Buscar:the new originals

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about
the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment
devoted to appreciating the past weren’t turned into an opportunity to connect with the future.
That’s where the companion EPs (on Opaque Gold vinyl) come in. Or as Oberst puts it, “the
supplemental reading” for the primary reissues: one six-track EP per reissued album, each
featuring five reworked songs from that album. “My thing was they had to sound different from
the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the
era” in which that particular albums was made - a song that meant something to the band at
the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends,
like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of
Waxahatchee.
 ‘Fevers And Mirrors’ is pressed on Merlot Wave coloured double vinyl

Out of print for almost 30 years. Includes rare never-before-seen vacation photos by Anna Lee Van Cleef who shot the original album cover. 1987's High Priest was the first full length solo record for legendary frontman Alex Chilton (Big Star/ Box Tops) since 1979's ground shaking Like Flies on Sherbert. It shows Chilton in full control of his faculties as both a musician and a musicologist. He leads a solid band of Memphis/ New Orleans studio heavyweights through 4 newly penned originals and a well curated list of covers. What it lacks in polish, it more than makes up in charm, verve and just plain ol’ soul. This could be what rock’n’roll is all about.” Trouser Press

'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
The 2009 fan favourite and iconic 'The Ballad of John Henry' will be also available
on coloured vinyl for the first time, has been remastered on 180g heavyweight
2LP brown vinyl and includes a bonus track – B.B. King's "Chains and Things."
Bonamassa's seventh studio album saw him steamroll into another US Billboard
Blues #1 as well as it making waves across the charts around Europe. Well on his
way to becoming a superstar, several Bonamassa originals adorn the album as
well as covers of Tom Waits, Sam Brown and Ike & Tina Turner, highlighting the
sheer scope of his palette.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Repressed on red vinyl!

Belgium, not the first place you'd think of when it comes to Latin or Afro funk. Yet one of the greatest records to blend both styles came from the small northern European country, masterminded by Nico Gomez and his Afro Percussion Inc.

Ritual was originally released in 1971 on the Dutch label Omega International (Gomez was born in Holland before moving to Belgium in the late 40s) and is being reissued by Mr Bongo in 2013, bringing its blazing funk grooves to both new ears and those already tuned in to this masterpiece's legacy.

Across its 11 tracks Ritual delivers the kind of production, arrangement and musicianship that rightfully belong in a dictionary next to the definition of professional. Gomez' band was tight and they knew it, showing it off on their covers of Perez Prado's 'Caballo Negro' and 'Lupita' by injecting the originals with a deep funk that blends both Afro and Latin influences. On 'Samba De Una Nota So' and 'El Condor Pasa', another pair of covers, they switch to soulful downtempo with mesmerising ease. The title cut remains one of the album's highlights, a devastating dancefloor groove with horns to match that has aged beautifully and was heavily sampled by Liquid People for 'The Dragon'. 'Pa! Pa! Pa! Pa!' adds touches of rock with fuzzy guitars for one of the album's headier experiences.

Provogue / Mascot Label Group have three special vinyl reissues of
blues-titan Joe Bonamassa's back catalogue
'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
His fifth studio album, originally released in 2006, 'You & Me' has been
remastered from single to 180g heavyweight 2-LP transparent orange vinyl - on
coloured vinyl for the first time. When released it hit the #1 spot on the Billboard
Blues chart and featured a crack band of Carmine Rojas (Bass), Jason Bonham
(Drums), Rick Melick (Piano/Organ) and Jeff Bova (Orchestration). At the time it
was declared his best work to date by Allmusic and features his takes on
Led Zeppelin's "Tea for One," Sonny Boy Williamson's "Your Funeral and My Trial"
and Charley Patton's "High Water Everywhere" as well as Bonamassa originals
including "Bridge to Better Days" and "Asking Around for You."
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Milanese producer Nelson of the East sets out on a deeper exploration of percussive house/techno on Sub Erotic, the first release on Tartelet Record’s new dance floor-focused sub-label DANCEMPORIUM – out May 6th.

Following his 2021 album release of Kybele, Nelson of the East (Nicolas Meyer) is embarking on a new area of sonic exploration rooted in club music motifs. His forthcoming EP, Sub Erotic, builds on his accomplished artistic imprint, balancing the urgent pulse of dance music with the rhythmic sensibilities of non-Western cultures. “After the release of Kybele, it took me a while to figure out what would be a good sequel, and I found myself deconstructing tracks from the album,” says Nelson. “I came to the conclusion that the most important thing on the new EP would be the relationship between the different elements, while trying to use fewer layers.” While the lilt and sway of organic musicality remains at the heart of his sound, the Berlin-based producer applies these qualities in a variety of ways. On “Ellipsis”, for example, live percussive patterns were recorded and recreated using synthesis, which Nelson found to be more effective than the acoustic originals. The result is three tracks that pivot around danceable structures while moving well outside the established norms of house and techno. From the pinging textures and staggered beat impulses of “Ellipsis” to the Go Go-flavored funk of “Sub Erotic” and the trance-inducing acid incantation of “Memoria”; Nelson’s distinctive inspirations spill out of his music in intriguing formations.

Danish mainstay Kasper Marott rounds out the EP, applying a seductive pulse to push “Ellipsis” towards a psychoactive peak. The perfect brooding partner to the original, while reinforcing Nelson’s vision of an electronically minded album. Sub Erotic marks the first release on DANCEMPORIUM, Tartelet Records’ new home for dance floor-oriented music. Having grown to become a broad church of musical modes and expressions, the label is now breaking out into more focused sonic spheres. With his use of rich timbres and adventurous spirit, Nelson of the East is the perfect inaugural candidate.

The long-awaited reissue of this rare Eastern and psychedelic Jazz LP by the famous Hungarian guitarist, originally
released in 1968. For the first time and as extended Edition with four bonus tracks: radio version from 1968/69 7”
singles 7”. Deluxe 6-sided Digipak CD with 20 page booklet and Gatefold Vinyl comes with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne.
“The performances on this LP have a restrained, introspective quality. Szabo’s work is lyrical, rather economical, and
somewhat angular, and his tone is warm and glowing.” – Harvey Pekar, DownBeat
“Gabor Szabo is at the musical zenith of his career. This album could rank as his best to date.” - Billboard
“But for sheer lyrical beauty, few players are in Szabo’s class. His startling use of dissonance is a delight, too, and
time and again he will alter a final phrase just slightly, totally reorienting a familiar tune.” – Alan Heineman, DownBeat
“This is definitely one of my ‘go to’ Gabor albums.” Mike Stax, Ugly Things
"Gabor Szabo’s Bacchanal documents one of the earliest and finest examples of what was then known as “jazz rock.”
Years before this new jazz style evolved – or devolved, according to some – into “fusion,” jazz rock was mostly
fashioned by younger jazz players whose ears were open to the emerging sounds coming out of rock and roll,
especially those of the Beatles and, later, Jimi Hendrix. " - Douglas Payne
After recording four albums for Impulse in 1967, the distinctive guitarist Gabor Szabo cut three strongest records for
the Skye label in 1968-1969: "1969", "Dreams" and "Bacchanal" all of them became a legendary classic. This time
EBALUNGA!!! are rediscovers "Bacchanal". Szabo's regular group of the era is heard on record for the last time:
guitarist Jimmy Stewart, bassist Louis Kabok, drummer Jim Keltner and percussionist Hal Gordon. With the exception
of two Szabo originals, the material is comprised of current pop tunes including two songs by Donovan, "Love Is Blue,"
"The Look of Love" and "Theme from the Valley of the Dolls."
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage
with a deep love of jazz and creating a distinctive, largely self-taught sound.
Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy Rogers cowboy movie to begin playing guitar when
he was 14 and often played in dinner clubs and covert jam sessions while still living in his hometown. He escaped
from his country at age 20 on the eve of the Communist uprising and eventually made his way to America, settling
with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles
Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was
able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the popjazz of the Gary McFarland quintet and the energy music of Charles Lloyd's fiery and underrated quartet featuring Ron
Carter and Tony Williams.Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired
moments and "Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet
(1967-1969) featuring the brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums
during the late '60s. The emergence of rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found
Szabo experimenting with feedback and more commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting,
spellbinding style. From 1970, he locked into a commercial groove, even though records like Mizrab occasionally
revealed his seamless jazz, pop, Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times
during the '70s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit
and died in 1982, just short of his 46th birthday.

