Search "Bacao Rhythm Steel Band" 1704 Items

Olof Dreijer & Mount Sims

Release: 2023 / JP – Original

Genre: Reggae & Dancehall, Pop

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Natsu Summer, whose name is becoming known not only in Japan but also in other Asian countries as a rare city-pop reggae singer, recorded her 2018 album with her steelpan-fuelled band Dub Sensation, which is being recorded for the first time. Kunimond Takiguchi (Streamline), who has produced almost all of her work in her career, is also involved in the production of this album. The song 'Japanese Reggae Woman', a tribute to the steelpan disco classic 'Reggae Is Here Once Again' by Steel An' Skin, and the songs by Kunimond Takiguchi, who has been responsible for producing the album since its debut, all The singer's personality is perfectly utilised and e-mura (bim ONE, Rub-a-dub Market), who mixed the album, has done an excellent job.

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Souvenir Colored Vinyl Edition

LP | 2023 | UK | Original (Rabid)

36,99 €*

Dr. Orlando Owoh And His Young Kenneries Band Black Vinyl Edition

Release: 2023 / UK – Original

Genre: Electronic & Dance

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When Dreijer and Sims were approached a decade ago by the Special Friends of the Earth
organisation to work on music with a steelpan from Trinidadian legend Ellie Mannette, they were
determined to approach the instrument with sensitivity in order to avoid awkward fetishisation,
highlighting the drum’s characteristic timbre rather than its expected application.
The duo spent years working with different techniques - playing the pan using droplets of water
and ball bearings, for example, until they’d developed a way of bringing its softer, more unfamiliar
textures to the surface. Just as Helge Sten created rare magic from an array of Harry Partch’s
custom-made instruments on last year’s ‘Sow Your Gold...’, Dreijer and Sims dissolve familiar
sounds into a bubbling pool of rich, queered harmonies and unstable rhythms.
Opening track ‘Liten Karin’ is probably the duo’s most radical statement, a reinterpretation of a
Medieval Swedish folk song that features Sims on vocals, singing over a patter of metal pans in
slightly broken Swedish. Working with a Trinidadian instrument but looking critically rather than
resting on romanticised aesthetics, they arrive on a sound that’s mournful but not self-indulgently
so, bringing out fragile beauty not restricted by Western temperament.
From here the music only gets more pointed and involving: the lengthy ‘Hybrid Fruit’ picks up on
the loose thread of 20th century minimalism (think Steve Reich or Midori Takada) using repetition
to accent the drum’s ornate mutability. When things appear to evolve into techno-warped
arpeggios, it takes a minute to realise it’s not synths we’re hearing but processed metallophone
scrapes, like some organic approximation of the Berlin school’s psychedelic cosmic electronics.
But it’s when Sims and Dreijer veer off course that things go fully transcendent; on ‘A Vessel of
Clay’, they reduce the sound of the steel drum to an icy crackle, letting bouncing ball bearings set a
loose pace. It’s not a million miles from Mark Fell’s collaboration with Portugal’s Drumming Grupo
de Percussão ‘Intra’, fracturing percussion into glittering mosaics that reflect technology without
being controlled by it.
The album peaks with ‘Across This Mud’, a noisy electro-acoustic workout that closes ‘Souvenir’ in
fittingly dissonant style. The first track Dreijer and Sims wrote for the album, it’s a fanged exercise
that satisfyingly explodes into ear-crippling distortion. One thing’s for certain - it ain’t calypso.

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Dr. Orlando Owoh

LP | 2023 | US | Original (Tidal Waves Music)

17,99 €* 19,99 € -10%

Free Form Clear Vinyl Edtion

Release: 2023 / US – Original

Genre: Organic Grooves

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A household name in Nigeria, Dr. Orlando Owoh enjoyed a durable popularity that has cut across generational lines in his home country and beyond. Leading groups such as the Omimah Band and the Young Kenneries, Owoh remained popular even as Nigerian tastes shifted to the newer Juju and Fuji styles! Before this transition, the hot style in Nigeria and Ghana was called Highlife. It developed from a traditional Yoruba genre called “palm wine music”, overlaid with danceable guitar rhythms, and, in the hands of many musicians, it also contained a strong element of Trinidadian calypso. Owoh combined this aesthetic with a traditionalist spin on things to make his own brand of excellent sound. His story, like that of many musicians, is a progressive journey in which we can see his choice in musical trends shaping in response to the events in his life. He travelled far in the music world before his passing in 2008 and is remembered to this day even outside of his devoted Nigerian fans. Dr. Orlando Owoh left us with a musical legacy spanning over forty years and he became one of the leading proponents of highlife music with over 45 classic albums to his name, including many hit singles. Owoh played drums and sang with the Kola Ogunmola Theatre Group (one of the most prominent ensembles in the country) when Queen Elizabeth visited Ibadan, Nigeria, in 1956. Performing with several bands, Owoh realized that music in West Africa was developing in a new direction and started taking lessons on the electric guitar. Owoh notched several hits in Nigeria in the 1960s, but his career was slowed between 1967 and 1970 by the country’s civil war. Owoh fought for the Nigerian government against the country’s Biafran rebels. After the war he recorded a major hit called “Oriki Ilu Oke,” and his fame spread to Nigerian expatriate communities. In 1972 he played in London, England and went on to play shows for large audiences featuring South African legend Miriam Makeba. After receiving a doctorate degree in music he was known as Dr. Orlando Owoh. In Owoh’s music, the sophisticated Caribbean-style horn arrangements of Highlife were deemphasized in favor of Owoh’s guttural voice, guitar, percussion, and down-to-earth lyrics. Owoh’s grassroots take on Highlife music and provocative lyrics led him into political realms in the turbulent Nigeria of the 1980s. Orlando Owoh entered each of his decades of performing with his prowess and popularity undiminished. Heard today, his music sounds distinctly more traditional than that of other Highlife bands and strongly evokes the music’s rootsier base. He also generally remained true to the small guitar-band format of Highlife, rather than adapting his style to the huge, kinetic ensembles. He sang mostly in Yoruba, but recorded music in English on occasion. His recordings, like those of other African musicians, consisted of long, dance-suitable medleys of connected pieces; they gave only a small slice of what would occur during an actual Owoh performance, which might last all night. Dr. Orlando Owoh left his mark on the world in multiple ways. To Nigerians and Ghanaians, he will not be forgotten for his contributions to their culture, and his reinvention of existing genres and trends. To the political world, he will not be forgotten for how he stood against the establishment. And of course to the music world, he will never be forgotten for how he united the planet under songs that Africa should be proud of. Like a proud canary, his songs elevated the world to a height that can never leave us. The album we are presenting you today (Dr. Orlando Owoh And His Young Kenneries from 1977) comes swinging right out of the gate with a set of no less than Nine monster tunes. Expect nothing less than some of the best traditional Juju, Yoruba and highlife tracks that will leave you captivated from start to end. This is a quintessential record that every serious collector or fan needs to have in his/her collection. Originally released in 1977 on Decca Records Nigeria, Tidal Waves Music now proudly presents the first official reissue of this seminal album. This is also the first time the album is being released outside of the African continent. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) with obi strip and featuring the original artwork.

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Joe Harriott Quintet

LP | 1961 | EU (Destination Moon)

17,99 €*

LP | 2023 | UK | Original (Do Right! Music)

Release: 1961 / EU

Genre: Organic Grooves

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The West Indian-born alto saxophonist Joe Harriott was one of the most convincing boppers outside of the USA, though by the end of the 1950s he was exploring freer musical pastures, and the quintet with which he undertook the exploration was an outgrowth of the hard bop band with which he'd made a name on the British scene. Often in the past the group's music, in which trumpet and flugelhorn player Shake Keane figured alongside Harriott in the front line, has been compared with that of the early Ornette Coleman quartets, but here it's far more interactive, a fact borne out most obviously by the lack of soloists. Here on Free Form (1961) is where the rhythm of that indigenously West Indian form is extraordinarily maintained in the midst of characteristic group exchanges.

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Apollo Suns

Departures

LP | 2023 | UK | Original (Ghost Box)

Release: 2023 / UK – Original

Genre: Organic Grooves

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The debut album from Winnipeg psychedelic jazz-funk collective Apollo Suns, 'Departures' (Do Right! Music), finds the band evolving across new styles and moods, encompassing the shifting tides of the pandemic years.
Produced by Juno award-winning producer Ben Kaplan (Bootsy Collins, Five Alarm Funk), Departures is a cinematic journey inspired as much by artists like Goblin, Lettuce, and Frank Zappa as film, TV and video game scores and soundtracks. The band combines classic compositional techniques with synths and electronics, showcasing genre-melding finesse. Introducing strings, acoustic guitar, grand piano, and lap steel into the mix, Apollo Suns explore the visceral and heavy, the elegant and ethereal, epic house rock to New Orleans-y brass, proggy pathways, string-backed balladry, greasy funk and beyond.
"It's been a heavy couple of years. We wanted to make an album that summed it all up," says bandleader Ed Durocher. "I always kind of think of music as the different parts of life. Sometimes it's aggressive, sometimes it's fun and loose, and sometimes it's sad and hard. So, since we don't have vocals, a lot of these songs try to convey those experiences through sound."

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Belbury Poly

The Path

21,24 €* 24,99 € -15%

LP | 2023 | EU | Original (Nyege Nyege Tapes)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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The Path is the latest album from Belbury Poly (aka Ghost Box records founder Jim Jupp). This time round Jupp has recruited a full band roster to expand his own unique electronica. He is joined by occasional Belbury Poly collaborator Christopher Budd on Bass and Guitar, Jesse Chandler (of Midlake, Mercury Rev & Pneumatic Tubes) on flute, clarinet and keyboards, Max Saidi on drums plus narration from author and poet, Justin Hopper.

