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Up the mountains, deep in the forest, I found these plants that live on sound and water. They don’t need light and therefore are unlike any other plants on this planet. Their peek of activity is during the night, when they are covered with a thin, black layer of nocturnal light. Night lies on these plants like a thin membrane. Their roots absorb drops, waves of sound and its vibrational intonation. When humans eat this plant they fall asleep and start dreaming instantly.

In this dream they become these plants, who are unnamed, and are able to feel the pulsation of their — now own — roots. Many years ago, when language was more sounds than codes, these plants were everywhere to be found in the planetary landscape. Nobody knows yet why these plants are only to be found in the high mountain in its deep forest. It is said that once you enter this forest it will not be easy to find your way out. Like in a dream, you need to be guided by a strong wave of consciousness to find your way out and back to the ground.

Part two of the retrofuturistic 12’’ compilation series introduced by To Pikap Records. LEGACY inaugurates the release with an acid JeffMillsian ode to Detroit’s techno-electro sound, Future Draft takes us back to Europe with a euphoric broken house, while The Jaffa Kid concludes side A with a number of quirky melodies floating over Autechre’s (or Aphex Twin’s) memories of the genre previously known as idm. On side B, Odpein updates the Drexciyan electro palette slipping in elements of Chicago’s footwork combined with heavy acid bass, subsequently Dj Tsoug’s misty atmosphere crawls over some dry city bringing catharsis with its most anticipated drops of acid and finally happy99 enforces us to open up our eyes with a stripped and muffled techno-acid anthem of the future. It’s a must have till the next one!

Optimo (Espacio) started life as a weekly club night. It was born at The Sub Club in Glasgow on a wet, windy, wintry November Sunday night in 1997. Run by JD Twitch and partner in crime Jonnie Wilkes. Optimo was a reaction against what felt like an increasingly conservative musical soundtrack in clubs here at that time. Clubland felt as if it had become very bland and a bit too serious; it was the era of the dawn of the Superstar DJ. Clubs often felt like bastions of male energy. It seemed dance music and culture was going somewhere far, far away from where it was meant to be. The notion of fun had got lost.

It was no longer the world they had devoted ten years of their lives to already, and lots of their friends felt the same. When the opportunity came up to do a Sunday night at The Sub Club it felt like the perfect opportunity to rip it all up and start again. So they did. There was nothing in the city (or possibly anywhere) like it. As the club believed wholeheartedly in what they were doing, there was no pressure from The Sub Club to fill the club. So, they embraced the freedom. Groups of people who had never been in the same room at the same time before came together. A community of kindred spirits started to emerge.

Word spread, slowly. Lots of people checked it out. Many loved it, some hated it. The core of the Optimo idea was to embrace music they loved that might work on the dancefloor from whatever era or genre they thought felt right. It might not seem very radical now but at that time it was revolutionary.

After about a year and a half, the club went from having 100 people attending most nights to suddenly one week having 500 people turn up. It was very weird. It was as if a collective light bulb went off in people’s heads in Glasgow. From that week on, until the very last weekly Sunday night at the Sub Club, in 2010, over a decade later, it was packed.

There were 550 Sunday Optimo nights. A LOT of music was played. So, what was the music? People often find it hard to pin down exactly what Optimo is. This has been a positive but also a negative as we live in a world where people want easily defined “brand identities”. The simplest definition of the music played is “music for dancing”, which of course is a very broad definition. Even better than trying to define it in words, we have these 2 volumes of music that give a hint of what that might be.

This is not a “Best of Optimo” or a “Greatest Hits of Optimo” compilation. For people who come to, or used to come to the nights there are of course “Greatest Hits”. But, over such a long timespan they are “hits” belonging to a certain moment in time and space. Someone who came to Optimo in 1997 would have a completely different notion of the big tracks at the club to someone coming in 2003, or 2010, or today. This compilation is just a snap shot missing several genres that might make up the DNA of Optimo. There is though a broad sweep through lots of music Optimo loves, that they believe is amazing. Music that they know will rock a dancefloor, that they have played between 1997 and 2023. Of course Optimo nights were not all about rocking the dancefloor. The first hour was always a time for them to play music they loved that often was far removed from the dance. Side 1, Volume 1 of this compilation is the kind of music one might hear at the very start of an Optimo night.

Optimo have always loved a good slogan. The most long lived, and fitting Optimo slogan is "We Love Your Ears", which is in essence what it is all about to them.

Optimo (Espacio) started life as a weekly club night. It was born at The Sub Club in Glasgow on a wet, windy, wintry November Sunday night in 1997. Run by JD Twitch and partner in crime Jonnie Wilkes. Optimo was a reaction against what felt like an increasingly conservative musical soundtrack in clubs here at that time. Clubland felt as if it had become very bland and a bit too serious; it was the era of the dawn of the Superstar DJ. Clubs often felt like bastions of male energy. It seemed dance music and culture was going somewhere far, far away from where it was meant to be. The notion of fun had got lost.

It was no longer the world they had devoted ten years of their lives to already, and lots of their friends felt the same. When the opportunity came up to do a Sunday night at The Sub Club it felt like the perfect opportunity to rip it all up and start again. So they did. There was nothing in the city (or possibly anywhere) like it. As the club believed wholeheartedly in what they were doing, there was no pressure from The Sub Club to fill the club. So, they embraced the freedom. Groups of people who had never been in the same room at the same time before came together. A community of kindred spirits started to emerge.

Word spread, slowly. Lots of people checked it out. Many loved it, some hated it. The core of the Optimo idea was to embrace music they loved that might work on the dancefloor from whatever era or genre they thought felt right. It might not seem very radical now but at that time it was revolutionary.

After about a year and a half, the club went from having 100 people attending most nights to suddenly one week having 500 people turn up. It was very weird. It was as if a collective light bulb went off in people’s heads in Glasgow. From that week on, until the very last weekly Sunday night at the Sub Club, in 2010, over a decade later, it was packed.

There were 550 Sunday Optimo nights. A LOT of music was played. So, what was the music? People often find it hard to pin down exactly what Optimo is. This has been a positive but also a negative as we live in a world where people want easily defined “brand identities”. The simplest definition of the music played is “music for dancing”, which of course is a very broad definition. Even better than trying to define it in words, we have these 2 volumes of music that give a hint of what that might be.

This is not a “Best of Optimo” or a “Greatest Hits of Optimo” compilation. For people who come to, or used to come to the nights there are of course “Greatest Hits”. But, over such a long timespan they are “hits” belonging to a certain moment in time and space. Someone who came to Optimo in 1997 would have a completely different notion of the big tracks at the club to someone coming in 2003, or 2010, or today. This compilation is just a snap shot missing several genres that might make up the DNA of Optimo. There is though a broad sweep through lots of music Optimo loves, that they believe is amazing. Music that they know will rock a dancefloor, that they have played between 1997 and 2023. Of course Optimo nights were not all about rocking the dancefloor. The first hour was always a time for them to play music they loved that often was far removed from the dance. Side 1, Volume 1 of this compilation is the kind of music one might hear at the very start of an Optimo night.

