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GAMM heads down under with prolific producer Inkswel for a tasty 7 inch crammed with deep hip hop, funk, soul and overall jazziness.
You'll hear reminiscence of Dilla, 90's R&B and even Jersey House (pitched down) on the two track Chill (feat vocals from Blu & Ta'Raach) and Hanna-Ma-Dia.

If you're an open-minded hop hop or soul head...this one's definitely for you.

Celebrate the 30th anniversary of Disney’s The Lion King with the music from the film, for the first time on zoetrope vinyl. Watch the characters from the film come to life while listening to iconic songs including “Circle of Life,” “I Just Can’t Wait to be King,” “Hakuna Matata,” “Can You Feel the Love Tonight” and so much more!

UFO Space presents “Clod Soul,” an EP masterfully blending House, Techno, and Break Beats.

This record is a pure injection of energy. Each track envelops you with powerful rhythms, dynamic textures, and hypnotic vocals, showcasing the artist’s true identity: versatility. “Clod Soul” offers a variety of soundscapes in different styles, but always with the same focus: rock the dance floor. A must-have for any DJ looking to make their mark.

I thought I would write this one myself.

Over the last few years, I found myself making music for everyone else. What would other musicians think about this record? Would this track get me more gigs? The process of creating become secondary and I fell out of love with it entirely.

This album is a journey to get back to the reason I started doing this in the first place, because I love making music. It is a return to embodying that most unfairly derided of phrases, the bedroom DJ, the bedroom artist. Where else is the love for this game stronger than in those early years, surrounded by your friends and the endless possibility of creation.

Lots of love,

Dan

White w/ Red Splatter Vinyl. For their third album As You Please, Citizen is looking inward. Pairing up again with longtime producer Will Yip, the band presents twelve songs that fuse aspects of their entire catalog into one neoteric whole. While the cathartic melancholy of their debut Youth and the jarring intensity of 2015's Everybody is Going to Heaven are both present, the most welcome addition to Citizen's arsenal on As You Please is the range of auxiliary instrumentation and sonic experimentation on the album. This is most notable on "In the Middle of it All," where vocalist Mat Kerekes is sampled singing the song title in a modulated, haunting chorus that echoes throughout the song. The addition of organs and unconventional drum effects on songs like "You Are A Star" and "Medicine" create shifting emphases on tension and frailty, while the huge choruses of songs like opener "Jet" and "I Forgive No One" are reminders that while Citizen dove headfirst into uncharted territory with their new album, the band is still as good as ever at writing emotionally-charged anthems. As You Please presents Citizen's vision at the most focused it has ever been - it is delicately crafted to provoke at every moment.

This album was a self imposed ambitious project for us. Something to kick in the creative flow. The last few years, having been a challenging time in general, felt like a good time for a pivot. The last two albums were so guitar and keyboard centric, I wanted a weird and fun set of parameters for us to work with. I demo’d everything at home on cassette 4 track (harkening back to simpler times) using drum loops, and just had at it 'til I had a pile of “songs”. Tom and I chose one sound each using synths and created a range of 3 octaves of that sample, then loaded them into Roland SPD-SX samplers and learned the transcribed songs using drum sticks. The idea was to change the way we wrote and to have 4 people along the front of the stage essentially playing percussion. So no guitar, no keys. As we were recording I kept thinking how the sounds, when paired up, sounded a bit like brass. So, we added a saxophone horn section to round out the horniness of the sound with a bit of reedy bell tones. Thanks to Cansfis Foote & Brad Caulkins on tenor and Baritone saxophones :) Sort of a Dexy’s Midnight Runners meets Von LMO meets The Flesh Eaters meets the Screamers kinda punk junk. Poppy and hooky, heavy at times.. Sort of vacuous and maybe a bit sci-fi in sound. Boneheaded in riff and heady in lyrics. Recorded at Stu-Stu-Studio by me on 8 track 1/4” tape . So pretty hot and raw. Lots to write about today. A lot of these lyrics were taken from things people said in passing about taking on life right now that stuck with me. Things that made me reflect. Things that made me laugh. Things that made me WTF. Some folks are kind, genuine & give you love and energy. Some are greedy manipulative ghouls who hang off your veins. You must be strong, composed and take care of yourself. Be self aware and check your mind for cracks. Learn to relax and be well. There are moments of beauty and redemption. Its not all bad news and there’s always hope. People continue to surprise me one way or another. Anyhow, Hope you enjoy and good luck out there. — John Dwyer

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Cinthie returns to her 803 Crystal Grooves label with You Know How EP German mainstay offers up three varied and vital house weapons to relaunch her label after 2.5 year hiatus Cinthie is one the most revered voices in underground house music and has been for more than a decade. Her take on the genre always puts the groove first.

It is informed by the classics but with a contemporary edge and comes on 803 Crystal Grooves as well as cultured outlets like Aus Music and Heist. As a DJ she mixes up records from her vast collection with equal style and skill, and is also now live artist who serves up impromptu jams on her collection of hardware.

Hot on the heels of several remixes already this year, the Elevate. Berlin record store boss is back with a new release just three days before her birthday. As a gift to herself she is relaunching her label after a 2.5 year hiatus due to pressing plant delays during the pandemic.

Opener 'You Know How' is a joyous piano house anthem that will get hands in the air. Classic, smartly deployed vocal samples inject an old-school edge while the textured bass brings serious low-end weight to this utterly timeless gem. The superb 'Mellifluous' rides on smooth drum bumps as waves of synth wash over the dance floor.