LDI Records serves up a celebration of The Hague's famous electro sound with native Cliff Dalton aka Sander Evers behind four originals and fellow West Coast legends Legowelt and Rude66 both remixing. Cliff Dalton is a relatively new project from a long-time Dutch music great. Sander Evers is the drummer in psychedelic stoner rock band Monomyth and has played with other notable groups including 35007 and Gomer Pyle. Next to those projects, he has always had his ear tuned into the region's enduring techno and electro scene and now offers up his own fresh take on it. The EP's title refers to the fact that all these artists are bound by geography, but is also a nod to the fact that The Hague is the largest Dutch city by the sea. The opener 'We Are The Little Ones' is about an evil robot factory in a futuristic dystopian city. It is a coruscated electro-funk workout with crisp analogue drums and nimble bass overlaid with withering sci-fi melodies. 'We Don't Need A Real World' is a superbly cinematic eight-minute excursion with widescreen synth work taking you to the stars as you ride an elastic bassline. The majestic 'City Under The Sea' then layers up neck-snapping snares with cosmic arps and plunging bass and 'Cleopatra's Matrix' soundtracks an ancient Egyptian city with its mystic leads and eerie pads luring you into a late-night electro trance. West Coast pin-up and hugely prolific electronic innovator Legowelt remixes 'We Are the Little Ones'. His version has plenty of his textbook intrigue, lo-fi texture and magical synth charm, and finally key Bunker Records associate Rude 66 flips 'City Under The Sea' into a snaking dub rhythm with hypnotic acid lines and seductive vocal whispers woven in deep. The Blue City EP is a timeless package of West Coast electro direct from the source.

A Toolroom veteran of 15 years and longstanding member of the #ToolroomFamily, Dave Spoon (aka Simon Neale, or the better-known Shadow Child) made his label debut way back in 2005 with his 21st Century EP. Having released an incredible amount of music during his time with Toolroom, he is most known for his massive 2006 hit ‘At Night’ which saw a huge level of physical sales and massive radio support. Eventually being reworked with So Solid Crew’s Lisa Maffia on vocals, turning into ‘Bad Girl (At Night)’.

2012 onwards saw Simon shelve his Dave Spoon identity, creating the Shadow Child alter ego and his own Food Music record label. Having huge success with records such as 23, Climbing (Piano Weapon), Ooh Tune and his remix of AlunaGeorge – ‘Best Be Believing’.

He is a prolific artist and producer in his own right, having remixed records from high-profile artists Robyn, Paul van Dyk & Dizzee Rascal. As well as scoring multiple hit records under the Shadow Child moniker, the time is right to bring the Dave Spoon pseudonym back online. Taking form of ‘Steels’, a refreshingly new, fiery and fun party record that you won’t be able to get out of your head.

Legendary Polish Dance duo Catz ‘n Dogz are on remix duties for this one. The duo bring a refined, Disco-tinged, festival flavour to Dave Spoon’s summer hit, adding a slick groove with an emphasis on the insanely hooky records brass section. Throwing in similar elements such as the brass swells, melodic steel drum hits and the vocal cuts, Catz ‘n Dogz have created a remix that doesn’t stray too far from the original but lives completely in a world of its own.

A cut that has it all, Catz ‘n Dogz has nailed definitely nailed this remix by putting their own spin on the record whilst staying true to the originals fiery but fun feel. For sure, ‘Steels’ is a record you won’t be able to get out of your head.

Lowe’s 1994 The Impossible Bird is a low-key, easy-going album which has a
lot more to do with 1956 country music than with his ‘70s punk roots.
Nonetheless the 13 songs--10 Lowe originals and three country chestnuts--are
marked by the sort of no-frills arrangements and unpretentious passion that
made pub-rock so special in the first place.
When Lowe sings a ballad such as “The Beast in Me,” “Withered on the Vine,”
and “Lover Don’t Go,” the arrangements are so minimalist--just a hint of guitar
and drums behind the organ--that the song lives or dies by the vocal.
Fortunately, Lowe pulls off the difficult trick of sounding lonely and desperate
without sounding self-pitying. Whether it’s a tongue-in-cheek rocker such as
“12-Step Program (To Quit You Babe)” or one of the many ballads, Lowe hits
the mark. The 2021 reissue of The Impossible Bird is newly remastered from
the original tapes.

Dengue Fever on Vinyl! This Deluxe Reissue contains 5 bonus tracks not
availble on the original release / w download
Fronted by amazing vocalist Chhom Nimol, Dengue Fever has surprisingly
universal appeal - Chhom herself is already quite accustomed to seizing the
hearts of listeners (including the King and Queen of Cambodia), as she comes
from a family best considered as a Cambodia pop music dynasty– not unlike a
Cambodian version of the Jacksons. The rest of the band is no flake-fest either,
consisting of Zac Holtzman (Dieselhed) and his brother Ethan on Farfisa organ,
Senon Williams (Radar Brothers), David Ralicke (Beck) and seasoned drummer/
engineer Paul Smith. Their covers stay remarkably true to the crazy party music
spirit of the '60s- and '70s-era originals. But there are also original songs, some of
which veer off into the darkened corridors of lost love and ghostly noir
romanticism, dissolving sometimes into spaces of genuine bleakness and
tragedy — all in the Khmer tongue. Far from mere novelty or cheap Orientophile
thrill, Dengue Fever keeps listeners on their toes, dancing to their way-out tones.
The Deluxe Reissue contains 5 bonus tracks not availble on the original release.

Last October, when Bernard Allison returned to his old haunt of Bessie Blue Studios, Tennessee, to be greeted by fabled producer and career- long collaborator Jim Gaines, it felt like coming home. And when Allison fired up the amps, counted in the band and embarked upon his latest studio album, Highs And Lows, everything felt right with the world. “Just to be able to create music again after the pandemic,” he says of that long-awaited rebirth, “was incredible.”
For 56 years, music has been Bernard Allison’s essence. As the youngest son of the much- missed Chicago bandleader Luther Allison, he was a bluesman from birth. One week after graduating high school, Bernard cut his teeth on the road with Koko Taylor’s Blues Machine lineup – and ended up staying for most of the ’80s. By the close of the decade, however, he assumed a twin identity, leading and
writing for his father’s band, while forging a solo career that exploded in Europe off the back of early albums like The Next Generation (1990), No Mercy (1994) and Funkifino (1995).Now, released in February 2022 on Ruf Records, Highs And Lows sees Bernard acknowledge his lineage through two classic songs by his
father – Gave It All and Now You Got It – while offering nine originals. Try the irresistible groove of Hustler: a funk gem written by Bernard with Andrew Thomas, whose horn-and-harp groove evokes the strut of the title character. Or the masterful Last Night, which shifts tempo from an upbeat chop to a weeping slow- blues, capturing the changing moods of a man chasing his runaround woman. As for the title track, Bernard says it speaks for anyone left bemused by life’s rollercoaster: “It’s a part of life, the ups and downs that everyone deals with.”Right now, with a new album of stellar material to take out on his New Year tour, Bernard Allison is back in the ascendency – and the man can’t wait to return to his natural habitat. “The song So Excited is basically about the excitement of being able to be back on the road again,” he says. “I think everyone can relate to that.”