Musically it takes as its starting point a particular moment of early 1970s British film soundtracks by the likes of Roy Budd and Roger Webb; a soundworld of easy-going jazz and funky rhythms gently coloured with pastoral strings and flutes. The Path, however, is unmoored from time or place thanks to Hopper’s narrative style, Chandler’s rustic flutes and keys, Budd’s soulful psychedelic guitars and Jupp’s production and electronics. The co-writers were all chosen for their unique abilities and an intuitive understanding of the ongoing Belbury Poly project. The spoken word elements form a loose, open-ended narrative; very much an album with spoken word rather than a spoken word album.

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Titi Bakorta

Molende

2LP | 2023 | US | Original (TKO)

Release: 2023 / EU – Original

Genre: Organic Grooves

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Titi Bakorta almost didn't make it. Born in and raised in: Kinshasa, the Congolese multi instrumentalist was on his way to Uganda when he fell of the boat as it traversed the Format: mighty Congo River. Unable to swim, Bakorta was saved by a friend who dragged him to the closest city Kisangani, where he was unexpectedly acquainted with local singer Dancer Papalas. Soon they were performing in bands together, traveling across the continents and settling in Tanzania, South Sudan and Dubai o they even appeared in front of General Defao, the beloved Congolese vocalist who fronted legendary soukous bands Grand Zaiko Wawa, Choc Stars and Big Stars. Now based in Kampala, Bakorta offers his own unique take on Congolese pop and folk sounds, weaving traditional elements through a psychedelic lattice of guitar loops, mangled voices and eccentric beatbox rhythms on his debut full-length. He bends woodblock snaps on 'Kop' into stuttered blurs, wailing emotionally over twanging riffs and bizarre, theatrical xylophone twinkles. It's still pop music on some level, but curved around Bakorta's unwieldy personal narrative - there's a sense that everything could unravel at any time but it all hangs together, strengthened by Bakorta's confident, contemporary production smarts. 'Elles Vais' is more airy, with celestial soukous vocals that float above tight, electronic drums. Tangled guitar echoes overlap each other like dense, weaved tapestries, contrasting perfectly with Bakorta's urgent, driving pulse. Occasionally, he transcends completely, like on 'Molende' where his chants and phrases neatly flutter between praise music and contemporary R8B. "Hustling, hustling, hustling, everyday I'm hustling," an angelic voice coos over phased electric guitar plucks and looped, AutoTuned chorals.It makes perfect sense that Bakorta should team up with 7 Metal Preyers' Jesse Hackett on the album's final track, the aptly-titled 'Titis Haunted House'. The two artists share a similar obsession with moonlit, carnivalesque soundscapes, and...

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Antiseen

Here To Ruin Your Groove

49,99 €*

I Know I'm Funny Haha Blue Vinyl Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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Let’s not mince words—In the American punk canon, there are few acts as tenured as Charlotte, NC’s legendary ANTiSEEN. With dozens of singles, LPs, compilations, and live records to their name, choosing a definitive “best” is nigh on impossible. But if we’re going to have the conversation anyway, there’s zero question that their now classic 1996 full length Here To Ruin Your Groove is in the running. Marking a shift in both personnel and paradigm for the band, Here To Ruin Your Groove introduced Tripp McNeill and Barry Hannibal into the fold; A pair whose contributions would help shape the band’s sound for years to come. As a veteran of fellow Charlotte underground luminaries Seducer, McNeill’s metal-infused, melodic approach to bass both perfectly complemented and expanded upon ANTiSEEN’s patented brand of grimy, Southern punk rock ’n’ roll. For Hannibal’s part, his role as drummer, producer, engineer, bassist, and more has remained an integral component of the band’s makeup for the last several decades. The result of this newly minted rhythm section was a record that delivered on the raucous, irreverent punk ANTiSEEN had spent years perfecting, while broadening the band’s scope to include even more melodic flare and heavy metal flourishes. With Jeff Clayton’s singular voice and uncompromising vision anchored by the feral roar of Joe Young's buzzsaw guitar, Here To Ruin Your Groove immediately cemented its status as one of ANTiSEEN’s most compelling, hard-hitting, and lasting efforts. Lovingly reissued for the first time since 2003 as a newly remastered double LP, this deluxe edition of Here To Ruin Your Groove includes both the original record and an additional LP featuring two previously CD-only hidden bonus tracks, two singles, and six tracks from their 1997 set at the Confederacy of Scum Supershow in Lawrence, KS. Packaged in a gatefold jacket and pressed on colored vinyl, the record also includes a 16”x20” poster and a CD copy of the original 1996 version. With the painstaking attention to detail you’ve come to expect, TKO Records is proud to present the definitive version of ANTiSEEN’s Here To Ruin Your Groove. Accept no substitutes.

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Faye Webster

LP | 2021 | US | Reissue (Secretly Canadian)

Release: 2021 / US – Reissue

Genre: Rock & Indie

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Red Raw And Bleeding Turquoise Marbled Vinyl Edition

Blood Money

LP | 1987 | EU | Reissue (Svart)

Battlescarred Red Marbled Vinyl Edition

Release: 1987 / EU – Reissue

Genre: Rock & Indie

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Natural/turquoise marble vinyl, limited to 500 copies.

Official reissue of the debut album by Blood Money, originally released on Ebony Records in 1986.

Blood Money were the ultimate Nwobhm cult act, playing frantic thrashing heavy metal at a breakneck pace like no one else. Being active during the latter days of the Nwobhm movement, Blood Money took more influence from speed metal bands like Agent Steel and the unpolished punk metal of early Venom than the classic rock groups and Black Sabbath that influenced their earlier Nwobhm brethren. Recommended for anyone into obscure but great 80's metal in the vein of Agent Steel, Carnivore, Venom, Piledriver, Savage or Tank.

A ruthless album all in all and a true classic in its genre!

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Blood Money

LP | 1986 | EU | Reissue (Svart)

Complete Execution Black Vinyl Edition

Release: 1986 / EU – Reissue

Genre: Rock & Indie

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Natural/red marble vinyl, limited to 500 copies.

Official reissue of the second album by Blood Money, originally released on Ebony Records in 1987.

Blood Money were the ultimate Nwobhm cult act, playing frantic thrashing heavy metal at a breakneck pace like no one else. Being active during the latter days of the Nwobhm movement, Blood Money took more influence from speed metal bands like Agent Steel and the unpolished punk metal of early Venom than the classic rock groups and Black Sabbath that influenced their earlier Nwobhm brethren. Recommended for anyone into obscure but great 80's metal in the vein of Agent Steel, Carnivore, Venom, Piledriver, Savage or Tank.

An absolute masterpiece and a must have for all heavy metal fanatics!

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Blood Money

3LP | 2023 | EU | Original (Svart)

59,99 €*

Horros Black Vinyl Edition

Release: 2023 / EU – Original

Genre: Rock & Indie

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Blood Money were the ultimate Nwobhm cult act, playing frantic thrashing heavy metal at a breakneck pace like no one else.

This is the complete collection of all existing recordings by Blood Money. It features remasters of both of their studio albums, Red Raw And Bleeding and Battlescarred, plus demos and radio live tracks, and a scrapbook zine with photos and other materials. The demo/live LP and the zine are available in the box set only.

Being active during the latter days of the Nwobhm movement, Blood Money took more influence from speed metal bands like Agent Steel and the unpolished punk metal of early Venom than the classic rock groups and Black Sabbath that influenced their earlier Nwobhm brethren. Recommended for anyone into obscure but great 80's metal in the vein of Agent Steel, Carnivore, Venom, Piledriver, Savage or Tank.

Approved by the band, this is the last and perhaps the final word on Blood Money, containing every song the band left on tape during their short lifespan in the late 80's.

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Virta

LP | 2023 | EU | Original (Svart)

LP | 2023 | EU | Original (Buenritmo)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Horros, the third album by Finnish sonic voyagers Virta, is set to be released on Svart Records on October 6th

With Horros, Virta build on and take into new terrain the questing, jazz-tinged electroacoustic adventures of their last album, December 2016’s Hurmos, and its predecessor, their November 2012 debut Tales From Deep Waters. Still recognisable as who they were, the Virta of 2023 now delves further than ever before into their inner world to craft their most affecting, most atmospheric and most cinematic music to date.

Even so, Horros does not need to be accompanied by images – it envelops so much that signposts are unnecessary. The music itself is the guide through this sound world.

The creators of this environment are Antti Hevosmaa (electronics, flugelhorn, trumpet, vocals), Erik Fräki (electronics, drums, percussion, vocals) and Heikki Selamo (bass, electronics, guitar, lap steel, vocals). Together as Virta – which translates from Finnish as electricity, energy or stream – the trio were acclaimed as a “cornerstone of Finnish experimental music” by Finnish daily by newspaper Savon Sanomat in 2016. Horros will ensure this status becomes the case internationally. Beyond Finland, Virta already have dedicated listeners in Canada, France, Germany, Poland, the United States and the UK.

Reflecting on Horros, Antti says “We’ve always made music we want to listen to ourselves. We’ve asked what is the sound we want to listen to? We are digging deeper now, with new elements – more vocals. Lyrics too, which we haven’t done before.” Without sacrificing who they are, Virta now have a wider scope than ever.

“A key idea with Virta is to make the music you hear in your head and share it with people,” adds Heikki.

“Yes, to share what is in our heads,” agrees Erik. “But also, it becomes live music, that’s the point – to make music we share, to make connections.”

Practically, some things have changed. Erik and Heikki are supplementing their traditional instruments with more electronic gear than before. The band formed in Kuopio and had moved to capital city Helsinki. Nowadays, they are dispersed across Finland. Nonetheless, they remain creatively and spiritually united as Virta.

