Suche:stat

More than one of Jack's many nicknames, Zagg is also a shout out to her
uncanny ability to select an unanticipated word or musical flourish, her
disarming poetic acumen, her ability to zoom in and out at lightning
speed and spin a phrase into a mantra, or the opposite of a mantra
Each song on this record is its own unique little world, keeping a listener
delightfully off-kilter throughout the entire affair.
Opening track 'FMK' operates likes a sonic thesis statement. For a quiet moment,
Jackie's confessing her recurring mother-in-law dreams and initiating a suddendeath round of Fuck Marry Kill. Then on a dime she somersaults into rocket-pop
posture, ready to cut loose and head to the movies with her best boogie- boy:
'Let's go to the movies and dance a little…you can share my Twizzler…Let's go to
the movies, you can dance at the movies!!!' The charging, industrial pop of 'Get
Out' is augmented with punching strings that are both lovely and foreboding. In
the lithe, Rickie Lee Jones-nodding 'Yesterday's Baby,' a giant foot-shaped cloud
looms in the mouth- shaped sky and Jackie gets microscopic — 'Why don't you
just let it burn out/Toss that glass of wine out/Stamp that Camel Light out/Shut
your mouth up shut up your mouth.' After a few more dances, deep diaphragmatic
breaths, and Blood on the Tracks winking ballads, knock-out marathon track 'Keep
Runner' gives it straight to some Wile E. Coyote tomfool who's out getting his butt
blown up again." The energy of the record, I think, comes from finding out Patti
Smith didn't make Horses until she was 29. Extremely influential Wiki experience.
Oh, and Adam Green, my all- time favorite songwriter and artist, painted me
looking like a doctrinal seer peering into a cartoon mirror for the cover.
Pressed on Transparent Yellow color vinyl.

With its name indicative of the music's boundary-testing diversity and Southwestern inspiration, On the Border finds the Eagles leaving everything on the table and embracing a harder edge that takes the band out of more relaxed territory and establishes it as a group that knows how – and wants – to rock. Glenn Frey, Don Henley, new member Don Felder, and company immediately announce their intent on the defiant album-opening hit "Already Gone" and never look back, crafting a gem of a record that from start to finish is arguably their most consistent and balanced effort.

Limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's significance and enhances the experience for generations to come. Playing with reference sonics that elevate an effort revered by audiophiles, it provides a lively, dynamic, transparent, and intimate view of a release whose contemporary importance continues to grow. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and gorgeous presentation of the UD1S On the Border pressing befit its select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic Navajo cover painting to the meticulous finishes.

And with On the Border, there's plenty to take in and soak up. Declared by famed critic Robert Christgau as "the Eagles' best album," the 1974 set claims a rich backstory. Initially recorded amid tumultuous sessions with producer Glyn Johns in London shortly after the release of the group's sophomore Desperado set, On the Border took a new turn after the band elected to scrap most of the prior work, return to its native California, and team with producer Bill Szymczyk to give the material less of a smooth, polished sheen and more toughness. Szymczyk also afforded the Eagles more input and freedom in the arrangements, and suggested adding another guitarist to play on "Good Day in Hell." Felder got the call, and so won over the Eagles with his skills, he quickly became the fifth member of the band.

While the late-arriving Felder only plays on one other album cut, "Already Gone," his mates more than prove their muster on the remainder of a double-platinum affair that established the Eagles as a force whose range transcended the calmer country-leaning style it perfected on their first two LPs. Primarily written by Jackson Browne and shelved during the Desperado sessions due to its higher-energy nature, the throttle-twisting "James Dean" ricochets with barbed riffs and rebellious swagger. Listen without limits to how Szymczyk's raw production stamps the song with a leather-and-jeans cool befitting its protagonist. Similarly rugged, the slide-guitar-fueled "Good Day in Hell" boasts its own mean streak. And the funk-laced, boot-stomping title track cautions "don't you tell me 'bout your law and order." Throughout On the Border, the Eagles are in no mood to mess around.

Not that the band skirts sentimental territory. On one of the era's finest covers, the Eagles nail the bittersweet feelings and bring high-definition detail to the vivid scenery of Tom Waits' "Ol' '55," a song the group makes its own. The rustic ballad "My Man" serves as a tribute to the recently deceased Gram Parsons, with singer-guitarist Bernie Leadon taking the lead on the microphone as he pours his heart out to his former Flying Burrito Brothers mate. And when it comes to romance, is it possible to top "Best of My Love"? Graced with Henley's honey-dipped vocals, refined wordless group harmonies, brushed drums, and the gentle strum of acoustic guitars, the Johns-produced cut soared to Number One and set the stage for what would soon be the Eagles' reality: global dominance.

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

Not a great deal is known about this talented artist having released only 4 albums in a recording career that started in 1993. Raised in a musical family by piano playing parents he began learning the instrument at an early age, later concentrating on the saxophone, but became a multi-instrumentalist by the time was signed to Verve Records, playing most forms of keyboards, synths, vibes, as well as sax and flute. He moved to Florida, from his native New York, shortly after graduating from studying music at university in New Jersey, and played in local rock bands whilst developing his love for jazz, and was working on a demo to try and get a record deal. 
 
Disaster struck when he was involved in a serious boating accident in which both hands were badly crushed and he was unable to play an instrument for many months, during which time he developed a skill for singing and composing. Turning adversity into opportunity is the best way to describe the outcome.
 
So why is a soul label interested in releasing some of his material? Both tracks selected, "One" and "Sweeter", are released on vinyl for the first time and come from his third album, "Lights On", released on his own label Eaak Records following a break of 7 years which was devoted to raising his children. The sounds are undeniably late night make-out music, lush, sophisticated and sensuous. 
 
The majority of plaudits for his work previously came from the world of contemporary jazz and, dare I say it, smooth jazz, and was largely ignored by the soul magazines and radio stations. His captivating falsetto vocal style, reflects his influences by Curtis Mayfield, Smokey Robinson and Marvin Gaye. All his material is self-penned and the albums were co-produced with drummer Guy Eckstine. There is an underlying 70’s feel to the contemporary arrangements and his work is clearly deserving of greater recognition.

Steve Hobbs (Solar Radio, Totally Wired Radio)soul

Limited vinyl pressing in collaboration with Rico Toto. Artwork by Floating Bstrd.