They bring feel-good warmth in a subtle, dynamic fashion that locks dancers in for a blissed-out ride. Last of all, 'Can You' swings irresistibly with punchy kicks and dry, raw claps. It's a physical house sound with chopped-up vocal fragments and rolling bass that makes a huge impact.

Cinthie's You Know How EP comes on 803 Crystal Grooves on DATE.

Coloured vinyl repress of Penguin Cafe album Rain Before Seven… A sense of optimism infuses Penguin Cafe’s fifth studio album, not the braggadocious, overconfident kind, but more a blithe, self-effacing optimism in keeping with the national character. Even when all signs point to the contrary, it operates within the certainty that things are going to be alright. Probably.

The title comes from an old weather proverb with the rhyming prognostication — fine before eleven — hinting at a happy ending, irrespective of the science: “I found it in a book and I'd never heard it before,” says Arthur Jeffes, leader of Penguin Cafe. “It has faintly optimistic overtones and I quite like it. It's fallen out of usage recently but it does describe English weather patterns coming in off the Atlantic.”

From the widescreen reverie of opener ‘Welcome to London’ with its cheeky nod to Morricone to ‘Goldfinch Yodel’, the self-described “Maypole banger” at the denouement, there’s a welcome sense of sanguinity, always with an undercurrent of exotic rhythmic exuberance. Playfulness pervades, with a titular nod to A Matter of Life... from 2011, the last album title that concluded with an ellipsis. That Penguin Cafe debut is the bridge between the legendary Penguin Cafe Orchestra, led by Arthur’s father Simon Jeffes, and the much- loved descendent, led by Arthur.

“Stylistically it's really satisfying to get back to playful rhythms and instruments,” says the younger Jeffes, who kept the group’s debut from 12 years ago in mind when writing the new album. “Certainly when starting out, I became aware that we’d stopped using quite a few of the textures that had been there at the beginning—and it was certainly there in my dad's earlier stuff. So there's a lot of balafon and textures from completely different parts of the world, musically and geographically: ukuleles, cuatros and melodicas that you can hear.”

Encouraged by co-producer Robert Raths, the rhythmic elements of Rain Before Seven... have never been more to the fore and, at times, even hint at the electronic. ‘Find Your Feet’, for instance, is underpinned with more than just a pulse. Mixed by Tom Chichester-Clark, it brings to the musical melange what Arthur describes as a “near electronic feel”. He adds, excitedly: “There are elements of fun here which we haven't really done with the last three records.” Another ebullient highlight is ‘In Re Budd’, dedicated to the late ambient godfather Harold Budd, who Arthur discovered had died on the day he’d been writing the celebratory ear worm with a deceptively tricky syncopation. Played on an upright piano with some “prepared” felt to accentuate the bounce, Jeffes feels a track with an Afro Cuban Cafe vibe would appeal to Budd’s contrariness.

Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another V/A from all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta. Tap in and make some space in your record bag


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Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta.

Boronas & Snad set the tone with ‘Affliction,’ laden with haunting synth work, rolling MPC percussion, meticulous backspins and mind bending delays. Fresh off an outing for Yoyaku’s main label, Istanbul duo Bärtaub give a strong nod to the 90s and the cult E- MU rompler with ‘Orbit The Dance Planet.’ Their track fuses bumpy breaks and robotic voices with ghastly chords, a snaking bass groove and of course, one-shots from the Orbit.

Mountain People kicks off the flip side with ‘I Am The Void,’ characterized by shuffled drum grooves and soft chord sequences intertwined with murky, dubbed out stabs. Beirut’s Nesta rounds out the release with ‘Tarte Citron,’ a late 90's tech house reminiscent track with crisp percussion, airy synth flutters, swelling sub bass tones and a catchy vocal hook.

2024 Repress

180 Gram, Tip On Sleeve RSD version of this classic. One of the rarer records of the mythical Strata East albums is finally reissued for the first time on Heavenly Sweetness!
The recording of Earth Blossom, the John Betsch Societys one and only album, seems something of an enigma nowadays. For even though Nashville is clearly one of the towns in the US with the highest number of recording studios, who would have thought that the capital of country music would give birth to one of the forgotten masterpieces of 1970s spiritual jazz. The path leading to the album starts in 1963 when John Betsch, originally from Jacksonville in Florida, arrives in Nashville to study at Frisk University. He is a young drummer and joins Bob Holmes trio. Holmes is one of the towns major jazz organists and pianists; he becomes Betschs mentor and, over the space of two years, John will play alternately with him and with the trumpeter Louis Smiths group. However, in 1965, John leaves town to go to the prestigious Berkeley University in Boston and do a two-year course along with his fellow debutants with names like John Abercrombie, Ernie Watts and Alan Broadbent. Two years later, he is invited by a pianist friend, Billy Chilf, to join the legendary singer/songwriter Tim Hardins group. Just after Woodstock, John Betsch and Tim record a psychedelic album Columbia will never release together with the members of the future group Oregon: Colin Walcott, Glen Moore, Paul McCandles and his friend Billy Chilf. But he soon leaves this group to return to Nashville where he hooks up again with his friend Bob Holmes. Two years later, he is accepted on Archie Shepp and Max Roachs famous course at the University of Massachusetts Amherst (UMASS) and for the next four years he participates in this collective of intellectuals and musicians under the aegis of the two masters.
During this period he returns to Nashville to form his Society whose music is obviously influenced by the Afrocentric ideas of the UMASS student and political movement. However, the album, recorded in one day and in one take, also bears the hallmark of their generations psychedelic experiences, and in the themes and playing of the musicians we can hear a less violent form of music than the radical free jazz of New York or Chicago. Nature and environmental themes are the inspiration behind tracks touched by the spirit of Coltrane but also of Flower Power.