Optimo have always loved a good slogan. The most long lived, and fitting Optimo slogan is "We Love Your Ears", which is in essence what it is all about to them.

Mariah Careys 30-jähriges Karrierejubiläum geht weiter! Nach der Veröffentlichung der Doppel-CD "The Rarities" am 2. Oktober erscheinen am 6. November ihre Alben "Emotions", "Music Box", "MTV Unplugged EP" (erstmals auf Vinyl), "Daydream", "Butterfly" und "Rainbow" - neu gemastert - auf schwarzem Vinyl.

Repress!

"Blackmarket Seminar", an album by Kazi and it's entirely produced by Madlib. Guest features by Madlib, MED, Wildchild, Declaime (Dudley Perkins) and Oh No. The album was recorded in 1996, remastered in 2016 and now available on CD and all digital platforms.

Message from Kazi:
We recorded this album in the wee hours at CDP studios back in '96. It was pretty much me, Madlib and Declaime in the lab when this album was recorded.

I learned so much from Lib cadence, rhyme patterns, timing and how to dig for records. What some people don't know is this cat actually took the time to show me how to make beats. I must say working with Lib was an amazing experience. The "Blackmarket Seminar" is a very raw and dark album. We came up with "Black Market" because at the time we were doing Hip Hop that nobody else was doing and to us you could only get it on the "Black Market". When you first play the album you'll hear characters on a skit in search of the black market seminar. We really tried to make it seem like the characters were outside walking around looking for it.

We recorded a new video for the song "To Be Lost" as it is about MCs selling out to remain in the game and still makes perfect sense in the present day.

‘Live At The Greek’ is the debut live album from global pop sensations The Driver Era.

Fans can now experience the raw energy, passion, and talent that have made the band one of the most exciting and dynamic live acts in the music scene today.

The album was recorded at the Greek Theatre in LA and features live performance versions of hit singles through the ages, including ‘Afterglow’, ‘A Kiss’, ‘Fantasy’ & ‘Preacher Man’. This record is a testament to the power of independent artistry and the unbreakable bond between a band and their devoted fans.

"Live At The Greek" by The Driver Era comes as a 2xLP including a Booklet.

Come get it! Dynamic Dallas soul singer Bobby Patterson cut some seriously sizzling sides in the mid '60s, including the James Brown rebuttal Mama's Got A New Bag Too " the pugnacious original "Knock Out Power Of Love " and the rambunctious funk of "T.C.B. Or T.Y.A."! Gems from the Jetstar label and originally unissued treasures collected on LP!

"My Thing Is Your Thing: Jetstar Strut From Bobby Patterson" by Bobby Patterson includes the following tracks: "I’m Leroy - I’ll Take Her", "Broadway Ain’t Funky No More", "I’m In Love With You", "The Knock Out Power Of Love" and more.

The Bony King of Nowhere is the artistic alias of Belgian artist Bram Vanparys. He made a mark in 2018 with the release of his critically acclaimed album Silent Days. The record received consistent 4- and 5-star press reviews and was hailed as his best album to date. It also earned Vanparys a Music Industry Award (BE) for 'best author-composer'. Silent Days revealed the full potential of the singer-songwriter and his commitment to never repeat himself and keep surpassing his creative abilities.

The new album, entitled Everybody Knows, has been a long time coming, partly due to Vanparys' aforementioned pledge to artistic evolution. The first two tracks he unveiled give a definite hint of what to expect from this album. 'Are You Still Alive' and 'Almost Invisible' carry the quality mark, known colour scheme and scent of The Bony King of Nowhere, but add many more hues and details. The new record showcases the new league Vanparys is playing in. Themes like rusted patterns in society, the obedience of the everyday man, the structural false ignorance of big shots, the toxicity of online communication and other very recognisable but not always pleasant subjects. Inspired by the observations of many sociologists, Vanparys dissects our society, the loneliest ever. This album is not just disconcerting though, in its strength lies a sense of hope and vigour.

The first singles promise a new album with lots of punch and energy, while Vanparys is unveiling the complete complexion of his voice whilst remaining vulnerable and honest. On the album, he is accompanied by multi-talent guitarist Vitja Pauwels (Naima Joris), pianist Hendrik Lasure (Tamino, Bombataz), drummer Simon Segers (Sylvie Kreusch, Stadt) and bass player Jasper Hautekiet.

While the songwriting legends, particularly Neil Young and Bob Dylan, have always kept Bram company, his latest compositions also draw inspiration from more contemporary artists. The influence of PJ Harvey, Blur and Nick Cave are unmistakable when you listen to his music. While staying true to his heartfelt songwriting style and captivating voice, The Bony King Of Nowhere embarks on a journey into uncharted musical and thematic realms.

The last time this band was on tour in support of 'Silent Days', they took a big leap forward while touring 75 shows across renowned venues and festivals in Belgium, The Netherlands, Germany, and France, with a packed Ancienne Belgique in Brussels as one of the highlights. Now the five-man-band, consisting of Jasper Hautekiet, Simon Segers, Thijs Troch (Nordmann), Gertjan Van Hellemont (Douglas Firs), will start this tour with shows in Ekko, Utrecht on March 6 and Ancienne Belgique, Brussels on March 8.4

The Bony King of Nowhere is the artistic alias of Belgian artist Bram Vanparys. He made a mark in 2018 with the release of his critically acclaimed album Silent Days. The record received consistent 4- and 5-star press reviews and was hailed as his best album to date. It also earned Vanparys a Music Industry Award (BE) for 'best author-composer'. Silent Days revealed the full potential of the singer-songwriter and his commitment to never repeat himself and keep surpassing his creative abilities.

The new album, entitled Everybody Knows, has been a long time coming, partly due to Vanparys' aforementioned pledge to artistic evolution. The first two tracks he unveiled give a definite hint of what to expect from this album. 'Are You Still Alive' and 'Almost Invisible' carry the quality mark, known colour scheme and scent of The Bony King of Nowhere, but add many more hues and details. The new record showcases the new league Vanparys is playing in. Themes like rusted patterns in society, the obedience of the everyday man, the structural false ignorance of big shots, the toxicity of online communication and other very recognisable but not always pleasant subjects. Inspired by the observations of many sociologists, Vanparys dissects our society, the loneliest ever. This album is not just disconcerting though, in its strength lies a sense of hope and vigour.

The first singles promise a new album with lots of punch and energy, while Vanparys is unveiling the complete complexion of his voice whilst remaining vulnerable and honest. On the album, he is accompanied by multi-talent guitarist Vitja Pauwels (Naima Joris), pianist Hendrik Lasure (Tamino, Bombataz), drummer Simon Segers (Sylvie Kreusch, Stadt) and bass player Jasper Hautekiet.

While the songwriting legends, particularly Neil Young and Bob Dylan, have always kept Bram company, his latest compositions also draw inspiration from more contemporary artists. The influence of PJ Harvey, Blur and Nick Cave are unmistakable when you listen to his music. While staying true to his heartfelt songwriting style and captivating voice, The Bony King Of Nowhere embarks on a journey into uncharted musical and thematic realms.