Invisible City Editions continues our 10 year anniversary in adventurous sounds. We are thrilled to announce the re-release of Rico Toto’s 1993 CD recording Fwa Épi Sajès. Mind melting synthesizers and drum machines fuse with ancient Guadeloupe Gwo-ka rhythms in this musical endeavour Rico Toto describes as “Electro-ka.” The improvised live instruments of the Moundjahka ensemble meld with electronic abstraction to create a psychedelic, immersive digital diaspora dream state. With nods to Jon Hassell’s’ atmospheric soundscapes, YMO and Baldelli / TBC Cosmic mixtapes, this selection of songs encompasses an entire spectrum of moods and sounds. The A side begins with fourth-world tropical percussions, opening with sounds of nature in “Jungle Meditation” and leading into the downtempo summer synthpop jam “Yadadé.” The B side takes a darker turn, starting off with the deep chugging rhythms of “Rawal Pindi” and continuing even deeper with synth sounds and haunting vocals that culminates into the dreamy meditative final track, “Golgotha.”

"Bunn DeBrett Quintet is back with volume 2 of the eponymous album series of contemporary Jazz. Following on from the success of the critically acclaimed first album released in 2021 which sold out its vinyl run, volume 2 builds on the artistic and creative expressions of Volume 1 to bring together a group of artists to perform on Stephen Bunn and Jon DeBrett's compositions.

Once again featuring the core musicians of Stephen and Jon along with Neil Corcoran, Alan Barnes, Roger Beujolais, and the stunning spoken word vocals of Tenesha the Wordsmith. BDQ vol. 2 also benefits from the contributions of instrumentalists Nathan Haines, Crispin Taylor, Alastair Martin and the poetry of Daniel B. Summerhill.

Across the five tracks of this album this stellar line-up of musicians, composers and artists have created just under 40 minutes of the most fluid and fluent contemporary Jazz you will hear in many a year. Combining the spiritual with the modal and the modern, the atmosphere of this album will capture, enchant and enrapture all true music fans and those whose boundaries are blurred as to be non-existent."

John Holt has one of the finest and most versatile voices to come out of Jamaica.Whether fronting the great vocal group 'The Paragons' which he joined around 1965,singing many of their greatest hits including'Tide is High','On the Beach','Wear You to the Ball' to name but a few or his extensive solo career.A career that saw him covering every musical style from Pop,Lovers,Soul and his much overlooked Roots period.

John Holt (b.1947,Kingston,Jamaica) was a child prodigy he began his career being a regular voice on talent contests run by Vera Johns across the Jamaican Island.He cut his first single in 1963 for Leslie Kong's Beverly's label,'I Cried a Tear/Forever I'll Stay' and sang many duets with various singers of the day including 'Rum Bumper' with Aton Ellis.
In 1965 to 1970 as stated above was John Holts Paragon years in a period which he also ran solo with hits such as 'Fancy Make Up','A Love I Can Feel' and 'Lets Build Our Dreams'.
For this release we are looking at his extremely productive period working with Bunny'Striker'Lee.This reissue of John Holts classic1976 album 'Before The Next Tear Drop' is an album filled with classic after classic sung by Mr.Holt effortlessly.....
Hope you enjoy visiting these tracks....

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods . A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet , before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood's value of sound matured with a remarkably democratic and nonhierarchical approach and application. Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood's music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods , self- issued as a small vinyl edition in 1975. Where Neighborhoods , a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood's love for nature. Only recently discovered in his archives, the album dramatically expands his concept of "musical cinematography," imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood's extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world. A fascinating counterpoint to its predecessor, Back to the Woodlands brings us even closer to Hood's belief in the transportive qualities of sound; that field recordings could serve as a vehicle for the imagination and liberation, particularly for those with similar mobile disabilities as his own. Across the album's twelve compositions, the rippling instrumental harmonics - shifting between abstraction and playful melody - fold so seamlessly into the birdsong, bubbling brooks, and other environmental ambiences, that they often give the impression of having been recording within the landscapes toward which they whisper. Falling somewhere between the immersive calm of healing music and New Age, the creative field recording practices of sound ecologists world building for Folkways, and the jazz infected ambiences during Obscure / Editions EG's highest heights, Back to the Woodlands sculpts an singular proximity of music for its moment; a form of ambient sonic realism that draws the consciousness toward its surroundings as much as within. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood's Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin , with new liner notes by Michael Klausman . On behalf of Ernest Hood and Freedom To Spend, a portion of the proceeds from this release will benefit Oregon Wild, an organization dedicated to protecting and restoring Oregon's wildlands, wildlife, and waters as an enduring legacy for future generations.

Prolific Japanese producer T5UMUT5UMU has built up a reputation in the last few years for his ability not just to recreate club styles but to flip them into almost unrecognizable dancefloor hybrids. "Asyl" follows a blistering run of Bandcamp releases where T5UMUT5UMU has melted together gqom and techno, deconstructed grime and welded dubstep to traditional music from Japan and India. Here, he's operating completely off the grid, pulling raw materials from across the globe and hammering them into confounding shapes and patterns. On its surface, 'Fireball' sounds like a liquid metal approximation of South African gqom, but move in closer and you can make out dubstep bass squelches, trap hats, and industrial techno jet propulsion filling in the gaps with rubberized mortar. 'Desert' is the EP's most lightheaded cut, a psychedelic percussive spiral that curves micro-tuned mbira clangs around bee sting bass, aerated noise blasts and sub-aqueous kicks. It's a hard track to place, but fits in somewhere between Donato Dozzy, Menzi and 33EMYBW, all shifting rhythms and precision-edited sound design. 'Sea of Trees' retains this momentum, pushing the tempo and interspersing woodblock vibrations with syncopated bass drums and goosebump-inducing synths, while closer 'Bottomless Valley' shifts back into a gqom framework, shuffling the expected pulse with a powerful dembow swing, half step subs and Indian-inspired rattles. "Asyl" is a varied but shockingly coherent statement from an enigmatic producer who refuses to confine himself to a single path, and at a time when "cross-genre" is the norm rather than the exception, it's refreshing to witness a producer who's unafraid to truly make stylistic left-turns, rather than simply mash together top-level aesthetics.

LTD PICTURE DISC

This 2016 vinyl edition comes in Picture Disc LP with Gatefold Jacket, limited to 400 copies. Reissue on picture disc of the second studio album from the classic American thrashers Forbidden. The band released five albums and, though never sufficiently recognised worldwide as their peers, gained status among die-hard fans through the years. If you never get the chance of approaching Forbidden, tracks like "Infinite" or "Step By Step" will make it for you from the first listen.