Coming together on Horros, Antti, Erik and Heikki have fashioned an album with a flow, which, although not explicitly stated, has a narrative drive. “It is as if you are arriving on a strange planet,” explains Erik. “It is quite solitary at first. The opening track ‘Aelita’ feels like entering some kind of unfamiliar atmosphere which you come through to see a landscape. Then, with ‘Tunneli’, exploring begins. It’s quite chaotic, you don’t know where you are. With ‘Sola’, the landscape starts to open up a little. When the album’s second side is reached, the mood is warmer, you understand where you are.” The album’s cover image portrays how the seemingly impenetrable atmosphere appears on reaching this world.

The Finnish-language lyrics and title reflect this voyage of discovery. Horros translates as hibernation – which has two meanings: Virta have reawakened, and the album’s journey is an awakening too. The opening track “Aelita” asks “Ei kai oo valoo ilman varjoo?” – “I guess there’s no light without a shadow?” The album ends with “Aamu”: “Hei aamu, Tummuu, Yön kaipuu” – “Hey morning, Getting dark, Longing for the night.” This place has become somewhere comfort can be found, where the coming of night presents no anxieties.

When they began composing what became Horros in early 2020, Virta already had the rough drafts of some of the building blocks. Elements of “Aelita” had been performed during a live performance film soundtrack project. “Toukokuu” grew from improvisations Erik and Heikki had undertaken in 2018. Virta had performed for weekly live streams in 2019, some themes from which also fed into Horros.

And although Virta did not discuss the music they were currently listening to – in the past, they would say “hey, have you heard this?” to each other – when they began recording at Erik’s summer cottage in the middle of 2020, there were some subliminal, long bedded-in touchstones: the original animé film of Ghost In The Shell and its soundtrack, seminal Finnish cross-genre outfits Nuspirit Helsinki and RinneRadio, the pioneering 3D video game Metroid Prime and the earlier role-playing video game Chrono Trigger. Mostly, the trio talked about immersion in music and sound.

Once they had assembled, they spent two weeks recording Erik’s drums and Heikki’s guitars live. All the while, Antti worked out where to play and sing. Then his contributions were recorded as Erik finished his drum tracks. What was captured was shaped and reshaped – Erik says “we all threw ideas in to help the music find its final form.”

“There were happy accidents which ended up on the album in post-production,” adds Heikki.

Antti stresses that “It’s organic, we wake music together as a band. We started making music in 2011 and we already knew each other before then – the music comes from all three of us, Virta is never the one person.”

Such empathy means that when Horros is played live, room is there for improvisation. “We may expand the sonic palette live, stretch out,” reveals Antti. “We might do some jamming to fit the ambience of the show.” The journey taken by the album is not over.

Horros is more than an album for Virta. It is also an expedition into fresh territory for Antti Hevosmaa, Erik Fräki and Heikki Selamo – creatively, musically and metaphorically. The spell it casts instantly captivates. Once this world is entered, it is not possible to depart.

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Rambalaya

Spin Age Blasters Colored Vinyl Edition

Release: 2023 / EU – Original

Genre: Organic Grooves, Rock & Indie

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Rambalaya’s self titled debut album from 2020 is being released on vinyl for the first time. The band is led led by Anton Jarl, also the drummer in Los Mambo Jambo, and is completed by some of Barcelona’s finest musicians: Jonathan Herrero on vocals, Pol Prats on sax, David Pastor on trumpet, Gerard Nieto on keyboards, Héctor Martín on guitar and Matías Míguez on bass. A blend of soul, rhythm and blues and rock’n’roll that will make you fall in love again with music.

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Electric Eels

2LP | 2023 | US | Original (Scat)

41,99 €*

We Have Come To Banish The Dark

Release: 2023 / US – Original

Genre: Rock & Indie

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***on Limited Clear With Black Swirls Vinyl!!! The electric eels were the first punk band, full stop. They may not have “started” the genre, but they were the first to tick all the boxes. The eels rejected every 1970s rock convention—professionalism, virtuosity, subject matter, image. Dave E.’s caustic vocals, complete with an aggressive lisp and a head full of snot, would become de rigeur a few years after the group disbanded. Meanwhile, the songs’ focus on car crashes, suicide, neuroses, and generally hating people were as far out of the mainstream as possible. The two eels tracks that do approach the subject of romance couch it in terms of not really caring that much about it (“Jaguar Ride”) or placing it in the context of a grisly murder (“Silver Daggers”). Also consider John Morton’s signature guitar sound, a nails-on-chalkboard tone with brutally free soloing inspired more by Albert Ayler than the blues or aspirations to technical facility. Ditto Dave E.’s clarinet playing and affection for lawnmowers and vacuums during live performance. They were notoriously violent not only among themselves, but towards audiences, police, and anyone unfortunate enough to be around them when things went south. Then of course there are the leather jackets, the clothing festooned with rat traps or safety pins. And no bass player, why bother. There is simply no other “proto” band to have had all these pieces in place circa 1973-1975. Yet it is a mistake to consider the eels exclusively in such a context. Yes, the eels could and did shock anyone who encountered them, but they also had great songs. While both Dave and John were visionary writers, they also had rhythm guitarist Brian McMahon, a melody and riff machine who wrote many of the band’s signature songs. And they were no one-trick pony. Although much of the band’s material is appropriately high-energy, there is also the downer eels—morbid, harmonically risky, and in full existential crisis. Although it’s not a focus of this compilation, the eels also had a penchant for completely free improvisation. Over the last forty plus years, there have been several electric eels compilations. Spin Age Blasters is quite simply the best one ever assembled, every single key track is here in its best version, properly mastered by John Golden, and sequenced with an eye towards both flow between tracks as well as individation between sides. A true monster of an album.

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Al Wootton

2LP | 2023 | EU | Original (Trule)

21,99 €*

Joe Yorke, The 18th Parallel

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Al Wootton returns to his label Trule with his second album “We Have Come To Banish The Dark”. The record is a product of dystopic times, taut with energy and restrained violence, yet never oppressive or nihilistic. The theme is one of unity, liberation and resistance to a darkening world, against the rising tide of fascism, hypercapitalism, and right wing politics. Yet there remains a constant hope and light, most evident in the downtempo roller “Devarim” and the closing bars of “May Your Angels Of Light Accept Him”.

Wootton brings to the fore his youth experiences playing in post-punk bands and his longstanding appreciation of Metal to this swung, robust techno album. “We Have Come to Banish The Dark’’ recalls the industrialism of Chris and Cosey, Coil and Throbbing Gristle, while the ghosts of the UK Hardcore continuum through Jungle and UK Garage remain an ever haunting presence. The rhythms maintain a flexibility and lightness of touch that provide contrast to the monochrome industrial sound palette.

Over nine tracks Wootton explores a variety of rhythmic styles, from techno steppers such as “Descender” and “A Pox Cast”, to the 4x4 house of “A Cruel Sun Over Catalonia”, the minimal Drum and Bass-esque “Number, Weight , Division” and the loopy techno of “The Norman Yoke”, while eschewing typical genre tropes to maintain a cohesive sound over the whole album.

We Have Come To Banish The Dark is an album that rewards both ecstatic club moments and repeated deep listening with its high energy and detailed, textured sound design.

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End Of The Day

7" | 2023 | EU | Original (Fruits)

9,99 €*

Tape | 2023 | EU | Original (Sub Pop)

Release: 2023 / EU – Original

Genre: Reggae & Dancehall

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Two of the most prominent activists on the current European reggae scene join forces on this brand new song. ‘end OF THE Day’ is a combination between Bristol singer JOE Yorke and Swiss reggae band THE 18th Parallel. Written by master storyteller Eeyun Delroy Purkins from The Co-Operators who recently released a highly acclaimed album with Joe Yorke titled ‘A Distant Beat’, ‘End of The Day’ showcases the remarkable talent of both crews: on the one hand enchanting melodies and thought-provoking lyrics provided by Joe’s soulful voice and Eeyun’s brilliant pen, on the other infectious grooves and impeccable musicianship by The 18th Parallel. This mesmerizing collaboration is highlighted by Westfinga’s perfect early 80’s rub a dub mixing. When these extraordinary forces collide, magic happens. Step into the rhythm and embrace a state of pure musical bliss!

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Deeper

Careful

13,99 €*

Careful Neon Orange Vinyl Edition

Release: 2023 / EU – Original

Genre: Rock & Indie

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You can't get Deeper if you're standing still. That's intentional, says the Chicago quartet's Nic Gohl. "Does it feel good when you're listening to this song? Does your body want to move with it?" These are the questions he asked himself as he and bandmates Shiraz Bhatti, Drew McBride, and Kevin Fairbairn were writing and recording Careful!, their third record and Sub Pop debut. "I wanted these to be interesting songs, but in a way where a two-year-old would vibe out to it," Gohl adds. "It's pop music, basically." That "basically" qualifier is working pretty hard, as fans of 2020's Auto-Pain might suppose. On Careful!, they're not reimagining their sound so much as testing its limits. If you want to, you can hear echoes of David Bowie's Low in the snapping rhythm and gray-sky synths of "Tele," but you can also hear a bit of Auto-Pain in the nailed-in, stippling lines being spit out by Bhatti's drum programming and McBride's synthesizer. "Fame" seems to stumble together and nearly fall apart, the dialed-up noise making the beat feel maniacal and a little invincible, the whole thing a series of short, snipped, autonomous gestures that are by now Deeper's trademark. "Build a Bridge" pushes in the opposite direction, using a prickly guitar line to launch into big, smeary art-pop, its emotional palette clear, well-defined, and easy to latch onto. On "Sub," Gohl sings above and below the melody like Ian McCulloch, bellowing and wondering and ruminating and rounding into swaggering confidence that the band rises to meet. It's festival headliner music that still feels like it was written in a garage. That fraternal interdependence is near the center of Deeper's music. The musical and lyrical devotion to mutuality makes this restlessly curious, stylistically broad album feels like the most coherent portrait of who Deeper is. Or, as McBride ultimately frames it, "Careful! is about looking out for one another."