The last time this band was on tour in support of 'Silent Days', they took a big leap forward while touring 75 shows across renowned venues and festivals in Belgium, The Netherlands, Germany, and France, with a packed Ancienne Belgique in Brussels as one of the highlights. Now the five-man-band, consisting of Jasper Hautekiet, Simon Segers, Thijs Troch (Nordmann), Gertjan Van Hellemont (Douglas Firs), will start this tour with shows in Ekko, Utrecht on March 6 and Ancienne Belgique, Brussels on March 8.4

1000 miles away from the beating musical hearts of Rio and São Paulo in the late ‘70s, the Brazilian city of Belém gave rise to a little-known record label called Erla - Estudio Rauland. Though not prolific in its output, the label made up for it in quality and experimental offerings, with several records on the label now becoming sought-after pieces among collectors. One such release is the sublime four-track psych, MPB, rock EP by singer-songwriter Jarbas Mariz.

They say never judge a book by its cover, though on this occasion you pretty much can. The wonderful tripped-out ‘70s artwork by Baby is a sure-fire indication of the music lying within. Though the EP was recorded in ‘77, it clearly gained inspiration from the psychedelic hippy idols of the previous decade and could easily have been a soundtrack to an acid trip scene in an obscure Brazilian movie.

Low-fi and quirky, there are moments of beauty and splendour but also hints of darkness; with a sublime balance of music and styles throughout. At points Jarbas will have you drifting through a folk flute daydream, the next moment a growling, psych-distorted guitar breaks and parts the calm. An ability to make those elements blend cohesively is where Jarbas’ true brilliance shines through.

Jarbas played, and still plays, with some of the key figures in Brazil's musical underground. Guilherme Coutinho (whose Guilherme Coutinho - E O Grupo Stalo album from ‘78 was also re-issued on Mr Bongo) features on electric piano for this release, with fans of his work being able to pick out his tones and playing style. Elsewhere, Jarbas also collaborated with the late great Lula Côrtes on the 'Bom Shankar Bolenath' album from 1988 and 'Rosa De Sange' from 1980. He was a member of the wonderful Cátia de França band and is a regular in the legendary Tom Zé group.

'Transas Do Futuro' is a special record and one we are honoured to be reissuing.

The band’s vast knowledge of the history of hardcore and metal are evident in all 12 tracks on this album.
You can hear influences ranging from Poison Idea and Death Side to Slapshot, and even youth crew
bands like Side By Side and Youth Of Today. Throw in a heavy dose of Motörheadish rock’n’roll and lead
guitar work that could easily be from one your favourite New Wave Of British Heavy Metal albums – and
you have Night Fever

The Miserable Rich aus Brighton veröffentlichen mit OVERCOME ihr erstes neues Album seit 2011 auf dem eigenen Label Rags To Ruin. Geboren als Beweis tiefer Freundschaft und Liebe, entstand das Werk mit Produzent/Engineer Wolfgang Gottlieb (Lotte Lindenberg Studio) und Gastmusikern wie Alabaster de Plume, Jack Kendon (Love Supreme Jazz Festival) und Mike Siddell (The Leisure Society, Hope Of The States, Mumford & Sons). Die 12 Songs versprühen den Charme der mit Streichern versehenen, handwerklichen Musik der Band, ergänzt mit Klavier, Elektronik und Blechbläser. Ihren eleganten Sound zwischen Indie-Folk, Kammerpop und New Orleans-Soul beschreibt Sänger James de Malplaquet - vielleicht etwas flapig - als 'irgendwo zwischen Kruder & Dorfmeister und Supertramp, wo wir schon immer hingehören'.

From the Dolls-meets-the-devil opening title track to the desperate Sister Lovers-adjacent finale "The Findings," The Interrogator is thirteen vibrant, crackling, scary and hilarious songs which taken together represent nothing less than a thorough and thrilling moral inventory of our decadent and depraved times. Following up and doubling down on the themes of last year's lionized cult favorite For Executive Meeting, Elizabeth Nelson has authored an album as politically potent and pointedly hilarious as antecedents like The Mekons' Rock `n' Roll and Neil Young's On the Beach and wed it to the sound of ZZ Top's Eliminator. As writers like Rob Sheffield and Robert Christgau have known for years, Elizabeth Nelson has been one of our very best songwriters for going on a decade. On the charged anthem "Bad Day for the Group Chat" she reassesses the current state of affairs: "I have bested all my peers.

PHILIPP ROLLER produced his album, "Sommer 97," back in 1996 during his student days in his small home studio. Drawing inspiration from acts like Kraftwerk, Orbital, various artists on Warp Records, and computer game music, Roller crafted a unique sonic experience. Initially released on cassette, the album was unveiled to an intimate audience at Künstlerhaus Stuttgart in February 1997. Following the initial release, Roller had the opportunity to sign with a small British label. Unfortunately, circumstances led to the label's dissolution before the record could see the light of day. Despite efforts to secure a new label, "Sommer 97" remained confined to DAT tapes and hard drives for years. Fast forward to 2020 when Michael Kübler and Daniel Varga (Rework) joined forces to establish EXLOVE Records. Recognizing the album's potential, they decided to bring "Sommer 97" out of obscurity and into the world. Philipp Roller, now residing in Berlin and working as a freelance interface designer for music software, has had an illustrious past creating a lot of music not only on his own but even for fashion shows, art and image films, and contributing ideas to Rework's debut track "Anyway I Know You" on Playhouse. In August 2021, Roller released his first single, "Kiss & Tell / Roller Disco," on Exlove Records. Finally, after a remarkable 26-year journey, Roller's legendary "Sommer 97" tape is set to be released as a double album on vinyl.

