Buscar:thin

Digging deep into the annals of Gospel now, the name Pastor TL Barrett should be familiar to the eagle eyed crate diggers amongst you. An extremely "colourful" character from Chicago's Southside neighbourhood who found himself on the wrong side of the law for his involvement in some activities of a dubiously illegal nature, more importantly, besides this the pastor was widely known for his community activism and positive sermons preaching love and responsibility. Shady past aside, this fantastic 1976 LP entitled "Do Not Pass Me By" is a real Gospel beauty and features 8 tracks of resplendent hands in the air rejoicement. Having never been reissued before this rare as gem is finally back out in the open, complete with it's incredible untampered with sleeve artwork and design. Barrett's unique voice and message is timeless and instantly recognisable, you can't help but become one of the congregation whilst listening to these wonderfully rousing and positive paeans to the lord almighty. Saying that, even if you find yourself to be a non-believer, the soul, funk and jazz stylings (with the odd flourish of synth!) the good pastor is laying down will be equally as alluring to those of you who dig those particular sounds. "Do Not Pass Me By" was originally released on Miami's TK Disco offshoot Gospel Roots, it's the Pastor's second release on the label and is a beautiful snapshot of how things might have gone down at his "Mount Zion Baptist Church of Universal Awareness". A unique LP with with a somewhat lo-fi charm, the tracks contained run the gamut from slow, downtempo ballads to roof raising, danceable Disco-esque anthems.
This is the first time that "Do Not Pass Me By" has been reissued on vinyl, fully remastered from Gospel Roots/TK's original tapes, represented the way the the LP was issued in 1976 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.

Ryan Lee West aka Rival Consoles announces details of his highly anticipated new album Articulation, released on Erased Tapes on 31 July 2020.
‘Articulation’, the lead track and album centrepiece, links the record back to the analogue fluidity and colour of 2016’s Night Melody. The division of varying time signatures, intertwined with a complex structure of notes, creates an expression of a moving structure and conjures a dreamy motorik energy. Ryan Lee West explains, "The title track is about articulation and playfulness with shape and time. Its structure is very machine-like, but I was really interested in how melody and sense of story could develop out of this, and it became an exploration of mathematical structures - patterns and shapes having a conversation. I love that something on paper can appear rigid and calculated, but then take on new meaning based on the context that surrounds it, or how it changes over time."
Articulation (which follows 2018’s Persona) was conceived with a very visual way of thinking, unusual for the London musician and producer. During the writing process Ryan drew structures, shapes and patterns by hand to try and find new ways of thinking about music, giving himself a way to problem-solve away from the computer. The album title references a piece by the avant-garde contemporary composer Györgi Ligeti, though not for its music, but for the non-traditional graphic score that accompanied it.
“I find electronic music is often battling to say something with integrity because technology and production can easily get in the way. I think the goal of a lot of electronic composers is to find a balance between the vision of the idea and the power of possibilities on the computer. With a pen and paper sketch you can compose and rethink ideas without technology getting in the way, so for me it acts as a very helpful tool to refresh the process.” - Ryan Lee West
The idea of using analogue drawings and tools to bolster digital creations can be heard in the structure of the pieces that make up Articulation from the broody techno opener ‘Vibrations on a String’ all the way to the album’s boundless closer ‘Sudden Awareness of Now’. While the anthemic rise and fall of ‘Still Here’ and the beatless ambient meditation ‘Melodica’ evoke a certain nostalgia, ‘Forwardism’ achieves the very opposite by burying its melody within the fast-paced rhythm of its pulsating synths.
Rising out of birdsong heard from his studio window, ‘Sudden Awareness of Now’ has a particular urgency about it and seems to perfectly capture a longing for escape. Built around a simple and repetitive melodic theme, expanding and retracting over the course of its seven-minute odyssey, Lee West explains; “I like the fact that if you say something over and over again in music, then over time it can become something else, something reflective.”
Since the release of Persona, Ryan Lee West has taken his captivating live A/V set to all corners of the world. Last seen live on stage with 17 players of the London Contemporary Orchestra for a sold-out orchestral performance at Southbank Centre’s Queen Elizabeth Hall in January 2020.
Meanwhile Lee West has kept busy. After contributing an exclusive track titled ‘Them Is Us’ to Adult Swim’s coveted Singles series, he recently shared the beautifully textured solo piano piece Winter’s Lament on this year’s Piano Day. He has also been in high demand as a composer, scoring Charlie Brooker’s much talked about Black Mirror episode Striking Vipers, composing original music for Secret Cinema presents Stranger Things as well as renowned choreographer Alexander’s Whitley’s groundbreaking new work Overflow which was set to premiere at London’s Sadler’s Wells Theatre this spring.
Articulation will be available worldwide on 31 July, with live activities to be announced as soon as the situation allows safe event planning

South London’s Lianne La Havas re-entered our musical consciousness at the end of February with her emotionally stirring soul-gem ‘Bittersweet’. This came in conjunction with an Annie Mac Hottest Record, a mind-blowing live show at the Barbican with the BBC Symphony Orchestra & Jules Buckley and an incredible Colors session – all of which helped put Lianne firmly back on the cultural map for 2020.

‘Lianne La Havas’, Lianne’s third album and her first in five years and is an album of startling beauty and insight—made entirely on her own terms which has been quite a journey. In one sense, geographically: La Havas spent a lot of time moving back and forth between the UK and the States working on writing and exploring her own identity. As a result, ‘Lianne La Havas’ feels spacious and luminous. Its sunbaked sounds recall, in places, the Brazilian singer, songwriter, and guitarist Milton Nascimento (on “Seven Times”). You might also hear the curveball chords of Joni Mitchell and Jaco Pastorious’s jazz explorations (“Green Papaya”), or the puttering drums and inviting warmth of golden-era Al Green (“Read My Mind”). And throughout the record, there’s a sense of empowerment that has its roots in the crisp ‘90s R&B of Destiny’s Child.

After three years of throwing parties, we’re thrilled to announce something we’ve been
dreaming of for a while now, the launch of our label and the first Awkwardly Social record
release.

Similar to our events and mix series, it is our goal to use the label as a platform for exciting, up
and coming artists from within our community and beyond. Working together with our friend,
the very talented Greek-born, Berlin-based DJ and producer Aroent therefore has been a real
pleasure and something that felt natural from the get go. We hope you enjoy this wicked set of
forward thinking club tracks as much as we do!