On the tribute album Songs for Tres, Psychic Ills band members come together to commemorate the late Tres Warren who passed away just as the world turned upside down in March of 2020. Isolated, feeling helpless and lost by the death of her musical soul mate and collaborator of 18 years, bassist Elizabeth Hart found making music to be her only outlet in a time where people were unable to be physically together to mourn. So, she reached out to Adam Amram, Jon Catfish DeLorme and Brent Cordero, the main players in the Ills line up since the release of their last full length album Inner Journey Out (2016), to ask if they would embark on this cathartic journey with her. This was a different kind of production endeavor for Hart driven solely by “the aching need and urgency” to do something to honor her friend.

Hart, Amram, DeLorme and Cordero reunited for the first time five months after losing Warren at Amram’s loft – the same spot where they’d rehearsed countless times before – although this time with a different objective. In an effort to share, support and create, the old friends joined in the painful and healing experience of making this tribute album to cope with their loss. The band members wrote, arranged, and rehearsed for months and the result of their work culminated in a weekend of recording in the southern Catskill mountains at the end of 2020. This isolated and intimate environment was a perfectly serene and fitting location to finalize their story.

Throughout the album, Hart, Amram and DeLorme take turns as the vocal lead on each of the songs while Cordero showcases his finger-picking guitar skills in addition to his piano and organ playing, which he is known for. Along with the core band members, a number of other musicians played on the album, many of whom had collaborated on prior Psychic Ills releases and wanted to be a part of this last collaboration in memory of Warren. Keeping the project in the Ills family, Hart produced the album alongside Iván Diaz Mathé, the long-time Psychic Ills sound engineer.

The album consists of five original tracks and four cover songs. Initially, learning the covers was just a method for the musicians to “break the ice” and play together again for the first time without their band leader. However, those tracks became just as important to include as the originals because of their essential role in the process of coming together to make the album. The cover songs were chosen because of their unique connections to the band’s memories of Warren. Dennis Wilson’s "Rainbows" and Fleetwood Mac’s "Station Man" come from two of Warren’s favorite albums, Pacific Ocean Blue and Kiln House. The band also recorded Blaze Foley’s "Clay Pigeons" and Powell St. John’s "Right Track Now." The idea for the latter was suggested by Amram. Warren once sent him a clip of Roky Erikson singing a moving rendition of that song in the film Demon Angel and it had stuck with him ever since.

Hart wrote "I’ll Walk With You" on the day of Warrens’ passing, at the time not knowing what it meant. When she got the call with the heartbreaking news, it became clear to her what the song was about. Relying on a gently lilting string arrangement to set the tone, this duet features Mazzy Star vocalist Hope Sandoval alongside Hart. Sandoval previously collaborated with Psychic Ills accompanying Warren on "I Don’t Mind" (2016). The ideas for "Home" and "Walk Around," two other songs on the album by Hart, started simply with an acoustic guitar and lyrics, a hopeful exercise to connect with her lost friend. Brent Cordero’s instrumental "Whole Lotta Piece of Mind" is nothing short of a transcendental experience. By running his pedal steel through a Leslie speaker, Jon Catfish DeLorme crafts the unique tone showcased on Wonderful Feeling, a moving example of studio experimentation combined with old school techniques. DeLorme describes it as “an attempt to highlight the musical experience I shared with Tres both sonically and thematically. What resulted is the unguarded exaltation I feel lucky to have shared with my fellow bandmates.” Adam Amram’s “Into the Sea” was composed spontaneously the week Warren passed. The melodic tune has a hopeful lightness and Amram describes it simply as “a song to my brother”. Their connection shines through.

In fact, the entire album is one that radiates the layers of friendship, love and music that will forever exist between this family of musicians. As the band themselves state: “This album was made out of love and a commitment to honor our dear friend and bandmate.” A portion of the proceeds from the album will be donated to RAICES, a charity who aids children who have been displaced at the Texas/Mexico border.

Nonesuch Records releases Ghost Song, the label debut of singer/songwriter Cécile McLorin Salvant. Ghost Song features a diverse mix of seven originals and five interpretations on the themes of ghosts, nostalgia, and yearning. Salvant says, “It’s unlike anything I’ve done before – it’s getting closer to reflecting my personality as an eclectic curator. I’m embracing my weirdness!” Cécile McLorin Salvant plays at Cadogan Hall on November 16 as part of the EFG London Jazz Festival, four shows at SFJAZZ in February, and two nights featuring the music of Ghost Song at Jazz at Lincoln Center in May. Salvant says of the title track, out now, “What if the love has gone, the love has left you and you have the emotions around that, and you’re still going through them, still engaging with the ghost of that love?” She continues, “Some songs are so painful to come out but this one came out pretty quickly. I’ve had some loss the last couple of years: my grandmother, the drummer in my band Lawrence Leathers.”



Ghost Song opens and ends with a sean-nós (traditional Irish unaccompanied vocal style) performance by Salvant, recorded in a church. On track one, she transitions into Kate Bush’s 1978 classic ‘Wuthering Heights’. Salvant says of the song, “Wuthering Heights is a book that really struck me to my core as I was making this album, during the pandemic. And the best interpretation of the novel is Kate Bush’s song.” She continues, “It’s the most classic ghost story. I decided I wanted to do an album called Ghost Song, and I knew that one had to be on it. Then I had the idea to mix it in with the sean-nós ‘Cúirt Bhaile Nua’, which binds it to the traditional ‘Unquiet Grave’, the last track on the album. The ghost is not haunting me; now I am haunting the ghost. They parallel each other so well and they’re such different time periods. I wanted the album to be a circle, with the sean-nós reference at the beginning and at the end. So it is the first track but it’s also the last track and it’s also the middle track, which is how I listen to music, walking around my neighborhood, on a plane, travelling somewhere, putting stuff on repeat.” “All the songs on the album kind of mirror each other. I tried to create this strange symmetry. So as you go in from both ends, the songs are sort of matched together,” Salvant says. “‘I Lost my Mind’ is the center of the Russian doll. I wrote that in the middle of the pandemic. There were nights when I wanted to just scream. It was this deeper part of me saying, ‘It’s OK if this sounds completely crazy, OK to just go with the completely crazy thing and not worry if people think you have lost your mind for doing it.’



“The bands also mirror each other from top to bottom. In terms of the instrumentation, everything,” Salvant explains. “That’s why the songs are there in that relationship: they match each other, they’re like fraternal twins, or one is the evil twin of the other. I, as the living, am visited by the ghost, and then I go visit the ghost in turn. I am haunting the ghost and annoying the ghost, which is saying, ‘Get out of here and go live.’” Of the sonic variety on Ghost Song, Salvant says, “Texture is a big part of how I sing, having multiple textures in one song. It’s almost a compulsion. I can’t allow myself to stay in one texture. The instrumentation creates that but the recording process as well. It’s something I like, even when I’m eating. You want the creamy and chewy and crunchy at the same time. Warm and cold.”



Cécile McLorin Salvant, a 2020 MacArthur Fellow and three-time Grammy Award winner, is a singer and composer bringing historical perspective, a renewed sense of drama, and an enlightened musical understanding to both jazz standards and her own original compositions. Classically trained, steeped in jazz, blues, and folk, and drawing from musical theater and vaudeville, Salvant embraces a wide-ranging repertoire that broadens the possibilities for live performance. Salvant’s performances range from spare duets for voice and piano to instrumental trios to orchestral ensembles. Her unreleased work Ogresse is an ambitious long-form song cycle based on oral fairy tales from the nineteenth century that explores the nature of freedom and desire in a racialized, patriarchal world. Salvant studied at the Université Pierre Mendès-France. She has performed at national and international venues and festivals such as the Newport Jazz Festival, the Monterey Jazz Festival, the Village Vanguard, and the Kennedy Center. Salvant is also a visual artist.

