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'Unconscious Collective' is the first album by PS5 - the new ensemble led by Pietro Santangelo (Nu Guinea, Slivovitz, Fitness Forever) - and it will be out for Hyperjazz Records on 21th May 2021.

It's a musical experiment where layered memories and hidden feelings resonate as if they arise directly from the most recondite part of the unconscious and produce a suspension of the stream of consciousness. With the aim to create a state of trance and override the human reason, this is an imaginary round trip across the Mediterranean Sea and the Atlantic Ocean, ideally connecting Naples with North Africa and Latin America.

The arrangements wrote by Santangelo are based on great freedom of improvisation: while the melodic textures of the two saxophones didn't give any clear references, the other musicians followed the rhythmic pulse and its unpredictable ways. The music moves naturally along an imaginary line highlighting the ancestral connection between Jamaica and Ethiopia or between Nigeria and Cuba. In the background, Naples is a synthesis of all the sonic ingredients, mixed and cooked in its own mystical and spicy belly.

Besides Santangelo himself on the tenor and soprano saxophones, the collective is made up of: Paolo Bianconcini, a brilliant Neapolitan percussionist with a very deep Afro-Cuban background; Giuseppe Giroffi, young and talented alto and baritone saxophonist; the bassist Vincenzo Lamagna and the drummer Salvatore Rainone, both loyal members of the former Santangelo's trio.

Recorded live at the Auditorium Novecento in Naples, the legendary studio of Phonotype Records, 'Unconscious Collective' is mixed in analog format by Fabrizio Piccolo, and mastered by Davide Barbarulo at his 20Hz20KHz Studio.

Pietro Santangelo

Pietro was born, lives and plays in Naples. As a saxophonist and composer, he has released five albums with Slivovitz and one with his PS3 trio (Clinamen, Emme records 2017). Graduated in Digital Sound Processing at the Faculty of Physics of Federico II University, he is involved and engaged in the Italian scene of radical improvisation (Franco Ferguson, Elio Martusciello and Officina Arti Soniche, Collettivo NISE).

Multi-instrumentalist since forever, he has collaborated with Nu Guinea, Enzo Avitabile, Fitness Forever, Marzouk Mejri, Dennis Bovell and many others.

He's also author of soundtracks and electronic musician. He appreciates analog photography, loves walking outdoors. He hates biographical notes.

On October 21, 2022, Merge Records will release Pigments, the debut collaboration between New Orleans electro-revival dynamo Dawn Richard and multi-instrumentalist, producer, and composer Spencer Zahn. Pigments is a project about the power of self-expression through living art, through motion. It's also a love letter to New Orleans, Louisiana. Not strictly classical, jazz or ambient electronica but rather a body of "movements," Pigments is an expressive soundscape that is an immersive passage through the city as seen through the eyes of a young Black girl with dreams to paint her future with the pigments given to her. Richard explains: "Spencer wanted to create one long piece of music that would ebb and flow around my lyrics and emotions, which tell a story of growing to love my own skin. I wanted my voice to be moss surrounding the roots of Spencer's compo - sitions, never forcing the moment to fill every space but rather reveling in the openness of thought and breath." Zahn agrees, saying, "I wanted to work with all these different textures, tones, and colors to have a new sound to frame Dawn's voice and lyrics. To hear a lone clarinet as the breath fades and a cello continues its melody to cue Dawn's vocal entrance is unlike any other record she has made. These are things that excite me as a composer but more as a listener. I hope that other listeners feel the same." Coming on the heels of Dawn Richard's critically acclaimed Merge debut Line, Pigments will introduce listeners to a different facet of Richard's outrageous talent and bring Zahn's thoughtful creativity to a new audience.

Brian Harden is one of the many talented Chicago house producers out there who sit just below the top talent in terms of global reputation. But he shouldn't - his sound is as musical and timeless as any from the Windy City. He's been grafting since the 90s and now taps into that long career with a new collection of rare cuts and unreleased gems on this Instinctive Meditation album for French label D3 Elements. There is textbook heavy drum work and spaced-out synths on 'Zion' before warmer, deeper basement cuts like 'Nomadic Jazz'. 'Yeah' is a party starter with clattering percussion softened by more jazzy chord work and 'Motionless' allows you a moment to catch your breath on some cosmic ambiance. The rest of the record takes in deeper techno, samba-tinged deep house shufflers and star-gazing beauties for 4AM. Proof if you needed it that Harden is a boss.

The Cult brings on board a legend. From DMC scratch champion in the late eighties to the missing link between Detroit and Amsterdam in the nineties. Dutch producer Orlando Voorn needs little introduction and with seminal hits like his dancefloor destroying KMS smash ‘Fix’ under his belt, it is no surprise that the ever-innovative producer is as in demand today as he ever was. Having worked alongside techno originators such as Juan Atkins and honed his production skills under an incredible number of monikers over the years, we bring the multi-talented producer into the Cult. Here he produces an EP of techno brimming with the musicality and inventiveness that is regularly stamped all over his productions.

Opener ‘Between the Surface’ rolls along effortlessly with its Detroit house leanings, loose jazz drums and buoyant walking bass line driving the groove onwards. Hitting hard, ‘Dazed’ is up next with its jackin’ DX style bass and deep evolving arpeggios, that hark back to the glory days of early house music. Finally, ‘Immortal’ ventures into deeper territory for a twisted journey of discordant synths, electro bleeps and haunting synth melodies. His debut on Rhythm Cult is rich with ideas and showcases the creativity that has made Voorn a force to be reckoned for nearly three decades in the game. Joining the dots between Amsterdam and Detroit this new EP brings fresh inspiration with every listen.