Early plays by Ben UFO, Bonebrokk, E-Unity, Gramrcy, Opium Hum, Natureboy Gold, Yushh
and more. Big ups to everyone supporting the record so far!
Artwork by VOJD
Mastering by Andreas Lupo Lubich

The ultimate freestyle box contains Johnny O - “Fantasy Girl” (Vinyl EP), Stevie B - “Hit Collection” (Vinyl 2LP), Johnny O - “The Very Best Of” (CD) and Stevie B - “Greatest Freestyle Collection” (CD).

This first album proper from Polish composer/violinist Olga Wojciechowska was originally released on CD only by Time Released Sound, and has been out of print for some years. We are very pleased to be bringing you this long overdue vinyl re-press, in an edition of only 200 copies, each of which comes in a beautiful 24pt heavyweight jacket, with translucent 180gm disc.

Maps and Mazes is a stunning collection of 10 pieces that were originally written for various international theater and dance productions, and their overall feel reflects this performative nature. These electronically treated, modern-classical beauties are somewhat dark and moody at times, and with their elegiac violin and haunting horns are both elegant and absorbing, and the ultimately lingering effect is one of series of spine tingling, late night serenades.

New album from the Parisian producer.

Label say:
Because, at La Creme Garcia Club, a private circle of discerning smokers in Barcelona, Blundetto was in heavy rotation in the playlists. So heavy that these people of good taste for legal activity on this side of the Pyrenees yet prohibited from profits, had the idea of becoming the privileged partners of a new album. Without scrutiny, without intervention in the artistic, but with a single watchword: let Blundetto return to his first love of world sound.

The result is a stereo trip illustrated by Mossy Giant's artwork. A trip around the world without leaving your couch.
An offer that cannot be refused.

Ten years had passed since Bad Bad Things; it was the occasion to celebrate this decade by reviving its state of mind. The one who mixes collaborations, atmospheres, and styles. Exiled to the green, in musical autarky from several albums, Blundetto has therefore returned to the rhythm of city life and studios. He has changed his way of operating, opened his repertoire, and invited friends to new titles that he had written for them.

The circle of intimates already present on Bad Bad Things (Hindi Zahra, General Electric, Chico Mann) has widened to include regular accomplices (Biga Ranx) and to extend to artists with whom Blundetto felt an obvious connection (Crime Apple, Leonardo Marques). Guided by this roadmap written by Blundetto, all succeeded in painting with their colors and spreading their musical soul in the project, either taking the rhythmic direction of Brazil, Africa, or Latin America, getting dizzy in Jamaican fumes or chopping at the salient angles of hip hop.

Dive into the new openings of Clément Petit’s arrangements, now more sophisticated than those on which Blundetto evolved, and now capable of bringing an orchestral dimension made of strings and brass, creating a direct opening on the emotions, an automatic generator of images to accompany the soundtrack by the producer Blackjoy.

Whatever the orientation, each guest becomes a unique and essential part while Blundetto remains the common thread, the cement and the final varnish of a musical mosaic called Good Good Things.

Dead Or Alive have sold more than 30 million albums and 25 million singles worldwide and gave Stock Aitken Waterman their first #1
single. Their first three albums, which the band wrote, all reached the UK Top 30, with ‘Youthquake’ reaching the Top 10. In the 1980s, they charted seven unique singles in the UK Top 40, with two further re-entries this century, with a remix and original version of ‘You Spin Me Round (Like A Record)’. Respected US magazine Billboard, ranked them in their all-time Top 100 most successful ‘dance artists’ chart.
Recorded at PWL Studios, London, “Nukleopatra” is the Band’s sixth studio album and was initially released in Japan in 1995, although
subsequently released in different versions - track existing / versions / durations / artwork - in eight other countries between 1996 and 1998. It contains the singles ‘Rebel Rebel’ and ‘Sex Drive’. The album was not released in the UK, until a re-worked version was included within the ‘Sophisticated Boom Box MMXVI’ box set in 2016. This vinyl edition replicates the original Japanese version, which features longer versions ‘Nukleopatra’ and ‘Sex Drive’, along with rerecorded versions of ‘Unhappy Birthday’ and ‘Gone Too Long’, which appeared on “Fan the Flame (Part 1)”. This special 25th Anniversary Edition of “Nukleopatra” is the first time that the album has been commercially released on vinyl in its original configuration, with original playing durations and will be pressed on 180g heavyweight blue colour vinyl.

Over a decade after its inception, ground-breaking composer Max Richter announces the release of VOICES – a major new recording project inspired by the Universal Declaration of Human Rights. In a time of dramatic global change, VOICES offers a musical message of hope. Max Richter invited people around the world to be part of the piece, crowd-sourcing readings of the Universal Declaration of Human Rights to be interwoven into the work, which features an ‘upside-down’ orchestra. He received hundreds of submissions in over 70 languages. These readings form the aural landscape that the music flows through: they are the VOICES of the title.Max Richter explains, “I like the idea of a piece of music as a place to think, and it is clear we all have some thinking to do at the moment. We live in a hugely challenging time and, looking around at the world we have made, it’s easy to feel hopeless or angry. But, just as the problems we face are of our own making, so their solutions are within our reach, and the Universal Declaration of Human Rights is something that offers us a way forward. Although it isn’t a perfect document, the declaration does represent an inspiring vision for the possibility of better and kinder world.”

The man in the crowd is a wonderer with relaxed habits. In him the course of things and movement of the city is reproduced. The Düsseldorfer Detlef Weinrich is such a man in the crows. Some one who is constantly listening to future winds through rushes of the past. He loves the night for its free will. And his music tells stories about it. You might know him as a member of the band Kreidler. As a solo artist he goes under the name Tolouse Low Trax. And he's already got three Eps and two albums under his belt. His first solo album „Mask Talk“ thrives on a feathery beat frequency and cool new-wave-strength. His recently released piece „Corridor Plateau“, which appeared as a limited edition to accompany the exhibition „Corridor Plateau“ contains percussive electronics and Industrial sounding like its from the second industrial revolution. His third album „Jeidem Fall“, is also not from here. It sounds like music brought down to earth from the heavens. But its a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, „Jeidem Fall“ attacks the subconscious and clouds the mind. The drums have more movement that on „Mask Talk“. Along with the constant tapping of drumsticks goes melodical arpeggios dancing dark and dirty. At times longing vocals drift abstractly through the room, as on „Sa Seline“ or „Geo Scan“, without telling any obvious story.