Bristol-based singer, songwriter and bandleader, who has powered her
way to the-forefront of the British blues and roots scene in recent years,
unveils her eagerly-awaited third album 'Shining in the Half Light'
Crammed with vibrant originals brought to life with her A-list touring band, it's yet
another significant step forward in a career already feted with awards and
acclaim.'Shining in the Half Light' is Bailey's first full length album recorded in the
UK & feature's Joe Wilkins on Guitar, Jonny Henderson on Ivories, Matthew Waer
on Bass duties and Matthew Jones on drums. It was recorded in deepest Devon
in December 2020 at Middle Farm Studios and produced by Dan Weller, best
known for his long working relationship with Enter Shikari. Elles wanted this
record to feature 'gospel style vocals' so in steps Izo Fitzroy, an incredible artist in
her own right, who arranged the stunning background vocals on 'Shining In The
Half Light', and performed them alongside Jade Elliot and Andrusilla Mosley.
An exciting team of co-writers feature with three credits for Ashton Tucker & Will
Edmunds, who both wrote with Elles for 'Road I Call Home', plus she teamed up
with longtime guitarist Joe Wilkins to write the slow-flowing, philosophical 'Riding
Out The Storm'. Other kindred spirits include guitar maestro Martin Harley, for the
gentle and romantic 'Different Kind Of Love' and Matt Owens, co-founder of the
hugely successful indie- folk outfit Noah and the Whale, on the aforementioned
'Sunshine City'. The album comes to a striking conclusion with its title track, cowritten with Nashville's Craig Lackey, written over Zoom in May 2020.
Front cover features in Blues in Britain (Jan) and MNPR (May) Features in Record
Collector, Rock and Reel, Blues Matters, HRH Magazine, Fireworks Mag,
Powerplay, and Maverick
Reviews in Record Collector, Maverick, Powerplay,Fireworks,Blues Matters,HRH
Mag
Online press in Music News, Maximum Volume, Rush On Rock, All About The
Rock, Vents, Bluesdoodles, Rock and Blues Muse,Blues Rock Review, Blazing
Minds, Decibal Report, Maverick Country
Radio- BBC Radio 2 Cerys Matthews and Johnnie Walker, Planet Rock A playlist.

Following a four-year hiatus, our main imprint is back with a new outing by our long-time friend, Laslo. His previous works found home on quality record labels like Greta Cottage Workshop, Greta Cottage Woodpile and Soundscape Versions. Now he is delivering three originals, all shaped and arranged along his dub-infused, peculiar sound. As label heads, we rarely focus on remixes, but in the case of this EP we could not resist the chance to get one by the Hungarian drum & bass veteran Ghost Warrior (31 Records, re:st, Well Street Records), who did his first ever remix for Tape Hiss, this time exploring the mid-tempo territory.

Heavenly Recordings announce the release of ‘Heavenly remixes 3&4 - Andrew Weatherall volume 1&2’, a brace of compilation albums collecting together some of the finest remixes from the label’s long-time friend, collaborator and go-to remixer. These compilations follow ‘Heavenly remixes 1 & 2’, which showcases some of the label’s other great remixes.

 By the time Heavenly was born in the spring of 1990, Andrew Weatherall was already an inspirational sounding board, as well as a fellow traveller on the bright new road that stretched out ahead, thanks to the massive cultural liberation of acid house. Back then every energised meeting could be turned into a fortuitous opportunity in this burgeoning new underground economy. Bored of your job? Start playing records out! Start a club night! Get in the studio!
Start a label! Just don’t stand still. Commandments Andrew would follow for the rest of his life.

 At the start of things, Andrew was a regular visitor to Capersville - the pre-Heavenly press office run by label founder Jeff Barrett (soon to become Andrew’s manager). It was there that he famously picked up a copy of Primal Scream’s unloved second album and singled out a
track that would later become ‘Loaded’, after being given an instruction to “fucking destroy” it by the band’s Andrew Innes; it was there too that the idea to remix the first Heavenly release
came about.

 Andrew’s mix of that first Heavenly record is very much a product of its time. ‘The World According To Sly and Lovechild’ is a swirling bass punch topped with a hypnotic marimba line and the kind of ecstatic diva vocal that you’d hear coming out of the speakers all night at postShoom clubs like Yellow Book.

 His take on the label’s next release - Saint Etienne’s ‘Only Love Can Break Your Heart (A Mix of Two Halves’) - would set the template for his next three decades of audio exploration. A drawn-out imperial dub, the track builds and builds with a moody intensity (partly down to the
melodica played by Weather Prophets legend Pete Astor) that’s far more Kingston JA at dusk than Kingston-upon-Thames at kicking out time. It’s both a dancefloor record to get lost in and
headphone psychedelia of the highest order - a perfect example of what he did better than anyone else.

 Between 1990 and his untimely death in 2020, Andrew fed more Heavenly bands through the mixing desk than those of any other label. Consistently, he returned visionary music to the
office, often in person for (at least) one ceremonial playback - a ritual that would involve the volume cranked up high and Andrew rocking back on his heels, eyes closed, lost in the alchemy of it all.

 Each time, he would warp and twist originals into beautiful new shapes - elasticated club records that might evoke Detroit techno one second and Throbbing Gristle the next, before wheel-spinning into something akin to The Fall produced by King Tubby.

 Andrew’s studio adventures would always be guided by that early advice to destroy the source material. It’s why he was the first name that came up when remixes were discussed; the first number on the speed dial. Listening back to these remixes now - to thirty years of glorious outsider sounds - it bangs home again just how fucking good Andrew was.

Hollis Brown's latest album, 'In The Aftermath' (Mascot Label Group/Cool
Green Recordings), is the deliciously depraved outcome of an all-night
rock n' roll riot
The Queens, New York- based quintet escaped to the Poconos to record with a
few handles of whiskey, and, in one 24- hour session, ran down the Stone's
seminal first album of all originals, 1966's Aftermath. Tracked live in the studio
with minimal overdubs, 'In The Aftermath' is potent proof the five-piece group is
one of the last great American rock n' roll bands.'In The Aftermath' is the second
in a casual homage series. Previously, Hollis Brown issued 'Gets Loaded', saluting
Velvet Underground's 'Loaded'. This new album directly follows the band's most
successful release yet, 2019's 'Ozone Park', which earned rave reviews from
Rolling Stone, Billboard, Paste Magazine, Pop Matters, Relix, and Goldmine.

Today New York based singer, songwriter and producer Amber Mark announces details of her long-awaited debut album ‘Three Dimensions Deep’, out January 28th via EMI/PMR Records. The announcement of the album is accompanied by a sultry R&B instant-grat track ‘What It Is’ as well as a huge UK, EU and US spring tour announcement including London’s O2 Shepherd’s Bush Empire in March

Amber’s debut album arrives almost 4 years after the release of her second EP ‘Conexão’, an extended process that has proved central to its thematic development. The 17 track album can be divided into three main acts that follow the arc of Amber’s personal and musical development; WITHOUT, WITHHELD and WITHIN. Beginning by acknowledging her insecurities and anxieties before reflecting on her time in denial and spent processing them in all the wrong ways, Amber eventually widens her focus by seeking answers to the world’s negativity and trauma on a cosmic scale. Finding peace and a form of inherent spirituality in the world of astrophysics while writing the album led to a fresh perspective on life and a renewed sense of self. Amber’s debut album is simultaneously a profound concept album and a love letter to herself, richly intertwining messages of self-worth and reflections on the universe beneath a veneer of shimmering pop. In true Amber Mark style, ‘Three Dimensions Deep’ is a kaleidoscopic melting pot of influences and genres, drawing from funk and R&B, soul and hip-hop with international accents influenced by a nomadic childhood spent travelling the world with her late mother.

“Three Dimensions Deep is a musical journey of what questions you begin to ask yourself when you start looking to the universe for answers.” says Amber; “I can only go as deep as the third dimension as that’s how we see the world, but what about when you start looking to the universe within for answers.”

“‘What It Is’ low key is the title track of the album without it actually being the title track” explains Amber; “It comes from going through negative experiences which end up being the gateway to a question I think I’ll be asking for the rest of my life. What is the meaning of life,the universe and everything?”