After Amherst, John Betsch joins Marion Browns group in 1976, leaves Tennessee for good and makes his home in New York over the next ten years or so. He plays and records with Dollar Brand, Kalaparusha Maurice McIntyre and many others, before heading off to France. He has lived in Paris for the last twenty years and played in Steve Lacy, Mal Waldron and Archie Shepp bands, as well as forming groups of his own. He now lives in Paris and plays with many musicians/bands.

Beginning in the 60"s, the small chamber group ensemble became increasingly important in the advancement of jazz, enabling horn players including Sonny Rollins, Joe Henderson, and Ornette Coleman to seek uncharted sonic territories and achieve new levels of freedom without the support of chordal instruments. With a mature, cohesive ensemble sound, the young trio juxtaposes tranquility and space with energy and tenacity across nine original compositions showcasing their stylistic breadth. From the swinging waltz "December" with a melodic contour reminiscent of a jazz standard, the soothing folk-influenced simplicity of "Vent", the intimate lyrical interplay between bass and clarinet in "Duo", to the heavy, propulsive power of the title track, the trio demonstrates fearlessness, listening, and spontaneity in a raw and personal recording that puts each of their distinctive voices in the spotlight. Christian Holm-Svendsen, currently resides in New York, studying for a master of music at Manhattan School of Music. In Denmark he played with, among others, The Danish Radio Big Band, Copenhagen Jazz Orchestra, Odense Jazz Orchestra, Jesper Zeuthen, and Regnfang. Daniel Sommer is an award-winning artist and sought-after drummer on the international jazz scene. Known for crossing the borders of different musical landscapes with a distinctive musical approach, Sommer currently performs with Karmen Roivassepp Quartet, Foyn/Hess/AC/Sommer and recently released the trio album "From Within" with Arild Andersen and Rob Luft on April Records. Mariusz Prasniewski is a Polish double bass player, residing in Copenhagen. A part of the Danish and European jazz scene for more than a decade, the bassist has worked with musicians like Tomasz Dabrowski, Anders Mogensen, and Gilad Hekselman.

FFO: Melvins, Big Business, Torche, Karp, Lightning Bolt, Red Fang. Super limited vinyl, first press is transparent-y orange. Based in Sheffield, POHL is a stunning and brutal noise rock duo, featuring former Hey Colossus axeman Will Pearce on guitar/vocals, and drummer Dr Linda Westman of Toronto-based death metal two-piece, Old Hope. This July the band releases their debut album Mysteries; a sonic tome which draws as much from MF Doom as it does doom metal. It’s a swirling, cosmic onslaught of heavy motorik riffs and offhand musings about everything and nothing in equal measure. New single ‘The Whale’ summons the glorious thunder pop of Torche, the pithy lyricism of Karp and the DIY derring-do ethos of Guided by Voices. As guitarist/vocalist Will Pearce explains: “I suppose you could say that Mysteries is an album about grief. How we live with grief, and how we overcome it. When you’re trapped in the belly of the beast, and all seems lost - how do you come back from that? All I can say is that sometimes you eat the whale, and sometimes the whale eats you." Pearce, who played with Hey Colossus on their 2019 album Four Bibles and 2020’s Dances/Curses is thrilled to be teaming up once more with former bandmates Joe Thompson and Chris Summerlin and their Wrong Speed Records imprint. Recorded at the band’s own Cool World studio and mixed by serial collaborator and producer Wayne Adams, Mysteries is many things, often all at the same time. Veering from biblical allusions to fragmented Burroughsian cut-ups, it is at once mystical, profane, sacred, and scatological. Profoundly stupid, perhaps? Or just stupidly profound… either way, Mysteries demands your attention

'You've Changed' was a transcontinental creation that was first released in 1986 on the Sally B label. It melds Jamaican roots with Canadian electronic enhancements at the legendary Channel One Recording Studio. Jamaican reggae don Horace Martin drew inspiration from greats like Dennis Brown, and Horace Andy, and comedy legends like Richard Pryor and Charlie Chaplin and has an eclectic career spans albums like Watermelon Man from 1985 and this one, the avant-garde gem that arrives now on Arabusta. It's a busy and digitally infused reggae sound with elements of dance hall and plenty of catchy rhythms which all lead to international success, performances across 24 countries and having more than 400 songs aired on 9000 radio stations around the world.

Seeing the BellRays live is a revelation of what the rock music should be: an aggressive and soulful guitar-driven music that you feel in your guts. The BellRays have been channelling the true spirit of rock and soul since 1990, with this being their fourth blood-letting release. As expected this record oozes a genuine passion, combining the best of a 60s soul review with the fury of garage rock's greatest. Just imagine a young Tina Turner fronting the MC5 and you'll be getting close. But make no mistake, front woman Lisa Kekaula is no mainstream soul singer. Although her warm traditional R&B vocal stylings are big, lush and beautiful, her ferocity is uncompromising. When her rock growl rumbles the floor, you best pay attention, there are no options available. This is a band preaching the continuation of the rock'n'roll tradition in all its purity, anger and visceral power. The BellRays are on a self-professed mission to save rock music from itself and they need a witness.