„Forever Forever“ ist das neue Album von Genevieve Artadi, der in L.A. lebenden Singer-Songwriterin, Produzentin, Bogenschützin und Dr. Mario-Liebhaberin. Artadi ist ein kreativer Tornado und bekannt für ihre Mitwirkung bei KNOWER, Expensive Magnets und ihrer früheren Band Pollyn. 2020 unterzeichnete sie bei Brainfeeder, um ihr Soloalbum, „Dizzy Strange Summer“, mitten in der Corona-Pandemie zu veröffentlichen. Im darauffolgenden Jahr arbeitete sie mit Thundercat, Raedio und Louis Cole an ihrem Track, „Satellite Space Age Edition“, für den Soundtrack der fünften Staffel von „Insecure“ (HBO). „Forever Forever“ umfasst eine wahrhaft kaleidoskopische Bandbreite an Einflüssen, die eine stilistische Eingrenzung unmöglich macht. Verwurzelt im Jazz, aber auch im alternativen Rock oder Avant-Pop, stehen sie in der Tradition der legendären Grenzgänger:innens Stereolab und Talking Heads. Artadi gehört zur unverschämt talentierten Crew, zu der auch Louis Cole, Pedro Martins, Sam Gendel, Sam Wilkes, Jacob Mann und Chiquita Magic gehören, die ein ähnliches Fundament aus klassischen und Jazz-Traditionen mit einer gesunden Punk-Attitüde und einer Leidenschaft für musikalische Hybridität und Fusion mitbringen. Sie gibt zu, dass es sie selbst motiviert, wenn sie von diesen talentierten Menschen umgeben ist, etwas zu schaffen. Die Hälfte der Songs für „Forever Forever“ wurde ursprünglich für eine Big Band geschrieben, da Artadi in Kontakt gekommen war mit der Grammy-nominierten Norrbotten Big Band aus Schweden, mit der sie als ‚Composer in Residence‘ tätig war und viele Male live aufgetreten ist. Auf der Suche nach einem „kreativen Funken“, so sagt sie, hörte sie Duke Ellington und Gil Evans mit Miles Davis. „Der Rest ist, glaube ich, einfach alles aus meiner Vergangenheit, was in meinem Unterbewusstsein ist.“, sagt sie. „Zufällige Inspirationsblitze von Chopin, Bach (ich habe während des Lockdowns einige zweistimmige Inventionen gelernt), Debussy, Nancy Wilson, Björk, Ryan Power, Nobukazu Takemura, den Beatles, Dionne Warwick…”

Avoidant Records is back with its latest and most direct V/A to date - Planet Destroyed. Once again compiling unique artists from across the globe, AVD constructs a stellar line up featuring some of the best in the game alongside up and coming talent from the world of Electro.

Since its inception, Avoidant has firmly focused itself on diverse, uncompromising sonics and this newest compilation once again sets the bar high. This 4 track vinyl sampler includes tracks from Marcel Dettmann, Slam aka Autonomous, LUZ1E & SOD-90 who's contributions all embody the theme of the Planet Destroyed - Avoidant once again creates the theme to your dystopian future.

ALEXANDER SKANCKE´s exciting debut ep for SLICES OF LIFE, including a collaboration track with FOEHN & JEROME.

Alexander Skancke is a Berlin-based DJ, producer and rising talent within Europe´s underground house scene. The young Norwegian has made a sizeable impact on the electronic music scene, dating from way back to his early releases on Neostrictly, to the internationally respected releases on his own label Quirk. Entrenched in his love for vinyl and analog productions, Skancke is imbued with a passion for the very roots of house music, but has also kept his ears open far beyond the boundaries of electronic music.

Skancke’s excitement for analogue is reflected in all aspects of his life: from his work at Bikini Waxx (a record shop in Berlin specializing in second-hand vinyl), to his fascination with vintage studio gear, all culminating in his music having a wonderfully raw and organic feeling.

The 3 tracks that make up his “Public Trouble” ep showcase Alexander Skancke´s knowledge of the history of dance music without copying the originals, but instead creating his own unique signature:

The A side - “This Go This Way” sends you on a crazy acid dream, driven by a hypnotic unstoppable beat with Alexander Skancke´s voice appearing out of the ether, before vanishing away.

For the B1 track “Wind Sync” Alex teamed up with his label mates and renowned DJ- and Producer-Duo Foehn & Jerome at their studio in Berlin. Together they've masterfully crafted a light footed minimal house track with a slightly melancholic touch.

The EP´s title track “Public Trouble” truly shows off Alexander Skancke´s love for deep minimal funk: An ultra groovy piece of music based around tight beats and warm basslines, topped off with a funky stripped back synth line.

Naked Cameo veröffentlichen zum 5jährigen Jubiläum von 'Of Two Minds' eine limitierte Vinylversion.
Es kommt selten bis nie vor, dass eine Newcomer Band mit ihrer Debüt Single auf Platz 1 der Spotify Viral Charts in Österreich und Platz 6 in Deutschland chartet. So geschehen bei NAKED CAMEO, das sind Lukas Maletzky (Gitarre und Vox), Maria Solberger (Synths) und Patrick Pillichshammer (Schlagzeug) mit ihrer ersten Single 'Luddite' und erreichen damit bereits über acht Millionen Streams. Darauf folgen Nominierungen wie die Music Moves Europe Talent Awards, European Boarder BreakerAwards und die Austrian Music Export Awards XA, sowie erste ausverkaufte Shows und Auftritte am Reeperbahnfestival, Donauinselfest, FM4 Frequency Festival oder Eurosonic und Support-Shows von Acts wie Wolf Alice oder Welshly Arms.

Orange Vinyl

Das Debüt der Kollaboration von Malcolm Middleton (Arab Strap) und Joel Harries ist eine Platte, die beweist, dass man auch aus Spaß an der Freude kreativ sein kann und sollte. Das Debüt wird in limitierter Auflage auf orangenem Vinyl erhältlich sein.