The three official singles already released from the album ‘Worth It’, ‘Competition’ and ‘Foreign Things’ marked Amber’s first official singles since 2020’s ‘Generous’, though 2020 was still a hugely productive year for Amber. With her hometown of NYC hit hard in the first wave of the pandemic and placed under strict lockdown, Amber turned to her simple home studio to create an acclaimed series of home-produced covers and originals titled ‘Covered-19’, each accompanied by a homemade video and artworks. The series was followed by a collaboration with longtime friend Empress Of on the protest song ‘You’ve Got To Feel’, earning Annie Mac’s Hottest Record, ‘Tune Of The Week’ and a spot on the Radio 1 playlist. Earlier this year Amber was featured on legendary DJ Paul Woolford’s new piano-house track ‘HEAT’, again snagging Annie Mac’s Hottest Record and a long run across the Radio 1 and 2 playlists. Having already amassed over 300 million streams since the release of her breakout debut EP 3:33AM in 2017, Amber has built a global fanbase eager to hear her debut full length -

The debut album from hotly tipped kiwi band Jamie and The Numbers, finally sees a release via Pete Brady’s Superfly Funk and Soul Records. After years of limited release 7”s being fought over worldwide by collectors and fans, this superb LP is the culmination of years of work for highly gifted Tongan-Kiwi Jamie Mavusa. Based in Wellington she can occasionally be seen singing soul tunes for Tapestry Music Promotions at many of their Music Reviews and also in her gospel choir at Church. It was at one of the Tapestry Music shows in Wellington that Jamie met Simon from Deltaphonic Records/The Numbers and after watching Jamie perform an amazing version of "Wade In The Water”. It was suggested they do some recording together with the view of doing some cool Soul classics and a bunch of originals too, the rest is now history.



The Numbers are an incredibly tight Wellington based band. Prolific writers of their own original material they are a 4 piece that consist of three brothers from Wainuiamata and a newly adopted Kiwi originally from Birmingham England. If you get a chance check these guys out they are brimming with cool retro tunes and some barnstorming original songs played with verve and passion and their shows are always fun, 2019 they supported "From The Jam" on their visit to New Zealand and after teaming up with Jamie have played Pasifika Festivals and open-air concerts to thousands of people. The Numbers collectively have played, sessioned, recorded for other artists on such labels as Gut Records, D-Star, EG Records, Imaginary Records and have in excess of 40+ published songs with Universal, Complete Music, KWS Records NYC and Cherry Red Records.

Grey Vinyl

Polymorphism Records continue their intercultural and cross-genre work with their third release E Source. Female vocals return to the label with four original tracks by Russian artist Sestrica, who brings in her characteristic emotional narrative. A remix by Konx Om Pax and
a rework by Antwood make up the crew boarding on a galactic grey/silver vinyl.

PM003 takes off with electro-to-techno beats fuelled by a mild, wrapping acid melody in Today We Meet, where the uplifting countdown to launch can be felt. Sentimental Value gets
us deeper into the spatial trip. Darker samples and a heavier bassline give extra gravity to the anthem of the journey across sonic galaxies. Floating to slow, surrounding sounds and loops we land on a calmer planet called Intention. Its tidal sensation is created by an
orchestral combination of meditative vocals and other layers of composition. New Era enters an orbit of elegant syncopation within a rotating reverb stardust. Ancestral beeps subtly acknowledge legacy to be taken forward to the next odyssey.

Musician and graphical artist Konx Om Pax from Glasgow beautifully introduces nostalgia to New Era with playful breaks and scratches, getting us back to our roots in this excursion visiting alien territoires. Sestrica’s vocals from her original track are drawn into the remix as
echoing words rendering a mysterious aura, travelling through a deep trance of diverse yet harmonic rhythms and effects. A journey within a journey.

Canadian producer Antwood’s rework of side A jumps into an epic vortex of more experimental, unexpected sounds. The album-closer builds up towards absolute chaos, to then create a vacuum to emptiness. A supermassive (tribute to black holes intended) drop
leads to the last minutes of the EP: up tempo cyber-influenced sounds that bring us to a bright futuristic landscape ironically far from a dystopian prophecy.

Purely coincidental fact: the last track of PM002’s originals being Crisis Apparition and its homologue in PM003 New Era, hope seems to be peeking through current times to send an accidental message with this first series of the label.

Mind the overuse of Space metaphors; in this year 2021 where humans are going farther and further in exploring new places out there, it is a tribute and celebration to discover new musical journeys like this out here, on Earth.

Environmental sustainability and social justice are core values of Polymorphism Records. Following their strong interest in contributing to a good cause, shown from the early days, all Bandcamp digital sales are donated to projects such as Team Trees or The Ocean Cleanup.meet f B3 E Source side A (Antwood rework)

New Originals 45 – you know the drill – B side samples the A side and the sample in question is JC Davis’ stone cold classic breakbeat A New Day as featured on DJ Shadow’s Entroducing LP sleeve – absolute fire! Hell Razah calls on some help from a couple of legends Talib Kweli & MF DOOM (RIP) who also produced the track which leans heavily on the JC Davis track to great effect – doubles are mandatory!!

Having already impressed via a slew of releases for Correspondant, Live At Robert Johnson and his own Biologic Records, DC Salas tees up an impressive release for Futureboogie. ‘The Weight Of Uncertainty’ EP illustrates the suave sounds that the Brussels born producer has become noted for, and comes backed with a remix from the supremely talented and always on-point I:Cube.

In its original mix, ‘The Weight Of Uncertainty’ dips into a smorgasbord of sound, as touches of Belgian New Beat slide on up against balearic disco tropes for a spectacular body & soul workout. The legendary French disco architect and Versatile Records mainstay, I:Cube, floats in on a little fluffy cloud for a terrific ambient dance version, fuelled by the kind of IDM brain scrambling sounds once present in the DNA of producers like Carl Craig, B12, Black Dog and Autechre.

On his two other originals, DC Salas gets raw and grungy on ‘Gliding Sound’, its distorted edge adding to the drama composed by the heavy hitting synth lines and the gnarly percussive pattern, whilst ‘They Don’t See It’ introduces some dark acid elements to the chugging rhythm and steely hi-hats anchoring the tracks off-kilter melodies.

British duo The Boy Least Likely To are not new to Christmas music. It started in 2005 with a charming cover version of ‘Little Donkey’ on a give away CD single, followed three year later by the first Christmas original they recorded, ‘The First Snowflake’, that made it into an episode of Grey's Anatomy. In 2010, the band released the album ‘Christmas Special’, with mostly originals, including the single ‘George And Andrew’, that came with a much watched and liked video. Last year, The Boy Least Likely To released a new Christmas song ‘It Will Still Be Christmas’, that reflected the difficult time the world was going through in 2020. What was still lacking in The Boy Least Likely To Christmas discography was a Christmas 7”. That is now also taken care of, as the band recorded two new Christmas songs for the ninth edition of the Snowflakes Christmas Singles Club. The nostalgic sounding original ‘Two Christmases’ is typical for the somewhat bittersweet nature of many of the duo’s songs, as it is about a recently divorced couple who, for the first time, will celebrate Christmas separately, one after the other, so that their children can celebrate Christmas with both their parents. On the flipside of the record, The Boy Least Likely To rework Shakin’ Stevens number one hit ‘Merry Christmas Everyone’ into an uptempo cross between indie pop and western swing. The record comes on white vinyl and is limited to 300 copies.