Seeing the BellRays live is a revelation of what the rock music should be: an aggressive and soulful guitar-driven music that you feel in your guts. The BellRays have been channelling the true spirit of rock and soul since 1990, with this being their fourth blood-letting release. As expected this record oozes a genuine passion, combining the best of a 60s soul review with the fury of garage rock's greatest. Just imagine a young Tina Turner fronting the MC5 and you'll be getting close. But make no mistake, front woman Lisa Kekaula is no mainstream soul singer. Although her warm traditional R&B vocal stylings are big, lush and beautiful, her ferocity is uncompromising. When her rock growl rumbles the floor, you best pay attention, there are no options available. This is a band preaching the continuation of the rock'n'roll tradition in all its purity, anger and visceral power. The BellRays are on a self-professed mission to save rock music from itself and they need a witness.

“Todavía No”, La Paloma’s debut album, consolidates the young band from Madrid as one of the realities of the current scene. Undoubtedly, it’s definitely a bold step forward in all senses: compositional, interpretative, and artistic. Noise-rock to combat all the noise out there.

In “Una idea, pero es triste”, their celebrated debut EP, La Paloma expounded something very serious, but they explained it only once. Five songs that instantly connected with an audience eager for new references. In “Todavía no” there is more depth; here practically each cut shows a different shade of being La Paloma. “Tiré una piedra al aire” is far from “Algo ha cambiado”, but both are unequivocally La Paloma. Surely, this is something that can be attributed to the baggage acquired during this time lapse, but it certainly speaks very well of the artistic ambition of a band to which now seems to have no ceiling.
We are not, therefore, facing a mere extension of their 2021 EP, although musically they pick it up from where they left off. “Todavía no” is an accessible and contagious work, equal qualities shared with “Una idea, pero es triste”. It’s a work that conveys discontent and liberation, ambition and boredom. In large part, it’s due to the accredited ability of its composers Nico Yubero and Lucas Sierra to observe the world with the right dose of skepticism and disappointment, avoiding tormented gesticulation.
The presentation tour that followed the publication of the EP was extensive and led La Paloma to defend their songs throughout the Spanish geography, as well as visits to Portugal, Mexico and the United States. That state of grace was transferred to the studio, where they tried to reflect their live sound and proposal. With an elegant production and without undue frills, the mission of preserving the sharp fang shown in concert halls was achieved, ensuring, in turn, that the elements, arrangements and the proposal of each instrument were heard crystal clear.
Right from the start, we notice in the sequence many of the virtues that make La Paloma one of the most advantaged groups of the current scene: gushing guitars, the solidity of its rhythm section with Rubén Almonacid on bass and Juan Rojo on drums and the color tone provided by the voices of Nico and Lucas, who share the vocal tasks on alternate tracks.
But there’s more: songs that destroy the most generic canon of noise-rock to take it to little-explored territories, frantic guitar games and a cascade of imaginative arrangements. It combines popular song constructions with unpredictable structures that prevent you from anticipating what twist is to come next, making listening experience exhilarating and addictive.
“Todavía no” is a tightly cohesive album, a remarkable fact considering the two creative inputs from which the band draws from and the artistic ambition with which they faced the building of this work. Because we are talking about a complete work, conceived as such. The first chords of “Sigo aquí” sound and the disorganization of reality… is still disorganized, but somehow it makes sense now.

Wiederveröffentlichung des CM Debtus! Limitiertes farbiges Triple-Vinyl mit Mamoreffekt. Nach zwei "Groove Sessions"-Compilations war es für die drei Künstler an der Zeit, ihr Rennen mit der Sonne zu starten und ein echtes Debütalbum mit Hip Hop, Dub, Electro und mehr zu schaffen... "Racing with the Sun" wurde wie ein Soundtrack zu einem imaginären Film konzipiert, einem seltsamen Western, der in einem geisterhaften fernen Westen spielt, in dem sich mysteriöse Charaktere in den verschiedenen Tracks verflechten. Später meldete sich das französische Kollektiv mit einem Remix-Album seiner bisher besten Veröffentlichung zurück und nannte es "Remix with the Sun". Ihre eigenen DJs und befreundeten Künstler haben das Album neu abgemischt, um einen neuen Einblick in die Lehren des Chinese Man zu geben. Simbad, Femi Kuti, DJ Suv, Deluxe, Mourning Son feat. Jeru The Damaja, Tha Trickaz, Iration Steppas, OBF, Scratch Bandits Crew, General Elektriks und weitere Gäste haben dazu beigetragen. Die Triple-Gatefold-LP enthält auf drei Seiten das reguläre Album und auf den drei anderen Seiten alle Remixe.

The album opens with a 13 minute improvisation titled “The Time Is Now For Change”. As Ranelin , Belgrave, and Harrison exchange flurries of notes and squeaks over improvised chaos from the rhythm section, the group builds to a spiritual high that calls to mind the best Albert Ayler recordings. Bebop lines and unison phrases occasionally rise to the surface, offering a glimmer of familiarity in what is largely a harsh soundscape. Yet what sets Ranelin (and indeed, all of his Tribe contemporaries) apart from the larger free and spiritual jazz scene at the time is their sense of rhythm. Even as Harrison evokes sounds that would make a Meditations era Coltrane blush, the drums stay in time, and the looping bass and piano riffs take on an almost hypnotic quality, repeating quietly under a whirlwind of sound.

Later tracks see the ensemble veer into soul jazz, and jazz-funk, with “Black Destiny” perfectly highlighting the group’s ability to meld the avant-garde with grooves that you won’t be able to stop yourself from tapping your foot to. Members of the Tribe were well known for their appreciation of African American popular music, and the influence of groups such as Sly And The Family Stone is clear in the song’s edgy rhythms and dense sound.