To sound like stylistic cross references from the present and past is all just speculation for nothing on „Jeidem Fall“ really sounds like anything that has gone before. You could compare the dark minimal timbre of the drum computer aesthetic with Craig Leon's first reductive album „Nommos“. There is also a hint of the minimallist industrial of the Spanish band Esplendor Geometrico in the bubbly textures. But Tolouse Low Trax is still looking from the present into the future and filter and filters all his personal preferences through his MPC and his small synth setup to make them come alive here and now in a new way. Again Tolouse Low Trax has created a truly mysteriously vibrating drum computer music which offers hypnotic magic for the shadowy dance floor. Only a little light should illuminate the whole thing and the bodies that move above them should have no fear from threatening percussion which are displaced into a misty trance. A dark swaying shadowy mass, ideal for a journey at the end of the night and all those non-places where longing sleeps and the last romantics dance while getting drunk.

Denise Rabe has quickly attracted attention with her distinctive approach to techno: powerful percussive force, detailed sound design, and slowly modulating compositions crafted to induce dancefloor hypnosis. Following acclaimed releases on Arts Collective, Stroboscopic Artefacts, and her own Rabe label, Denise joins Blacklabel Distillery with a new 12” that digs deep into the hypnotic dimensions of her sound. “Brilliance” is a shimmering monolith, serpentine sounds woven through head-nodding beats. “Outta Body” delivers on its promise of transcendence with slowly evolving drones unfolding over a driving rhythm. Perc brings things back down to earth with a relentless remix that conjures images of malfunctioning, mutating machinery, while Sverca freezes “Brilliance” into suspended animation, captivating with just a few layers of sound. The digital tracks highlight Rabe’s exceptional compositional skills, exploring subtly shifting alien soundscapes on “Spacetrouble” and mesmerizing with the massive cosmic sounds of “Fully In”. Track list 12″ A – Outa Body AA – Brilliance B – Outa Body (Perc remix) BB – Brilliance (Svreca remix)

Big Crown Records is proud to present Adult Themes, the latest full length offering from El Michels Affair. This album takes the band's "Cinematic Soul" aesthetic literally and sends the listener on a journey through a whirlwind of moods and energies. With their 2005 debut album Sounding Out The City, EMA spearheaded an instrumental funk / soul movement that inspired a slew of bands and even lead to the creation of a few independent record labels. El Michels has since lent his signature sound to artists from Adele to Dr John, Lana Del Rey to Aloe Blacc, and a who's who list of others. In 2016 he co-founded Big Crown Records and has since produced the lion's share of its output. A short stint as the touring band for Wu Tang Clan in 2007 led to the cult classics Enter The 37th Chamber (2009) and Return To The 37th Chamber (2017). Adult Themes marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017 in between producing, playing, and recording on other artists' records Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of `60s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental / orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes." The album plays like the colors on an artists pallet. Songs like "Rubix" and "Villa" are densely orchestrated with the hard-hitting drums that El Michels Affair is known for. On "Life of Pablo", Leon's son makes his first appearance on record and intros a song with an epic arrangement and a moving mood. "Hipps" is a drum heavy ballad that could've easily fit on EMA's debut record, Sounding Out the City. Other compositions like "The Difference" and "Kill The Lights" are bare, melodic mood pieces with sparse drums and sophisticated chord movement. All of these tunes come together to make perfect backgrounds for dialogue and action. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With Adult Themes El Michels Affair has created a "choose your own adventure" in musical form.

2020 reboot for Detroit's legendary Metroplex.

The Label Say "Cologne based producer Bas Grossfeldt has crafted an outstanding release perfectly aligned with Juan Atkin’s brilliant Metroplex aesthetic. As a relatively new name in the scene, Bas Grossfeldt’s music sounds as if it were the results of decades of focused experience in the studio.

With a background in installation, choreography and performance art, Bas Grossfeldt is the artists alias to focus on the musical side of things. His deeply rooted interest in the relation of space and body is also translated into his music. The fusion of spaced-out textures, rhythmical distortions, cold waves of synthesis, and enough modern production prowess ensures a release saturated with innovation and abundant imagination. A rare release for the seminal Detroit label, which also represents Juan Atkins’ interest in the arts world and new, different approaches.

The exchange between the label head and the artist, initially came to life because internationally renown conceptual artist Mischa Kuball, knowing Juan from a joint project, sent him the demo of Bas Grossfeldt. Especially intrigued by the track „Lost In Translation“, Juan and Bas started exchanging, approaching the record as an „art project“ and a classical EP at the same time, for example leading into the cover being made by Bas Grossfeldt/Søren Siebel himself and including numerous hidden references to the sound.

Each track embraces an incredible array of sounds and styles, from soundscapes to mind-bending Techno – all equally as effective for the brain as the dancefloor.

“Lost In Translation” opens the release with a cinematic piece of electronica permeating with frozen emotion and melancholic soul. The beautiful track captures a foggy morning’s haze, the first chill of winter with only a gentle kick-drum keeping the cold from completely taking over. It is also accompanied with a hypnotizing abstract video by film-artist Svenja Voß.

Continuing in a dubby, winter haze is “Lost In Sensation” which floats alongside a sharp, metallic rhythmic arrangement and a gentle, ever-present kick drum. Deep, heavily saturated atmospheric textures sleep underneath the sounds while lucid melodies float in and out.

“Your Orbit” rounds out the release with the most club-ready production. Disorienting melodies and gritty synths capture a dreamlike perception while a tough kick drum and clattering percussion drives the music deeper into undiscovered dancing territories just left of center. "

Shanti Celeste is a vibe. She’s got that magic lightness of touch even when things are getting Jacques Cousteau deep or panel beating heavy. This makes her the perfect candidate for the Sound of Love International 3, channelling the spirit of both those after-hours sessions and the more frivolous daytime boat parties. This is serious music for serious music heads but, after all, everyone is still on holiday. It’s linear and cohesive but plays with the emotions -carnivalesque fun, psychedelic flow-states, heads-down rhythm trax, playful skipping garage, and more abstract moments. Deep joy to deep space and back, often in the space of 3 or 4 well-selected records.

There’s a deep musical and personal connection to the festival - as she says of her first time playing at the Beach Bar, “there’s a heavy Bristol crew there and it all feels easy and nice. It was just good
vibes all round”. And she does make it sound easy too, which belies a DJ with some very serious skills and an ear for a killer tune that others might well overlook. And it’s this that makes the 3rd instalment of the Sound of Love International such a joy - a welcome panacea to all of us suffering from the Croatian blues this year.