Dave Brubeck himself received the most acclaim for his work as a composer; his best-known tunes include “The Duke,” “In Your Own Sweet Way,” and “Blue Rondo a la Turk.” The quartet achieved their greatest commercial suc- cess in 1960 with the Desmond composition “Take Five,” a widely acknowled- ged jazz classic and the best-selling jazz single of all time. This 2LP is an overview of the best tracks of Dave Brubeck playing together with Paul Desmond, Norman Bates, Joe Morello, Gene Wright a.o. This is a limited coloured Solid Turquoise Edition.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! 180-gram 45 RPM double LP Mastered by Bernie Grundman from the original analog tape Contains Otis Redding's posthumous hit "Sittin' On the Dock Of the Bay" Appeared on Rolling Stone's 500 Greatest Albums of All Time, rated 161/500! Pressed at Quality Record Pressings Gatefold old-style "tip-on" jacket by Stoughton Printing Hybrid Mono SACD Mastered directly from the original master tape by Bernie Grundman The guts of the story are this: While on tour with the Bar-Kays in August 1967, Otis Redding's popularity was rising, and he was inundated with fans at his hotel in downtown San Francisco. Looking for a retreat, he accepted rock concert impresario Bill Graham's offer to stay at his houseboat at Waldo Point in Sausalito, California. Inspired, Redding started writing the lines, "Sittin' in the morning sun, I'll be sittin' when the evening comes" and the first verse of a song, under the abbreviated title "Dock of the Bay." He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with female vocalist Carla Thomas) and Live in Europe, he continued to scribble lines of the song on napkins and hotel paper. In November of that year, he joined producer and esteemed soul guitarist Steve Cropper at the Stax recording studio in Memphis, Tennessee, to record the song. Cropper remembers: "Otis was one of those the kind of guy who had 100 ideas. ... He had been in San Francisco doing The Fillmore. And the story that I got he was renting boathouse or stayed at a boathouse or something and that's where he got the idea of the ships coming in the bay there. And that's about all he had: 'I watch the ships come in and I watch them roll away again.' I just took that... and I finished the lyrics. If you listen to the songs I collaborated with Otis, most of the lyrics are about him. ... Otis didn't really write about himself but I did. Songs like 'Mr. Pitiful,' 'Fa-Fa-Fa-Fa-Fa (Sad Song)'; they were about Otis and Otis' life. 'Dock of the Bay' was exactly that: 'I left my home in Georgia, headed for the Frisco Bay' was all about him going out to San Francisco to perform." Redding and Cropper completed the song in Memphis on Dec 7, 1967 with tragedy, unknowingly, looming. Just two days later Redding lost his life on a routine commute to a performance when the small plane he was in crashed. The other victims of the disaster were four members of the Bar-Kays — guitarist Jimmy King, tenor saxophonist Phalon Jones, organist Ronnie Caldwell, and drummer Carl Cunningham; their valet, Matthew Kelly and pilot Fraser. Cropper and bassist Donald "Duck" Dunn completed the music and melancholic lyrics of "(Sittin' On) The Dock of the Bay' which was taken from the sessions — Redding's final recorded work. Cropper added the distinct sound of seagulls and waves crashing to the background. This is what Redding had wanted to hear on the track according to Cropper who remembered Redding recalling the sounds he heard when he wrote the song on the houseboat. One of the most influential soul singers of the 1960s, Redding exemplified to many listeners the power of Southern "deep soul" — hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. At the time of his tragic death he was 26. ‘(Sittin’ On) The Dock of the Bay’ was released just a month following Redding’s death and became his only ever single to reach number one on the Billboard Hot 100 in January 1968. The album, which shared the song's title, became his largest-selling to date, peaking at No. 4 on the pop albums chart. "Dock of the Bay" was popular in countries across the world and became Redding's most successful record, selling more than 4 million copies worldwide. The song went on to win two Grammy Awards: Best R&B Song and Best Male R&B Vocal Performance. With the album, Redding confirmed himself as a talent lost far too soon. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Lovingly compiled, this album features only the finest Lovers from Jamaica’s finest label. From Blues parties in London, Birmingham, Bristol etc Lovers Rock quickly became one of the UK’s finest-ever musical movements.

Sweet harmonies, soulful reggae, love songs – the key ingredients of Lovers Rock - were all based on the revival of many of the classic Rocksteady harmony groups of the late 60's and early 70's, such as The Heptones, Carlton and The Shoes, Larry & Alvin, The Paragons, that Clement "Sir Coxsone" Dodd’s Studio One and rival Duke Reid’s Treasure Isle label produced hit after hit with as they fought for dominance in the dancehalls of Kingston.

As well as these classic harmony groups, this album also features fine contributions from many of the reggae greats – Horace Andy, Alton Ellis, Bob Marley and The Wailers, Delroy Wilson – All artists who became stars at the legendary Studio One Records which Chris Blackwell, founder of Island Records, describes as "The University of Reggae".

"The organ dates back to 1790 and was made by Venanzo Fedeli, who came from a prestigious family of organ builders. This particular organ is tuned in the ancient way at 430 Hz. Tuning relies on pure thirds that aim to create dissonances within the instrument itself.

Since the organ is an instrument modeled according to the principles of nature, the intonation of the pipes was performed according to an incompletely equal system that reflects the natural intonation based on mathematical ratios.

This produces a purer sound for the thirds but slightly harsher and more difficult to listen to. The hardness of the intervals of the organ is a metaphor for the hostile climate that prevails in the Potenza valley during winter and autumn.

The sound of the organ with the register of the flute returns a particularly sweet and penetrating sound but, at the same time, a very complex timbre with intricate harmonic texture, given the numerous fluctuations and beats. The warm tones of the organ reflect the good and welcoming sould of the people who inhabit these lands. The absence of dynamics inside the instrument allows the listener to focus and understand the harmonic texture and timbral differences between the various notes more clearly.

Trombone and trumpet played by Matteo Paggi on track 2 and 3 were recorded during a hot summer day at Elefante Bianco Studio in Rome by Matteo Scarchilli. Sax, effects and noises in track 6 played by Giulio De Asmundis and Pietro Rianna were recorded in Fauna53 studio.

Many thanks goes to Marco and Giuseppe for making this happen. Thanks Federico, Sami, Marisa, Romeo and everyone involved in this project. You know who you are."

Mastered by Alessandro Caldarola.
Photos and color grading by Filippo Corsi.
Graphic project and design by Flavio Mancini.
Vinyl pressed by AFG Record Manufacturing.

Wade "Jimmy" Dyce was an original member of Cultural Roots. He was a vocalist and played a key role in shaping the sound of the group. Cultural Roots emerged as a four-part harmony group for producer Donovan Germain in the late 1970s, releasing « Revolutionary Sounds » and « Mr Bossman » which counts among ‘Jah Shaka's favourite tunes’. Then they released « Hell A Go Pop », one of the Greensleeves label’s lesser-known classics.

In the early 80's, Wade Dyce produced alone three songs at Chris Stanley's famous Music Mountain studio. Wade Dayce surrounds himself with the best musicians of the time, namely the Revolutionaries, but does not remember the exact formation apart from Sly Dunbar on drums and Bongo Herman on percussion. « Humble », « Money Mare » and « Hide & Seek » are three forgotten songs that can be described as killer roots from the middle of the 80s and which you can (re)discover again through this reissue on the original Moving On label. For this release, Jamwax worked with Parade Studio for this original and unique Disco 45 cover graphic creation.

Today, Wade, now sixty-seven years old, is living in Salem, Massachusetts, where he graduated in 2010 as a mental-health specialist. Long live to the Cultural Roots !

Georgia Claire Flipo, known professionally as G Flip and informally referred to as G, is an Australian singer, songwriter, producer, drummer, and musician from Melbourne, Victoria. 'Originally a session drummer by trade, their music starts from the drums up. Lyrically, G Flip writes of relationships, heartbreak, and acceptance. Authentic, relatable, and always energetic, G Flip is a bonafide powerhouse. “When I was searching for an idol as a kid I couldn’t find someone that resonated with me. All the females on the screen were sexy or sexualised. I struggled with my sexual identity and gender identity for years and years because there wasn’t representation for me when I was younger. “The singer, songwriter and drummers second album is a booming, big-hearted record guided by raw feeling and the instrument that started it all for them…. What’s most striking about ‘DRUMMER’ is how Flipo wields the sheer visceral power of drumming”. – NME.