This double LP reissue also contains alternate versions and outtakes that are so good you’ll be wondering why they were originally left out! With modern remastering, three bonus tracks, and an obi-strip, you don’t want to miss the definitive version of Phil Ranelin’s The Time Is Now! "

Resonance is one of the most powerful forces this world has,
simply because there is no way to stop it. A drop of
condensed water separates itself from the concrete ceiling.
Propelled only by its own weight, it plummets down towards
a cacophony of naked bodies and §ailing arms to shatter on
a the forehead of an ecstatic dancer. And while all this is
happening, a voice resonates through the entire room,
making the walls shake and the crowd lose themselves even
further : “Move Your Body, Move Your Soul”. Narciss emerges
from a grimey basement in Berlin to bring us two heavy
utility dance§oor cuts on Actions Speak Louder Than Words,
his ¦rst Solo EP on Seelen. The title track is truly something
to behold. With a breakneck tempo, hard hitting percussions
and a legendary house vocal, it wields an absolutely
hypnotizing power that, before you know it, will make
everyone in attendance grind and juke till the early morning
hours. There is a palpapable vibe of mid 90s Detroit-Techno
but still it manages to cut out an identity for its own, with
razor sharp sound-design and a very uplifting attitude for its
genre. And while the tracks arrangement and sound-design is
very minimal, it is on Brennpunkt that Narciss really §exes
his trademark way of building tension with remarkably few
elements. Everything here is stripped down to its most
functional core. The synth-lead is simple yet menacing, the
kick-drum hits like a boxer, and you can be pretty sure that
the hihats will leave burns if you get too close to the record.
As is custom on this label, the B-side is dedicated to thereconstructive efforts of friends or family. This time the
mastermind of Manhigh and Grounded Theory, Mr. Henning
Baer, and Seelen’s very own Shaleen have both let their
actions speak. Henning Baer has taken on the title track in
his Remix and has transformed it into a true vintage electro
cut. A distorted synth and pad add heavy grit to the original’s
vocal, and the warehouse sized kickdrum will knock anyone
unprepared off their feet. Meanwhile Shaleen’s reinterpretation of Brennpunkt strips it down even further,
swirling the original’s elements into a groovy maelstrom.
This version rumbles, clicks and sneers, with sampled voices
from a Shakespeare play giving the whole ordeal a truly
macabre feeling. This is a tool for only the most darkest of
warehouses when the night is at its peak. So now, to
summarize this record : it is a call to action. And because of
this, it continues to resonate, even when the last track has
been played. And a resonance can never be stopped.

Chicago's Black Diamond debuts on We Jazz Records with their new album Furniture Of the Mind Rearranging on 26th July. Co-led by Artie Black and Hunter Diamond (composers, saxophones, and other woodwinds), Black Diamond appears in both quartet and duo formations. The first three album sides present the quartet, complete with long standing band members Matt Ulery (double bass) and Neil Hemphill (drums), under the heading Furniture Of the Mind. The remaining two tracks on side D fall under the title The Mind Rearranging, with Black and Diamond presenting a meditative duo encounter of two tenor saxophones.

Furniture Of the Mind Rearranging is an assemblage of new compositions and improvisations that develop the band's established sound and exemplify the way in which this band folds into the Chicago creative music community. The quartet traverses their familiar aesthetic ranges between driving off-kilter groove, plaintive minimalism, and intimate chamber music, with the everpresent spirit of small-group jazz and a hovering influence of Chicago’s improvised music culture. And while this collection represents three previous

albums and more than a decade of close kinship and artistic evolution between co-leaders Black and Diamond, neither are too precious about any one element on the album. This is very simply the latest work in what continues to be an expanding body work founded on a guiding principle: cultivation without expectation.

The four sides with two formations flow together in a natural way, forming an idiosyncratic musical entity that is sure to grow with each new spin on the turntable.

Over 10 years ago, Leon Michels released his first full length record, Sounding Out The City. It was Michels' first full length record under the moniker El Michels Affair. At the time, the budding retro soul scene consisted of mostly organ quartets a la The Meters and of course, Sharon Jones & The Dap Kings were in the early days of their ascent to world domination. Leon Michels, who was 18 when recording Sounding Out The City began, had just released Thunder Chicken, the first record by his high school band The Mighty Imperials. At the time of SOTC, Michels was just discovering early rocksteady, afrobeat, and 60's garage rock, which inevitably crept its way into the songwriting. He purchased a Tascam 388, an 80's 1/4" reel to reel 8 track intended for home recordings, and began recording music in a 10x10 box with no windows that also doubled as his childhood bedroom. Along with fellow Mighty Imperials Nick Movshon, Homer Steinweiss, and Sean Solomon, and Michael Leonhart, Thomas Brenneck, and some of the musicians from The Dap Kings, Michels recorded the LP over a two year period. Upon it's release, it received some rave reviews and the small deep funk community ate it up, but due to the lack luster promotion and distribution the rest of the world was slow to catch on to the instrumental gems featured on SOTC, which Michels appropriately labelled as "cinematic soul". However, in 2005 it found it's way into the hands of the people who were organizing a series of concerts for Scion that paired bands with MC's. El Michels Affair was contacted about playing one show with Raekwon The Chef of Wu Tang Clan fame. The show was such a success it led to a tour, and then to another set of concerts that featured multiple members of the Wu-Tang Clan. This eventually led to the release of El Michels Affair's second record, "Enter the 37th Chamber" which introduced them to a much larger audience and has been their most successful release to date. Michels has since gone on to produce and co-produce numerous records for powerhouse soul artists like Lee Fields. He shares songwriting credits with Adele, Jay-Z, Ghostface Killah, Aloe Blacc, and has played on records by Ray LaMontagne, Lana Del Rey, The Black Keys and Dr. John.