Light Became Light is the debut album from Puppies in the Sun, a project composed of Alberto Cendra (synthesizers) and Cristóbal Pereira (drums), both originally from Peru and currently based in Rotterdam. Friends since childhood, they crossed paths again in Barcelona by sheer coincidence. This spontaneous pulse is also what dictated the beginnings of the project's characteristic sound: lengthy improvisational and sound exploratory sessions which are summed up in the project's first two EP's (Unheard EP and The Church of Puppies in the Sun, 2018). Like other well-known duos, Puppies in the Sun maximizes their compact instrumentation to establish themselves as a (noise) rock band without the presence of guitars or bass guitars. Far from being a limitation, this has provided them with great freedom. The lower end of the album's soundscape is triggered on Cendra's synthesizer scheme by Pereira's drums. This being one of the characteristics that emerge from the organic, minimal and spontaneous style of the band. As if it was a rocket, Light Became Light takes off in search of a sound and a space that pays tribute to cosmic rock and synthesizer music without leaving the melodic rawness of noise rock or even black metal behind. Some might also perceive an atmosphere that owes its existence to techno parties and a slight wink towards folk imagery. If there is anything that makes their sound iconic is the call for constructing wild and festive ambiances, state of trance and agitation. Light Became Light was recorded and mixed by Oscar Moreno at El Purgatorio (Madrid, Spain). In the middle of an intense heat wave, Puppies in the Sun locked themselves through the course of two weeks to record and process various analog and digital synthesizers, pianos, drums and vocals, to later mix Light Became Light in a classic analog console. Light Became Light is being published by Buh Records on 12" Vinyl in a limited edition of 300 copies. The artwork was done by the band itself and designed by Fernanda Binvignat.

Originally premiered in its earliest state at Tate Britain by William Bennett and Mary DeBlois in 2010, the SIXTEEN WAYS OUT magnum opus reflects over a decade's work of compositional refinement and elaborate studio expansion, and is the first Cut Hands release since 2014's highly-acclaimed FESTIVAL OF THE DEAD on the Blackest Ever Black label. The end result is a mystical showcase of musical esoterica, its seventeen tracks fusing the most arcane elements of subliminal extralinguistics, avant-garde transformational hypnosis, and dark self-help secrets. You will never hear anything quite like it. Available on 180gm vinyl and CD. CD version includes beautiful 12page booklet with expanded texts.

Outernational Live from Studio Two Abbey Road" is a unique live LP featuring new stars of UK jazz recorded at the world-famous Abbey Road Studios during the winter lockdown of 2021.

Tracks were originally laid down for a covid-friendly filmed show hosted by the South by Southwest (SXSW) music festival in March of that year following a run of ground-breaking live showcases at the Austin event since 2017.

Featuring UK rising jazz stars Doom Cannon, Camilla George, Richard Spaven, Theon Cross, Noya Rao, Daniel Casimir and Tess Hirst, this will be a VINYL ONLY release - limited to 500 copies.

Previous acts from these internationally celebrated showcases include Shabaka Hutchings, Nubya Garcia and Moses Boyd with this special-edition LP highlighting the best of the next wave.

Theon Cross stated, "The JRF/BU Outernational showcase for SXSW filmed and recorded at Abbey Road in Feb 2021 was a very special one. It was one of the first times since the start of the pandemic that we were able to play together and make music for an audience despite them not being in the room. We really hit our stride with Panda Village a track from my album FYAH channeling all the joy and emotion of this cathartic moment."

Jazz Re:freshed also confirmed they will be returning to SXSW in 2023 for another landmark showcase, with further details to follow.creditsreleased September 2, 2022

Recorded in February 2021 in Studio Two, Abbey Road Studios, London.
Produced by Jazz re:freshed and British Underground.
Engineered by John Barrett
Mixed/Mastered by Mark Lewis
Photography Miles Myerscough-Harris
Cover Art by Luke Drozd

"Matasuna Records" musical journey takes the listener this time to "Panama" - a country in Central America, which offers a rich and breath-taking variety of musical treasures. In a first reissue, two songs from the legendary "Loyola Records" label were selected, both released in 1969: one by "Camilo Azuquita" and one by the group "Panama Brass". Two super-rare tunes that fetch crazy prices, if you're lucky enough to find a copy at all. Available for the first time as an official remastered reissue on 7inch vinyl - the song by Panama Brass even makes its 7inch premiere. Don't sleep on it!

The A-side features the killer boogaloo tune "Borombon" by "Camilo Azuquita". Its take of the song composed by "Javier Vasquez" is undoubtedly the best version of this song. The striking piano, driving bass and rich horns are fueled by percussive accompaniment and especially by Azuquita's powerful voice. A terrific song that has also recently gained new notoriety in movies and series - such as "Better Call Saul".

The B-side features the instrumental Latin Jazz/Guaracha tune "Con La Mano En La Biblia" by "Panama Brass" - an orchestra led by the excellent organist "Cristobal Munoz Jr." and consisting of Panama's best musicians. A no less energetic and furious song composed by "G. Garcias". The musicians of the orchestra combine a great musicality and diversity in the song, delivering a special delicacy.

"Camilo Luis Argumédez" is a singer and composer born in "Colon (Panama)" on February 18th 1945. He became world famous under his stage name Camilo Azuquita. He began his career at a young age, when he participated in various competitions organized by local radio stations. He left Panama for the first time for an engagement in "Lima (Peru)" - the prelude tocountlesstrips.

After returning to Panama, another engagement in 1966 took him to "Puerto Rico", where he also recorded music. Due to a tour he was involved in, he ended up in "New York City" where he made new & fruitful acquaintances with other artists that resulted in some more recordings.

In 1968 he returned again to Puerto Rico, where he joined a band to record an album. In the following years, tours and concerts followed, as well as an engagement in a club where he musically accompanied many stars of Latin American music.

Between 1972 and 1976 he spent four years in "Los Angeles", where he performed in night clubs, recorded two albums and toured California with his own band "Melao". In LA, through a brother of the "Fania" boss, he got a contract with "Vaya Records", a subsidiary of the Fania label, which brought him back to New York City in 1976. There he joined the band "Tipica'73" and their two following albums brought him much success.

A tour led him to "Paris", where he met the journalist "Pierre Goldman". A proposed project became reality two years later: Azuquita opened the first Parisian Salsa Club. As this became a complete success and the audience filled the club on each of the evenings, a first engagement of one month was extended to several years. In France, he performed at the world-famous "Olympia Theater "or played at the "Old Bourget airport", opening for a live concert by reggae legend "Bob Marley" in front of 75,000 people. From France, he traveled throughout Europe, where the performances in front of European audiences brought him enormous prestige.