Lovely Is Today (Edit) by Eddie Harris b/w September 13 (Edit) by Deodato | Galaxy Sound Co. — GSC4540, test pressing | Hot off the presses via the always-on-point @galaxy_sound_company crew. This will mark number 40 in the GSC45 series. Every release has been stellar, elevating it to the rarified “buy-it-on-site” status. If you love hip-hop, broken beats & top-class edits, anything w/ their stamp on it — you know it’s going to be top notch. They’ve got a bottomless discography full of that good ish, & here comes another addition to the cannon in the form of a pair of glorious jazz-funk nuggets.

Side A is an edit of “Lovely Is Today” by Eddie Harris, which is taken from his brilliant 68 soul-jazz LP “Plug Me In”. Chicagoan Harris pioneered the usage of amplified electric Varitone saxophones. It features a stellar line-up: Ron Carter (bass), Haywood Henry (baritone sax), Jodie Christian (piano), Garnet Brown (trombone), James Bossy (trumpet), Grady Tate & Richard Smith on drums, &, of course, Harris on tenor sax. Here the edit trims off the intro noise & extends the breaks recalling hip-hop songs it sampled: “2 Deep” by Gang Starr, “Intro” by Mobb Deep, “It Ain’t Hard To Tell (The Stink Mix)” by Nas, “What’s My Name Yo?” by MC Lyte, among others.

Side B is an edit of “September 13” by Deodato, taken from his self-titled jazz-funk 73 LP. Deodato, aka Eumir Deodato De Almeida, is a Brazilian artist known for his range of production work for Kool & The Gang to Björk, as well as TV & film scores & collabs w/ Milton Nascimento, Ithamara Koorax & Marcos Valle. Heads will know this one as the source for heaters like “In The House” by Pete Rock & C.L. Smooth, “Park Joint” by Camp Lo, “Epoca” by Gotan Project, “Don’t U Know” by DJ Rels aka Madlib & “Track 13” on Beat CD #2 by J Dilla.

Batov Records' Middle Eastern Grooves 45s series welcomes the latest addition to its eclectic roster - a two-track EP from Eje Eje, the psych and funk inspired project from Şatellites band leader and producer, Itamar Kluger. Featuring the tracks "That Rainy Down" and "Coral Sex," the EP showcases Eje Eje's unique blend of Middle Eastern melodies, soulful grooves, and psychedelic sounds.

On the A-side "That Rainy Down," The electro baglama player takes the lead, building and building as if, “he is pushing himself to his limit”, says Itamar, “seeking catharsis as he walks to the edge of the cliff with confidence”, whilst the a baladi rhythm plays like an immense march of drummers. On the B-side we find the funkier "Coral Sex", which according to Itamar tells a story of a drunk tramp bothering the refined and self-important occupants of an exclusive hotel lobby. Reflecting this friction, the track juxtaposes a silky and sophisticated R&B sound, with loosely, pr even drunkenly, played take on rebetiko, a traditional Greek music associated with the poorest of city dwellers, played on a long-necked Greek lute known as a bouzouki.

As each track develops, new layers are revealed, inviting the listener to delve deeper. The effect is intentional. As Itamar says, "there is this kind of music that hooks you in a different way every time you hear it, different places in the songs lighting up in different colors, like slowly revealed layers. In our (Eje Eje) case, it is just such a hazed blend. It could make a very specific atmosphere, color a very specific movie scene that is lost in time or yet to be directed, or a very specific moment with your headphones on a long bus to the desert."

Itamar Kluger is best known for his work with the Şatellites, a six-piece band whose blend of Turkish folk and psych with funk and disco won them champions and listeners across the globe, from KEXP in Seattle to BBC Radio 6 Music, and FIP in France.

Eje Eje’s first 45 promises to be at least as quirky and original, if not more so, since the project is even more unshackled from traditional concepts of a band.

- iam8bit Edition - 2xLP on Ice Crown Blue Vinyl - Featuring Music from World of Warcraft: Wrath of the Lich King - Music Composed by Russell Brower, Derek Duke, Glenn Stafford, Jason Hayes, and Neal Acree - Album Design by Ryan Brinkerhoff // Wrath of the Lich King was more than just World of Warcraft's second expansion. For the game's millions of players, its release was a watershed moment in the MMORPG's then-young history, a defining time that rocketed the game into a new stratosphere of popularity and prestige. Northrend may be cold, but we here at iam8bit are feeling the warm and fuzzy embrace of nostalgia, thinking back on fond memories of countless icy raid nights. To commemorate this feeling, we collaborated with the folks at Blizzard Entertainment to create a 2xLP worthy of the Frozen Throne! Inside, you'll find select tracks from Russell Brower, Derek Duke, Glenn Stafford, Jason Hayes, and Neal Acree unforgettable soundtrack, presented across two records and packaged in album design from seasoned talent Ryan Brinkerhoff. This iam8bit version comes on lovely Crown Blue vinyl. Whether you're rolling need or greed, we know you're gonna want this one. Don't miss out on this celebration of one of the greatest expansions of all time!

The year was 1994 and hip hop music was moving in a new and different direction. Breaking ground on this new frontier was a combination of Brooklyn and Uptown Harlem New York's finest. Melodic structures mixed with unsigned hype rugged flows created an intoxicating concoction formulated as the Brooklyn Uptown Connection.

We present to you, the World Wide Street anthem "Where My Homiez" brought to you by the Legendary Classic rap duo crew better known as ILL AL SKRATCH. This was their debut 12" single now available for the first time on a Special Limited Edition 7" Vinyl !

"Where my Homiez was written out of acknowledgment and respect for all of our fallen whether they be male or female who have passed on, gone missing or lost in the Complex Industrial Prison System"

Thom Yorke, Jonny Greenwood und Tom Skinner aka The Smile kündigen heute ihr brandneues Album „Wall Of Eyes“ an, das am 26. Januar 2024 bei XL Recordings erscheinen wird. Zugleich veröffentlicht die Band den Titelsong des Albums samt Musikvideo, bei dem Paul Thomas Anderson Regie führte. Das neue Album, das zwischen Oxford und den Abbey Road Studios aufgenommen und von Sam Petts-Davies produziert sowie abgemischt wurde, enthält zudem Streicherarrangements des London Contemporary Orchestra.
Das neue Album „Wall Of Eyes“ von The Smile ist der Nachfolger des gefeierten Debütalbums „A Light For Attracting Attention“ aus dem Jahr 2022.

Once again Jazzsoon returns with another, soon to be rare and sought after release entitled "Heavy Archives".

This time taking a break from the conceptual beat tapes like "Taxi" or the most recent "Cosby Tape" the one known as Jazzsoon went back into his Archive and compiled 3 to 4 albums worth of music that hasn't seen the light of day for some years until now. Available on Cassette and special numbered debut 7" Vinyl limited to 300 copies.

The cassette will be packaged in an O-Card and will contain 5 more minutes of music.

This will be the first installment in the "Heavy Archives" series brought to you by Strictly Cassette and distributed by Red Line Music Distribution, Inc. Be sure not to miss out on this gem.