Mit 'Rest Lurks' erscheint das Debüt des neuen Projekts von Malcolm Middleton (Arab Strap) und Joel Harries auf dem beide Musiker frei nach dem Motto "trust the process" sich einer instinktiven Spontaneität hingeben. Rest Lurks ist ein Album, das beweist, dass man auch aus Spaß an der Freude kreativ sein kann. Das Album fügt sich zu einem Sammelsurium zusammen, das die Talente von zwei Musikern unterstreicht, die ihre Songs nicht schreiben, weil sie es müssen, sondern einfach, weil sie es brauchen. Lichen Slow ist eine Band, die uns dazu aufruft, die kleinen Momente zu genießen und, wenn es hilft, sich über die Dinge lustig zu machen, die uns am meisten frustrieren, und die alle Erwartungen, die wir an uns selbst und andere haben, über Bord wirft.

You can't claim to know anything about Danish jazz unless you're familiar with the great and beloved tenor saxophonist Jakob Dinesen - aka Dino.
Dinesen's reputation as a versatile and virtuosic saxophonist has brought him all over the world and has cemented him as one of Denmark's most
sought-after musicians, performing with jazz, rock, pop and world music elite for the past 30 years. Now, at the age of 54, he is a fully-formed,
dynamic tenor titan with an instantly recognisable voice. His sound on tenor has a tenderness that's totally his own, and his phrases glide and soar
with a seemingly effortless technical command of the instrument.
In early December 2021, Dino travelled to the United States to record with one of his heroes - legendary American drummeer Jeff 'Tain' Watts - who
at 62 years old is considered by many to be the most prominent and influential drummer of his generation. In addition to Dino and Tain, this
resultant album also features two young virtuosos from Denmark - guitarist Jacob Artved and bassist Felix Moseholm - both still in their twenties but
making waves with their incredible talent, drive and taste.
The result is a recording that takes listeners on a journey offering plenty of room for each of the four musicians to shine brighter than ever before.
Jakob Dinesen - tenor saxophone; Jeff 'Tain' Watts - drums; Jacob Artved - guitar; Felix Moseholm - bass.
A limited edition 180g vinyl release.

This series of remixes, stretching all the way back to 1993, continues to progress and expand its base of talented and incredible old skool talent. Part 16 brings some high caliber talent to the table with both Phuture Assassins and Tim Reaper on remixes duty for the first time. Plus we have stellar work from both Mannik and Shoreman, two of Kniteforce’s finest…

An elusive Soul/Funk masterpiece from mid-70s Lakeland, Florida. The Riley siblings; Carrie, Horace & James laid the foundation for the two songs they would bring to Auburndale's custom recording studio, Central Sound to be released on the Nashville/Florida label, 'Music City'. Jerome McNeil, William Freeman, Bruce Bolden & Sam Graham would complete the outfit and be collectively known as 'Carrie Riley & The Soul Fascinations'

It's been 15 years since Now Again & Jazzman showcased the Deep Funk rarity 'Super Cool' on their Florida Funk compilation, however it's James Riley's group harmony B-side, 'Living In A Lonesome House With You' that has remained at large, unknown, collectively showcasing the talent encapsulated by The Fascinations.

'During the early 70’s The Riley family members who formed the Fascinations (originally the Soul Fascinations), James, Horace and Carrie along with a few friends, were destined to develop and perform musically as music flowed through our veins. Our father was a musician who played piano and sang the blues. As children we gathered around an old upright piano after dinner to hear our father play and sang. By the time I was 14 and my brothers, James and Horace were 16 and 17, we had all learned to plan an instrument. My focus was on vocals with many role models to learn from in the music industry such as; Dianna Ross, Chaka Khan, Gladys Knight and Mable Staple. My brothers loved the Commodores, Kool and the Gang, Rick James and Earth Wind and Fire. The Isleys’s were a favorite of ours also. James was the driver of our success in recording as he made sure we practiced for hours on end. Sometimes we would practice popular songs until 2 in the morning. James began to write songs and develop melodies that he would share with Horace and I. We would make suggestions for revisions such as arrangements and melodies. Before long we traveled to Miami where we recorded, Super Cool which was our title song, 'Living in A Lonesome House' and a few other tracks. 'Super Cool' is a song that is personal to me. It is a song about relationships and trust, while the Lonesome house song was about love affairs and breakups. So much great music came out of the 70’s. I am grateful that our music contributed to the industry during a time when great music was about love and relationships.

Lovingly
Carrie'

The Barcelona-based label comes back with its release 007. It’s time to welcome on board Lulla which made 3 great original tracks. This massive EP include also an amazing remix from the talented Russian producer Swoy.

The superb Make Up series hits release number three and in doing so heads back to the trio that started it all. The combination of Chicago house originator Chez Damier, Adeen label head Camille and Italian talent Nico Lahs is a dream team indeed and they serve up some crucial edits that cover a wide sonic range. There are standout cuts on the first 12" such as 'Dance to Freedom' and 'African Bump' while jazzy grooves define 'Sunny' and 'Changes' is all about getting that dance floor vibing. This is another in-the-know musical voyage from this crew that more that deserves a spot on your shelves.

'The dynamic pop-meets-R&B duo, Two Another, today announce their hotly anticipated debut album “Back to Us”, an album that traverses themes of self-acceptance, queer identity, letting go of the idea of perfection and hope for the future. Blending alt-pop, funk and R&B, the upbeat buoyancy of Two Another’s sleek yet energetic productions on “Back To Us” has an infectious potency to transform a mood or an outlook track after track. The duo again confirm their unparalleled talent as they channel raw emotion into undeniable grooves across the ten tracks which are pumped with compelling stories executed by the honeyed melodies of Eliot Porter and the joyous synths of Angus Campbell.

Jalaluddin Mansure Nuriddin was an American musician and poet. He was one of the founding members of The Last Poets, a group of poets and musicians that evolved in the 1960’s. Earlier in his career he used the names Lightnin’ Rod and Alafia Pudim. He is sometimes called, “The Grandfather of Rap’, and wa a devout Muslim, poet, acupuncturist, and marital art expert. Nurridin’s talent and genius with words and rhythm are renowned. He produced some epic poems. The band featured on this release just happens to be the one and only Kool & The Gang.