From 1985 to 1987, "Azuquita y su Melao" toured extensively in "California", where he signed a 1-year contract at "Club Candilejas" in "Hollywood" in 1988. In the following decades, he recorded many more albums - in NYC, Cali (Colombia), France or Havana (Cuba), among others. In addition, he was still very active on tours, festivals and concerts around the globe. An extremely remarkable artist, whose activity has brought him to the top.

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"Panama Brass" was an orchestra directed and orchestrated by the excellent organist "Cristobal Munoz Jr." The orchestra consisted of one of the best musicians of Panama at that time. Munoz was an exclusive artist of "Loyola Records" at the time and was considered a promising or up-and-coming conductor. That this album could be realized at all had only been possible thanks to Hubert J. Pretto. Pretto, then Assistant Vice President & General Manager of "Coca Cola Panama" arranged the funds necessary for the realization of this album and supported the campaign to promote music culture in Panama. This album would remain the only one released by this group.

'Xaybu: The Unseen' is the sophomore release from Sélébéyone, the
international avant-rap collective led by saxophonist and composer Steve
Lehman, who has been hailed by The New York Times for his "sure-footed
futurism" in the realms of modern jazz and contemporary classical music
Comprised of MCs HPrizm and Gaston Bandimic, saxophonists Lehman and
Maciek Lasserre, and drummer Damion Reid, their eponymous 2016 debut was
hailed as a game-changing synthesis of underground hip-hop, modern jazz and
live electronic music that was described by Pitchfork as "legitimately new" and a
"revelation."
On 'Xaybu', Sélébéyone - which means "intersection" in Wolof - continues to build
on its groundbreaking work with shifting rhythms and state- of- the art sound
design, now with a newfound sense of effortless fluidity. The word "xaybu" in
Wolof refers to the concept in Islamic mysticism of al- Ghaib - that which is
unknowable and unseeable. HPrizm (a.k.a. High Priest, legend of New York's
underground hip- hop scene and a founding member of Antipop Consortium),
Bandimic (one of Senegal's most distinctive young rap stars), and Lasserre are all
Sufi Muslims, and that spiritual connection and sense of abandon and giving in to
the unknown has been a cornerstone of the group since its inception.
The result is a profound musical statement filled with otherworldly sonorities,
intricate compositional structures, and cutting- edge improvisation that deftly
explores spirituality and mysticism through the lens of experimental music.

“Cheri, Cheri Lady” was Modern Talking’s third single in a row that peaked at #1 on the German singles chart. This is the only single released from Modern Talking’s second album Let’s Talk About Love, released in 1985. Before “Cheri Cheri Lady” reached Gold, it spent four weeks at the top and sold over 250,000 copies in Germany. The single also received a Silver status in France.

Cheri, Cheri Lady is available as a limited edition of 1500 individually numbered copies on translucent pink coloured vinyl.

Originally released 2020 on cassette and digitally.

Forged alone in a cave on the island of Java, and recorded in a fortress in Poland, Antonina Nowacka’s “Lamunan” is an intimate exploration of a mysterious darkness and the earliest of musical forms. Nowacka has co-created raw electronics and audiovisuals as half of WIDT and the enigmatic Mentos Gulgendo, but her solo practice focuses solely on the voice’s inherent connection to mental states, its ability to speak wordlessly, and the apparatus of speech itself – leading her to a six-month trip to study traditional music in Indonesia.

A day trip to visit a Javanese volcano turned into days of exploring, Nowacka eventually stumbling across a cave. “Rarely does anyone come there because Indonesians are afraid of the dark and the cave is poorly lit,” explains Nowacka. “I could sit there and sing for hours without feeling the passage of time.”

Hours spent in the dizzying darkness and echoes of Seplawan Cave produced a series of unaccompanied vocal motifs. Moans, chants, hums, and wordless cries met with the multi-million year-old facades of the stone walls. The freely flowing compositions seem forged from the same natural material as that stone, carved into shape by nothing but water, time, and solitude.

Upon returning to Poland, Nowacka recorded with Rafal Smoliński in the cave-like sonic conditions of the Modlin Fortress some 50km north of Warsaw. The intimate and surreal sound of the cave is recreated, Nowacka overlapping multiple vocal lines to create delicately interwoven chamber choral pieces, musically minimalist and emotionally maximalist. The album’s title – "Lamunan" – comes from the Indonesian word for ‘dreaming’ or ‘fantasy’.

After the success of his latest works, Moderator comes back with the EP In The Garden, a refined jazzy blend of genres so typical of the producer, as shows the track ‘Half Light’. A sweet and sour instrumental that takes the listener on a sensitive and introspective journey through melancholic chords.

Hailing from Athens, Greece, Moderator has been producing his brand of cinematic beats since 2012. His debut album The World Within (2015) established him as a serious player on the downtempo/trip-hop scene. His latest works, Sinner’s Syndrome and Midnight Madness hit the #1 best-selling album on the Bandcamp music platform selling thousands of records. Dazzling with a distinctive production style that leaps across genre boundaries like psychedelic, lounge, horror film soundtracks, surf, Memphis soul, and rockabilly, his influences phase in-and-out. His music is similar to calmly turning the radio dial to a random station, yielding a surprising but pleasant discovery.

Less than a hundred miles inland from the capital city of Lima lies the great Peruvian jungle, an untamed land of impenetrable forests and endless winding rivers. In its isolated cities, cut off from the fashions of the capital, a unique style of music began to develop, inspired equally by the sounds of the surrounding forests, the roll of the mighty Amazon and Ucayali Rivers, and the rhythms of cumbia picked up from distant stations on transistor radios. With the arrival of electricity, a new generation of young musicians started plugging in their guitars and trading in their accordions for synthesizers: Amazonian cumbia was born.

Powered by fast-paced timbale rhythms, driven by spidery, treble-damaged guitar lines, and drenched in bright splashes of organ, Amazonian cumbia was like a hyperactive distant cousin of surf music crossed with an all-night dance party in the heart of the forest. While many of the genre’s greatest tracks were instrumental, and others were simple celebrations of life in the jungle, the goal of every song was to keep the party going.