Groningen band The Vices makes a tasteful mix of indie pop, surf and garage rock. The foursome led by
frontman Floris van Luijtelaar shows that they have a great sense of catchy melodies. The debut album
‘Looking For Faces’ is the next milestone in the career of the group, which received a kick-start soon after its
formation with shows as support act for YUNGBLUD, on ESNS and during the Popronde.
They have also completed their first foreign tour, with performances in England, Germany and France,
among others.

"January 14, 2022 — (Hollywood, CA) —GRAMMY® Award-winning duo Bob Moses announced the upcoming release of their highly anticipated third album, The Silence in Between. Released on April 29th, The Silence in Between will mark the Los Angeles-based band’s first release since signing to Astralwerks in a unique global partnership with Domino Recording Co. In celebration of the album announcement, Bob Moses have also shared their exhilarating new single “Love Brand New.”

One of the most anthemic moments on The Silence in Between, “Love Brand New” finds Vancouver-bred musicians/producers Tom Howie and Jimmy Vallance tapping into their deep-rooted love for ’90s alt-rock and left-of-center dance music. Written with Michel Zitron and John Martin (a Swedish production duo known for their work with the likes of Avicii and Swedish House Mafia), the track encompasses a glorious collision of moody guitar tones, mercurial textures, and wildly propulsive beats as Bob Moses channel the dizzying euphoria of new romance."

ITALIAN LIBRARY GEM RE-IMAGINED BY BEATMAKER KORALLE AND RAPPER ILLA J

Four Flies is proud to present a new installment in the RELOVED series, 'New Levels / Chartreuse', with an original track from late-70s Italian ensemble Modern Sound Quartet and a rework from producer and beatmaker Koralle featuring iconic rapper Illa J.

In keeping with the aim of the series, which is to put a modern and urban spin on tunes from Italian golden age soundtracks and library music, Koralle has used the unique jazz-funk sound of the original sample to create a smooth and stylish hip-hop beat to which Illa J adds irresistible swag and coolness. More than a remix, 'New Levels' is a new composition that takes 'Chartreuse' into the world of contemporary hip-hop and rap.

Lorenzo Nada, aka Koralle, is a musician, beatmaker and producer from Bologna, Italy. Nada is best known for his project Godblesscomputers, which kicked off a couple of years ago while he was living in Berlin. After releasing four albums/EPs and touring Europe with a four-piece band, Nada is heading into a new direction as Koralle. Firmly rooted in hip-hop, Koralle is taking his jazz crates and field recordings to the studio. Equipped with an array of synths, Rhodes and bass, he creates deeply textured tracks that touch mind, body and soul. "Each beat is like an object found at the bottom of the sea," says Koralle to describe his music. And adds: "The samples emerge from the depths of my record collection and find a new meaning, transformed, like corals from the bottom of the ocean."

Rapping on Koralle's beat is Detroit artist Illa J. Raised in a musical family (his father played piano, his mother sang, and his older brother is the late hip-hop producer J Dilla), he grew up surrounded by jazz, gospel and soul, before building a name for himself as a rapper with a distinctive flow and timbre, but also as a singer and songwriter. Illa J has said of his approach to lyric writing that "the melody comes first, then I bring the words in, even when I'm rapping, you know rhythmically. I'm a singer, so melody comes first, but in terms of the subject matter, the music tells you."

The Modern Sound Quartet was an ensemble led by Milanese pianist and composer Oscar Rocchi. It included Rocchi on keys, Andrea Surdi on drums, Ernesto Verardi on guitars, and Luigi Cappellotto on bass. 'Chartreuse' (written by Cappellotto) comes from their 1976 library LP Cocktail Bar – a collection of jazz-funk/jazz-rock/fusion tunes, each named after a famous spirit. While little known to the general public, Cocktail Bar is highly sought after by diggers, DJs and beatmakers.

'New Levels / Chartreuse' is the fifth release in the RELOVED series, following Jolly Mare's retouch of Piero Umiliani's 'Discomania' (12"), Free The Robots' rework Gianni Safred's 'Autumn 2001' (7"), Dengue Dengue Dengue's remix of Giuliano Sorgini's 'Oasi Nella Giungla' (7"), and Fratelli Malibu's reversioning of Alessandro Alessandroni's 'Tema di Susie' (12"). The 7" releases are co-curated by fellow independent label Little Beat More.

ISLAND APES is a British band, formed in the East Midlands around 2018. The current line-up consists of ex members of Bivouac, Force Fed and Fudge Tunnel; guitarist/producer Dean Selby, drummer Antronhy, vocalist MKJ and bassist David Ryley. Their roots lie in anxiety, ritual and underlying melody. Call it what you like. Answers on a postcard to God Unknown. So the Germans call English football fans Island Apes? I guess they don’t know about the punk band of the same name. ISLAND APES features a lineup of UK underground punk legends. Antronhy, the drummer, was Nirvana’s infamous dancer at their Live at Reading performance. David Riley was the bass player in the legendary UK noise rock band Fudge Tunnel and current bass player in doom masters Conan. MKJ was in Forcefed and Meatfly; two early 90's influential UK hardcore bands. They have paid their dues and have produced a wild, lo-fi trip into an alternate punk universe where they tame audio chaos and explore the psychedelic side of consciousness. It’s grungy and grimy, guttural and grating, and even dubby, all in the most beautiful way. Their debut self-titled record is available on limited vinyl copies via God Unknown Records. To keep it punk the album will be released on vinyl only. Limited to 300 copies.

Two sublime unreleased scores from Basil Kirchin. Need we say more.
So here we are. The next Trunk / Kirchin assignment. Basically some more unreleased music from the unpredictable and slightly chaotic Kirchin Tape Archive.
Very Limited Black Vinyl.

These tapes were labelled up as follows:
Assignment K (with lots of pencil scribbles everywhere). The Strange Affair (with lots of pen scribbles everywhere).
As usual with Basil tapes / things there is little else to go on, no tracklist, no list of musicians, no singer names, no dates or anything. I have actually tried to establish the name of the singer on the song from Side One (we have called it “Love Is To Walk Away “ as it is unnamed) but having played it to a handful of knowledgeable collectors and enthusiasts who I would count as experts in this field, no one has a clue who it might be. If you think you know please get in touch. We know who it isn’t.

We can tell you that Assignment K dates from 1968, was a film about a toy maker who has a double life as an international spy. It was directed by Val Guest, who’d just finished trying to rescue the cinematic hotchpotch that was Casino Royale - he had been brought in by the Bond producers after Peter Sellers had walked off the movie. We imagine Assignment K may have been a slightly less stressful few months of shooting. As for the Kirchin score that we have here, we can tell you very little indeed, apart from the fact that the bass player was Ron Prentice (an ex blacksmith turned musician and craftsman) who worked on several Bond scores, but we know little else. And we only know this because it says so in the academic tome “Jazz On The Screen” by David Meeker.

The Strange Affair is also from 1968, and was not only controversial but also a reasonably unsuccessful movie. Directed by David Greene who also directed, amongst other films, I Start Counting and the quite brilliant Sebastian. In this rather grubby flick a policeman called Peter Strange (played by Michael York) falls for an underage girl (played by Susan George), finds himself compromised by a pair of pornographers and gets lured into an errand for a smack gang. We can tell you little else because I have no more information about it all.
But we do know that this music has all the classic Kirchin mid-period sonic hallmarks that have always set him apart.