After meeting in 1992 as members of St Etienne's touring band, Debsey Wykes (Dolly Mixture) and Paul Kelly (East Village) turned their shared love of the soft rock and sunshine pop of the 1960s and 1970s into the now-legendary Birdie. In the summer of 1998 Birdie recorded their debut album "Some Dusty" with the estimable Brian O'Shaughnessy (Denim, Moose, The Clientele). It's a deep and beautiful album, with melodic & sophisticated (yet understated) arrangements providing the perfect setting for Debsey's sweet and soulful soft-pop vocals. Add in gorgeous string arrangements from The High Llamas' Sean O'Hagan and you have all the makings of a pop classic.

Subsequent singles and a second album cemented their reputation as top-notch purveyors of pop, but family life and other artistic pursuits called and Birdie has only been sporadically active since 2001. Their brief but perfectly-formed discography has become the stuff of legend, though, charming savvy pop fans around the world with its timeless songcraft and flawless production.

Summer 2024 will see the long overdue vinyl reissue of "Some Dusty" on US indie label Slumberland Records, returning this classic album to much-needed availability in deluxe remastered form with a deluxe 60s-style laminated heavy card jacket and a fine insert with rare photos and liner notes by Chickfactor’s Gail O’Hara.

Shop Assistants formed in Edinburgh in 1984 and quickly gained a cult following, playing with kindred spirits the Pastels and the Jesus & Mary Chain and gaining positive coverage in fanzines and the music press. Their Shopping Parade EP and Safety Net single both hit the top of the indie charts and charmed listeners with their unique melodic blend of punk rock and 60s pop. The band signed to Geoff Travis' new Chrysalis Records imprint, Blue Guitar, in 1986 for the release of their debut album 'Will Anything Happen'. The album has since become a cult classic and is an essential listen for fans of indie, dream-pop, and shoe gaze. Stand-out songs include the lead single 'I Don't Wanna Be Friends With You', 'All Day Long', and 'Somewhere In China'. This newly expanded edition has been remastered from the original master tapes and compiled in collaboration with David Keegan and Laura McPhail from the band. CD 1 features the newly remastered version of 'Will Anything Happen' accompanied by B-sides from the era, plus previously unreleased instrumental demos from 1986. CD 2 contains a further 18 previously unreleased tracks including recently unearthed alternate versions and rough mixes from the making of the album, live recordings from London and Deinze, and a John Peel session featuring a cover version of Motorhead's 'Ace Of Spades'. The discs are housed in a 6-panel digisleeve with a 12-page booklet featuring lyrics and photographs.

For the thirteenth instalment of the Swinging Flavors catalog, Beat Machine Records presents a gem of pure energy by the talented Kyoto-based producer Naco. Set to ignite dance floors worldwide, this release delivers an electrifying fusion of acid, techno, and breaks, with a rave-inspired twist.

Naco, known for his innovative approach to electronic music, defies convention with his genre-defying sound. Drawing inspiration from Bass, Breaks, and Electro, Naco creates a distinctive sonic landscape that captivates audiences worldwide. Since 2017, he has been at the forefront of the music scene, spearheading 85acid, a label dedicated to showcasing emerging talent from Japan and beyond.

"Wavefunk," the lead track on Swinging Flavors #13, is a testament to Naco's unparalleled creativity and sonic mastery. With its infectious rhythm and hypnotic melodies, the fast-paced percussion and minimal character of the release "Wavefunk" transport listeners to a dimension where the boundaries between genres blur and the energy is palpable.

But the journey doesn't end there. Swinging Flavors #13 also features a remix of "Wavefunk" by We Rob Rave. The Polish duo injects his fresh signature style into the track, taking it to new heights and delivering an unforgettable dance floor experience. Transforming it into a full club experience, increasing the beats, and immersing the listener in a rave-like atmosphere fueled by danceable rhythms and an acid edge that cuts through the dance floor.

Another surprise that comes with the latest Swinging Flavors is 'Pure Water,' exclusively on Bandcamp. Let yourself be carried away by the bouncing sounds that make up this Break-style track, closing an energetic and vibrant release.

Naco's music is really pushing the boundaries of electronic music, inspiring both listeners and fellow artists. With a solid track record and a strong commitment to musical innovation, Naco is definitely going to leave a mark on the global music scene.

After ""Down Two Then Left"" and ""Silk Degrees"", Boz Scaggs again worked with the members of Toto to create Middle Man; another amazing mix of soul, harder rock, slow ballads and catchy songs. The two singles Breakdown Dead Ahead and JoJo were two of his most successful, both reaching the Billboard Hot 100. The album itself reached the US album top 10 and went Platinum. Middle Man is available as a limited edition on crystal clear vinyl and includes an insert.

