Greek myth of Apollo. And, the word meaning a precious stone and blue larkspur flower of purple and pall."

Swiss-born pianist Camille-Alban Spreng, who has resided in Brussels for over a decade, has been active since 2010 in a diverse range of bands and projects within jazz, improvised (electronic) music, art performance and theater. He can be seen on stages all over Europe and trained at various conservatories with renowned players such as Emil Spanyi (HEMU, Lausanne), Eric Legnini and Kris Defoort (CRB, KCB, Brussels).
Together with his regular band ODIL, he has already released two records: 'Something' (QFTF Records - 2016) and 'RESON' (QFTQ Records - 2019), with the collaboration of Leïla Martial, and Valentin Ceccaldi on the latter album. ODIL operates from Brussels but, with in its ranks a pivotal figure with Swiss roots, a French drummer and an Irish saxophonist, is a band with international allure. Nina Kortekaas' unique voice is also an absolute asset.

His third album, titled "Unheimlich," will be released on W.E.R.F. records, one of Belgium's finest jazz not jazz labels. The new album sprung from Camille-Alban's fondness for Allen Ginsberg and the beatnik movement. Poems by Ginsberg are provided with music, notably "Pull My Daisy" (co-written by Jack Kerouac and Neal Cassady at the time) and "White Shroud," with the approval of the rights holders/heirs.

The lyrics that Camille-Alban himself wrote for the album exude the same beatnik vibe. In that sense, the new work is also an homage to Allen Ginsberg. "I love his way of writing: it's funny, twisted, quirky ánd spiritual," Camille-Alban said. "I couldn't think of a better title for the new album. 'Unheimlich' doesn't translate. The black cat in the lobby of a creepy hotel in 'The Matrix,' I think of that image, that atmosphere."
ODIL's music has a narrative character and in terms of form, the compositions are not ordinary. Impro plays a role and the music is unmistakably characterized by a contemporary jazz aesthetic but at their core the compositions are also songs, a unique feature. 'Unheimlich' is a jazz album that can be listened to just as well as a pop rock album.

Since his early days with Henry Cow, Fred Frith has been regarded as a brilliant instrumentalist and improviser, but what has been overlooked is that he is also a first-rate composer. This recording offers both aspects. His most complex orchestral composition and two selected improvisations with the Ensemble Musiques Nouvelles. Fred Frith, as an infusion of energy and inspiration.

''Something about this Landscape was commissioned by Ars Musica in 2018. I composed the piece during a residency at Lou Harrison's straw-bale house in the desert at Joshua Tree, California. It's an inspiring place for a number of reasons - the silence, the light, the life, the history. The extraordinary diversity of birds during the migration season. Both other pieces are improvisations. The first one is the one we did during the concert (in public), the other one, very different, is the one we did during the dress rehearsal (on the day of the concert).'' - Fred Frith

Musiques Nouvelles is one of the two most successful and diversified contemporary music ensemble in this country with Ictus. With, under the influence of Jean-Paul Dessy, a deeply spiritual and mutual listening aspect. This meeting with the legendary Fred Frith will remain as an important step.

The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

David Eugene Edwards has always been larger than life. His music with innovative heavy droning folk band Wovenhand, and before that the haunting revivification of high lonesome sound antique Americana of 16 Horsepower breathed a near apocalyptic sense of urgency and power into musical archetypes long abandoned in the latter-20th Century. On his first-ever solo album under his own name, Hyacinth, David Eugene Edwards delivers a sound uniquely his own, with a vulnerability and introspection unheard from him before. Stripping back the heavy rock of his recent work with Wovenhand, Hyacinth puts the man's voice, and sparing instrumentation into the main focus. There's a somber beauty and world-weary tone throughout these songs. The album could've been considered a slight return to the more melodic sounds of 16 Horsepower's Secret South (2000) and the first, self-titled Wovenhand album (2002). But there's more going on here: a rhythmic, pulsating undercurrent reminiscent of the tape loops and rudimentary rhythms of 80s Industrial post-punk as well as 808 Drill Style beats. The overall effect is often as if we're hearing the clock ticking away our own mortality. "Hyacinth was a sort of vision," Edwards says. "A dream. I sought out of my old wooden banjo and nylon string guitar a hidden path. Secrets they had kept from me within themselves all these years and created a new Mythos to myself of philosophical and spiritual ideas or concepts." Once he'd harnessed the music within, he enlisted multi-instrumentalist and producer Ben Chisholm (The Armed, Chelsea Wolfe, Converge) to help him realize the album's recording and mix. "Overall, the album is a weaving of narratives ancient and modern, of humankind's search for understanding of this world we find ourselves in and of each other. In all its simplicity and complexity," Edwards continues. "Hyacinth is a reference to the Greek myth of Apollo. And, the word meaning a precious stone and blue larkspur flower of purple and pall."

After being sold out for almost a year, the classic album ’New Flesh’ by Swedish synth-wizards Priest at last gets a long awaited reissue! Here’s a short description that was stated during it’s original
release in 2017: ”New Flesh is inhaling smog from the 80s and blowing smoke rings into a neon lit future. Believing in spiritual awakening through technology, Priest makes you transcend safely to
reach the ultimate goal - the merging with machines. Album producer Simon Söderberg (Alpha/ ex Ghost member) have worked with the band to perfect their sound. There is modern touch with a retro vibe over the entire album. "New Flesh" containes a total of ten tracks that that brings 2017 back to the 80s.”

‘Time Will Tell’ : A journey in reggae music from Bristol to Kingston JA.

Embark on the wild journey of a reggae-loving Bristolian youngster who travelled to the heart of Jamaica on intrepid mission to record a timeless reggae album in the 90s. ‘Time Will Tell’, a collaborative masterpiece uniting the extraordinary talents of Henry & Louis (Andy Scholes & Jac kLundie), Blue & Red (aka Rob Smith from Smith & Mighty) and renowned Jamaican and UK-basedv ocalists.A musical opus that infuses reggae's rich history into modern rhythms straight outta Bristol.

It all began in the summer of 1997, when Andy Scholes decided to trace the origins of reggae music straight back to its origins; armed with a 16-track reel-to-reel and an abundance of passion,he flew to Jamaica with a desire to record his reggae heroes over riddims built by Rob & Jack in Bristol.

Through a series of unexpected events Andy crossed paths with UB40 in the streets of Kingston.He built a friendship with the band and their lead singer, the legendary Ali Campbell took a ninterest in the project, generously giving Andy free access to his studio in Port Maria allowing him to bring life to ‘Time Will Tell’.

Scholes got in the studio with various Jamaican artists and recorded with Tony Tuff, Prince Green, and Johnny Clarke, each contributing their distinct voices and adding to the album's spiritual and conscious themes. The mystical vibe continued with the participation of other artists like Ghadian, Shalom, Pacey, Ben Dice, and Kerosene Oil, each bringing their own authentic style to the project.

The making of ‘Time Will Tell’ required time, dedication, and the synergy of a like-minded collective. The album embodies the warmth and transformative power of music serving as a driving force for positive change.

22 years after its initial release, the album is freshly remastered and reissued onto 12” vinyl by Dubquake Records!