To which end, we get a cheeky exclusive collaboration between Shanti and her sister-in-arms Saoirse in the shape of ‘Solid Mass’. Persian’s uniquely British paean to the post-rave Sunrise ‘Morning Sun’, cavernous dub runnings outta the Bokeh camp from Seekers International. These are the lift- off tunes, setting the mind-state for the journey ahead.

Things tighten up with cult underground hero Lucas Rodenbush under his E.B.E alias giving us the taught, grooving, dubby tech-house and Gideon Jackson’s ‘Taj Mahal’, crisp, spatial, mystical and criminally slept-on. We go deeper into the night with Perpetual’s Awakenings’, one of those records that is so much more than the sum of its parts. And who knew that Mark Seven was such a dab hand with the dank machine funk? Check 1998’s ‘Crank’ for the skinny. By the time Paco Pack’s rubberised ghetto house reimagining bounces into play it’s GAME OVER.

The final side leaves us with the soft landing - Cari Lekebusch ‘Output 2’ is both pacey and drifting and Pauline Anna Strom’s ‘In-Flight Suspension’ does what it says, whips away the drums and leaves us floating in space. Will we ever touch down?

To overuse a phrase, this compilation arrives in strange times but is a glorious reminder of what brought us all together and will again. The music and dancing under the stars. See you in 2021.

Producer, arranger, composer, saxophonist, band leader Willie Henderson started working for Brunswick. Records in 1968 and his sound and musical talents can be heard across many of the labels hits such as Tyrone Davis, Jackie Wilson, Chi-Lites and Barbara Acklin. With super funky instrumental takes on soul & funk classics, this 1974 album includes highlights such as ‘Loose Booty’ sampled by the Beastie Boys, ‘The Funky Chicken (Part 1). 1974 album is reissued on 140g classic black vinyl with original artwork and printed inner sleeve.

A collection of guitar-wielding all-girl bands, drop-dead female frat rock, garage girls and axe-centric she-pop from the 60s. 14 hot nuggets, each one hand-picked with vinyl lovers in mind.

Features a bevy of genuine all-girl bands – namely Goldie & the Gingerbreads from the environs of New York; the Debutantes from Detroit; Florida’s the Belles; the Rums & Coke and Girls Take Over, both from Wisconsin; and Ace favourites She from California, all of whom give their male counterparts a good run for their money. The Belles, incidentally, released only one record – a killer rendition of Them’s ‘Gloria’, gender-switched as ‘Melvin’ – before drifting apart, never dreaming that copies of the disc would one day change hands for $500 a pop.

Some of the other girls receive help from male colleagues. Glenda Collins, for example, is backed by producer Joe Meek’s favoured house band the Outlaws featuring guitarist Richie Blackmore; Merseyside ex-pat Sandy Edmonds is accompanied by the Pleazers, New Zealand’s answer to the Pretty Things; and teenage trio the Chymes are supported by the Turtles.

Pressed on 180g transparent violet vinyl, with a swanky inner bag sporting a fact-filled 4,000-word track commentary and an array of rare photos.

Compilation and note by Mick Patrick

Young gun and badman producer Retina returns to Foundation Audio for his debut vinyl release and quite frankly it slaps!!!!

‘Dusted’ kicks things off with a hyper 4x4 beat and an eratic bassline – this one comes flying straight out of the gates! ‘Nameless and Nothing’ a meaner, beast with its eerie atmospheres and plodding bassline takes the A2 spot. Flip the record and we have ‘No Fear I’ a subby monster best described by the word SUB. ‘If Not The Orb’ closes proceedings with a 07-08 old skool antisocial kinda vibe wrapping up the ep perfectly. Dubstep goodness from front to back and solid proof that Americans can also do the dubstep.

The sixth and absolutely final chapter in the EROS story.

This buy-on-sight collection of homages to the raw, decadent & formative birth of club music wraps things up with yet another stand out selection of cuts.

Darker, more electronic & mind-bending moments, mingling with an altogether more strobe-lit and full-tilt take on the glorious Disco supernova from whence we all came.

YELLOW VINYL LP

It's hard to speak about unspeakable things - violence, abuse, addiction and abandonment; especially when these things rupture the innocence of childhood. But one of the merits of Luke Jenner's new solo project is that he not only speaks of these things but he does so in a way that wrests them from the dark, small cubicle of shame, placing them firmly in the light so that we, as listeners and fellow survivors, can start to maybe walk with our head high. In this moment of empty pop music séance, the scope and ends of this project - to try and help people - feels almost revelatory. Revelatory is the right word here in that it carries with it, of course, the sense of religious or spiritual insight. As front man for the legendary post-punk NYC band, The Rapture (a band name that already attests to Jenner's abiding faith and interest in the force of spiritual reckoning), Jenner has never shied away from his belief in God, community, family - all as a means of recovering the fractured x of y. "How Deep is Your Love", "Grace"...

Musique Pour La Danse presents Roomservice, Dutchman Orlando Voorn's forgotten yet unforgettable IDM-leaning, home-listening electronica / techno album from 1994 under his Living Room alias, originally released on the producer's cult Night Vision label.

Praised unequivocally by those lucky enough to have heard it, this criminally underrated record nonetheless deserves pride of place when talking about forward-thinking electronic music from the early 90s.

While it is widely acknowledged that Orlando Voorn's productions are one of the most fascinating prisms through which to experience a European take on the Detroit sound, Roomservice is also a strong reminder that the paradigm shift from sweaty raves to enhanced home listening, championed by Warp's Artificial Intelligence series, early Rephlex releases, along with projects such as The Black Dog, Plaid or Autechre was in fact not only limited to British artists.

As its name indicates, The Living Room is not geared for warehouses but instead interested in a more intimate and domestic setting. As such, it does not contain over the top bangers, but it's hard to find any filler in this album where all the tracks are killer, catchy and memorable. All displaying a sophisticated yet immediate focus on warm melodies and grooves no heavier than a feather, these emotional cuts provide a wonderful and intricate soundscape for introspective listeners to explore, and they will surely find echoes of ideas developped by Manuel Gottsching, Steve Reich and Pat Metheny scattered accross the album.

While some tracks are rhythmic and would fill a dancefloor in a second with their four to the floor or broken beats, the album also gives room for more ambient excursions to occur and develop brilliantly. But once again, it's more likely you'll end up dancing on your couch rather than dozing off.