Veyl is pleased to welcome Velvet May for his debut LP on the label. Enchanted By The Muse marks a new and exciting direction for the Italian-born, Berlin-based artist whose aesthetic focuses on post-punk, techno and industrial music. This album embodies May’s exploration and experimentation of various musical directions, reflecting a fusion of industrial, rock and electronic elements. It also symbolizes a new approach, spanning genres and styles and exploring his sound from every angle.
Conceptually, the album reflects a realm of emotional dissonance in an industrial desolation - where harsh electronic textures mingle with gritty industrial and rock elements. Also present are echoes of punk's raw energy and adrenalinic drive, a musical journey through shifting moods and atmospheres, serving as a soundtrack to different aspects of life and capturing the essence of its high and lows.
From the opening track, “Now That You Have Left It All”, we are lured into a thrilling sonic dimension with a shot of energy that sets the stage for journey ahead. “Keep On Falling” injects a dose of rock which we find throughout the record fused with the artist’s signature blend of postpunk, industrial and techno strains. Tracks like “The Outsider” and “Slithering Serenade” conjure raw, distorted rhythms and a menacing fuzz which bleeds out of the speakers while “Scales of Gold” traverses back through infectious body and wave. “Illusion In Control” is the perfect climax, a musical assault that shatters boundaries and blurs the lines between reality and fantasy.

2024 Reissue

Rare, spiritual and groovy, this is the ultimate live album, the pinnacle of the spiritual jazz scene! Detroit's proud drummer Roy Brooks' epic blackness is back!

Hardcore craftsman artist and drummer, who began his career in the 50s and remained at the forefront of the scene until his death in 2005, starting with the Horace Silver Combo in the early 60s and continuing with bands such as Stanley Turrentine, Youssef Latief and Charles Mingus. Roy Brooks. The drummer, who also played on Detroit's Wenden Harrison albums and was part of Max Roach's renowned M'boom project, recorded this live performance in NYC in November 1973 under the name The Artistic Truth, a group he led in the early '70s. Recorded live in NYC in November 1973 under the name of The Artistic Truth, this album easily surpasses the Baystate release in terms of quality and density. The band featured Reggie Workman (b), Olu Dara (tp), Joe Bonner (p), Cecil Bridgewater (tp), Sonny Fortune (as) and other prominent black musicians, with Eddie Jefferson joining on vocals on two tracks. This is a live document of five songs and 48 minutes of spiritual soul, packed with the raw, unrelenting groove of spiritual jazz from this era

Sulo Karlsson is probably most well known as the frontman of the long serving Swedish glam boogie rockers Diamond Dogs but he's far more than that. Besides forming bands with UK guitar legend Chris Spedding (The Piggyback Riders) and former members from
The Clash and Sham 69 (The Crunch) he has been releasing numerous of solo albums and collaborated with artists such as Paul Young, Maria Mckee, Terry Reid, Janis Ian etc.

A well-kept secret and a lost pearl in the collection have been his first ever solo album "Rough Diamonds" that came out in a limited edition in 2003 and since the been out of stock for a long time and never released on vinyl or as download. Until now!


The complete debut including 13 tracks recorded between 1997-1999 at the legendary Sunlight studio and produced by Tomas Skogsberg (Hellacopters/Backyard Babies etc) will now be re-released together with an extra album of 12 never before released tracks. With guest like Nicke Andersson (Hellacopters), Dregen (Hellacopters) and his old band mate Boba among others "Rough Diamond" is a distorted display of Punky glam numbers that really points out the future for Sulo's career.

The 303 acid bees are busy at the Hive producing another EP of dark, filthy Acid Techno. Sam DFL teams up with Dirty Stable for a throbbing, bubbling maelstrom of 303,s on the A1, 'No Clue', then again for further dancefloor acid mayhem on the A2 'Bad Time 4 Acid' with Hammermode. On the B1 'Da Track' he produces a more streamlined techno orientated thumper alongside talented new young producer Jack Majic, and finishes off the EP with another cracking collaboration with Martin Modulate on the stomping, 303 buzzing B2 'Monster' .

On their second album, Winter Pageant, The Softies move forward with focused delight. It's the combination of Jen Sbragia (All Girl Summer Fun Band) and Rose Melberg (Tiger Trap, Gaze, Go Sailor) that molds The Softies' panoply: feathers and thorns, fawn and fearless, fable and friction. Originally released in 1997, Winter Pageant is the drama of utter melancholia documenting the broken promises, missed phone calls, conversations stalled, love lost. Colossal tasks recorded two guitars deep, forming a new Iliad, chapters on brave deeds and the power of love on the move. You can live for love, or you could live for the splendid cascade of guitar on guitar, voice over voice: The Softies. Winter Pageant was recorded by Stuart Hallerman (Soundgarden, KARP) at his Avast! recording studio in Seattle, Washington.

Dexys live album celebrating the band's triumphant 2023 tour in support of The Feminine Divine, plus a selection of Dexys classics. Recorded across the course of the tour.

P-Vine has got a couple of treasures up its sleeve for you here with a newly remastered reissue of The Mighty Ryeder's single 'Let There Be Peace'. This has never before been put out on its very own 45rpm and the original single is a much sought after and expensive gem, with the B-side featuring Muro aka King Of Diggin's 'Evil Vibrations', a tune best known as a sample source for De La Soul on their 'A Roller Skating Jam Named Saturdays'. Flip this new version over and you will find an edit of it that is just as compelling.