Lightnin’ Rod feat Kool & The Gang – Hustlers Convention

Private Funk-Shun were a band formed in 1984 originating from the Loughton and Tottenham areas of north east London & Essex, and featured the vocal talents of Maxeen Edman-Messam - who would later go on to find fame in the early 1990s as key street soul artist Maxeen.

Originally performing under the name of Slipstream, but changing to Private Funk-Shun in 1985 after finding out another group were operating under with the same name, they toured around London & South East bringing a dedicated brit-funk following with them. Despite writing approximately 20 original tracks in their time, this self-released two-track 7" from 1986 was their only official output and has since become a certified rare groove, fetching upwards of £250 on the secondhand market.

Mordisco Records is happy to present the brand new Italoconnection ‚Nordisko‘ The catchiness and sobriety of the songwriting and style of
Scandinavian music is something that keeps attracting us
since many years, so we decided to pay tribute to some of our
favorite artists and songs.

Music coming from the cold, melancholic with a European feel that we always aim to attire in our productions.

Artist and songs coming from different backgrounds that we tried to make ours by adding some of our club friendly sound respecting the original songs attitude.
All the songs were chosen from the repertoire of fairly different
artists, both from the past and present days. Picking from the modern crooner style of Jay-Jay Johanson, past glories like Secret Service and Fake, the early nineties extravaganza of Army Of Lovers, the very unique singer-songwriter flair of Saralunden, the talented duo charm of Carino Cat, the finnish electro disco pioneers Digital Dance and the synthpop innovator‘s Jaakko Eino Kalevi uniqueness, all artists have a special place in our heart.

Available on LP vinyl and CD (including two bonus remixes from On The Radio and Donna Rouge

CRIM, formed in 2011, is arguably the biggest punk band in Catalonia (Spain). These extremely talented musicians have achieved serious local fame, playing to thousands over and over again, and writing powerful songs that are in many ways driving a very much flourishing scene in Northern Spain. Crim's popularity outside the Catalonian region has been growing rapidly, as that same sense of authenticity trickles down into the music itself, and their "no compromise" approach to writing and performing powerful and catchy tunes is in many ways universal - and for fans, easily identifiable and inviting, regardless of what language they speak. Anyone has who is seen this band live or heard their albums can attest to the power and drive that fuels this impressively talented group of free thinking musicians. Their music delivers tenfold, showing people across the world that CRIM are a band worth paying attention to! This LP version is Aside/Bside Evergreen & Brown with lots of gold splatter vinyl! FFO Cock Sparrer, Leatherface, Social Distortion

2023 Repress

Prologue:
Wearied by our endless travelling under a burning sun, we stopped by the margins of a tiny stream, embraced by a timid vegetation. The scorching heat made our throat parched and weak: yearning to quench our thirst, we immersed ourselves into the waters without any hesitation, drowning our dryness and our exhausted limbs.

I pointed my face, revived by water, towards the sky and I lingered on, admiring it: a flock of birds gently floated, drawing in the sky some abstract shapes. I sat beneath a palm tree, motionlessly admiring the show, the shades of the night approaching.

'The true joy of a moonlit night is something we no longer understand. Only the men of old, when there were no lights, could understand the true joy of a moonlit night.'

--<<<<<~

The Hypnus clergy is pleased to release their fourth full length album and the first by the rising talents Primal Code. 'La Via della Seta' is scheduled to be released under the August full moon and will be pressed on two 180 gram 12" vinyl records, both sheathed inside a full color printed hansaboard sleeve.

"A very beautiful journey through ambient and subtile rhythms!" - Cio D'Or
"Future is now! My favorite artists of 2018." - Ness
"Wonderful album. Full support." - Svreca

Daje Funk Records is back with Vol. 4 of the legendary ‘Slam Dunk’ series of EPs, this time featuring Souldynamic - Musta - Les Inferno - Groovemasta !!!

On the A-side, the supremely talented Souldynamic kicks things off with ‘Tales From Q.J.’ - a delicious chunk of late summer grooves bathing in sun-drenched keys and strings. The rolling bassline acts as the hook, and what follows is a gloriously constructed melodic masterpiece sprinkled with heavenly vocals. Fall in love with this, you will.

A2 sees Italian maestro Musta crack open the deep reggae vibes with ’Soup’. You’ll find it hard to resist this bubbling broth of twisted, rhythmic precision bass, ‘one drop’ beats and tight, short skanking guitar riffs. With ‘Soup’, Musta demonstrates his complete understanding of this genre. Darkened room or bar sun terrace - you decide.

On the B-side, label co-owner Les Inferno spices things up several notches with the aptly titled ‘Hot Burn’. And boy, does this track sizzle. A hustling rhythm that takes over your dance nodes from the get go, Les Inferno lovingly sprinkles Latino and Afro vibes all over this searingly hot dish. It’s furious, intense and relentless - and the brass breakdown acts as the tabasco sauce. Drink water. Plenty of water.

Closing Vol. 4 out on B2 is Groovemasta with ‘That Funk’. A track that treats its funky beats and chunky bass like royalty, this 118bpm monster wastes no time in demanding ‘Gimme that funk’. And you’re gonna hand it over. The swirling, gyrating sexiness of ‘That Funk’ can’t be understated - impossible not to lose yourself in this guaranteed dance floor time bomb.

Slam Dunk Vol. 4 seriously raises the bar for this already excellent series, and has to be in any self-respecting vinyl junky’s record box. Grab it while you can!

In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Juilliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.

On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have CURTIS LUNDY (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!

On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.

These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass strokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

After the success of the Pan Machine album that saw the Ebony Steel Band cover Kraftwerk, OM Swagger’s Ian Shirley was desperate to work again with the talented Delphina James who arranged the tracks on that fantastic LP.