2020 might be the most difficult year in recent history for dancefloors worldwide, yet that's not going to stop Musique Pour La Danse from reissuing this gem of an album for listeners, dancers, and DJs of today and tomorrow.

Words by Ed Isar.

You think you’ve heard anything? Strap yourself in and get comfortable for the journey! Payola’s first release is ‘Ugly Freedom’ (TOKA Remix) a collaboration between two adversaries – VEE VV and TOKA.

Two specialists in their own right, they have produced something special, something spellbinding, something entirely unique and uncompromising.

Still sitting comfortably? You shouldn’t be! An amalgam, a spark, a blistering fusion of purpose conjoined, sending shards of rhythmic shrapnel into the stratosphere. Pounding sub-bass, seamlessly executed edits of live drums, boiler-bass, searing guitar, soaring keys and vocals featuring a scintillating, lyrical dexterity and skilful phraseology delivered with a poignant authenticity. A totally unapologetic perspective on today’s social mores, “Sentiment, humanity, have no right to reside in this Betfred economy!”

Don’t take our word for it!

Conrad Van Orton and Jheal sign the third release for Eyes Have It, 30D sub-label that, as usual, explores the darkest, coldest and even suffocating side of the techno spectrum.

As it happened in the second release (‘Sei Tracce In Nero EP’ by Reeko & Group), the high contrast between both sides gives sense to the album, giving it a strange but perfect balance, this time quite more oriented to the dance floor. It’s for sure that some people will think that CVO and Jheal might use elements that at first sight might be familiar but, let’s be honest, both have the ability to make everything sound very original.

On the A side Conrad Van Orton, an Italian producer with a lot of experience in techno and the most experimental electronics, elevates the listening to a sonic musical experience, literally. The three tracks, although ‘Dysfunctional Organic Device’ is probably the best example, are pure techno brutality, as highly raw, energetic and obsessive as they are obviously functional. Three true ‘monsters’.

On the B side Jheal, a face already known to the label thanks to his brilliant participation in ‘Close Encounters 002’, brings melancholy (‘150 Wreaths’) and tons of introspection (‘Our Fathers’) to the record. It is not easy for industrial techno to sound as emotional as when Alejandro manipulates it, something especially remarkable for such a young producer. Congratulations.

FELA Jonathan Loma mix When Spain meets Africa. Musician Jonathan Loma from Spain on the mix with this joyful, innovative rhythm, infused with African sounds and samples. Noticeably, Nigerian legend Fela Kuti can be heard during the latter parts of the track behind the shifting drum patterns which give this record a very catchy beat. Swinging hats and rolling snares keep the beat flowing over a loopy and swirling melody. The unpredictable and spontaneous sounds sliding in and out display creativity from the Spanish producer, but the highlight here is the subtle African background chants. Just wait for the smooth sax to appear.FELA H2H mix contrast to the Jonathan Loma mix and edging things into deeper territories, the Chez Damier and Ben Vedren (Heart 2 Heart) take on the track is a deep and driving dance floor mover. Quite literally talking toyou with an African accent throughout the majority of the track, the locked groove engages the listener and has you wondering if it will ever end. Loud claps, well-placed short and sharp snare rolls, and like that ofthe Loma take; spontaneous sounds creeping in and out are all included over this cleverly layered deep beat

Hello Everybody,

I hope that you will have as much enjoyment from my music here as I had performing it!! I would like at this time to give you a little "History" of myself and as to how I came to love the music that I play! Coming from a "Musical Family"; my father was Tyree Glenn, Musical Director and Trombonist with Louis Armstrong and played with the likes of Cab Calloway and Duke Ellington among others and my brother, Roger Glenn, a very "Talented Musician" in his own right, it was not difficult for me to be "Influenced" and get into "Show Business" as a Musician and Entertainer! My early years in the "Fifties" were spent playing the Saxophone with my "Teenage Band" in New Jersey and later, after 4 years at Marietta College in Ohio, in the "New York City Area" in the "Sixties"! As the song goes: "IF YOU CAN MAKE IT THERE, YOU CAN MAKE IT ANY WHERE" which I did and it was in New York City where I got my "Musical Education" which would become a part of me for the rest of my life! In the "Mid-Sixties", I was offered a "Partnership" in a Night Club in the Algarve Portugal and readily accepted the chance to perform "In My Own Club"! Moving on to Lisbon after a few successful years in the Algarve, I performed in TV and recorded records there in Lisbon! By the way, I played Professional Basketball for "Benfica Lisboa" which was and remains to this day, my "Big Love for Basketball" and was to be a big part of my life! From Lisbon, I eventually went on to live and play in Italy in the early Seventies with Rocky Roberts. Returning to Lisbon in the mid-Seventies, I worked with my buddy from my "New York City Days", the very talented "Singer & Entertainer" Wayne Bartlett, and we formed the "Duo": "Wayne & Tyree" and performed in the Casinos in Portugal! We accepted an offer to perform our show in Germany and as things worked out, I have been living and playing my music here since 1976! I have enjoyed bringing my "R&B" to everyone and showing just a little bit of how it was performing "R&B" in NYC back in the "Sixties"! I hope that you will enjoy this Compilation of my work here in Germany from the past years and I would especially like to thank Tramp Records for making this record possible and being a "True R&B Fan" of Tyree Glenn Jr. and my Music!

First up is Nehuen, an Argentinian born but Barcelona based artist who is notorious for his abrasive dance floor workouts on I Love Acid, BNR Trax and the Classicworks label he co-owns with Cardopusher. Cardopusher is, of course, a true electronic legend from Venezuela. His dizzyingly diverse sound takes in rave, acid, electro, techno and house influences and distills them into hugely
Raw and energetic new forms.

Nehuen's Psyops Part One kicks off with the excellent title track, which contorts acid and electro into a writhing monster filled with dark energy. The visceral 'Toxic' is built on slapping hits and spangled basslines that will tie you in knots as the bumping drums drive things forward. The late-night menace continues on 'Bailar', with tight synth arps layered up in robotic forms over clunky drums that are industrial and futuristic in equal measure. Last but not least, the eerie 'Desire' strikes a more twisted note with double kicks juddering beneath echoing hits. It's pure, filthy, brilliant body music.

Cardopusher kicks off Part Two with the fantastic 'Disobedience' (feat. Lbeeze) a slow-motion drum
workout that is like dark disco mangled through a psychedelic filter, with robotic vocals and stiff arp
jerking your body. 'Abyss Antidote' is then a flurry of drum breaks and electro bass, frazzled synths and whipping hits that keep you on the edge of your seat. Darkness abounds on the gritty 'Initial Decay' (ft. Lbeeze), which layers up taught drums and hits with spraying synths that come from a dystopian planet.