The Boy Least Like To are composer/multi-instrumentalist Pete Hobbs and lyricist/singer Jof Owen, both originally from Wendover in Buckinghamshire, England, who met at school and began making music together in 2002. They debuted in 2003 with the 'Paper Cuts' 7” on their own label To Young To Die. In 2005 the duo released their first album, 'The Best Party Ever', that made it into Pitchfork's top 50 albums of 2005. Three more albums followed (2009's 'Law Of The Playground', 2010's 'Christmas Special' and 2013's 'The Great Perhaps') and in 2018 the career spanning collection 'The Greatest Hits', including classic tracks like 'Be Gentle With Me' and 'Hugging My Grudge' was released. Their music, once described in Rolling Stone as sounding like what would happen "if all your childhood stuffed animals got together and started a band.” incorporates influences from all over the indie landscape (twee pop, indie country, jangle pop, piano pop) and blends it into something that is unmistakingly To Boy Least Likely To – often joyous and uplifting, sometimes melancholic, with lyrics that reflect our everyday fears and anxieties, as it’s not all sunshine in our lives. In 2021 the band celebrated the slowly opening world by releasing a new digital single, 'Get Into The Summer', a joyous burst of fresh energy, showing that the band’s music is for all seasons

Deluxe LP edition, remastered using transfers from the original
tapes lifted from the Phillips vault by mastering legend Kevin Gray.
 Pressed at Pallas on 180g heavyweight vinyl and housed in a thick
reverse-board sleeve with additional insert featuring photographs
and words by bassist on the session Bill Crow.
 This session, recorded at New York’s Nola Penthouse Studios in
1963, is a little-known masterwork from the incredible Gerry
Mulligan catalogue.
 Baritone saxophonist Gerry Mulligan was a true icon of jazz, being
one of the prominent figures in the West Coast scene through the
1950s until his death in 1996. Voted Number One musician in his
instrument by Downbeat Magazine for 42 years in a row, Mulligan
was one of the key players of his time and a figurehead who
helped shape the sound of jazz to come.
 From periods in the ‘Birth Of The Cool’-era Miles Davis line up, as
well as forming a piano-less quartet with Chet Baker, Gerry was
always on the frontline of what was hip and happening in
America’s one true art form.
 With its striking Oliver Hardimon designed cover, ‘Night Lights’ is
the very definition of refined cool jazz. Shimmering with a latenight beauty that perfectly evokes a sophisticated New York City in
the early 1960s, Gerry and his Sextet fuse slow burning jazz noir
alongside emerging contemporary Brazilian rhythms, with the
interplay between Mulligan and guitarist Jim Hall a particular
standout throughout.
 Title track ‘Night Lights’ is a wonderfully smooth, low light tune,
while the Latin-tinged ‘Morning Of The Carnival’ really finds the
band in their finest and most swinging form. A cover of jazz
standard ‘In The Wee Small Hours Of The Morning’, followed by
Chopin’s ‘Prelude In E Minor’ continues the delightful groove
before we finish out with Mulligan originals ‘Festival Minor’ and
‘Tell Me When’.
 For this version of the release, New Land have also included the
1965 version of ‘Night Lights’, which gives an interesting
comparison, performed by his later day Quintet featuring the
Wrecking Crew’s legendary Hal Blaine on drums, amongst others.

Shkema's debut EP 'Kronikos' is a double release with four originals and four remixes. The author describes it as 'world news show, where each song represents a different story'. Some of them he has experienced himself, some are hearsay from TV news programs, and some are actually imaginary. Stories are not really related - just like in the news. 'Ispanija' was created during a friend's band rehearsal. Psychedelic vocals sounded interesting in Shkema's headphones while he was watching soundless singers and the muted musicians. The true reason why this track is called 'Ispanija' is still unknown to this day. According to Shkema, 'Ola' is an allegory of Plato's cave. It's a story about prisoners, chained in the cave and the only moving thing they could see was a passing shadow - quite deep, uh? Justin Strauss and Max Pask recently have joined up to form new project Each Other. True dance floor legends delivered bass-busy remix of 'Ispanija'. It could probably be best described as 'juicy distorted badboy from New York you don't want to mess with'. Moscow's finest - Simple Symmetry - joined the pack and went back to the roots. Their remix for 'Ola' is future clubbing classic, four to the floor banger with a drop perfect for pogo.

When Peter Rosenberg was hired by Hot 97 in July of 2007 his task was simple. His Sunday night show “Real Late” was to be a place where independent, underground, and boom bap artists could be featured. Rosenberg leaned into the gig and artists and fans, new and old, took note. In the years that followed Rosenberg world premiered music from future superstars such as Action Bronson, Joey Badass, A$AP Rocky, Childish Gambino, Frank Ocean, Tyler the Creator, Earl Sweatshirt, Travis Scott and countless more. He also became a star of Hot 97’s Morning Drive radio show, held a yearly concert to celebrate his favorite artists, and put out mixtapes in 2010, 2011, and 2013 that broke new music from a variety of these up and comers, including originals from Kendrick Lamar, Bronson, Badass, ASAP Rocky and Ferg, to name a few. Since 2013 Rosenberg has expanded his broadcasting range. He was hired by ESPN and instantly made an impact as a new cohost on “The Michael Kay Show.” Since arriving in 2015, the show has consistently grown in popularity and in 2019 reached the top of drive time ratings. Rosenberg’s passion for sports entertainment also led to him becoming a fixture on WWE pay per view events. It would have been easy to assume that Rosenberg’s next move would be a pivot away from underground music all together. Not so fast. As the pandemic hit, Rosenberg went back to his roots. He decided the time was right to finally put together an official album and in doing so he tapped some of the best artists in hip hop, from legends to newcomers, to put together a complete body of work aptly named after the late night show that put him on the map in the first place. Peter said: “I have considered making an album for years but it really was the pandemic that got me focused and led to me finally creating “Real Late”. I thought this was the perfect time to put together legends, new artists, and underground producers to create a project that sounded like my show “Real Late” on Hot 97. I was fortunate enough to get help from some amazingly talented people and the result is an album that I think truly represents the hip hop that I and so many others love.“ Features guest performances from Westside Gunn, Roc Marciano, Styles P, Smoke DZA, Method Man, Raekwon, Ghostface Killah, Flee Lord, Stove God Cook$, Eto, Willie the Kid, Meyhem, Buckwild, Crimeapple, Jim Jones, Rasheed Chappell, Homeboy Sandman and more!

Richard Ashcroft is set to release the new album ‘Acoustic Hymns Vol. 1’ on October 29th via RPA / BMG. The album features twelve newly recorded acoustic versions of classic songs from his back catalogue spanning both his solo career and his time with The Verve.



ABOUT



After lockdown was lifted, Richard decided to start the project as a way to reunite the community around him, bringing a selection of great musicians and old friends back together again. As the project took shape, they discovered just how varied their new approaches could be. Some of the arrangements proved to be timeless and remained similar to the originals, with years of experience and a new found passion that saw Richard’s vocals express a fresh empathy within their lyrics. Meanwhile, other songs took on a new shape in this stripped-back set-up.



The rebirth of the iconic ‘Bittersweet Symphony’ was an emotional moment for Richard. It felt particularly poignant re-recording a song that he had written almost twenty-five years ago, especially as it's now officially his composition after Mick Jagger and Keith Richards relinquished their writing credits to him.

Another big moment comes with the new version of ‘C’Mon People (We’re Making It Now)’, a duet with Richard’s old friend Liam Gallagher. The pair have often talked about recording or performing the song together since it was first released in 2000, and now it’s finally happened - the sheer energy and delight that they shared during the session is palpable as the new recording beams with a joyous feeling of optimism.



‘Velvet Morning’ is another track that has been transformed. The vocals on the original version, as featured on The Verve’s classic ‘Urban Hymns’, were sung via a megaphone that Richard had purchased from a car boot sale the day before the recording session. Now Richard’s vocal really shines as it unleashes the song’s full magnitude.



The biggest surprise on ‘Acoustic Hymns Vol. 1’ is the inclusion of ‘This Thing Called Life’, a song which Ashcroft has rarely played live. It was originally recorded with No I.D. in the USA as a highlight of his soul-tinged RPA & The United Nations Of Sound project. Now taken back to basics, the new arrangement reveals a song that feels perfectly at home alongside Richard’s most highly regarded work.