Radio stations in Lima remained unaware of the new electric sounds emanating from the jungle, but a handful of pioneering
record producers ventured over the mountain passes to the cities of Tarapoto, Moyobamba, Pucallpa – even Iquitos, a city
reachable only by boat or plane – and lured dozens of bands to the recording studios of the capital to lay down their best
tracks. Although many became local hits, few were ever heard outside the Amazonian region … until now.
With eighteen tracks from some of the greatest names in Amazonian cumbia, Perú Selvatico is both the improbable soundtrack
to a beach party on a banks of the Amazon and a psychedelic safari into the sylvan mysteries of the Peruvian jungle.

140g LP, High UV Gloss Gatefold Jacket and 60cm double-sided fold-out poster.. it's a big release! TIP!

Raised across multiple cities, Amaarae’s music reflects a life split between New Jersey, Atlanta and Accra. As indebted to raw Southern rap as it is dancehall, her work also holds echoes of glossy mall rock and bubblegum pop. Embraced and endorsed by the Nigerian Alté scene as it was exploding into action several years ago, THE ANGEL YOU DON’T KNOW is an exuberant opening statement from Amaarae, anchoring her sound in her heritage and myriad influences, channelled through female empowerment. Whilst working on the record, Amaarae’s
reference points ranged from Paul Wall to Meat Puppets, reflected in the kaleidoscopic vision of the album, effortlessly jumping from the country trap of FANCY to an Afro-house comedown in 3AM. The vinyl release of TAYDK is packaged in a UV gloss gatefold sleeve with double- sided poster insert. It features an exclusive remix of FANCY, featuring London rap royalty Bree Runway.

Press:
"The future of Afro-pop” New Yorker “An instant classic” The Guardian
“One of the most compelling new acts on any continent” Pitchfork

NOT EXPORTABLE TO France, Italy, Spain, Benelux, Greece, Balkans. "Center. The name may define the furtive action of search engines, but it says plenty about the music made by this trio, whose members reside in New Haven, Connecticut. Stefan Christensen, Ian McColm, and Dave Shapiro make music so weighty that it generates its own gravity, and yet transparent enough to see straight through to its center. They have arrived at a sound located within a matrix of possibilities suggested by their many shared and separate ventures. It is the sonic orb around which Christensen's post-Xpressway analog alchemy; Shapiro's expositions of acoustic guitar expressivity under the name Alexander and as an accompanist for Kath Bloom, McColm's generation of pulsing freedom as the drummer for Heart of the Ghost and diverse improvisational ensembles, Shapiro and Christensen's unification of historically sound psychedelic practices from either side of the Pacific Ocean as part of Headroom, and McColm and Shapiro's explorations of electric guitar turbulence in Nagual all turn. If you were to search for Center's generative root, you'd find it in Nagual. Christensen first joined the duo in 2016, first as a deputy, and ultimately a full member. Their improvisations acquired a quieter, more spacious character. This transformation necessitated a new name, and they have been working towards completing this LP ever since. While all of the music on Over The Stations originated spontaneously, it has been subjected to centrifugal forces of evaluation and collective debate in order to distill the trio's essence. Modulated chimes, squeezebox respirations, strategic drum beats, humid reeds, and pond-dwelling synth voices augment what is essentially a stringed instrument trio. Listen in, and listen deep. - Bill Meyer" TRACKLIST: "A1 Over The Stations A2 The Empty Gesture A3 10 / 10 Sky A4 White Pine Oval A5 Modern Heights A6 Birds Fall From The Dam B1 Door 5-4 B2 Pysyvä"

The numerical solution of nonlinear partial differential equations plays a prominent role in social engineering. Artificial intelligence and consciousness algorithms, confusing soul with a determined mind state, this is the point to explore. Where is the limit?

This compilation consists in 4 sound artworks trying to program complex algorithms for isolated and confused individuals with an altered state of mind through Differential Quadrature methodologies.

Limited Gold Vinyl

Son Lux reemerge with their forthcoming fifth full-length LP, Brighter Wounds, finding the trio in command of a daring, multidirectional sound, expressing naturally the proclivity for surprise and contrast that characterize the project's output. The new release explores the violence of love, the beauty of sacrifice, and the specter of impermanence.Anchored by its cinematic heart, All Directions,' the album ranges from the thunderous charge of Dream State' to the sputtering, soulful lilt of Slowly.' Ryan Lott's devastating vocal on "Aquatic," guitarist Rafiq Bhatia's blooming flower melismas on "Labor," and drummer Ian Chang's nearly inhuman rhythmic calculus on "The Fool You Need" illuminate a curious and delicate balance of precision and pain.Since 2015's Bones, the band's profile has grown in the worlds of music, dance, and film. Each member now charts their respective solo paths, and their individual adventures find a home within the purview of Son Lux. On Brighter Wounds, collaborators range from longtime cohorts Rob Moose (Y Music, Bon Iver, The National) and DM Stith (Sufjan Stevens), to new friends trumpeter Dave Douglas and reedist/instrument builder Arrington de Dionyso.Son Lux has made invention its hallmark through continued exploration and experimentation. With Brighter Wounds, the triad NPR proclaimed the world's most lethal band" now grips exhilaration and heartache in full embrace. In the words of the album's closing refrain, "is this what the resurrection feels like"

red/clear splatter vinyl

Shake Chain will also be performing at Marina Abramovic’s private view at Modern Art Oxford on September 23rd.

Shake Chain have been busy demolishing audiences and expectations for the best part of three years. Vocalist Kate Mahony sets that standard by starting each live performance by crawling from the back of the room through a disbelieving crowd’s legs in a shiny yellow raincoat. The resulting questions that frantically arise of ‘what’s going on?’, ‘am I hallucinating?’ and ‘is this part of the show?’ are hallmarks of how Shake Chain approach making their unruly, lyric-bespattered rock music.

The four-piece from London are completed by Robert Syres (guitar, synth), Chris Hopkins (bass, synth) and Joe Fergey (drums), all artists hailing from Goldsmiths College, Nottingham Trent and Wimbledon, University of the Arts. A mutual love of thought-provoking performance art and a yearning for disruption have helped Shake Chain lock into their wayward sound. Twitchy guitar lines jolt and jerk, synths burble noisily and tack-sharp drums pin things down for Kate’s reeling vocal to vault and slur. Kate’s singing has drawn comparisons with Yoko Ono, Su Tissue and even a seance with it’s unique embrace of flights of atonal fancy, head-first repetition and ecstatic frenzy. Opinion-dividing arguably, but singular in making Shake Chain dauntingly brilliant.