Shirley had the idea of interpreting the works of famed contemporary composer and pianist Ludovicio Einaudi through the prism of the steel pan.

Delphina James wrote out arrangements for classic tracks like I Giorni, Passaggio and Samba as well as lesser-known works like Moto and Respiro. She then formed a trio comprising of Tara Baptise (three pan cello), Nadine McCleary (bass) with herself on Tenor and set to work rehearsing the material. Once the trio mastered the material, James took it upon herself to write and arrange the track Siempre Conmigo as a tribute to the Italian piano master.

Produced by Ian Shirley, Play Ludo was recorded at the internationally famous The Pool studio in Elephant and Castle.

Anyone who enjoyed Pan Machine will love this. Fans of Ludovicio Einaudi around the world will rejoice in hearing the master’s work interpreted in a totally different musical setting. Respiro, for example, takes Einaudi into ambient electronic territory even though the instrumentation used is acoustic.

Like Kraftwerk, Einaudi’s music sounds like it was written specifically for the steel pan.

2024 Backstock!

Boomstraat 1818 is a new techno label from Amsterdam. The label aims at releasing timeless Detroit techno music on vinyl and digital formats, from international artists and local talents.

Outerbase ep is inspired by the 90's Purpose Maker and M-Plant sound and delivers a club friendly 4-track various ep with esteemed artists like Stefan Vincent, Kuba Sojka and Taupe.

BBE Music’s highly-acclaimed J Jazz Masterclass Series continues with an album that unites three J Jazz legends with a young musician beginning their professional career. Recorded and released in 1986, ‘Approach’ is both sophisticated and experimental in equal measure, balancing serene ambient moments with thunderous and dynamic explosions of energy. ‘Approach’ was originally issued on the Art Union label and sees bass uber-maestro Isao Suzuki, percussion and drumming icon Masahiko Togashi, and keyboard wizard Hideo Ichikawa join together with neophyte guitarist Akira Shiomoto to deliver a first-class showcase of contemporary jazz across five tracks, demonstrating their individual talents working as one unified ensemble. Suzuki’s deeply resonant and pliant basslines move sinuously across the album, supporting Togashi’s ebullient flashes of percussion and Ichikawa’s lush textures and colourations; topping it all off is the young Shiomoto’s guitar adding melodic texture and shine. Opening with ‘Make Trip’, Ichikawa’s gentle introduction makes way for a change of gear as Suzuki’s bass drives the band along before Togashi’s drum and percussion centrepiece solo leads to the outro. The plaintive and bluesy ‘Otari’ follows next, with Ichikawa’s piano flowing around and between the rhythmic undertow from Suzuki and Togashi. Things turn slightly more experimental on ‘Mysterious’ as Suzuki, the piece’s composer, turns to arco bass effects and Ichikawa employs synthesiser and electronic textures to add colour to the palette.

Maxophone, from Milan, formed in 1973 as a six-piece with an unusual
assortment of instruments, all members previously music students
A band of great talent and musicianship, their only LP, released in 1975, came a
little too late to compete with the other important Progrock Italian bands and
went sadly unnoticed.
"Maxophone", was released on the Produttori Associati label (along with Duello
Madre one of the few rock records released by this label) is a marvellous album,
full of dreamy atmospheres and complex horn arrangements, with vocal parts in
a Genesis style and is now considered one of the best Italian prog records of all
times.

Ma Spaventi makes a slick return to Slow Motion Records with the captivating ‘Tornerò’.

Descending arps trickle into ‘Tornerò’ from the get-go. Vocoded vocals flutter through the masterful mix, weaving into inviting synth swells. Defined drums are firmly felt across this record.

‘Non Ce L’Hai Solo Tu’ is a Detroit-infused, fierce floor filler. Layering vocoder motifs with crisp synth stabs make for many a euphoric payoff. The intelligent entwining of electro, early Detroit house and Ma Spaventi’s effortless earworms are plentiful. His gift for haunting, strong melodic intonation is prevalent in ‘Costa Brava.’ A grounded, growling bassline rasps throughout the track, reeling you further and further into this whirlpool of brilliance.

‘Tornerò Reprise’ closes this magnificent EP beautifully. Whispering vocal lines are hauntingly blended with synthesiser noise, keeping in line with the swells across the record and resolving the first edition of ‘Tornerò’ with a more acidic conclusion.

The revered Italian producer, mixing and mastering engineer makes his abundant sonic expertise clear in this enticing LP. Encapsulating his talents, ‘Tornerò’ transports you to Ma Spaventi’s unmatched state of flow.

Anna funk damage is the grimiest side of Andrea Natale, a young producer from Livorno, Italy. EBM, post-punk, and electro fit perfectly in his mechanical rhythmics, highly pitched and bit wicked vocals transport you immediately in an immersive and mental soundscape. His projects have already been released on labels such as Mind Records, Tripalium Corp, Raw Culture and recently he has been featured on a compilation on Elena Colombi's Osare Editions. A truly eclectic artist and a fresh talented blessing to the scene. Distributed worldwide by Clone.

The Deepshakerz unite with Aaron Pfeiffer for their Crosstown Rebels debit ‘Fire’, back by a remix from, Cameron Jack.

Italian duo Domy Berardino and Mirco Sonatore, aka The Deepshakerz, continue to evolve their take on house music after a decade in the game - releasing material on their Safe Music imprint alongside globally renowned labels including Saved, Cajual, Circus, Moon Harbour and Knee Deep In Sound. Linking up with Miami-based singer/songwriter Aaron Pfeiffer, the iconic voice of Jaden Thompson’s ‘Closer’, the trio of talents make their debut on Damian Lazarus’ Crosstown Rebels with the vibrant ‘Fire’, with fellow debutant and Abracadabra singee Cameron Jack on remix duties.
A blissful yet driving production guided by Pfeiffer’s alluring vocals, ‘Fire’ is a resonant house offering combining crisp drums with an infectious wavering lead melody, while Cameron Jack’s take strips things back and crafts a medley of organic percussion grooves around the original’s charming vocal interludes.