Closing out this epic mini-series is 'Mutant Brain', a cyborg techno meltdown with manic acid for
company.

These are devilishly distorted tracks from two of the best producers around.

Rivage was one of the records during my early days into Modern Soul I was desperate to get hold of, 'Strung Out On You're Love' is up there in my top ten and I managed to pick a copy of the 45 when in the USA in the Early 2000s for a decent price. I only found out there was a rarer LP with a longer version of the track around the same time, with the bonus of a pile of solid Funk, modern and sweet soul tracks. Fast-forward to 2019 and friend Angelo Angione hooked me up with the band who were excited to work with me on a reissue. Now those who know the LP will know it's rather odd cover, this was a marketing idea by someone at the Label, despite the band not wanting to use it that's the way it ended up. We decided to put things right and have reinstated the original cover shot of the band. This LP is simply one of the finest 70s LPs, it's mad that it has not been reissued before now…enjoy.

It takes one to know one. Which is why jazz drummers have always
been ready to join the queue when assessing Art Blakey's influence,
not only in the field of percussion but in the shaping of his chosen
genre. Max Roach described him as "An original - the only drummer
whose time I recognise immediately. When I first met him on 52nd
Street in 1944, he already had the polyrhythmic thing down. He was
doing it before anybody else." Thelonious Monk Jr concurred: "When
I became a drummer, I learned how to swing from Art Blakey. What
he did with the hi-hat and his roll got pressed into my soul. He had a
primal approach to drums." All of which warmed the ears of Blakey,
who admitted that his aim was to be one of the greatest drummers in
the world- an ambition which he undoubtedly achieved

Adda Kaleh is the collaborative effort of Adda Kaleh and Suzanne Kraft. Recorded over the course of almost seven years and despite local separation or virtual realities, it sums up the magic that already inhered in their debut song „Breaking“ for Gerd Janson’s „Musik for Autobahns“ compilation on Rush Hour. An eight track LP of crystalline chansons and pastels pop that features the skills of The Coober Pedy University Band aka CPUB (Tornado Wallace and William Paxton) on dub duties to complete the magical musical mysteries of Adda Kaleh
.

Belgian techno wizard Cri Du Coeur is back with a new 2-part vinyl release on his label Arkham Audio titled 'Erickson' & 'Erickson on Acid', which features remixes exclusively from French artists. Jerome D., the man behind the Cri Du Coeur alias, is prized in the industry for giving platforms to Belgian and French artists throughout his career, so it comes as no surprise that he is showing his francophile roots by having a solely French lineup for the remixes on this release. Following the recent release of his EPs 'Diaphragm' and 'Warning', and now bringing us the inebriating 'Erickson' & 'Erickson on Acid', Cri Du Coeur has established that his new alias and freshly-founded but tenacious Arkham Audio label are a force to be reckoned with. The entrancing yet adrenalizing sound that he has adopted shows that his approach to industrial electronic music knows no boundaries or compromises.

The first part of this release features the original mix of 'Erickson' by Cri Du Coeur and remixes of the track by Electric Rescue, Wex 10 , and Trunkline. The second part 'Erickson on Acid' puts a squelching acid twist on things and features remixes by Roman Poncet, Umwelt, and Zadig.

The original mix of 'Erickson' leads with a strong beat and a mixture of industrial sounds that makes for a sublime dark dancefloor track. Electric Rescue follows on with a remix that engages the listener with a terrorising yet intoxicating heavy baseline. Next up is Wex 10 who enchants us with a bouncy laserbeam rhythm and muffled looping vocals. Last but not least on the 'Erickson' lineup is Trunkline's remix which delivers an addictive hazy melody and a deep and dirty mechanical synth horn.

Cri Du Coeur plays with tensions in 'Erickson (on Acid)', putting the listener into a state of hypnosis with squelching sounds that give the song a raunchy character. We are implored to dance as Roman Poncet's remix bears layers of lively percussion beats with twangy synth melodies. The mood intensifies once more as Umwelt's remix features a dark and fuzzy baseline that contrasts with a screeching siren sound creating an ultimate thrilling experience for the listener. Zadig closes off this immense concoction of remixes with a relentless distorted base and scintillating machinelike background noises.

Cri Du Coeur has outdone himself by bringing together such a well-suited selection of artists to create a visceral and magnetizing collection of tracks that showcases his competence in making industrial techno.

Belgian techno wizard Cri Du Coeur is back with a new 2-part vinyl release on his label Arkham Audio titled 'Erickson' & 'Erickson on Acid', which features remixes exclusively from French artists. Jerome D., the man behind the Cri Du Coeur alias, is prized in the industry for giving platforms to Belgian and French artists throughout his career, so it comes as no surprise that he is showing his francophile roots by having a solely French lineup for the remixes on this release. Following the recent release of his EPs 'Diaphragm' and 'Warning', and now bringing us the inebriating 'Erickson' & 'Erickson on Acid', Cri Du Coeur has established that his new alias and freshly-founded but tenacious Arkham Audio label are a force to be reckoned with. The entrancing yet adrenalizing sound that he has adopted shows that his approach to industrial electronic music knows no boundaries or compromises.

The first part of this release features the original mix of 'Erickson' by Cri Du Coeur and remixes of the track by Electric Rescue, Wex 10 , and Trunkline. The second part 'Erickson on Acid' puts a squelching acid twist on things and features remixes by Roman Poncet, Umwelt, and Zadig.

The original mix of 'Erickson' leads with a strong beat and a mixture of industrial sounds that makes for a sublime dark dancefloor track. Electric Rescue follows on with a remix that engages the listener with a terrorising yet intoxicating heavy baseline. Next up is Wex 10 who enchants us with a bouncy laserbeam rhythm and muffled looping vocals. Last but not least on the 'Erickson' lineup is Trunkline's remix which delivers an addictive hazy melody and a deep and dirty mechanical synth horn.

Cri Du Coeur plays with tensions in 'Erickson (on Acid)', putting the listener into a state of hypnosis with squelching sounds that give the song a raunchy character. We are implored to dance as Roman Poncet's remix bears layers of lively percussion beats with twangy synth melodies. The mood intensifies once more as Umwelt's remix features a dark and fuzzy baseline that contrasts with a screeching siren sound creating an ultimate thrilling experience for the listener. Zadig closes off this immense concoction of remixes with a relentless distorted base and scintillating machinelike background noises.