Shake Chain’s debut album ‘Snake Chain’ was recorded in the New Forest’s Chuckalumba Studios early in 2022. The tranquil setting only slightly skewed by the intense extratropical cyclone occuring outside. When asked to sum up the album the group collectively settled on it sounding like “crying in a Catholic sex dungeon with Eastenders on”, perhaps only half tongue in cheek given the soapy dramatics of opening track ‘Stace’. ‘RU’ is a stompy triumph of ad lib monotony, heavy and wonky, its vocal slowly unwinding into residual sense. Shake Chain’s songs are populated with cowboys, cherry-pickers, content-addicts, private investments, a careless driver called Mike, architects and by much lamentation at the state of our confusing existencies. This last point underlined in luminous marker pen with slow-building vortex ‘Highly Conpeptual’ and whispered closer ‘Duck’.

‘Copy Me’ races along with radiant headbangs of dynamic abandon, one part tumble, two parts pummel, “hold your breath til something changes” commands Kate whilst everything of course is in hammering flux. ‘Second Home’ is similarly coruscating yet bouyant, whilst ‘Arthur’ feels like it could tear inside in two amid sobbing wails and the twining of its disparate parts. Throughout all the unhinged freakouts, found sounds and blasting rhythms though is Kate’s questioning, resilient presence, anchoring everything. On bruising creeper ‘Birthday’ she asks most tellingly “Do we speak language or does language speak us? Is there a mouth in the middle of the desert? Do you ask how cups are designed? Would you say yes when you really mean I don’t know”? Shake Chain are cathartic and absurd, humorous and deadly serious yet always inspired. Its this tightrope walk which makes their album such a thrilling, vital listen.

Employing a vast array of advanced vocal and instrumental techniques, Broken Gargoyles is arguably Galas" most intellectually, sonically and viscerally formidable work to date. The album finds the visionary artist deftly probing the weaving, warping transformation on the nervous systems of her post-traumatic soldiers and dying diseas ed. Composed in 2020 during the beginning of the Covid-19 pandemic, the first presentation of Broken Gargoyles featured verses by German poet Georg Heym, "Das Fieberspital" and "Die Dämonen der Stadt." The work was finalized in 2020 in collaboration with the artist and sound designer Daniel Neumann. In "Das Fieberspital" Heym describes the horrific state of people suffering from yellow fever who live in paralyzing fear of death and swirling delirium owing to their brutal treatment and isolation in medical wards in early 20th-century Germany. "Die Dämonen der Stadt" also addresses such grim portents of World War I; in this poem, the god Baal observes (like a gargoyle) a town from a rooftop of a city block at nighttime and lets a street burn down during dawn. The final incarnation of the work was played as a sound installation at the Kapellen Leprosarium (Leper"s Sanctuary) in Hanover, Germany

"I was 27 when this album came out, LA was a whole different animal. I was going back and forth from NY to LA, touring a lot and trying to make progress for me and my close friends and family.

Oct 1 2002 seems like it was yesterday... The day we released the album, I got a call from Nas, completely caught me off guard. He complemented me on the writing of “Release Date” the first track on the album. Those are some of the moments I think of when I reminisce about dropping this project. It was such a turning point in my life, I was coming off of a huge push with “Restless” and the follow up had to be a smash, at the same time I was still finding my standing as a man, a young father, and an artist. It was always my dream to work with the people I’ve now been able to work with and I can listen to this album and remember exactly where I was and who I was with, it’s like time travel.

Fast forward 20 years later and I am thrilled to be able to share this body of work with you and more generations to come.

Thank you for rockin' with me for all this time.
Enjoy the 20th Anniversary Edition of MAN VS MACHINE,

From its dramatic intro, "Release Date," to the thundering West Coast march "Enemies," Xzibit's fourth and mythical album, Man vs. Machine produced by no less than Dr Dre, spent a total of 19 weeks on the "Billboard" 200 chart and was certified gold only a month after its release with over 500,000 copies sold.

The legendary album that features a heavyweight cast of featurings with the likes of Snoop Dogg, Eminem, M.O.P, Nate Dogg, DJ Premier and Dr Dre himself is now available for the first time since its original release, to celebrate its 20th anniversary!

















[q] D3. My Life, My World [Bonus Track]
[r] D4. What a Mess [Bonus Track]
[s] D5. (Hit U) Where It Hurts [Bonus Track]

Padang Moonrise is the story of modern Indonesian music
that emerged underneath the volcanoes of Java and
Sumatra. Java, the most populous island in the archipelago
of over 17,000 islands and 1300 distinct ethnic groups, and
its capital city Jakarta, was where most of the post-colonial
national identity, politics, administration and music production
was centred.
Traditional songs from Java, Sumatra, Bali and beyond were
re-imagined by a small group of state-sponsored musicians
that also composed and arranged new music. These songs
aimed at consolidating a geographically disparate country
with a new language and new ideas of national character.
This compilation brings together a handful of these recordings
that combine elements of regional popular music, Islamic
Gambus, Javanese & Balinese Gamelan and Kroncong, with
jazz, Afro-Latin music & instrumentation, and vocal harmonies
influenced by banned American doo-wop and rock & roll.
The results are a unique blend of styles that have remained
mostly insulated from the world outside of Indonesia until a
recent worldwide resurgence in the interest of recorded music
of all forms has shone a new light on these nearly forgotten
recordings.
27 tracks compiled by Miles Cleret, on double vinyl with bonus
7”, housed in gatefold sleeve with extended liner notes.

James Taylor's best-selling record since 1970's hallmark Sweet Baby James, the triple-platinum JT takes its permanent place as one of the singer's most enduring albums — an affair that gorges on country, blues, and rock styles as well as incisive songwriting. As the pre-eminent singer-songwriter's Columbia debut, it catapulted Taylor back into the limelight and re-established his place as the era's leading-edge folk-rock troubadour.

Sourced from the original analog master tapes and pressed at RTI, Mobile Fidelity's numbered-edition 180g LP possesses a warmth, immediacy, and intimacy absent from other pressings. The singer's comforting voice, breath control, and enchanting guitar lines sound as if they pour right out of the studio control room. Similarly, the splendid array of backing instrumentation is balanced, vivid, and dynamic. Taylor should always sound this realistic, warm, and lively.

More than any other of his records, JT features all sides of Taylor's lyrical persona. Optimistic, content material fills half of the 1977 set while Taylor reveals a darker, moodier identity on a number of songs that keep the 12-track set alternating between shade and light, shadow and sun. He turns romantic and blissful on the touching ballad "There We Are," praises the power of love on "Your Smiling Face," and enchants with the graceful "Secret O'Life."