Jonas Kopp pumps the drums hard on opener 'Shibu'. It is pure peak-time material, fit with siren-like synths, heavy kicks and hi-hats to get the shoulders moving. Kopp's tracks are always masterfully tailored for the dancefloor, and this is no exception; the six-and-a-half-minute ride is richly detailed with ups, downs and subtle changes. Dadub take the record deeper with 'Force Continuum Abuse'. For the first three minutes of stretched soundscape, the percussion warms up with sparse and off-kilter hits. The track's second half sees fierce breakbeats cut through the walls of reverb, and with that can Daniele Antezza and Giovanni Conti really show-off their unique talent at sound design. They blend a gift for rhythm and titanic production to engaging effect. Eomac begins the B-side with 'I Am Starting To Believe'. The track's echoing synths hang free in a spacious mid-range, intermittently making way for long chords and elusive vocal snippets. Eomac draws on the light/dark contrast and unsettling motifs that made his Monad release special, and delivers a techno epic so rich it requires repeated listens. Last but not least, Chevel; his sound is distinctive amongst the SA roster, mostly due to his acute focus on the percussive elements and intriguing take on minimalism. On 'Alicia', he works a groove out of tripping drums and metallic perc, all with a UK-influenced flair that lends itself to a wide range of DJs. Chevel's track ends what may be the most varied collection of 'Chapter V' material yet, leaving a lasting reminder of the depth and quality of artists SA have accrued.

King of Town (KoT), originally from Johannesburg but now in the UK, is back after a nearly a decade hiatus from his mutant disco-inflected remixes.

Prior to his long break, King of Town remixed the likes of Franz Ferdinand, Slow Club, Alice Russell, the Detachments and the Phenomenal Handclap Band.
His remix of Desmond and the Tutus' 'Kiss You on the Cheek', released on Tigersushi in 2009, has become a regular feature of Spotify playlists and has racked up a few million listens across various streaming platforms.

For this release KoT serves up four exclusive re-edits.

Lord Have Mercy is a retouch of Willie West's slow-burn R&B lament of his own elegiac defiance, where KoT underpins West's groove with a 303 acid bassline and synth flourishes.
Swimming in Your Eyes is a beefing up of Pasteur Lappe's 1979 Rhodes-heavy space disco groove.
Troubles of this World takes OV Wrights ridiculously soulful take on a gospel classic and transforms it into a retro-futurist track aimed firmly at the dancefloor.
And with Khomo Tsaka Deile Kae KoT nods towards his roots and inserts drive and snap into fellow South African Marumo's 1982 kwela-touched stomper.

As always the artwork has been completed by the very talented Pedro Carvalho de Almeida.

Vinyl Only.

If you're into the classic sound of the best releases from the seventies and eighties era Jazz-Funk or Fusion with a slightly modern and exciting touch, you don’t want to miss out on Fusion Affair’s first album: Venom! Proudly presented by Parisian label Chuwanaga, Venom is filled with sharp synths, electrifying basslines, serious guitar licks, amazing themes, in-the-pocket drums grooves and true excitement all over the six tracks of the album.

Starting with "Fruits Rouges" which introduces the listener to the beautiful and soulful harmonies spread throughout the album but also an overall overview of how Fusion Affair and Venom brings together strength and delicacy. Then, the impetuous and dangerous ride of "Venom" will leave you either dancing or shocked. A dangerous trip with a perfect climactic ending: watch out for the snakes! The serious but fun-filled groove of "Bounce" will take you back to Herbie Hancock’s seventies, with a jazz-funk style that you cannot resist bouncing your head to! Despite its chordal simplicity, the dreamier yet modern track "Dasha" begins with an unconventional use of berimbau. After several expositions of its beautiful main melody, the track intensifies with a perfectly executed drum and bass interlude. "Missing Cat" returns to a classic Jazz-Funk vibe with late seventies synth brass accentuating its playful theme. This one’s definitely got a vintage vibe! Finally, "Bougie Noire" ends Fusion Affair’s first album with powerful chords and orchestration while keeping it truly mysterious : to be continued...

Fusion Affair brings together the talents of French musicians from Lyon, Paris and Montréal, all gathered by the producer LeMatoux. Following many sessions at the infamous Studio Delta, record label Chuwanaga and the band are ready to spread their infectious groove all over the globe!

Green Marbled Vinyl


Following up to his maiden transmission for the label, "Cosmic Silence", issued a year ago, Italian producer Alessandro Cozzolino AKA Cioz resurfaces on Stil vor Talent with his longed-for debut album "Supermassive Whole" - a ten-track cosmic odyssey in sound percolating staple elements of Cioz's palette of choice, from otherworldly techno to Latin-inflected house, via the obvious injection of kosmische and electronica soundscaping.

The lead single "Wachaka" - recorded in collaboration with Cape Town producer Ryan Murgatroyd, exemplifies Cozzolino's electrifying approach to a T. An inch-perfectly balanced mix of Afro-infused polyrhythmic bravura and seesawing synth moves, the track swells with a blazing fire at heart that keeps on sprawling infectiously with each and every bar. Trading the linear buildup for most sensuous levels of syncopation, "Me Monkey" serves up a warmer kind of funk, perfect for getting snug and cozy before an avalanche of seesawing chords up the ante towards space-opera-esque amplitude. All in elusive sinuosity and processed machine talk, "Harakat" dwells the confines of wonky house templates and polyamorous EBM, while "I Always Wanted To..." goes the slo-burning, counterclockwise route, primed for languid moments in the alcove.