Cri Du Coeur has outdone himself by bringing together such a well-suited selection of artists to create a visceral and magnetizing collection of tracks that showcases his competence in making industrial techno

vinyl only / 180 grams

Finishing off the initial "series" of Krab's vinyl-only records in style, KRB003 centres around 3 signature cuts from German duo Cedric Dekowski & Felix Reifenberg and a stellar remix from Yamen & Eda. The EP divulges into the multi-genre capabilities and eclectic nature of the HardWorkSoftDrink label owners, as there are seamless transition between genres, modular synths and all things in between are highlighted throughout the label's latest record.

Starting off with a slow burner, Act 1 is a hypnotic listen, formed around strung out sounds, glitchy breakdowns and a captivating overlaying melody. Laus highlights the pairs unique ability to shift genres seamlessly as they deliver a cut full of heavy hitting acid and emotion heavy synths suitable for any dance floor.

Internet dial up appears the theme throughout the B-side, as Feelsliker delivers a fast paced minimal roller that is stacked to the brim with bleeps, bloops and modular madness. Finishing off the record is a remix from French Duo Yamen & Eda, a pair of artists that boast a distinguished taste for electronic music. Dance floor ready, B2 is constructed around a heavy hitting bass line and an assembly of inimitable modular synths.

Label say : We couldn’t be happier to put this disc out there. Kush’s first time on wax (his Strictly 4 My CDJs series on his Bandcamp site is essential) is four tracks that just relentlessly provide for the DJ in you. Representing the new era of NYC dance music along with artists like AceMoMa and DJ Swisha, mixing footwork and other influences with classic house and techno forms to get busy._

_The whole 12” is lethal stuff that recalls Dance Mania at it’s most melodic and spaced out, or prime-time Boo Williams. “Earth Note” pulls bright synths thru swinging Chi foundations, “Ari Dub” rocks the bells and the bass in Bronx fashion, “Worldly Rhythm” piles UR melodies and techno grandeur on a vicious bassline, and “Reso”
closes things out with a devastating mixer full of blue-hot string work. Relentless and essential. TIP TIP TIP!_

Black Truffle is pleased to announce a new solo album by Eiko Ishibashi, her first for the label, following on from the duo recording Ichida alongside bassist Darin Gray. Hyakki Yagyō (Night Parade of One Hundred Demons) was produced for the ‘Japan Supernatural’ exhibition at The Art Gallery of New South Wales, Sydney focusing on ghost stories and folklore from the Edo period onwards. As with The Dream My Bones Dream (Drag City, 2018), the album is a response to troubling questions about Japanese history, and the influence of the past upon the present, but finds Ishibashi shifting further away from her earlier piano-led songwriting and showing a deepening interest in electronics and audio collaging.

The two sidelong parts of Hyakki Yagyō feature layered synthesisers, acoustic instrumentation, recited verse and field recordings, at times densely mixed but always with a subtle interplay of changing elements. The influence of European and American forerunners as diverse as Alvin Curran, David Behrman and Strafe Für Rebellion can be traced, yet at the same time Ishibashi evokes the flute and string sounds associated with Japanese storytelling, and draws directly on the subversive literary tradition of Kyoka (‘mad poetry’) with a verse by the 15th-century poet Ikkyū Sōjun repeated throughout the album. Revisiting what has gone before, re-thinking what is possible musically, as a way of articulating what else might be possible in the future.

As Ishibashi’s liner notes make clear, the album reflects an attention to persistent dangers, myths and evasions in Japanese culture – as well as the lurking uncertainties that might threaten positive change. This would seem to be manifested in the emerging melodies soon met by dissonance, erratic collisions and near silence, as well as the eerie manipulation of the double-tracked vocals. Ishibashi’s underlying concerns ring true more widely of course. Hyakki Yagyō is a work of multiplicities, and mystery, a landscape where nothing is as it seems at first, and everything is vulnerable to sudden violent interruptions.

The album was produced with regular collaborators Jim O’Rourke (double bass) and Joe Talia (percussion), and features dancer and choreographer Ryuichi Fujimura performing Ikkyū’s satirical tanka. O’Rourke’s immersive mix creates a three-dimensional effect, with Ishibashi’s various sound sources enmeshing and interacting in captivating ways.

Pressed on coloured vinyl and presented in a deluxe package with an inner sleeve featuring and artist portrait and liner notes from Eiko Ishibashi. Cover and label design by Shuhei Abe.
Back cover design by Lasse Marhaug. Mixed and mastered by Jim O’Rourke.

key selling points:

- Black Truffle is pleased to announce a new solo album by Eiko Ishibashi, her first since her acclaimed 2018 Drag City release The Dream My Bones Dream.

- This album finds Ishibashi shifting further away from her earlier piano-led songwriting and showing a deepening interest in electronics and audio collaging.

- Hyakki Yagyō (Night Parade of One Hundred Demons) was produced for the ‘Japan Supernatural’ exhibition at The Art Gallery of New South Wales, Sydney focusing on ghost stories and folklore from the Edo period onwards and is a response to troubling questions about Japanese history, and the influence of the past upon the present.

- Produced with regular collaborators Jim O’Rourke (double bass) and Joe Talia (percussion), O’Rourke’s immersive mix creates a three-dimensional effect, with Ishibashi’s various sound sources enmeshing and interacting in captivating ways.

- The two sidelong parts of Hyakki Yagyō feature layered synthesisers, acoustic instrumentation, recited verse and field recordings, at times densely mixed but always with a subtle interplay of changing elements, hinting at an influence of European and American forerunners as diverse as Alvin Curran, David Behrman and Strafe Für Rebellion.

- Pressed on coloured vinyl and presented in a deluxe package with an inner sleeve featuring an artist portrait and liner notes from Eiko Ishibashi. Mixed and mastered by Jim O’Rourke.

repress

One of the rare outing's of Dopplereffekt , the beautiful abstract and hypnotizing "Linear Accelerator" album is getting a proper double vinyl treatment on WeMe records after the initial cd only release on Gigolo in 2003. Linear Accelerator is a continuation of Der Zyklus's Biometry album with its abstract hypnotizing soundscapes and its controled sterile atmopshere. Tracks like the slowly unfolding 21 minute long 'Photo Injector' are unique and all the 6 tracks all are stunning beauties with Myon-Neutrino bridging the gap between the old Dopplereffekt works and the further evolved outings on this album that garantuee a long and tranquilizing trip. Inspired by the high energy particle psychics being explored at DESY, Dopplereffekt appear to be similarly pulling the very fabric of their sounds apart and thinking on a subatomic level. 17 years after its initial release this is still avant garde and one of those few releases that captured the true meaning of techno! Groundbreaking, Astounding, Alienating, but always with a soul!