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Deeper

LP | 2023 | EU | Original (Sub Pop)

12" | 2023 | UK | Original (All Day I Dream)

Release: 2023 / EU – Original

Genre: Rock & Indie

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Powel

Piano Reeves

2LP | 2023 | UK | Original (Utter)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Powel returns to All Day I Dream to release his newest celestial sonic masterpiece, the Piano Reeves EP

Enter the ethereal sonic realm of Paul Chriske, the German musical maestro known as Powel, who specializes in “creating harmonious illusions of sound.” Powel is a longtime family member of Lee Burridge’s All Day I Dream imprint, having first released on the label in 2015. Releasing his four track Piano Reeves EP on May 19, Powel returns to All Day I Dream to release his first record with the label since his The Beauty of a Polaroid album in 2020.

A pianist since youth, Powel's extensive experiences from a lifetime of performing with bands and orchestras has imbued his music with depth and complexity. Finding inspiration in the people and places he encounters on his travels, Powel draws from a vast and nuanced musical palette. Piano Reeves epitomizes Powel's unique touch as a producer, weaving together warm celestial vibes, airy atmospheres, and delicate rhythms.

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Marmo

Epistolae

38,99 €*

Toshiko Akiyoshi-Lew Tabackin Big Band

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Marmo, a collaborative project between Christian Duka (Vādin / Amoenus) and Marco Maldarella (Sinestesie), was born out of friendship and shared passion for music-making. Starting off respectively as the electric guitarist and singer in a metal band nearly a decade ago, the pair have worked their way through various flavours of electronic music inhabiting someplace between ambient and dance music, arriving at their singular aesthetic on this, their second album and first for Utter. 'Epistolae' - Latin for 'written letters' - was created between London and Bologna during the Covid-19 pandemic, an ode to friendship and as a way to keep connected during a time of isolated separation. The album is conceived as one continuous musical experience, with each track flowing effortlessly into each other in sequence as is heard on the final cut you are listening to now. A veritable sonic journey, as one might say. The outcome is an undulating collage carrying emotion as its common thread, with rich ambient textures giving way to bursts of percussion, simmering with shrouded whispers and spoken word, embossed with rhythms and borrowing influences from downtempo, dub, breaks, techno and tribal electronica. 'Epistolae' is available on limited vinyl and digital formats, mastered & Cut by Anne Taegert at D&M. Artwork by Marco Maldarella.

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Live At Newport '77

LP | 1984 | FR | Reissue (RCA)

8,99 €*

Release: 1984 / FR – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

The Singles Pink Vinyl Edition

Right Said Fred

2LP | 2023 | UK | Original (Right Said Fred)

24,99 €*

Release: 2023 / UK – Original

Genre: Pop

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12" | 2023 | UK | Original (333)

Rupie Dan

My Black Race

2LP | 2023 | EU | Original (Exit North)

Release: 2023 / UK – Original

Genre: Reggae & Dancehall

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Death Is Not The End's 333 sub-label drops a much needed reissue of Rupie Dan's My Black Race 12" from 1982. A huge Shaka selection featuring one of the heaviest dubs available from this era of UK roots production. Originally written and produced by Rupie for his Flag Records label, with engineering from Tony Addis (later of Addis Posse and the Warriors Dance label).
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"The lyrical idea for My Black Race came about during the 1980/81 social/racial revolution that took place in several cities all over England, including London, Liverpool, Birmingham, Leeds etc. I was living in Bradford, West Yorkshire at the time and was a DJ/Sound System operator on Jah Scorcher International Sound. I also co-hosted a Reggae show on an independent radio station Called Pennine Radio 235. In my regular job I was a youth and community leader with the Bradford education council. I was fully connected and in touch the community.
Seeing how the media used the events of the social uprising as a weapon to further discriminate against the African & Caribbean community committed me to say and do something to elevate the minds of especially young people who were already demoralised by the rhetoric that brought about the so called "riots" of the time. It was during this time that the lyrical foundation of "My Black Race" was laid. The rhythm came later after hearing Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". In the summer of 1982 I entered into the Addis Ababa recording studio on Harrow Road, Paddington and recorded the song having moved to London the previous year. Musicians featured included Victor Cross on bass and Mark Wright on drums (both from the Ariwa band), Rizzo on guitar, Tan Tan and Bami on Horns (all 3 from Aswad band), Bubblers on Piano/Organ (Undivided Roots/Ruff Cutt Band). Lead vocals were provided by myself, with backing vocals Jenifah Gad and Niomi who was working with David Bowie at the time. The engineers were Bubblers and Tony Addis (later of Addis Posse & the Warriors Dance label).
Jah Shaka was in the studio during the entire recording session. I was aquatinted with him as I was previously involved in a 3 way soundclash with Shaka, Quaker City and my sound at the time Jah Scorcher. Some years later I was in Terry's Dub studio in North Acton cutting some dubs when King Jammys and Bunny Lee walked in and heard the song. Bunny was responsible for the production of Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". Thankfully they were both impressed by the track which delighted me as a young up-and-coming artist/producer. The rest is history as we know it. Jah Shaka was mystically constant hence his attachment and love for the song. Jah bless and guide him."
- Rupie Dan, 2023.

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Exit North

Anyway, Still

7" | 2023 | EU | Original (Damaged Goods)

Release: 2023 / EU – Original

Genre: Rock & Indie

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Exit North are: Japan co-founder, solo artist Steve Jansen, Swedish singer songwriter Thomas Feiner, pianist Ulf Jansson, and renowned Swedish producer/multi-instrumentalist Charlie Storm. Their 2nd studio album 'Anyway, Still' continues the quartet's appetite for exploring provocative song structures. Weaving classic elements such as piano and strings into the layered threads of the bands material. Where intimacy and atmospherics give way to powerful dynamics, animated rhythms and grooves, driving distortions and crescendos in cinematic scale. Like excavators with uncompromising autonomy, Exit North relish the exploration of every nuance and detail of the recorded performance. Artwork contains full lyrics. " Exit North is truly about generating an aural gravity that pulls the best out of its participants. Those who admire Jansen's instrumental, experimental solo output, as well as his song-based work with Japan and Rain Tree Crow, will find much to enjoy on Book of Romance and Dust. Similarly, the audience Feiner has cultivated with his group Anywhen and its acclaimed recording The Opiates, will encounter a related, spacious aesthetic. LP limited to 500 copies on 180gm black vinyl with a gatefold sleeve (release date is later in July).

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The Rellies

Monkey

10,99 €*

The Fire In Our Throats Will Beckon The Thaw Black Vinyl Edition

Release: 2023 / EU – Original

Genre: Rock & Indie

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Monkey is the second single by The Rellies since releasing 'Isabella is Annoying/ Brainwaves' in 2020. Ryan, guitarist and dual singer and songwriter for the band describes the making of 'Monkey' during lockdown with his brother Riley. "During covid we got very bored. Originally, we wanted to get our Monkeys and run them over with our dad's car, but we settled for filming them falling down the stairs and writing a song about it. When the other members of band finally heard the song, they liked the Monkey and then we made a clip with our friends and some TV monkeys. Everyone sang 'I like the Monkey' and soon everyone liked the Monkey!" Helicopter is Ryan's sonic representation of "hunks of steel flying through the sky. I'm an aviation nerd." He doesn't disappoint. Helicopter's opening riff is catchy and travels. Ryan's vocal powers through the song and the background vocals from kid brother Riley kicks it up a notch as he improvises his way through the chorus begging for a ride. The Rellies ages range from 13-16 and developed at Kings Cross Conservatorium. The brothers began writing and recording at age 9 and 11 respectively and doing shows as The Rellies in 2018 with Jarlath Kiernan on drums. In 2021, the band replaced guitarist Aiden Burke with Lachlan Knight when Aiden decided rehearsal was too loud. Ryan: "We love the Beatles but lately we've got more of a punk energy in our songs. Also, Riley likes a lot of different stuff like Tyler the Creator... his lyrics are inspiring us to be creative with humour."

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Pelican

2LP | 2005 | US | Reissue (Thrill Jockey)

33,99 €*

7" | 2023 | UK | Original (Names You Can Trust)

Release: 2005 / US – Reissue

Genre: Rock & Indie

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Pelican and Thrill Jockey are proud to present a deluxe edition of the band’s acclaimed 2005 album: The Fire In Our Throats Will Beckon The Thaw, newly remixed, remastered, and featuring special bonus rarities including an early version of “Red Ran Amber,” (previously only available on a split with Mono) and demos of “Autumn Into Summer,” “Last Day of Winter” and “Sirius” The Fire In Our Throats established Pelican as indisputable masters of their craft. Pelican’s ability to alchemize their influences into a sound so wholly original and then expand on that sound into a work of captivating beauty remains a marvel. The album indelibly shifted the paradigm of heavy music and the ripples of that shift can be heard in the countless bands that have risen to prominence since its release. The genre-busting nature of the album’s melodicism and refined dynamics was a harbinger of things to come in a genre whose strict boundaries were rapidly being shattered; a fact recognized and cemented by the album’s critical reception, which engendered everything from an Album of the Year nod from Decibel, to pontifications about Pelican representing a rising wave of intellectualism in metal from the New York Times. Nearly two decades since the album’s release on Hydra Head Records, The Fire In Our Throats has stood as not just one of the band’s most celebrated releases, but as a watershed work of avant-metal. The album arrives with a fresh mix by its original engineer Greg Norman and mastering by Josh Bonati, imbibing the songs with a new ferocity while also granting increased clarity, highlighting the developing interplay between each member The refreshed mix brings an additional punch to the rhythm section of bassist Bryan Herweg and drummer Larry Herweg, bolstering the brightened melodicism and interlocking riffing between guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec. The more articulate presentation of the album showcases the power of each individual player while buttressing Pelican’s distinct sound as a unified force.