"Cross My Heart" is a tribute to the harmonica player and singer James Cotton, one of Boney Fields" heroes and companions on the road, is certainly the most representative track of this thrilling groove mood that authentic blues musicians know how to infuse. Boney Fields possesses that almost funk tone matured enough to tickle our ears and make us tap our feet. By revitalizing, for example, "The Thrill Is Gone" in the spirit of its original author (Roy Hawkins), Boney Fields perpetuates the tradition of spirited orchestras of yesteryears without compromising the modernity of its irresistible tempo. Much more personal than all his previous albums, "Just Give Me Some Mo" is also the expression of introspection, that of a man who remembers without drowning in dark nostalgia. He thinks of the courage of his mother bravely facing obstacles in an unequal America. "Back in the Day" is not a sad song. It makes one stronger and nurtures faith in the future. This melody is certainly the most touching of the six compositions written by Boney Fields. From "Control of you" to "Something" holding me" or "I know yes I Know" he invites us into his intimate biography, the story of a large family shaken by inevitable upheavals that must be faced, the destiny of a combative musician who resists adversity. Boney Fields chose to let his soul speak. This effort of truth had to be supported by the artistic direction of a master. By enlisting Sebastian Danchin for the production of this album, Boney Fields turns to a historian of African-American culture whose keen ear has already won over Little Milton, Mighty Mo Rodgers, Toni Green, and Jean-Jacques Milteau, among others... Their exchanges uncovered a perfect understanding of "Chicago Blues" the brassy vigor of which they experienced firsthand 40 years ago. Surrounding oneself with the right people is quite a challenge. Fortunately, Boney Fields knows how to spot true talents. He was convinced that the Senegalese guitarist Hervé Samb would also be a good musical director. Hadn"t he been the first to highlight the expressive power of this luminous composer and arranger? The enduring vitality of the blues, when narrated with precision and insight, always manages to find its legitimacy. The months of reflection, of questioning, will not have been in vain. They have given substance and depth to this thrilling record which, we wager, will be a milestone. Boney Fields has waited long enough. Does he want more? We will give him more! "Just Give Me Some Mo" will now be a shared leitmotif, that of an insatiable conductor and that of enlightened admirers.

What I can say about TORRES is I think the music comes from a convicted place. Not convicted meaning a person is narrowly and foolishly committed to an ideal, or unshakably convinced of themselves, or a zealot, or stubborn. I mean dedicated, I mean: If TORRES' music gets weird, gets brainy, gets funny, gets defiant, provokes, deliberately scandalizes, employs the crass to undermine the austere, courts lofty philosophical truth-it's all done with the conviction of an artist with the (essential) belief in the worth of their task. I think you can hear it in the songs, someone reaching, leaning over the boundary between known and not, probing the almighty. After a decade and six studio albums and however many one-offs and tours and articles read and conversations had, the parts of this pursuit I've been able to observe are all marked by a dedication to creation that treats the act-ongoing-with as much preciousness as the evidence of the act that is left in a record. The modes of being are different: heartbroken, broke, furious (right- and unrighteously), awestruck by love, compelled by desire. sometimes resigned to death, sometimes fascinated by and reverent of the future. Sometimes viscerally present, other times suspended in heady awareness, poised on a fulcrum of observation and participation in the phenomenon that aliveness is. The tools are the same: instruments that growl and shriek and moan, a lyrical voice shouting, swooning, chuckling, snarling as the moment commands. TORRES' music-making is conducted in a melodic vocabulary unique to itself-methods, equipment, circumstances shifting around the impulse to affirm the self within the world, to make art that bears all these little artifacts of the divine and of the real and show it to people and know it is valuable. I think that's what Mackenzie's music does. And I think it's just incredibly good music to listen to. -Julien Baker TORRES is the pseudonym of Mackenzie Scott. She was born January 23, 1991, and lives in Brooklyn, New York, with her wife Jenna, stepson Silas, and puppy Sylvia. She has been releasing albums and performing as TORRES since 2013. What an enormous room is TORRES' sixth studio album (her third with Merge). It was recorded in September and October 2022 at Stadium Heights Sound in Durham, North Carolina. It was engineered by Ryan Pickett, produced by Mackenzie Scott and Sarah Jaffe, mixed by TJ Allen in Bristol, UK, and mastered by Heba Kadry in NYC. The album contains 10 songs. Mackenzie wrote all of them. Sarah played bass guitar, synths, drums, organ, and piano. Mackenzie sang vocals, played guitar, bass, synths, organ, piano, and programmed drums. Additional synth bass, tambourine, and shakers were played by TJ Allen.

What I can say about TORRES is I think the music comes from a convicted place. Not convicted meaning a person is narrowly and foolishly committed to an ideal, or unshakably convinced of themselves, or a zealot, or stubborn. I mean dedicated, I mean: If TORRES' music gets weird, gets brainy, gets funny, gets defiant, provokes, deliberately scandalizes, employs the crass to undermine the austere, courts lofty philosophical truth-it's all done with the conviction of an artist with the (essential) belief in the worth of their task. I think you can hear it in the songs, someone reaching, leaning over the boundary between known and not, probing the almighty. After a decade and six studio albums and however many one-offs and tours and articles read and conversations had, the parts of this pursuit I've been able to observe are all marked by a dedication to creation that treats the act-ongoing-with as much preciousness as the evidence of the act that is left in a record. The modes of being are different: heartbroken, broke, furious (right- and unrighteously), awestruck by love, compelled by desire. sometimes resigned to death, sometimes fascinated by and reverent of the future. Sometimes viscerally present, other times suspended in heady awareness, poised on a fulcrum of observation and participation in the phenomenon that aliveness is. The tools are the same: instruments that growl and shriek and moan, a lyrical voice shouting, swooning, chuckling, snarling as the moment commands. TORRES' music-making is conducted in a melodic vocabulary unique to itself-methods, equipment, circumstances shifting around the impulse to affirm the self within the world, to make art that bears all these little artifacts of the divine and of the real and show it to people and know it is valuable. I think that's what Mackenzie's music does. And I think it's just incredibly good music to listen to. -Julien Baker TORRES is the pseudonym of Mackenzie Scott. She was born January 23, 1991, and lives in Brooklyn, New York, with her wife Jenna, stepson Silas, and puppy Sylvia. She has been releasing albums and performing as TORRES since 2013. What an enormous room is TORRES' sixth studio album (her third with Merge). It was recorded in September and October 2022 at Stadium Heights Sound in Durham, North Carolina. It was engineered by Ryan Pickett, produced by Mackenzie Scott and Sarah Jaffe, mixed by TJ Allen in Bristol, UK, and mastered by Heba Kadry in NYC. The album contains 10 songs. Mackenzie wrote all of them. Sarah played bass guitar, synths, drums, organ, and piano. Mackenzie sang vocals, played guitar, bass, synths, organ, piano, and programmed drums. Additional synth bass, tambourine, and shakers were played by TJ Allen.