"AVALPBOX4", Limited Edition- 1.000 Copies' 28-Page Hardback-Book: 10" Vinyl, Hand signed Programme, Tour Poster & DVD.

By the time The Beatles travelled to Blackpool for the first time,
they had toured with the legendary American singer, songwriter, Roy Orbison; recorded several BBC radio shows, including Saturday Club, Easy Beat and Pop Go The Beatles; appeared on many, highly popular television programmes; released their debut album, Please Please Me and issued their first three EMI singles, ‘Love Me Do’, ‘Please Please Me’ and ‘From Me To You’.

Their fourth, ‘She Loves You’ had just been recorded and mixed ready for release. It was an exciting time for the band so, when they reached the popular, seaside resort for the first time, on 7th July 1963, optimism was filling the air. This stunning AVA Editions collectors pack contains a 10" Record feat. two appearances made by the Beatles on the ABC television show, Blackpool Night Out; an impressive 28-page book, crammed full of previously unseen colour images of the group and a high-quality reproduction of an original, 1963 concert programme signed by Skiffle legend, Chas McDevitt, who supported the Beatles on several occasions.

Also included is a full colour A3 poster and an exclusive DVD feat. a new, 30-minute interview with him, alongside his previously unseen, candid, colour footage of the group backstage, and in performance at the ABC Theatre in August 1963.

So too is a unique, fully colorized version of their 17-Mins. appearance before the cameras for Blackpool Night Out in August 1965. For Beatles and music fans alike, this pack serves as a wonderful opportunity to own a unique slice of music history.


*** Side A: Recording 19th of July, 1964
*** Side B: Recording 1st August, 1965

The second release from Wax Ninja, a Moscow-based record-shop-turned-record-label, is the longed-for gem cut by Artem Xio, the humble leading light of the local underground scene. Can't Stop Now EP is a universal musical weapon, perfect for a DJ bag in which a variety of genres - from hip-hop and jungle to garage house and techno - coexist peacefully. Each side reflects Xio's stages of formation: not only as a collector, DJ and artist, but primarily as a an educated listener with a sensitive ear. The title track Can't Stop Now was written in 2010 to be rethought 10 years after and become a house banger powered by emotionally charged vocals. The dramatic opus that is Crucial Moment pleases with its Detroit-style anguish, while the U Took My Love, an ode to electric organ, gives out some proper Jersey house vibe. Raw and heavy, True School was born out of an unreleased remix for the local rap group, and finally Now U Know takes you back to the beginning of 00s thanks to Cream Soda d'n'b rework. In other words, this "unstoppable" EP is a true delight both for nostalgic old school heads and for those who expect some quality time on the dancefloor.

DJ Feedbacks: (please find all feedbacks in the pdf sheet)
Laurent Garnier: “GREAT EP -- Love the whole thing”
Tensnake: “can't stop now is big thanks”
Robert Owens: ''cool tracks!"
Ka§par: "“For me the house tracks are fun and all, but it's the
Cream Soda jungle mix that's got me into this release,
thanks!”
Anja Schneider: “Great thx .”
Portable: “Wonderful summer vibes post lockdown!”
Black Madonna: “Nice!”
Moodsetter: “Damn Yeaaah !!!
This is classic New York underground sound...
what a vibe !!!
I just L. O. V. E. I. T !!!

Blowing in like a cool breeze on a sultry Caribbean evening, LA reggae veterans the Lions drop by Names You Can Trust with a perfectly timed sentimental summer blast. Lovingly taken for another dance by the west coast crew, the Derrick Harriott 1967 rock steady classic "The Loser" is canon, a masterpiece of Jamaican sweet soul instantly identifiable from its first chiming piano notes. In a nod to the "disco mix" DJ versions pioneered by Harriott, the Lions mic man Black Shakespeare provides a period-perfect chat backdrop to the Impressions-istic harmonies of the band, giving the tune an au courant spin while staying wide of heavy-handed faux ragga. All said, we wouldn't have felt right about releasing this without running things by the family, so we consulted Duane Harriott who approvingly called it "a brilliant take on one of the best rock steady songs of all time! Not an easy one to cover well and the Lions smash it out the park."

Finally being back on his Exhibition imprint, Rico Puestel - without any detours - delivers some intensively uplifting moods within two melodic exhibits that have been circulating here and there over two years now. After ongoing requests about those tracks, these two ultimately join forces and go public on a hand-painted flip design, making this record a wholesome experience again.

Side A discovers the emotional magnitude, circulating and growing around the beauty of redundancy throughout a deeply immersive flute loop, nestled into a bouncing, analogue, almost archaic drum computer setting. Slowly building up over the course of half the track, Exhibit 3.1 emerges into a sphere of multi-layered synth harmonies and an oldschool bass arpeggio.

On the flipside, things suddenly become clear that Side A has just been the build-up to something even larger and stronger: A mechanical marrow-and-bone drum groove (one might not hear everyday) stomps away to spread the bed for one of Rico's possibly most captivating and flourishing synth melodies, spreading some blurry mysteries and clear sun-drenched bliss at the same time.

A vast scenery, unfurling in front of your ears and eyes, almost like smelling blossoms and fresh air

A follow up to 2018’s Jazz On The Corner which has now sold over 10,000 copies, and last year’s equally successful Soul On The Corner, this compilation see Martin and Eddie return to the world of jazz for another bite at the cherry after Volume one was declared to be “the best jazz compilation of the last 20 years” by Jazz FM’s Chris Phillips

The concept came from a radio show that Freeman and Piller put together for BBC Radio 6 Music which was so well received that the pair decided to dig deep into their record collections and build a double album of some of their favourite tracks.

The concept is simple: an album packed full of jazz gems which they hope are slightly off the beaten track. This year we have hidden gems from Nina Simone and Nicola Conte, classics from Roberta Flack, Roy Ayers and The MJQ, whilst the new British jazz generation is represented by Emma Emma-Jean Thackray. Running the gamut from hard bop, to progressive fusion via Latin beats, it’s an exhilarating listen from start to finish.