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Loboko

Kanyunyi

Do You Ever Wonder What Comes Next? Limited Colored Vinyl Edition

Release: 2023 / UK – Original

Genre: Organic Grooves

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Introducing a new scintillating, transatlantic collaboration from Names You Can Trust and Loboko, a new group created in the fertile ground of modern New York City's melting pot. The band's debut recording features the young Congolese vocalist and guitar virtuoso, Yohni Djungu Sungu, alongside Soukouss-Stars legend and master bassist in his own right, Ngouma Lokito. The group is rounded out by drummer and co-founder Morgan Greenstreet (himself a contributor to Nyct and Combo Lulo's debut recording, amongst others). He, along with Yohni, helped spawn the group's few but raucous NYC live appearances with various members throughout a couple year period before 2020.
Built upon those influential jam sessions, Loboko took two original compositions to the studio in an effort to document some of the traditional Congolese music they have been cooking up. Rooted in a now ubiquitous guitar-driven sound of African soukous that have permeated the greater Caribbean music landscape for up to six decades, Loboko's take on the ethnic Baluba rhythm, mutuashi, adorns the single's A-side as "Kanyunyi." The B-side stand-out "Ekenge" draws from the Seben style. It's a familiar sound to those sound system aficionadas, an intoxicating guitar combination that has reverberated from the heart of the Congo, through a wave in France's popular African music industry, and into the discerning selections of Colombia's Pico culture. Loboko's original take on these rhythms is quite unique in 2023, eschewing any modern production crutches for the raw pedigree of an electrified trio, and ultimately represents a clear window into the group's authentic live performances.

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Loupe

LP | 2023 | EU | Original (Sinnbus)

Release: 2023 / EU – Original

Genre: Pop

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Cmf2 Indie Exclusive Translucent Milky Clear Vinyl Edition

Corey Taylor

2LP | 2023 | CZ | Original (BMG)

2LP | 2023 | EU | Original (BMG)

Release: 2023 / CZ – Original

Genre: Rock & Indie

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Der mit einem Grammy® Award und mehrfach mit Platin ausgezeichnete Singer-Songwriter, Schauspieler und New-York-Times-Bestsellerautor Corey Taylor (Slipknot, Stone Sour) verrät Details zu seinem neuen Solo-Studioalbum Cmf2. Cmf2 ist der Nachfolger von Taylors Solodebüt Cmft aus dem Jahr 2020, das die Nummer-1-Billboard-Mainstream-Rocksingle „Black Eyes Blue“ und die Streaming-Sensation „Cmft Must Be Stopped“ (feat.Tech N9ne und Kid Bookie) enthielt. Das Album erreichte Platz sechs der US-amerikanische Billboard Top Rock Album Charts und #9 der deutschen Albumcharts.

„Mein erstes Soloalbum spiegelte wider, wo ich herkam. Dieses Album zeigt eher, wo wir hinwollen", fügt Taylor hinzu. Cmf2 – auf dem Taylor singt und Lead- und Rhythmusgitarre, Klavier und Mandoline spielt – bündelt die Energie, Experimentierfreudigkeit und Direktheit, die eine Karriere ausmachen, in der Taylor mit seiner mit einem Grammy ausgezeichneten Band Slipknot mehr als zwölf Millionen Alben und mit den Chartstürmern Stone Sour weitere Millionen verkauft hat.

Cmf2 ist Taylors erstes Album für BMG und das erste auf seinem eigenen Label, Decibel Cooper Recordings. Jay Ruston (Anthrax, Steel Panther, Amon Amarth), der sowohl Stone Sours 2017er Album Hydrograd als auch Cmft produziert hat, kehrte für Taylors zweites Album zurück. „Zusammen haben wir großartige Ideen, große Energie und probieren einfach alles aus", sagt Taylor über seinen Studiokollegen. „Wir haben keine Angst, uns gegenseitig zu sagen, wenn wir etwas für eine gute oder schlechte Idee halten; wir haben diese Art von Vertrauen.“

Die Cmft Band sind:

Corey Taylor (Vocals/Gitarre)

Zach Throne (Rhythmus/Lead Gitarre)

Dustin Robert (Schlagzeug)

Christian Martucci (Rhythmus/Lead Gitarre)

Eliot Lorango (Bass)

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Corey Taylor

Cmf2 Black Vinyl Edition

33,99 €*

Brown Acid - The Sixteenth Trip

Release: 2023 / EU – Original

Genre: Rock & Indie

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V.A.

LP | 2023 | US | Original (Riding Easy)

23,99 €*

2LP | 2023 | EU | Original (Born Bad)

Release: 2023 / US – Original

Genre: Rock & Indie

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Sixteen trips might fry the fragile psyche of the average teenager, but the hoary old heads at Brown Acid boiled their brain pans long ago! As such, Riding Easy is bringing even more hard rock, heavy psych, and garage rock rarities from the North American wasteland of the 1970s. From L.A. to Youngstown, OH, from Toronto to Charlotte, The Sixteenth Trip has got everything covered. As always, original copies of these 45s would cost a pretty penny—if one could find ’em in the first place. And by now one knows the drill: This ain’t no bootleg. All songs are officially licensed. This sixteenth installment kicks off with “Shuckin’ and Jiving,” a seven-minute power jam from L.A.’s kings of garage psych, the Seeds. The song appeared as a single in 1972 with “You Took Me By Surprise” on the flipside. It was the only release on Productions Unlimited, a label created by (or for) the Seeds at the tail end of their late ’60s / early ’70s run as Sky Saxon And The Seeds. Get shucked! Macbeth released their one and only 45 in 1978, with the steamrolling “Freight Train” as the b-side to “Didn’t Mean (To Come This Far).” Boasting a thick-ass riff, a tasty stereo-panned guitar solo and at least one space laser sound effect, this one should satisfy fans of Blue Cheer and Grand Funk alike. Macbeth’s bassist, Ned Meloni, went on to play with UFO guitarist Paul Chapman, Virgin Steele guitarist Jack Starr and do a brief stint with doom legends Pentagram. Formed by three brothers—David, Bruce and Barry Flynn, all GM factory workers—along with organist Tom Applegate, The Headstones (also known as simply Headstone) lent their 1974 garage boogie “Carry Me On” to The Fourth Trip. This time, the Midwest psych rockers return with their killer 1975 instrumental “Snake Dance.” One can hear echoes of this particular guitar style in the recent work of Swedish adventure rock overlords Hällas. The band Clinton might’ve been from Pennsylvania, but that didn’t stop them from writing about New York City. “Midnight In New York” is the flipside to their sole single, 1976’s “Falling Behind.” Stylistically and thematically, it’s not unlike something famous New Yawker Ace Frehley would’ve written for Kiss around the same time.

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Jacques Tati

OST Swing! Jacque Tati's

Release: 2023 / EU – Original

Genre: Soundtracks

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LP | 1978 | EU | Reissue (Comet)

Ebo Taylor

Twer Nyame

29,99 €*

LP | 1975 | EU | Reissue (Musica & Entretenimiento)

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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Ebo Taylor “Twer Nyame” is being reissued on vinyl by Comet Records, pressed on high quality vinyl, with label designs and artwork as per the original release. Originally released in 1978 on Philips-West African-Records. Classic highlife sounds; uptempo grooves, vocals, tons of percussion, guitar, horns and organ lines. Featuring the stand-out ‘Atwer Abroba’. Ebo Taylor is one of Ghana's finest producer/arrangers. Taylor was heavily influential in the unique sound that emerged from the country in the 70's; a combination of traditional Ghanaian with Afro-beat, jazz, and funk rhythms. He worked with bands including Stargazers Band, Broadway Dance Band, Black Star Highlife Band (with Teddy Osei and Sol Amarfio who later joined Osibisa), Apagya Show Band and fellow musicians C.K.Mann, Gyedu-Blay Ambolley and the legendary Pat Thomas.

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Fusion

Top Soul

Life And Death In Paradisemilan Live Acoustic 2

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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"Top Soul" (1975) by Fusion is released now on vinyl, from the original IRT masters! The experience of the group Fusion, historically considered the first Chilean electric jazz project, according to musicologist Alvaro Menanteau in his book Historia del jazz en Chile (History of jazz in Chile). Luna was the son of Peruvian diplomats settled in Chile. He had lived and studied art in New York and for that reason he had first-hand knowledge of the current jazz scene: the last years of John Coltrane in the avant-garde and the mutation of Miles Davis to electric jazz. He had studied at the Boston school of Berklee and had an important collection of records by Davis himself and his disciples: Joe Zawinul, Herbie Hancock, Chick Corea, Wayne Shorter, Miroslav Vitous. While Pizarro, who had appeared in the mid '60s as a very young pianist, of outstanding technique, advanced ideas and notorious musical culture, was also returning from a period of study at Berklee. The workshop meetings, jam sessions and auditions of new music were held at Pizarro's house, on Hernando de Aguirre and Eliodoro Yánez streets, and there was no jazz musician during those years who did not go through the experience of attending the initiation sessions. According to Chilean musicologist Alvaro Menanteau in his book Historia del jazz en Chile (2003), from the youngest (pianists Manuel Villarroel and Mario Lecaros or drummers Patricio Villarroel and Pedro Greene), to the most experienced (saxophonists Patricio Ramírez and Sandro Salvati or drummer Jaime Farfán), they frequented Pizarro's house and consolidated the core of musicians that faced the hard decade of the 70s. That was the seed of the foundation of Fusion, a group that adopted its name directly from the generic topic that began to understand and describe the music promoted mainly by Miles Davis in those years. In 1972, Fusion launched its project with the Luna-Pizarro-Salvati trio, using electric instrumentation, experimenting with rhythmic patterns of soul, funk and rock, but keeping intact the impulse of the original jazz improvisation and an important factor of Afro-Latin music, full of percussion. Although to record the album "Top Soul" (1975), the band ended up with soloists like David Estánovich (tenor sax) and Lautaro Rosas (guitar), plus a rhythm trio with Mario Lecaros (electric piano, ex Village Trio), Enrique Luna (bass) and Orlando Avendaño (drums, ex Nahuel Jazz Quartet), plus guests like trumpeter Daniel Lencina, and the young percussionist Santiago Salas (from the group Santa y su Gente). But it was, in any case, a brief history with few live appearances. One of them took place in 1972 at the Chile Stadium, with some members of Fusion as Luna, Pizarro and Greene, joined Los Jaivas for a free collective improvisation session, under the name of La Banda, and of which there is a valuable filmed testimonial record, although without audio. Fusion's life ended definitively after the release of the album, with Matías Pizarro living in Paris since 1977, Mario Lecaros in Barcelona in 1976, Orlando Avendaño retired from music, Enrique Luna back in Peru after working with the fusion group Almandina, and a hostile reality for the development of music during the first years of the military dictatorship.