In addition to channeling domestic bliss, Taylor expresses surprise and cynicism on "Honey Don't Leave L.A.," delves into despair on "Another Grey Morning," and invites sardonic tones on "Bartender's Blues." The result is a complete picture of an extraordinary songwriter and an accurate sketch of the mixed emotions many of us feel when it comes to romance. Taylor's ability to capture deep-seated feelings and set them to lyrical and musical poetry explains why we relate to him on such a meta-level. It's also why his music, including JT, remains timeless.

Taylor doesn't do it all alone. JT benefits from an all-star support cast. Carly Simon and Linda Ronstadt supply background vocals, saxophone great David Sanborn plays the horn, Russ Kunkel mans the percussion, and arranger David Campbell oversees the strings and woodwinds. It's no wonder why many fans consider this gorgeous collection of Laurel Canyon pop-rock Taylor's finest.

Whether you've never heard this record or know it inside and out, this reissue will open your ears to previously hidden details ranging from pedal-steel guitar accents to honky-tonk tonalities. Taylor's funky rhythms, too, gain in stature, as does his command of pace and tempo.

Milly make songs that simmer and spark. The Los Angeles-based band, led by songwriter Brendan Dyer, finds power in the slow burn: their music carries the tension of a lake’s surface moments before a storm hits, or a cracking pane of glass moments before it shatters. Their debut album, Eternal Ring, is kinetic, physical, and often a little bit volatile — a mixture of emo music and 90s-indebted indie that tastes as if it’s been fermenting for years, feeding on itself until it becomes something new entirely. A profound first full-length statement from Dyer and his closest collaborator, bass player Yarden Erez, it’s a record that takes the anxiety of modern-day America and filters it through a prismatic, powerfully individualistic lens, resulting in something intense, bracing, and deeply modern

Lavinia Meijer is a pioneering and exciting musician and composer, and one of the most important harpists of her generation. Known for her passion in broadening the possibilities of the harp – both in terms of sound and appeal
– she’s garnered worldwide critical acclaim for her intelligent, inventive interpretations of both orchestral repertoire and more contemporary music, playing alongside the likes of Philip Glass and Ólafur Arnalds, and performing works by Radiohead in classical venues.

Four years in the making,AreYou Still Somewhere? sees Meijer combine original compositions with her long stated dream of interpreting modern composers and musicians for harp. Works by Ryuichi Sakamoto, Ólafur Arnalds, and Alexandra Streliski all feature, as do collaborations with Dutch pianist Pieter de Graaf and punk legend Iggy Pop.

Are You Still Somewhere? concerns self-reflection and inner growth, topics that have come to the fore over the last couple of years. Family too; looking back, longing, and living with one’s regrets are raked over in ‘Mom & Dad’, a track that features spoken word poetry from Iggy Pop. The 2022 Edison Award-winning album Are You Still Somewhere? includes a 4-page booklet.

US-Rapper Russ bringt den Nachfolger seiner von der Kritik hochgelobten CHOMP EP (2020): CHOMP 2 gilt als sein bislang explosivster Release, der sich mit einer Reihe von Rap-Künstlern und gefeierten Produzenten als Kandidat für das beste Rap-Album des Jahres empfiehlt. Zur Bande seiner Mitstreiter besteht aus The Game, Ransom, Papoose, Big KRIT, Westside Gunn, Styles P, Jadakiss, Lloyd Banks, Cyhi Tha Prince, Jay Electronica, Ghostface Killah, Conway The Machine, Mozzy, Snoop Dogg, Big Sean, Wale und Royce Da 5'9. Dazu gesellen sich Stars wie 9th Wonder, Statik Selektah, Hi-Tek, The Alchemist, DJ Premier, Jake One, Hit-Boy, Bink!, Boi-1DA, Harry Fraud und Mr. Porter, die neben ihm auf CHOMP 2 zu hören sind.

All compositions by Christian Wallumrod. Trondheim Voices is a groundbreaking Norwegian ensemble of improvising vocalists, constantly challenging and changing the framework for how a vocal ensemble can produce sound art. Each singer's individuality, and her timbre combined with the other voices, are in focus, resulting in a unique quality to the groups collective sound. Through their many collaborations with cutting edge composers like Christian Wallumrod, Marilyn Mazur, Jon Balke, Mats Gustavsson and Maja Ratkje, they have made solid statements as developers within vocal and improvised music. Trondheim Voices are exploring and developing new music in the interaction between the singers, the audience, their surroundings and new technology. Christian Wallumrod has worked as a musician and composer since 1992, and he is considered one of the most prominent and influential musicians of his generation in Norway. Following his debut on ECM Records ("No Birch", 1996), he has released a string of albums with Christian Wallumrod Ensemble (CWE) on the same label, all to considerable critical acclaim. The album "Outstairs" (2013) was awarded the Norwegian Grammy's (Spellemannprisen). Brutter (2012), Christian's collaboration with drummer brother Fredrik, has released three albums (Hubro). Hubro is also the home for albums with CWE and Dans Les Arbres, as well as Wallumrod's solo piano records Pianokammer (2015) and Speaksome (2021). Wallumrod has written commissioned works for Ensemble Allegria, Håkon Stene, Oslo Strykekvartett, BOA and Trondheim Jazz Orchestra

Experimental once-sludge metal duo branch out further with an album influenced by Middle East / North African / Asian pop and traditional music. Nazm sees Jucifer deploy their familiar studio tactic: writing, arranging, producing, engineering, and playing all instruments themselves to create a sprawling concept album. This time, it’s to celebrate their shared love for the Middle East and North Africa (MENA) and central / south / west Asian traditional and pop music cultures with fourteen highly textured, intensely personal and passionately delivered original songs. Fans of the band likely know they can expect surprises with each album, as well as recordings which differ drastically at times from their live sound. In this tradition, Nazm strays far from the brutal excess of a Jucifer show (and of their recent releases Futility and District Of Dystopia) but, as with all Jucifer’s recordings, the point is not to imply any static trait of the band but instead to bring to life a story they’re telling. Track Listing: 1. Return 2. Mood 3. Un Occupied 4. Welcome 5. Sahel 6. Endure 7. Pulverization (Becoming) 8. Displaced 9. Jucifer – Divided 10. Notice (Warning) 11. Water Woman 12. Mitochondria 13. The World Is A Sword 14. To The Lost

Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Recorded in St. James Norlands church in London in November 1968 and first released in the following year, this work stands as the first solo bass album in the history of Jazz and improvised music. Born in 1934 in San Francisco, Barre Phillips is one the most influential bassists of his generation. In his long career Phillips has played and recorded with almost everyone in the world of Jazz and beyond, a long list of forward thinking music icons including Don Ellis, Bobby Hutcherson, Dave Holland, Archie Shepp, Marion Brown, John Surman, Paul Bley, Evan Parker just to name a few! Originally recorded as part of a 3 hours session this solo tour-de force expresses the true essence of a genius. A multifaceted, kaleidoscopic journey through a myriad of melodic, rhythmic, fretted and bowed lines. In other words: a true master class and a seminal statement from one of the greatest figures in creative music!