"B1" is perhaps the most spitting avatar of the Italian whiz's hybrid rolling-and-pounding rhythmic style, nicely embodying both its quirky, hip-swaying and fanfare-like percussive aspects. The ecstatically bouncy "Do It The Way You Feel" showcases Cioz's more rousing, floor-friendly facet with a killer combo of hi-octane electro dynamics, pop-rock motif'd hooks and slashing breaks taking the controls. The mood also happens to be melancholic at times, such as on the beautifully understated "Is This Real", which bridges the gap betwixt piano-house déjà-vu - here tweaked to distinctively soul-wrenching effect, and a prog buildup glossed under a thick sauce of FX, similar to that of "Sudpol Birgit"'s inflating saturation in the post-prod treatment. Somewhat brushed with balearic shades in mind, "Pace e Amore" follows a more classic curve, slowly veering off onto ambient-laced territories, while "Lost in Space" evokes a certain idea of gravity-defying plenitude through that ever intuitive and subtly arranged collage of tender wistfulness and endless attraction towards the groove, which defines Cozzolino's phraseology so fittingly.

Eine limitierte Doppel-Vinylversion des erfolgreichen Albums von Beth Hart '37 Days' aus dem Jahr 2007 als Transparentes Red Vinyl 2LP. Das ganze Album wurde damals nur in 37 Tagen eingespielt und abgemischt, daher kommt also auch der Albumtitel. Alle beteiligten Musiker und Produzent bildeteten ein großartiges, kreatives Team: Jon Nichols (Gitarre), Tom Lilly (Bass), Tood Wolf (Drums/Percussion) und der talentierte dänische Produzent Rune Westberg. Und das hört man tatsächlich deutlich bei jedem einzelnen Song.

2023 Repress

Greyscale is extremely proud to bring Martin Schulte to its long growing and talented roster.
Not only is this a double-single but each track is supported with a remix from a top-tier artist in Vril and our very own grad_u! Dancing Street & Skyscraper Street is special in many ways!
On 'Dancing Street', Martin gives your equilibrium a real test with its off-axis beat structure and fantastic chord definition. As the track releases the pressure nearing the end is nothing short of genius. This is not for the faint of heart! 'Skyscraper Street' is the ideal counterpoint to 'Dancing Street'. A perfectly tempoed tech masterpiece, it soars over a city soundscape riding a confident beat. For the B side, grad_u on the remix gives us a wall-shaker! A serious
main floor sound and the only relief from the intense bass is the beautiful chord work. The word epic comes to mind from our label leader! There is a handful of names that are buy on site when you see them and VRIL is no doubt one. This remix of 'Skyscraper Street' is drenched in layer upon layer of shimmering and fractured melodies. This experimental and almost dreamlike state of consciousness is auditory sensory overload of the highest order! Martin Schulte, VRIL and grad_u on the same EP!
Mastered at the legendary Dubplates & Mastering in Berlin on white 180 gram vinyl. The depth of these should not be understated!
Analogue photography by Rima Prusakova

The diminutive Peter Barclay was guy in early '90s Oakland, the eccentric with the most style, the most talent, the local magician. This self-taught musical wizard recorded at home and produced two barely-released albums, 1990's dreamlike Acceptance and 1992's synth pop What Kind Of World, winning over the few who heard them. But fame outside his small circle was not to be, and Barclay was lost in the late-'90s crest of the AIDS epidemic. Rediscovered for a new generation, this is queer music at its finest... Welcome to the world of Peter Barclay.

Scottish composer and multi-instrumentalist Bill Wells and virtuoso tuba player Danielle Price once more team up for Karaoke Kalk under the name The Sensory Illusions. The two further explore the affinities between their idiosyncratic musical approaches across a variety of styles and genres while also expanding their sound palette. After its predecessor saw Wells working strictly with his electric guitar, on the »Sensory Illusions II« the piano enters the mix on two of the eleven pieces. Much like his brass-heavy collaboration album »Osaka Bridge« with Japanese collective Maher Shalal Hash Baz—made available again on vinyl by the German label Karaoke Kalk in February 2023—this album injects melancholic atmospheres with a sense of playfulness. Picking up on elements from jazz, pop, blues, and classic songwriting while acknowledging their debt to techniques from the worlds of avant-garde and improv music, The Sensory Illusions weave together disparate elements into a colourful, imaginative suite of songs.

Starting with the folky chords of opener »Four Chord Dream,« the track titles spell out Wells’ characteristic use of ideas that literally come to him in his sleep (the project was even named after a record he found while browsing a store in a dream). The National Jazz Trio Of Scotland leader then fleshes them out together with Price, who again serves as a one-woman rhythm section, as she does throughout most of the album. When Wells enters 1960s spy movie territory with a swirling rendition of John Barry’s »Theme from Vendetta« and picks up on those dynamics with a rolling riff in the next song, her versatile playing provides the backdrop for that. Once Wells sits down at the piano for the tender »Flotsam Bodes,« however, their roles are being reversed and Price—a seasoned and multifaceted musician who was one of only six applicants chosen to attend Chilly Gonzales' Gonzervatory in 2019 and who is currently working with acclaimed London-based trumpet player and composer Laura Jurd—takes the lead. »I’m the Urban Spaceman« makes it even more apparent how seamlessly these two experienced players leave each other space to showcase their respective talent and expand on their individual ideas: Marked by Wells’ soloing and exploring different sonic possibilities of the guitar, it also sees Price showcasing her reduced yet agile solos before they both return to the idea at the heart of the song.

It is precisely those ideas that guide the duo’s way through the individual pieces, but their sometimes widely different approaches yield very distinct results. While working with the piano once more on »Mr. Sophie« results in a fuller and more anthemic sound, they opt for a more restrained, melancholic one the album closer »Desk Aunt«. It is precisely these kinds of variations in mood and tone that underscore how these two musicians are perfectly attuned to each other. As the second duo record in their six years of working together, »The Sensory Illusions II« proves once more how much musical ground they are able to cover with their instruments and open minds alone.