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Mike Cooper

LP | 2023 | EU | Original (Paradise Of Bachelors)

33,99 €*

LP | 1966 | EU | Reissue (Musica & Entretenimiento)

Release: 2023 / EU – Original

Genre: Rock & Indie

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Mike Cooper wrote his final songwriter record, a suite of gloaming glam-rock anthems performed with a spiritual jazz trio, while living on the Costa Tropical of Granada , Spain , an era when he was considering retiring from music altogether. A chance encounter and a last-ditch record deal convinced him to make one last album, which he recorded in 1974 at Pathway Studios in London, with "The Greatest Rock and Roll Band in the World," featuring the inventive South African jazz rhythm section of Louis Moholo and Harry Miller with UK saxophonist Mike Osborne. This first-ever reissue includes a bonus CD of Milan Live Acoustic 2018, a previously unreleased solo set that represents Cooper's return, after forty-four years pursuing free improvisation and electronics, to a new, deconstructed approach to singing, steel guitar, and songcraft. The deluxe LP+CD edition also features a six-panel insert with additional artwork and an essay by the artist about both records. The deluxe 2xCD gatefold edition features an eight-panel version of the same insert

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Beat 4

Boots A Go Go

Butterfly Black Vinyl Edition

Release: 1966 / EU – Reissue

Genre: Rock & Indie

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This is one of the first Chilean rock albums recorded in Spanish. "Boots a Go Go" (1966) by Beat 4 is released now on vinyl, from the original IRT masters! Los Beat 4 (Santiago de Chile, 1966) began as the partnership of four childhood friends: brothers Mario and Willy Benitez, Johnny Paniagua and Reinaldo Rhino Gonzalez. Under the influence of the Beatles, the Kinks and the Animals, they formed Los Electrones, a group with which they played at school parties and various meetings, following the style of the New Wave. Around 1966, and after the explosion of the beat rhythm in our country with the arrival of the Beatles, they decided to change their name to Beat 4 and sing in Spanish. In 1967, backed by the wide radio diffusion of their single "Llora conmigo" (a Spanish version of an Italian pop song), they toured throughout the country. The band's second hit came with the jingle "Dame un Bananino", composed to promote a banana-flavored ice cream. The song was released as an EP, was a great success and took them on tour to the main beaches of Chile. They would later replicate the model with the song "Ta ta ta ta", as simple and catchy as the previous one. The Beat 4's career was short but intense and popular. At the beginning of the 70's they had already released four LPs, and since then they began to incorporate their own compositions. When Willy Benítez left the band, Tilo Mandiola replaced him, but soon after, the Beat 4 decided to leave. Willy Benítez entered the theater school of the Catholic University, to later begin a career as a humorist in television programs such as "El festival de la una". Reinaldo Rhino González, vocals (1966 - 1971). Johnny Paniagua, guitar (1966 - 1971). Willy Benítez, bass (1966 - 1971). Mario Benítez, drums (1966 - 1971). Tilo Mandiola, bass (1971).

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Bra Sello

LP | 1975 | EU | Reissue (Afrodelic)

23,99 €*

The Battle Of Disco Black Vinyl Edition

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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With one foot planted in jazz and the other in the township groove of Mbaqanga, saxophonist Sello Mmutung was a powerful crossover figure in the history of popular music in South Africa. Using the stage name Bra Sello, meaning “brother” and used as a term of affection and respect in the jazz community, he came up in the era of shellac 78s as an exponent of the 1960s sax jive sound that brought the swinging rhythm of kwela into the domain of South African jazz. Despite the injection of American rhythm and blues into South African pop in the late-1960s, Bra Sello’s first releases on vinyl on the
CBS label saw him backed by the group Abafana Bentuthuko and holding down an unapologetic township sound.
Joining the independent Soweto label under producer Cambridge Matiwane in the mid-1970s, Bra Sello recorded two records in the hit-making bump jive style popularised by serious jazz musician Dollar Brand on the one hand and prolific studio group The Movers, operating in funk and soul territory, on the other. Blending modern American and traditional African elements into joyful hip-swinging rhythms, Butterfly (1975) and The Battle of Disco (1977) reflect the vivacity of urban life in South Africa and document an era when dance music was performed by bands as extended jams laced with jawdropping solos. With music trends shifting dramatically in the late-1970s, the title of The Battle of Disco was an ironic call to arms in response to the territory that group musicians were beginning to cede to synthesisers and DJs.
For enthusiasts of African music from the 1970s, a full appreciation of the continent’s output is incomplete without South Africa’s pop-jazz sound providing a regional counterpoint to the funk experimentation of West Africa. Reissued for the very first time, Bra Sello returns in 2023 with limited replica editions from Afrodelic using master tape sources from the As Shams / The Sun collection. Afrodelic’s unique edition of Butterfly features a previously unreleased track on Side B.

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Bra Sello

LP | 1977 | EU | Reissue (Afrodelic)

24,99 €*

Pure Music Transparent Sea Foam Vinyl Edition

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Strange Ranger

LP | 2023 | US | Original (Fire Talk)

20,99 €* 27,99 € -25%

LP | 2023 | EU | Original (Elpalmas Music)

Release: 2023 / US – Original

Genre: Pop

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On Pure Music, Strange Ranger’s new album out on Fire Talk, the band indulges an obsession with Loveless, but they infiltrate any comparison to shoegaze with overtures to disco, house, and experimental pop. The Talk Talk inspired pean to isolation “Way Out” features a moody saxophone, while “She’s On Fire” is only a rock song until just after the midway point, when the drums throb, the snare skitters then snaps, and suddenly, you’re in a sweaty pit of swaying bodies dancing as dual vocals harmonize, “I would have thought the rhythm of the club might lead me somewhere. Pure Music embodies that manic state through interstitial interludes laced with YouTube samples that connect each track to the next so as to submerge the listener in its world, one that rewards catharsis. The alienated might gaze through panes of glass eternally, without breaching the gap between the self and the destabilizing chaos of the world beyond. Riding the train across the East River in the early morning, one witnesses thousands of individual stories, each contained within a glowing square of light, and it's a comfort to know that soon, those strangers will emerge from their solitude to rejoin the city. “Music makes us transcend the feeling of being alienated from or trapped by the world,” the band says. “I want the experience of listening to Pure Music to be euphoric.” Recorded by the band, mixed by Al Carlson and mastered by Joe LaPorta.

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Tabaco

27,99 €*

Everything Has Got To Be Alright

Release: 2023 / EU – Original

Genre: Organic Grooves

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El Palmas Music to release a new compilation of songs by the famous Venezuelan singer and percussionist Tabaco.

Tabaco Quintana is, without a doubt, one of the great masters of Venezuelan salsa. Born in Caracas in 1943, he was tall and very skinny, which earned him the nickname ‘Tabaco’. A shoeshine boy and street hawker, at the age of 18 he fell in love with the Caracas nightlife and spent his days listening to the rehearsals of a musical group that he ended up joining, thanks to the intervention of his friend Elio Pacheco. That group was called Sexteto Juventud.

Tabaco passed through almost every musical position within the band until he became a singer. It was the resemblance of his voice to Ismael Rivera and his skills as an interpreter that earned him a permanent position in the band.

After leaving the group in 1973, he created his own sextet, Tabaco y Su Sexteto, and later formed Tabaco y sus Metales, two groups that achieved international recognition, and became staples of the Venezuelan music scene ‘til the mid-80s. Throughout, and despite his fame, Tabaco was always clear that music had a social role to play, and would often sing in Venezuelan prisons. Sadly, he died young, on May 30, 1995, due to a lung condition. The public overflowed the streets to accompany him to his last dance.

This compilation of Tabaco’s songs, simply titled Tabaco and compiled by El Dragón Criollo and El Palmas, is an attempt to shine a light on this musical icon, and to show his versatility, vocal ability and unparalleled knowledge of musical rhythms.

Primarily known for his voice - which isn’t surprising considering his vocal nuances and the different registers he is able to reach - it can be said that he was also no slouch when it came to mixing up the rhythms. On this compilation there is a strong influence of African music (“San Juan Guarincongo”, “Imolle”) and jazz - just listen to the unforgettable beginning of “Arrollando”.

Percussion, piano and wind instruments are high in the mix, but it’s the masterful voice of Tabaco that adapts effortlessly to the requirements of the melody and the lyrics, riding each groove masterfully. The lyrics also show the great social sensitivity of the Venezuelan maestro: “Una Sola Bandera” and “Cuando Llora el Indio” are two great examples of salsa’s power in denouncing social injustice, and Tabaco’s commitment to that ethos.

Tabaco is unmissable, a heady journey into the essence of salsa and the rhythms of the Caribbean.

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Bobby Baker

7" | 1980 | UK | Reissue (Epsilon)

10,79 €* 17,99 € -40%

The Summer Of Endless Levitation

Release: 1980 / UK – Reissue

Genre: Organic Grooves

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The late Bobby Baker originally from College Park Georgia, was an original member of the American rhythm and blues band The Coasters formed in 1955. He sadly passed away in Feb 2022.Bobby was hired by Dana V Andrews & David Futch (originally from Detroit Co-owner of Davida Inc & founder of Gospel Label Futch Music Record with his brother Josh) with an amazing group of musicians including the incredible Patrice Rushen for this project. ‘Everything Has Got To Be Alright’ Is an ultra rare Gospel Crossover Funky Soul 45 and it’s by far the rarest on Davida Inc records Music perfection!