"...Not just an improviser of the highest order; but a true sound sculptor capable of drawing from his instrument such a vast array of shapes and colours that his creation is almost a form of visual art for the ears." Jazzwise

10 year anniversary edition on orange & red marble vinyl. While his formative years were spent listening to everything from Yes to Photek, Scott Hansen didn't get his hands on an actual guitar or drum machine until he left his native Sacramento for San Francisco in 1995. "Encountering this whole new world at 20 years old was a profound experience," says Hansen, better known by his musical pseudonym Tycho and as the graphic artist ISO50. "At the time, I was just learning the processes of design and music; both felt very similar, and have flowed back and forth for me ever since."As seamless as his two creative outlets have been, nearly a decade passed before the release of Hansen's first proper Tycho LP, Sunrise Projector (later expanded and reissued under the title Past Is Prologue). And while three striking singles have emerged since then, the sum of all those sepia-toned parts is nowhere near the double-exposed soundscapes of Dive. The product of a prolonged break from IS050's design work and blog, it pays tribute to Tycho's prismatic past (the dense, guitar-guided turning points of "Daydream" and "Adrift") but spends most of its time pointing to the project's not-so-distant future.That can mean any number of things, really, from the halcyon hooks and hopeful horizons of "A Walk" to the expansive, wildly expressive tone poetry of the title track, an eight-minute epic that unfolds like a compressed concept album. Or at the very least, a restless vision of prog-rock - one that's been coated in neon colors and filtered through a thick piece of blotter paper. And then there's "Elegy," a spare curtain closer that pairs a vulnerable crescendo with a fitting bridge to future works.And with that, Dive establishes its position as the most diverse musical statement of Hansen's multi-medium career; the point where his skills as a performer finally catch up with his vaporized vision of a world that doesn't belong to any particular time or place."Nostalgia is a common thread in my work," says Hansen, "but this album wasn't driven by that idea. I see these songs as artifacts from a future which might have more in common with our past than our present."

First Word Records is very proud to bring you a brand new album from Takuya Kuroda!

Takuya Kuroda is a highly respected trumpeter and arranger born in Kobe, Japan and based in New York City. 'Midnight Crisp' is Takuya's seventh studio album, entirely self-produced and following 2020's highly acclaimed 'Fly Moon Die Soon', also released on UK label First Word (winner of the Worldwide Award's Label of the Year in 2019). Consisting of six new tracks, this once again sees Takuya displaying his unique hybrid sound, blending soulful jazz, funk, post-bop, fusion and hip hop.

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

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

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

His last album was the afore-mentioned 'Fly Moon Die Soon' on First Word, which received plays and support from the likes of Pitchfork, Earmilk, Bandcamp Weekly, Worldwide FM, All About Jazz, Apple Music, Tidal, Stereogum, Treble, Brooklyn Vegan, FIP (France), Tony Minvielle, Jazz FM, Huey Morgan (BBC 6 Music), BBC Radio 3, Novena Carmel, KCRW and tons more DJs, tastemakers, selectors, radio stations, bloggers & magazines.

The new project 'Midnight Crisp' will be released October 21st 2022 on vinyl, CD and digital, worldwide via First Word Records.

ENG Immerse yourself in the psychedelic and rock universe of Woodstock with this event double vinyl! Find the icons of the counter-culture of the end of the 60"s who marked their generation: Joan Baez, Bob Dylan, The Beatles, Donovan, The Turtles, The Zombies, Status Quo, The Pretty Things, The Foundations, Ravi Shankar

For Fans Of... Michael Kiwanuka, The Black Keys, Curtis Harding, Black Pumas. Latest 7” from Philly band named Artist to Watch by NPR station WXPN. Features signature Synth & Soul production from Eraserhood Sound. Follows the 2022 7” Money In Your Mouth / Miss Me. Philadelphia band Stereo League has always been about discovering new genres and working with collaborators who can bring unique sensibilities to their music. On their latest 7” Operator, Please / Seasons of Trouble, the band, comprised of childhood friends Alex Savoth and Dan King, continued their fruitful partnership with the synth & soul record label and production crew Eraserhood Sound. Following the success of the group’s 2021 EP Endless Mirage, the band, again under the guidance of EHS, have created two more timeless, soulful songs, each with their own unique personality. The A side “Operator, Please” is a swampy, seductive throwback to 70s soul and funk, evoking the indelible Southern sound from classic labels like Hi and Cat. The flip side “Seasons of Trouble” puts a bowtie on the funk, taking its cues from the classic Philly soul of The Delfonics, The O’Jays, and more. Stereo League, who have been named Artist to Watch by NPR station WXPN, believe this release to be the clearest and best representation of their vision to date, delivering the classic, yet thrilling sound they have been searching for. Tracks: 1. Operator, Please 2. Seasons of Trouble (Explicit)

BRETT is a new label celebrating the co-dependent scenes of techno and contemporary art.

A sub label of Inland’s Counterchange imprint, each edition will feature music selected by Ed Davenport (Inland / Counterchange), paired with cover art curated by Nils Petersen (Flipping The Coin).

BRETT is dedicated to the spirit of Berlin’s early club scene, where cross-pollination and spirited discourse between musicians and visual artists etched the blueprints for a new techno-culture.

001 finds co-creator and long-time Berlin ex-pat Inland at the helm, delivering four surging, up-tempo club tools, plus 2 brainwave-activating noise experiments. Celebrated Irish-born artist Mariechen Danz provides a photograph of her visionary sculpture, ‘Statue for Gesticulation’, for the cover artwork.

The towering super-human structure bears a multitude of nurturing hand-gestures, suggesting support, comfort and togetherness. Built from roughly textured grey concrete and resembling a technoid, monolithic bunker or industrial space in itself, the loving, humanist symbols of peaceful action mirror the culture of inclusion, love and acceptance practised on the dance floor.