Cluster was the pioneering German duo of Hans-Joachim Roedelius and Dieter Moebius. Formed on the cusp of the 1970s, they were a part of West Germany's nascent Kosmische Musik scene. The group would use restrained improvisational techniques similar to Gruppo Nuova Consonanza, working with both electric and acoustic instruments (organ, guitar, tone generators, cello, etc.) to create a singular sound that Julian Cope called "a huge beating heart, planet-sized and awesome."

Originally released in 1972 on Brain, Cluster II features six pieces of atmospheric, proto-ambient drones – a step forward from Cluster's 1971 self-titled debut, which had all untitled songs. On "Im Suden," hypnotic bass pulsations and repetitive guitar patterns flow serenely, while side two opener "Live In Der Fabrik" dives deep into Roedelius and Moebius' foreboding industrial soundscapes and synergistic textural interplay.

As Roedelius told Uncut magazine in 2022, "This feels like a breakthrough? Well, we were just getting more into it, and getting more experienced at being able to elaborate it. Conny (Plank) was working with us again – as well as being a multi-talented artist, he was a very experienced sound master and great human being. He contributed as a fellow musician, adding sounds with his mixing table such as reverb, delay and other effects enriching the whole pieces so that they finally became somehow unique."

It's no surprise that when Neu! guitarist Michael Rother first heard Cluster II, he suggested a collaboration with the band – resulting in the supergroup Harmonia who would make their first album together the following year.

Limited Purple, Orange & Light Blue Vinyl 2xLPGrowing up in Atlanta, artist/producer Sol Messiah was always inundated with the rich and energizing spirit of Hip Hop culture. From breakdancing at a young age, to mastering the skill of DJing, to learning the art of production, Sol Messiah's talent and hunger eventually led to working alongside legendary Atlanta producer, Dallas Austin. While Messiah's time with Austin created a deep catalog filled with timeless tracks for TLC, Madonna, Boyz II Men and more, he eventually chose to pursue his own path independently, producing a catalog of popular tracks with Chamillionaire, David Banner, Nappy Roots, Dead Prez and more. He also began a fruitful partnership with a fierce lyricist named Sa-Roc, producing numerous projects together including her groundbreaking 2020 album, The Sharecropper's Daughter. In 2022, Sol Messiah delivered his Rhymesayers debut, GOD CMPLX, where he connected with some of the finest MCs in the game to create a powerful and engaging collection of Hip Hop that was equal parts innovative and inspiring. Here, he returns with the GOD CMPLX Instrumentals, letting this impressive collection of beats stand on their own as further testament to his skills as a producer, as well as a visionary.

"Bernhard von Siluh Records hat mich gebeten, einen Hype-Text über die neue BAD WEED-Platte zu formulieren, und ich fühlte mich zunächst geschmeichelt, hatte dann aber doch Zweifel... Wie kann ich euch dieses Powerpop-Juwel in wenigen Worten erklären und näher bringen? Es ist nicht nur das übliche Jangle-Pop-Ding oder noch schlimmer, nicht etwas, das man heutzutage "Garage-Punk" nennt, nein, Sir! Es ist echter Powerpop im Stil der 70er Jahre, aber wie mein Chef immer zu sagen pflegt: Man kann den Leuten nicht erzählen, wie großartig eine Powerpop-Platte ist - man muss sie sich anhören, am besten mit einem Getränk der Wahl in der Hand, und bald wird sie ihre Besonderheit enthüllen (oder auch nicht). Was liebe ich an BAD WEED, außer der Tatsache, dass sie die hübschesten Jungs der Welt sind, die - nachdem sie 20 Jahre lang in verschiedenen Bands gespielt haben - endlich gelernt haben, ihre Instrumente zu spielen? Es sind die Songs! Es geht nur um die Songs! Die erste Single aus dem Jahr 2015 war etwas anderes, man kann es sogar Garagenpop nennen, ihr Debütalbum vor ein paar Jahren und etwa 100 Shows später war nur der Anfang, hier ist ihr zweites Album mit dem schlichten Titel "II", das Talent, Songwriting-Fähigkeiten und Pop-Handwerkskunst zeigt! Einige dieser 12 Originalsongs erinnern mich an Alben/Bands, die längst vergessen sind, wie z.B. "If you ever pt. 1" könnte eine frühe THE FRESHIES-Single sein, "Breaking Lines" könnte von einer RUDI-Setlist sein oder "Who's gonna love me" klingt wie einer dieser THE COLD-Ohrwürmer. Die meisten Songs haben diesen 80er-Jahre-UK-Indie-Punk-Vibe, der direkt in mein Gehirn und mein Herz geht! Sie haben sogar die Frechheit, TOWNES VAN ZANDT zu covern - und schaffen es, dass es nicht so deprimierend klingt wie das Original, nur ein bisschen traurig vielleicht. Zu behaupten, dies sei ein Wohlfühlalbum, ist nicht ganz richtig, so einfach ist es nicht. Es ist eine Platte, die Lust macht, die Band in einem kleinen Club live zu sehen, eine Platte, die einen einfach lächeln lässt und an gute Zeiten erinnert. BAD WEED ist eine Band für die Hosentasche, eine Band, die man liebt und von der man Freunden erzählen möchte, aber nicht zu vielen, denn die Band sollte klein und in der Hosentasche bleiben und nicht in den Playlists von jedem Tom, Dick und Harry vorkommen_" (Elmar / Bachelor Records) "Debüt-Scheiblette von Wiens Blitzpopgroup. Mitreißender Powerpop-Punk mit ganz viel early UK- vs semi-modern Texas-Sound in den Venen. Buzzcocks , Exploding Hearts, The Jam, Bad Sports, Marked Men, .... Schweine-tight gespielte, tolle Melodien, die einen sofort abholen, bissi Saxophon hier und Orgel da!! Die Platte strotzt vor Energie und Spielfreude, findet einen steilen Breakeven zwischen Witz, Charme und Klassenbewusstsein. Stark!" (FLIGHT13)