"Limited-Edition, 1LP on Sea Blue Vinyl as a retail exclusive, and std black vinyl. Newly Mastered by GRAMMY® Award-winning engineer David Glasser, with Plangent Processes™ tape restoration and speed correction. Produced for release by David Lemieux.
“The Grateful Dead's third Arista album, and their first recording of the 1980s. More than 40 years since its debut, GO TO HEAVEN is packed with songs that remain classics of the Grateful Dead canon, including “Althea,” “Feel Like A Stranger,” “Alabama Getaway,” “Lost Sailor/Saint Of Circumstance,” and Brent Mydland's first two original contributions to the Dead's live and studio output, “Far From Me” and “Easy To Love You.” – David Lemieux"

"Limited-Edition, 1LP on Sea Blue Vinyl as a retail exclusive, and std black vinyl. Newly Mastered by GRAMMY® Award-winning engineer David Glasser, with Plangent Processes™ tape restoration and speed correction. Produced for release by David Lemieux.
“The Grateful Dead's third Arista album, and their first recording of the 1980s. More than 40 years since its debut, GO TO HEAVEN is packed with songs that remain classics of the Grateful Dead canon, including “Althea,” “Feel Like A Stranger,” “Alabama Getaway,” “Lost Sailor/Saint Of Circumstance,” and Brent Mydland's first two original contributions to the Dead's live and studio output, “Far From Me” and “Easy To Love You.” – David Lemieux"

The Fossils label has been unearthing more musical treasure for its fifth outing, and this one takes you directly to the Middle East for some twisted disco-funk with red hot grooves courtesy of Fava Luva & Dr. Professor. The source of the tunes is obscure and unknown but the pair bring plenty of their own goodness with additional layers of live instrumentation really bring them to life. 'Lahatz' is steamy and full of sensuous vocal magic and cosmic synth work that will get the floor into action, while 'Kerem' is even more topical and exotic with its rich array of strong melodies and downtempo beats making for a woozy and wonderful trip.

‘Road Less Travelled vol.2’ once again brings together the imprints far-reaching community of artists spanning London, Los Angeles, Montreal, Budapest, Copenhagen, Barcelona & beyond. The compilation floats between shoegaze, moody electronics, and shimmering synths; featuring new and original music from the likes of Nourished By Time, Mark William Lewis, and Untitled (Halo). Road Less Travelled Vol.2 sees the label continue to amplify the voices of these singular artists who continue to sculpt their respective sounds. It’s a follow-up to 2022’s ‘Road Less Travelled vol.1’ which was celebrated by Resident Advisor, CRACK, The Wire, Dazed, Clash, NTS, Tom Ravenscroft, and Jamz Supernova.

Scenic Route continues to reaffirm its position as some of London’s premier tastemakers; building a grassroots following via their sell-out live shows featuring the likes of Chanel Beads, James Messiah, Mark William Lewis, Delilah Holiday, and more. Paired with ground-breaking releases including Nourished by Time’s debut album ‘Erotic Probiotic 2’ garnering the coveted Pitchfork’s 'Best New Music' and was widely regarded as one of the ‘Best Albums of 2023’ with features on Gorilla vs Bear (#1), Pitchfork (#5), The Guardian, The Fader, Paste and more. Most recently releasing Vanessa Bedoret’s (Astrid Sonne band mate) debut album ‘Eyes’ in the words of Boomkat ‘a timeless bouquet of raptures and ballads iced with shearing strings and shatterproof electronics’ having additional support from Vinyl Factory, Resident Advisor, Bleep, Nina, The Fader and more.

Vigil is a (heavy & avantgarde) doom/death metal band from the Unites States, with an aggressive sound - yet emotional and obscure, but also beautiful and emotional. A dark doomy road of sorrow and anger. With two bass players and some influences of post-rock, thrash and progressive metal, Vigil is a showpiece of the apocalypse filtered through ears, hands and emotions. The songs range from old-school European styled doom, with an aggressive death touch, like My Dying Bride, Paradise Lost and Katatonia, all the way to current atmospheric post-rock/metal acts as The Ocean, Isis and Intronaut. There are slow tempos to drag you through the emotional pain, and there are blast beats and thrashy grooves occasionally to spice things up

First reissue since its original release in 2014. Features by Sean Price, Guilty Simpson, Blu with production from DJ Premier, Illmind, Black Milk, Oh No & more.

The collaboration album from Brooklyn MCs Skyzoo and Torae is available once again after its original debut in 2014.

For years, fans of both Skyzoo and Torae asked the two to collaborate on a full-length LP, following the multiple singles they released together over the years. Classics such as the DJ Premier-produced "Get It Done" and "Click," and the !llmind-produced "Barrel Brothers" off Skyzoo's 2010 "Live from the Tape Deck" have been highly anticipated by their followers since 2006. The idea behind "Barrel Brothers" is what the people have asked for and come to know: the two wordsmiths for pure lyricism.

Skyzoo, known for his picturesque storytelling and jazz/orchestral background, and Torae, known for his gritty Coney Island depictions of life with a vintage yet modern lyrical approach, have briefly put their normal fortes to the side and crafted this album with one game plan in mind: lyrical exercise over hard New York City soundscapes. The current resurgence of NYC hip hop is the perfect grounds for two of its premier flag holders to continue doing what they never stopped doing in the first place: representing the city.

A jazz-funk masterpiece with a powerful and frantic seven-piece horn section and a rhythm section that grooves like a motherfucking jazz funk machine! For more than 30 years, it has been considered one of the most important albums in the rare groove scene, and is a coveted gem for fans of the genre. The track 'Party Time' starts with a terrifyingly rhythm-kept break, as if it had been played by a machine, and 'Panama' is so famous as the sample material for DJ Spinna's signature song 'ROCK', while the addition of languid vocals adds an even more melancholy touch to the track. The LP is on clear blue vinyl, with a MURO re-edit of 'Panama' on the 7" A-side and a very rare item, 'Panama', on the B-side. vocal version of 'Panama' on the B-side!