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M'lumbo

LP | 2023 | UK | Original (Hell Yeah)

22,99 €*

LP | 2023 | EU | Original (Bang!)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Legendary New York band M'lumbo distil experiences from their pre-pandemic shamanic travels into their stunning new album The Summer Of Endless Levitation. The eight-track vinyl LP is an avant-garde take on folk music informed by painter and sculptor Jean Hans Arp's 'Biomorphic' works and it serves as a sonic renewal of self. The cult M'lumbo collective has been a legendary and groundbreaking act since first forming in the mid-80s. They cross genre boundaries as they draw on jazz, world, electronic, rock and experimental music that escapes the commercial world and take you into another realm entirely. There is no limit to their sound; each member brings their own cultural background to the mix, making the band all the more unique. As the coronavirus pandemic struck, three members of the band Rob Ray Flatow, Paul-Alexandre Meurens and Brian O'Neill under-took a regimen of shamanic traveling in New York City. The experiences led them to spontaneously compose and perform a suite of pieces, informed and inspired by Jean Hans Arp's works but also by the feelings of isolation and indefinite exile yet to come in their urban environment. Compared to the works they have done as part of the larger M'lumbo band, this album is a more modest and naive affair that is "a vehicle for the renewal of feeling using only a few instruments - acoustic and electric guitar, keyboard, flute, small percussion, kalimba and clarinet - and locating a sense of both the deep sadness and uplifting powers of reverie." 'There Are No Words' kicks off with heavenly chords and organic percussion that recalls the jungle jazz of Don Cherry, then 'Shoreline' is a five-minute dub with percolating rhythms and new age melodies before the soul-soothing acoustic guitar of 'The Afternoon Levitation' blisses you out on a sunny day. The perfectly entitled 'Swoon' is another gloriously uplifting piece of musical spirituality that fuses the electronic and synthetic with the ancient and ritualistic. There is more jungle jazz, big-band horn work and cosmic synth modulations of 'Open The Heavens' while 'Quanta' is a shuffling, jumbled mix of radiant chords, wigged-out electronic lines and celestial charm. 'Planetfall' goes from free-form jazz to double-time techno and back to cathartic ambient. The final trio of tracks conjures up everything from the transcendental jazz of Alice Coltrane to the cinematic downtempo of Calm.

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Love Battery

Confusion Au Go Go

Near Life Experience Pink Colored Vinyl Edition

Release: 2023 / EU – Original

Genre: Rock & Indie

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Love Battery were one of the most original bands to come out of the Seattle "grunge" scene, and one of a kind when it comes to alternative rock bands. Confusion Au Go Go is their the final studio album, originally released in 1998 on C/Z Records (Seattle), then only on CD format. Now it is finally released on vinyl and it has been remastered by Jack Endino (Nirvana, Soundgarden_) in order to get the purest sound. AllMusic wrote: "The addition of Dan Peters (Mudhoney) on drums definitely tightens the screws, and the reinvigorated rhythm section provides the perfect foundation for guitarist Kevin Whitworth's inspired flights of fancy, including, as on Dayglo, some of the best slide guitar work in alternative rock." Martin C. Strong called Confusion Au Go Go "certainly a notable album," writing that "the band seemed to be in full swing and willing to push their boundaries." Musicians: Vocals, Guitar - Ron Nine Guitar - Kevin Whitworth Bass, Backing Vocals - Bruce Fairweather (Mother Love Bone) Drums, Percussion - Dan Peters (Mudhoney)

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Come

LP | 1996 | EU | Reissue (Fire)

22,99 €*

LP | 2023 | EU | Original (blundar)

Release: 1996 / EU – Reissue

Genre: Rock & Indie

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Originally released in 1996, Come’s third album ‘Near Life Experience’ was the sound of a band heading into new territory, refining their dense mix of hypnotic noise-rock, blues and rock’n’roll song-writing. Lovingly remastered, this new version features three incredible bonus tracks ‘Prize’, ‘Strike’, ‘Hurricane II’ stemming from the same era, additional liner notes and photographs.

After Come's seminal 1994 release ‘Don't Ask Don't Tell’, bassist Sean O'Brien and drummer Arthur Johnson left the band to pursue other careers. Remaining members Chris Brokaw and Thalia Zedek recorded Near Life Experience with two different rhythm sections: one half of the album was recorded with drummer Mac McNeilly of the Jesus Lizard and Bundy K. Brown of Tortoise and Gastr Del Sol, the other half recorded with Kevin Coultas and Tara Jane O'Neil of Rodan and The Sonora Pine. Other contributors to the album included Edward Yazijian from Kustomized and Jeff Goddard from Karate, both rock bands hailing from Boston, MA.

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Jorgen Teller

Untitled

29,99 €*

LP | 2023 | EU | Original (Fire Talk)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Perhaps best described as a pioneer of the underground experimental scene, the signature of Jørgen Teller on the musical landscape of Denmark traces back to the late 1970’s. Sprung out of a whirlpool of post-punk and art school ideas, Teller has relentlessly been chiseling away on the constrictions of music in various bands, collaborations and solo projects ever since. Searching out its farthest outposts - be it free jazz, noise or acousmatic music - Teller has strived towards an approach to music without rules, often by way of improvisation and usually with the aid of electric guitar.

This album is based on a live performance held at the Inter Arts Center in Malmö in early 2022, where Teller performed a semi-improvised piece in homage to the poet Poul Borum, whom he had worked with in the mid-90’s closely before Borum’s death in 1996.

As a composer, Teller relies on a set of “basic choices” that becomes a “precise point of departure” - where he can then go against his “good knowing” of the science, trends and different schools of music and go straight into his own instincts as a performer. For this performance, he used pre- recorded material of three rhythm boxes (all out of sync), timbales and sessions on Erica synths.

In dialogue with the label, Teller has focused on extracting the recording of the rhythm boxes and timbales alone, emphasizing the tension between the rhythms. With minimalist drum sequences that could easily be placed in a proto-techno context, and the whooshing of what might be an ancient rhombus instrument, there is a feeling of a primitive presence to Teller’s rhythmic excursions. A throwback to the spiritual realms of a wordless society fighting the demons of chance.

Occasionally pierced by stark industrial drum crashes and rattling post-punk percussion, it also conjures echoes from the darker side of the 1980s. In citing Borum as its inspiration, Teller shares that he channels the poet’s energy and their shared love of “noisy stuff and darkness”. But the pace can also go somewhere close to breakbeat on track B2, where a whirlwind of rhythmic elements clash into a deranged deconstructed club tune.

The album also features a remix by a fellow colleague of the acousmatic community; the composer Jacob Riis. On the closing track B3, Riis quietly manipulates and balances the elements of Teller’s recordings and gently releases them into a contemplative pool of static.

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Strange Ranger

Pure Music

27,99 €*

LP | 2023 | EU | Original (Voodoo Rhythm)

Release: 2023 / EU – Original

Genre: Rock & Indie

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Urban Junior

Urban Et Orbi

Release: 2023 / EU – Original

Genre: Rock & Indie

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2LP | 2023 | EU | Original (Heat Crimes)

Optiki Mousiki

Tomos 2

32,99 €*

LP | 2023 | EU | Original (Medical)

Release: 2023 / EU – Original

Genre: Rock & Indie

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From 1984 until 1987, Greek artist Costis Drygianakis and a ramshackle assembly of friends and collaborators produced a slew of recordings under the name Optiki Mousiki, or Optical Musics. Their first full-length "Tomos 1" was released in 1987 and documented a prolific early period, combining grizzly industrial noise elements with dizzying electro-acoustic experiments and wild instrumental stings. "Tomos 2" is a collection of work taken from the band's second epoch after a brief hiatus; released in 1994, it arrived after a long period of self-reflection from Drygianakis about not only what his own music represented, but what avant-garde art might be useful for in general. A very different album from its predecessor, it attempts to question popular ideas of taste, folding together "non-serious" musical ideas with traditional elements while tentatively drawing from the spiritual world both near and far, from the lives of the Christian saints to tales of Tibetan Buddhism, Sufism and Hinduism. Drygianakis started the process by recording performances from his collaborators such as Sokratis Sinopoulos, Kostas Tsianos, Dimitris Yiagas, Ross Daly and Konstantinos Karagounis. He had been working as a studio engineer in Larissa but the work had been grueling and the financial side of the business was painful. In contrast, his work as Optical Musics became more passionate and deeply personal, and the creation of the album took on a life of its own as he channeled his melancholy and frustration into four long tracks that melted together his inspirations, impulses and desires. Since the project was primarily electronic, driven by Drygianakis's interest in synthesizers and computers, there needed to be a bridge between the acoustic world and the digital. That came from a revolutionary piece of gear: the legendary Akai S-1000 sampler. This tool allowed Drygianakis to pull sounds from across the musical spectrum and tailor it to his needs, fusing dreamy, far-off sounds with ideas recorded closer to home. The result is an album that neatly pulls creative air from its influences - Tangerine Dream's "Zeit" and Diamanda Galas' "The Divine Punishment", for example - and forms it into defiantly unique sonic clouds that signal towards the East without uprooting themselves from the West. The opening quarter layers ornate strings over a hiccuping electronic rhythm and submerged synthesizers, allowing hypnotic vocals - sung, chanted and spoken - to suggest the album's religious themes without overstating it. On the second segment, Drygianakis reduces his sounds to a whisper, with faint, minimal piano and gentle atmospheres that slowly shift from acoustic to electronic, touching the boundaries of new age music without crossing it. Dense instrumental drones characterize the epic, cinematic third chapter, while the fourth and final section offers us Drygianakis' most crushing treatment, burning religious vocal techniques and Balkan string flourishes into searing noise and dissonant electro-acoustic wails. Listening almost three decades later "Tomos 2" sounds almost prophetic, picking up on themes and concepts that have only become more relevant. By consciously questioning the logic of world music, new age and the avant-garde, Drygianakis managed to formulate a narrative that continues to draw breath with each passing day.