Produced by Richard with regular collaborator Chris Potter, the album features his regular live band boosted by some special collaborators. Wil Malone provides the string arrangements, which were recorded at Abbey Road Studios. In addition, Chuck Leavell (The Rolling Stones, The Allman Brothers) performs piano, Roddy Bloomfield leads the brass section, and Steve Wyreman (Leon Bridges, Vic Mensa) contributes acoustic guitar and backing vocals.



Richard Ashcroft recently announced details of four special shows, each billed as “An acoustic evening of his classic songs.” After quickly selling out two nights at London’s Palladium, he subsequently added two bigger shows at the Royal Albert Hall and the M&S Bank Arena in Liverpool to fulfill huge public demand for tickets. He will play:

(incl Ø Phase remix) Robert Hood is set to regenerate his much-loved Monobox alias with a new EP in October followed by an artist album in November. His 'Forwardbase Kodai EP' features 2 exclusive originals that will not appear on the forthcoming album. alongside an imposing remix by Ø Phase making his M-Plant debut and a blistering Robert Hood Re-Plant edit.

M_SESSIONS - THE PROCESS

"M_Sessions" is offering a contemporary version of Mania D., Malaria and Matador’s music for the 40th anniversary plus the rare originals. Bringing the past into the now and into the future.
Monika Werkstatt seemed the perfect choice for new interpretations. Founded in 2015, comprising female electronic musicians and producers from the entourage of Monika Enterprise and Moabit Musik. The loose collective played dozens of improvised concerts around Europe and released a studio album and live recordings in everchanging artist constellations.

The M_Sessions involved Pilocka Krach, Beate Bartel, Midori Hirano, Mommo G, Lucrecia Dalt, Antye Greie-Ripatti, Natalie Beridze, Annika Henderson and myself. Here the form of interpretation is focussing on keeping the freedom of their improvised work and adapting it to the collective appropriation of songs. I cannot imagine a better reinterpretation of the material with its real life ups and downs and with its enthusiasm.
The original core team of Beate Bartel, Bettina Köster, Manon P. Duursma and myself selected "Rare Originals" from the repertoire of the 3 bands where we saw special relevance and beauty - these tracks are on LP2. We rediscovered live tracks, living room recordings and demo versions from our times long gone. (G.Gut)

M_DOKUMENTE // THE BOOK - THE RECORDS - THE EXHIBITION

The project M_Dokumente focuses on the All Female bands Mania D., Malaria! and Matador in the West Berlin music and art scene of the late 1970s and 1980s. We celebrate this 40 years retrospetive with a big festival weekend from 21.-24.10.2021 at Silent Green from a explicitly female perspective.
The three bands around their members Beate Bartel, Bettina Köster and Gudrun Gut played concerts in different formations from 1979 on, released records and toured around the world. The self-determined appearance of the musicians was new, raised some eyebrows and was reflected both in the music and the lyrics, but also in their unique style and the genre-crossing approach of "more art in the music, more music in the art". To this day, the bands are considered visionary, they shaped a new image of women in pop culture and are pioneers and role models for the still important and necessary emancipatory movement in the music industry. Far beyond the borders of Berlin.

3Ms

The three, reunited: Malaria, Matador and Mania D, unter einem Dach, but gutted, replaced with electronic hearts, new beats, new beasts, the time has changed, yet the politics, the problems, the heartache remains the same. 2021 sees the anniversary of the 3 M’s and therewith the production of an album of songs, covering a selection of the bands’ finest output, this time assembled by a new set of feminist misfits; producers, fangirls, instrumentalists, under the strict guidance of original members Gudrun Gut and Beate Bartel. M-Sessions features: AGF, Lucrecia Dalt, Sonae, Midori Hirano, Islaja, Natalie Beridze, Pilocka Krach, Annika Henderson (Anika), Lupe, Gudrun Gut and Beate Bartel. Beginning in West Berlin, in 1979, with the inception of Mania D, spawning Malaria! and later Matador; in a time when music was essential to movement, to escape, to space, to the scene and to the rebellion of the people; three bands stood for trial and error, trial and terror, anti- conformity, and anti-consumerism, for girl power and sticking it to the man, and for just doing whatever the hell they wanted. The three, their existence slightly staggered, with different members, different grudges, different heartbreaks, different instrumental expressions, were joined by a string of barbed wire, piecing pigeon hearts, within the playground that was the desolate ex-capital, now again capital, Berlin; a place where artists and freaks could run free amongst the wrinklies and army dodgers; no microscopes, no rules, no property developers. (ANNIKA HENDERSON)

"M_Sessions" is offering a contemporary version of Mania D., Malaria and Matador's music for the 40th anniversary plus the rare originals. Bringing the past into the now and into the future. Monika Werkstatt seemed the perfect choice for new interpretations. Founded in 2015, comprising female electronic musicians and producers from the entourage of Monika Enterprise and Moabit Musik. The loose collective played dozens of improvised concerts around Europe and released a studio album and live recordings in everchanging artist constellations. The M_Sessions involved Pilocka Krach, Beate Bartel, Midori Hirano, Mommo G, Lucrecia Dalt, Antye Greie-Ripatti, Natalie Beridze, Annika Henderson and myself. Here the form of interpretation is focussing on keeping the freedom of their improvised work and adapting it to the collective appropriation of songs. I cannot imagine a better reinterpretation of the material with its real life ups and downs and with its enthusiasm. The original core team of Beate Bartel, Bettina Köster, Manon P. Duursma and myself selected "Rare Originals" from the repertoire of the 3 bands where we saw special relevance and beauty - these tracks are on LP2. We rediscovered live tracks, living room recordings and demo versions from our times long gone. (G.Gut)

Ein Weihnachtsalbum zwischen sentimentalen Pop-Balladen, Witz, Swing und Charme präsentiert Darren Criss, multitalentierter Sänger, Songwriter, Emmy- und Golden-Globe-prämierter Schauspieler und
Broadway-Star. Seine Fans lieben den gutaussehenden jungen Mann für seine Rollen in ”GLEE”, ”VERSACE: AMERICAN CRIME STORY” oder ”HOLLYWOOD”.
Jetzt erfüllt sich Criss einen Wunsch mit einem Weihnachtsalbum, das zwischen Pop und Swing a’la
Dean Martin allerbestes Entertainment unter dem Weihnachtsbaum verspricht. Sein erstes Album in voller
Länge besteht aus Originalsongs und kreativen Neuinterpretationen klassischer Weihnachtshits. Als Gäste
hat er Adam Lambert, Lainey Wilson und Evan Rachel Wood zur Weihnachtsparty geladen.

Skudge's back catalog features some of the finest moments from the 10's. Putting aside the powerful EP's, guest appearances and remixes, the album 'Phantom' initiated a consolidated, and perhaps a more liberated, side of the signature sound of which we are no strangers.

Perhaps the most difficult task in creating something is to follow simple truth's. The adrenaline spiked and dusty tunage from the Stockholm studio, has now been revisited in this new decade and reduced even further.

In this new series from Skudge, the tracks 'Pressure Drop' and 'Realtime' are remodeled and retuned. Not as a reminder of what has been, but more as a result of reaching a different conclusion and expression.

Concentrated on the skeletal parts of the originals. Rebuilt into alternatives that reflect a sifted and interestingly constrained sonic palette. This further shows how Skudge not only inspire the community, but are also inspired by their own history.

Norah Jones has been a steady voice of warmth and reassurance for nearly 20 years since her cozy 2002 debut album Come Away With Me became a familiar musical companion for millions of people around the world. Now the 9-time GRAMMY-winning singer, songwriter, and pianist has made her first-ever holiday album with I Dream Of Christmas, a delightful and comforting collection of timeless seasonal favorites and affecting new originals that explore the complicated emotions of our times and our hopes that this holiday season will be full of joy and togetherness. I Dream Of Christmas will be released October 15 on Blue Note Records and can be pre-ordered now on vinyl, CD, and digital download.