Bob Balch from FU MANCHU here. The idea for the SLOWER project started around four years ago. I was teaching a student how to play "South Of Heaven" by SLAYER but she was a beginner so we slowed it down. I thought that sounded cool so I tuned down to B standard and tried it. I added some drums and thought "someone in the doom community should do this and name it SLOWER." A few years later I befriended Steven "Thee Slayer Hippy" Hanford, best known for his work as the drummer in the influential Oregon punk band Poison Idea. He was backstage at a FU MANCHU show. Oddly enough I was wearing a POISON IDEA shirt and he told me that my shirt sucks. I asked who he was and why he was in our backstage. He told me and I felt stupid. We started drinking whiskey and talking about music. We stayed in touch over the next year or so and during Covid I told him about my SLOWER idea. He asked me to send him tracks. I waited too long because the day I sent the tracks he passed away. Totally tragic. I'm glad I got to know him even for a few years. He was a monster musician with a giant heart. He will be greatly missed. I shelved the project for a while after that. One day Esben from MONOLORD posted about musical collaborations. I love MONOLORD so I thought what the hell. I sent him some tracks and he killed it on drums. So I sent more. Then more. Shortly after that we started reaching out other musicians to get them involved. That's how we ended up with this lineup. Everyone that contributed completely knocked it out of the park and I can't thank them enough. This project has been a long time coming and I'm beyond stoked on how it turned out. Without all of the players involved, Steven Hanford and my baritone Reverend guitar it wouldn't have happened. Thanks to everyone involved and I hope you dig it! I'm a giant SLAYER fan so it's been a treat to dig into these classic songs. Hopefully we can do another record in the near future. Look out for shows because they will happen! Esben Willems - When Bob first approached me with the idea and I heard his scratch guitars, my first thought was "This is genius". Those iconic tracks we all know by heart suddenly unveiled an unexpected dimension. I'm really proud of how this turned out. Peder Bergstrand - "This might be blasphemous considering the circumstances, but when Bob reached out and asked if I'd want to play bass on sludged-out Slayer covers, I had to admit some of these tracks were brand new to me. That made the experience even more special though, hearing and playing on the Slower version first, and then comparing to the original. Bob has really transformed these songs into something totally their own, and on a personal level I feel the rest of the band's insane performances pushed me to my most inspired playing to date. So incredibly stoked for people to hear this album."

Neon Green Vinyl, limited to 500 copies. Bob Balch from FU MANCHU here. The idea for the SLOWER project started around four years ago. I was teaching a student how to play "South Of Heaven" by SLAYER but she was a beginner so we slowed it down. I thought that sounded cool so I tuned down to B standard and tried it. I added some drums and thought "someone in the doom community should do this and name it SLOWER." A few years later I befriended Steven "Thee Slayer Hippy" Hanford, best known for his work as the drummer in the influential Oregon punk band Poison Idea. He was backstage at a FU MANCHU show. Oddly enough I was wearing a POISON IDEA shirt and he told me that my shirt sucks. I asked who he was and why he was in our backstage. He told me and I felt stupid. We started drinking whiskey and talking about music. We stayed in touch over the next year or so and during Covid I told him about my SLOWER idea. He asked me to send him tracks. I waited too long because the day I sent the tracks he passed away. Totally tragic. I'm glad I got to know him even for a few years. He was a monster musician with a giant heart. He will be greatly missed. I shelved the project for a while after that. One day Esben from MONOLORD posted about musical collaborations. I love MONOLORD so I thought what the hell. I sent him some tracks and he killed it on drums. So I sent more. Then more. Shortly after that we started reaching out other musicians to get them involved. That's how we ended up with this lineup. Everyone that contributed completely knocked it out of the park and I can't thank them enough. This project has been a long time coming and I'm beyond stoked on how it turned out. Without all of the players involved, Steven Hanford and my baritone Reverend guitar it wouldn't have happened. Thanks to everyone involved and I hope you dig it! I'm a giant SLAYER fan so it's been a treat to dig into these classic songs. Hopefully we can do another record in the near future. Look out for shows because they will happen! Esben Willems - When Bob first approached me with the idea and I heard his scratch guitars, my first thought was "This is genius". Those iconic tracks we all know by heart suddenly unveiled an unexpected dimension. I'm really proud of how this turned out. Peder Bergstrand - "This might be blasphemous considering the circumstances, but when Bob reached out and asked if I'd want to play bass on sludged-out Slayer covers, I had to admit some of these tracks were brand new to me. That made the experience even more special though, hearing and playing on the Slower version first, and then comparing to the original. Bob has really transformed these songs into something totally their own, and on a personal level I feel the rest of the band's insane performances pushed me to my most inspired playing to date. So incredibly stoked for people to hear this album."

"The Dive is a 2023 scuba-diving movie, starring Sophie Lowe (Medieval) and Louisa Krause (Billions), with much of the footage – underwater and topside – shot in the popular diving destination of Malta. Directed by Maximilian Erlenwein and written by Erlenwein with Joachim Heden, The Dive focuses on two sisters, Drew and May, whose dive together off the rocky shoreline is abruptly cut short when a landslide above water sends a cascade of boulders down on top of them, leaving May trapped down at 28m by the debris. With dangerously low levels of oxygen and cold temperatures, it is up to her sister to fight for her life. The score to The Dive is composed by Volker Bertelmann & Raffael Seyfried. Bertelmann is a German composer who is also known under the name Hauschka. In 2022, he won an Academy Award and BAFTA for his work on All Quiet on the Western Front. For the soundtrack for The Dive, he teamed up with Raffael Seyfried, who previously scored the acclaimed 2018 drama series Patrick Melrose. The Dive is available as a limited edition on turquoise coloured vinyl."

Dive by Various Artists, released 25 January 2024, includes the following tracks: "Do You Hear That", "Go To The Surface", "Ship", "Are You OK" and more.

This version of Dive comes as a 1xLP.

The vinyl is pressed as a turquoise disc.

Where everything Numero begins. Three guys in a purple Saturn station wagon drove down to Columbus, Ohio, and came back to Chicago with a lost label - the rest is history. In the early '70s, Bill Moss' Capsoul imprint could barely break wind in the larger music marketplace, and yet today the label's output can stand shoulder-to-shoulder with any classic soul of its era. Isolated in central Ohio and lacking the funds to back them, groups like the Four Mints and Johnson, Hawkins, Tatum & Durr might've easily withstood ten rounds against the Temptations, Smokey, or Otis. The scrappy Capsoul writing team of Dean Francis, Jeff Smith, and Norman Whiteside would've thrown blow-for-hook-filled-blow with any Gamble & Huff or Holland/Dozier/Holland thrown at them. From Bill Moss' civil rights meditation "Sock It To 'Em Soul Brother" to Marion Black's future hit about the future "Who Knows" to Kool Blues bounding "I'm Gonna Keep on Loving You," Eccentric Soul: The Capsoul Label remains dollar-for-dollar the best soul compilation of its century and the perfect primer for anyone piqued by the Eccentric Soul series - otherwise known around here as the "budding Numero enthusiast."