“I’ve always loved Christmas music but never had the inclination to make a holiday album until now,” Norah says. “Last year I found myself listening to James Brown’s Funky Christmas and Elvis’s Christmas Album on Sunday’s during lockdown for a sense of comfort. In January 2021, I started thinking about making a Christmas album of my own. It gave me something fun to work on and look forward to.”

The album’s opening track, Norah’s original “Christmas Calling (Jolly Jones)” is available to stream or download today. Over chiming piano chords, Norah expresses a deep desire for holiday cheer and companionship. “I wanna hear the music play / I wanna dance and laugh and sway / I wanna happy holiday for Christmas.”

“When I was trying to figure out which direction to take, the original songs started popping in my head,” Norah explains. “They were all about trying to find the joys of Christmas, catching that spark, that feeling of love and inclusion that I was longing for during the rest of the year. Then there are all the classics that have that special nostalgia that can hit you no matter who or where you are in life. It was hard to narrow down, but I picked favorite classics that I knew I could make my own.”

Among the album’s many pleasures are Norah’s playful reinvention of The Chipmunk’s “Christmas Don’t Be Late” by David Seville (aka Ross Bagdasarian), which is given a languid beat and swaggering horns. Other highlights include sublime versions of “White Christmas,” “Blue Christmas,” “Winter Wonderland,” and “Christmas Time Is Here.”

I Dream Of Christmas was produced by Leon Michels, and features an excellent cast of musicians including Brian Blade on drums, Tony Scherr and Nick Movshon on bass, Russ Pahl on pedal steel guitar, Marika Hughes on cello, Dave Guy on trumpet, Raymond Mason on trombone, and Michels on saxophone, flute, percussion, and more.

Norah Jones first emerged on the world stage with the February 2002 release of Come Away With Me, her self-described “moody little record” that introduced a singular new voice and grew into a global phenomenon, sweeping the 2003 GRAMMY Awards. Since then, Jones has become a nine-time GRAMMY-winner. She has sold 50 million albums and her songs have been streamed six billion times worldwide. She has released a series of critically acclaimed and commercially successful solo albums—Feels Like Home (2004), Not Too Late (2007), The Fall (2009), Little Broken Hearts (2012), Day Breaks (2016), Pick Me Up Off The Floor (2020), and her first-ever live album ‘Til We Meet Again (2021)—as well as albums with her collective bands The Little Willies, El Madmo, and Puss N Boots featuring Sasha Dobson and Catherine Popper who released their second LP Sister in 2020. The 2010 compilation …Featuring Norah Jones showcased her incredible versatility by collecting her collaborations with artists as diverse as Willie Nelson, Outkast, Herbie Hancock, and Foo Fighters. Since 2018 Jones has been releasing a series of singles including collaborations with artists and friends such as Mavis Staples, Jeff Tweedy, Thomas Bartlett, Tarriona Tank Ball, Rodrigo Amarante, and Brian Blade, some of which were compiled on the 2019 singles collection Begin Again.

Cobra Poems is a set of 10 new originals by Daniel Romano and the group
of exceedingly well-dressed talents known as the Outfit.
Here, they display an ever-increasing swagger and a rare ability to synthesize
a shocking amount of rock history into something new, relevant, immediate,
and yes, poetic. “If all the words of joy should shed their syllabic countenance,
would they not still resonate at this same frequency?
If distillate love made aural and amplified struck every unbidden ear, would
it not blossom with this same audible bouquet? Here then is the document ‘
the evidence, the proof, the truth, the real thing, the one thing, the only thing.
Daniel Romano’s Outfit, now and always. Call it communion. Call it a rhapsody.
Call it Cobra Poems. Go on. Dig it.”
Cobra Poems was recorded in Camera Varda, the Outfit’s newly built studio on
the banks of the Welland Canal. It will be supported by live dates in Germany, Netherlands, Sweden, Norway, Denmark, the United Kingdom, the United
States, and Canada in 2022.

Birthed in Brooklyn from her home studio during lockdown, producer and stay-at-home DJ Lauren Ritter unveiled her own, newly-minted label Rift Vision last winter with four deep,
glittering, dream-like compositions. As the world begins to re-open, Rift Vision returns with a stellar cast of guest artists to provide their own take on her four originals.
The inimitable Octo Octa kick-starts the project, giving “Vespers” an injection of energy with groovy, bouncy percussion that underpins the track’s warm and buoyant pads. Bumako visionary Jenifa Mayanja gracefully pairs vocals and rhymes from Tenesha The Wordsmith and
JB!! AKA Dirty Moses with warm, floating, and glistening melodies that refresh “Thirst Trap” for the summertime.

After his first adventure in the endless universe of instrumental music where he made known “Man With a Plan” in 2018, Minus & MRDolly now presents the new EP Broken Hearts Make Broken Beats. This new work is the result of a recording session at the Groove-Wood studios promoted by João André - who mixes two of the three originals of the EP - to which Hugo Danin joined on drums and Sérgio Alves on keyboards and electric piano. In trio, Minus, Hugo and Sérgio rearranged and explored the original sketches, previously composed by Minus & MRDolly.

Floating, or as if to say, with one “foot inside and the other outside” of his so familiar home that is Hip Hop, “BHMBB” is the reflection of some musical references previous to that house, where “Britfunk” or “Broken Beat” serves as an example. This EP intends to marry the acoustic character of the interpretation with the aesthetic and electronic universe of dance music.

“Salame”, “The Break” and “A Thousand Miles”, the three originals that make up the EP Broken Hearts Make Broken Beats, also count on the participation of percussionists Manu Idhra and Rui Ferreira, the voice of Mary Raisekings, and the Pardal saxophone. The theme "The Break" has remixes by Pedro and Max Graef.

TRAMPOLENE’s third album ‘Love No Less Than A Queen,’ through the
Strap Originals label, features 12 brand new TRAMPOLENE original songs
and was produced by Mike Moore (Baxter Dury/Liam Gallagher), Richard
Jackson (Super Furry Animals) & Jason Stafford (Albion Rooms) and mixed
by Dave Emery (Arcade Fire/Elbow).
Says TRAMPOLENE main man Jack Jones: “The album was a way of me summing up my life so far. It made me search into myself and understand that life
really is a gift after all and that being at peace isn’t wrong or something you
don’t deserve and it actually makes things better that way.”
The album features all five singles including ‘Shoot The Lights,’ ‘Oh Lover,’
‘Come Join Me In Life,’ ‘Gotta Do More Gotta Be More’ and ‘Uncle Brian’s Abattoir’ (featuring Peter Doherty).
Jack Jones is a spoken word poet, singer and songwriter. He moonlights as lead
guitarist in Peter Doherty & The Puta Madres. BBC Radio produced a documentary portrait of Jack Jones & TRAMPOLENE, entitled ‘Another Swansea Poet’ in
2019. Jack writes about everyday life, his upbringing, and offers his own social
commentary on the world.

Latin-infused Hip-Hop project by The Breed and Richard Holzmann feat. FLKS, Cy Leo, Kid Taro, Phlocalyst and Franz. Cover photo by the legendary Estevan Oriol (Netflix / LA Originals)

It all started in 2020 when producer The Breed and guitarist Richard Holzmann decided to start their own project called PAPI CHURRO. The two german musicians came up with a unique combination of latin-folk and HipHop Sounds. Almost like a Lo-Fi Beat version of guys like João Gilberto or Carlos Jobim. But also the typical Mexican sounds of Druglord Movies like „Narcos“ are part of their soundcollage. In very short time PAPI CHURRO gained a fanbase and millions of streams on the net. Since all the instruments are played live the songs are not your average Samplebeat but come with some more complex arrangements. But still producer The Breed clearly references those „Chops and Breaks Roots“ on the songs.

Now it’s time for their first full-length LP. El Clásico features all of their recently released tunes but also comes with a bunch of new material. It features a lot of talented guest musicians. Blue-note artists Phlocalyst on some trumpet parts, Harmonica world champion Cy Leo from Hongkong. Lo-Fi producer Kid Taro and Bassplayer and producer FLKS appear throughout the record.