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Cloudland Canyon

22,99 €*

Banda Da Capital (Live In Brasília, 1976)

Release: 2023 / EU – Original

Genre: Rock & Indie, Electronic & Dance, Pop

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Blending ambient, drone, krautrock, psychedelic, house music elements into a unique sonic universe... that's what Cloudland Canyon is known for! This American experimental music project led by Kip Uhlhorn comes with the release of their new self-titled LP on the always trustworthy Medical Records! The band continues to explore the boundaries of sound and space, taking the listener on a journey through lush soundscapes and immersive textures. Formed in 2002, Cloudland Canyon has released several critically acclaimed albums, including "Fin Eaves," "Lie In Light," and "An Arabesque." Their recent releases have been produced by Sonic Boom from Spacemen 3/Spectrum. With each release, Uhlhorn has pushed the envelope of experimental pop music, collaborating with various musicians and producers to create intricate and otherworldly compositions. This time around Uhlhorn collaborated primarily with AI to generate and create a compositions that sound like they are meant for an alternate realm where both beauty and suffering are both present, but not at odds with one another. AI has helped Uhlhorn take one step further into the transfigurative looking glass. The new lp, marks a new chapter in Cloudland Canyon's journey, expanding their sonic palette to include elements of techno and electronic music while still retaining their signature dreamy atmospheres. The album is a journey through a sonic landscape that is at once futuristic and nostalgic, evoking the feeling of driving down an endless highway into the sunset. Past musical collaborators have included some of the most exciting musicians working today, including Sonic Boom from Spacemen 3, Wayne Coyne & Kliph Scurlock of Flaming Lips, David Scott Stone of the Melvins, Unwound,& LCD Soundsystem, Dean & Britta from Galaxie 500 & Luna, and Jody Stephens from Big Star to name a few. "s/t" is a testament to Cloudland Canyon's ability to collaborate and create music that is both innovative and accessible. Whether you are a longtime fan or a newcomer to Cloudland Canyon's music, "s/t" is a must-listen for anyone interested in the possibilities of experimental music in the 21st century. With its combination of analog and digital textures, hypnotic rhythms, and expansive soundscapes, it is a journey you won't soon forget.

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Som Imaginario

12" | 2023 | EU | Original (Far Out)

When Angels Kill Vinyl Edition Transparent Red Vinyl Edition

Release: 2023 / EU – Original

Genre: Organic Grooves

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Som Imaginário are the stuff of MPB mythos. Integral to Brazil’s Clube Da Esquina movement in the early 1970s, a heady blend of progressive rock, folk, psychedelia, jazz and traditional Brazilian rhythm flows through the three studio albums the band recorded between ‘70 and ‘73. Flying the countercultural freak-flag amid the context of military dictatorship, the Brazilian prog lords shared much of the sense of experimentation and bountiful fuzz bequeathed by their tropicalismo forbearers. But armed with genius composers, arrangers and stupendously high-level musicianship, Som Imaginário introduced a potent harmonic complexity to Brazilian popular music, which would inspire generations of artists to come.

On 4th October 1976, having finished a spell of recording and touring with Milton Nascimento, Som Imaginário performed a concert in celebration of Nature Day in Brasília. The recordings of the show would become “Banda Da Capital”, which, for the past half century, has laid dormant, waiting for its mystical power to be untapped.

In the band that day were original members Wagner Tiso and Fredera, joined by Nivaldo Ornelas, Paulinho Braga and Jamil Joanes. Operating within such a hugely creative and free-spirited scene meant line-up fluctuations were inevitable and former Som Imaginário members also include Laudir de Oliveira (who left to join Chicago), Nana Vasconcelos (who also moved to work in the US), Zé Rodrix, Robertinho Silva, Novelli and Toninho Horta.

Titled after the Belo Horizonte radio station where they would practice during their youth, the show opens with “Rádio Guarany”, an improvisation led by Paulinho Braga and Nivaldo Ornelas. The track morphs into Nivaldo Ornelas’ composition “Xa Mate”, which also opens Milton Nascimento’s Milagre dos Peixes ao Vivo album, featuring Som Imaginário and a 32 piece orchestra.

Having grown up together in Minas Gerais, composer, arranger and keyboard player Wagner Tiso had been another close musical partner of Milton Nascimento’s. Some of their work together includes many of Bituca’s most beloved albums, including Clube Da Esquina, Milton Nascimento (1970) and Maria Maria / Ultimo Trem, as well as Native Dancer: Nascimento’s album with Wayne Shorter.

Explaining the inspiration behind two of the tracks on Banda Da Capital “Igreja Majestosa” (written with Nivaldo Ornelas) and “Os Cafezais sem fim”, Tiso remincies:

“On Sundays I used to watch the coffee plantation workers entering the church. I´d see them working all week, in their humble, dirty clothes. But I was always enchanted by their immaculate dress on Sundays. Taken from a line in a poem by my father, which became the hymn of the city of Três Pontas, the song “the majestic church and the endless coffee plantations ” became sacred for me, because it came from something joyful, from the workers.”

One of the album's most tender moments is a beautiful rendition of the post-tropicalista folk-rock classic “Sabado”, written by Fredera for Som Imaginiaro’s debut album. The lyrics are typical of the “desbunde”: those on the Brazilian left whose response to authoritarianism was a politics of pacifist, often psychedelic, non-conformity (similar to that of “dropping out” in the US)...

“Eu quero o céu e vou com guizos nos sapatos / Minha roupa em farrapos coloridos vou rasgar / E vou dançar entre os cristais azuis do tempo e esquecer”

“I want the sky and will go with bells on my shoes / I will tear my clothes into colourful rags / And I will dance among the blue crystals of time to forget”.

Jamil Joanes, best known as a member of Banda Black Rio, is another Minas Gerais native. His composition for the album is “Imaginados”, a stunning unplugged guitar and vocal performance, highlighting Som Imaginário’s south-eastern home state’s influence on their sound.

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Fifth Angel

2LP | 2023 | EU | Original (Nuclear Blast)

37,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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7" | 2023 | US | Original (Jabs)

Skingraft

12,99 €*

CD | 2023 | EU | Original (a sexy)

Release: 2023 / US – Original

Genre: Rock & Indie

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Skingraft was a band from Rochester, New York who made jarring, technical, irregular death metal. Three teenagers who spent the frigid, upstate winters mastering arcane scales and double bass patterns, their elaborate, dynamic songs pair howls and blast beats with brooding, minor-key melodies and deviant rhythms. Picture the bludgeon of Entombed's "Left Hand Path," the shattered glass frequencies of Godflesh's "Streetcleaner," and the destabilization of "Remain Sedate" by Roschach. Skingraft recorded these two songs at Rochester's famed Dajhelon Studios during their junior year of high school. Released on the 30th anniversary of this recording session, this 7-inch is the first time these songs have been made publicly available. Guitarist MAT Colbert went on to play in Blurring, Kalibas and Humiliating Moan. Drummer Andy Meyering is a member of Further Damage. Limited edition of 300 copies on colored vinyl. Cover art is silkscreened onto handmade paper stock jackets made from pulped bibles. For every seven copies of Skingraft made, on bible was removed from this world. Includes an insert.

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Erobique (Carsten Meyer)

No.2

Release: 2023 / EU – Original

Genre: Organic Grooves, Pop

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LP | 2023 | EU | Original (Avant!)

SDH

Fake Is Real

3LP | 2018 | EU | Original (BHM)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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The duo formed by Andrea P. Latorre and Sergi Algiz is a specialist in shedding skin and gladly combines new heteronyms in Fake is Real, their sophomore album after their self titled debut in 2018 and subsequent EPs Against Strong Thinking and Maybe a Body, which have been full of reinterpretations and remixes.

Another sign is that they trust their modus operandi to mutation and the idea that nothing is ever quite said. It’s been three years of work, growth and numerous performances in venues and festivals throughout Europe.

In Fake is Real, SDH go out once again in search of nightclubs that are familiar, but never obvious.

The occasion is tremendous and the list of honorees is select: beginning with the producer Kris Baha, who has provided forcefulness to the rhythmic base and prominence to the voices. The dress code transcends the categories of dark wave, to dress as mischievous EBM, with accessories from new dance, acid house and disrupted but melodic techno, with structured twists that come to caress the electronic psychedelia.

Ready to play? Let’s play. Let’s change our epidermis, let’s confuse our coats in the dark. Knowing that only in the dark is where everything unpronounceable can have a place, SDH go all-in. Their darkwave résumé allows the duo to blend diverse electronica and leftfield sounds such as big beat, eurodance, synthwave, hard trance and body music in a very personal and emotional way.

You may hear influences drawn from Da Blitz to the Prodigy, Yves Deruyter to Faithless, yet everything is so SDH you just can’t mistake them with any other band out there.

Not unlike early 90’s-era Coil, the music here is as important as the idea behind the band, a unit conceived to explore and operate on the margins of the music genres it supposedly belongs to, making it hard and therefore so damn interesting to define what’s been done.

A work open to so many influences, that it gives a pleasant vertigo to be involved in it. If you’ve ever been afraid of the night, Fake is Real offers you a reconciliation with all its rhythms that invites you to move together in the club.

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WDR Big Band Köln

Plays Duke Ellington

39,99 €*

Release: 2018 / EU – Original

Genre: Organic Grooves

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Fantasy Curacao Color Vinyl Edition

7" | 2023 | UK | Original (Upset The Rhythm)

8,99 €*

LP | 2023 | UK | Original (Bubblewrap)

Release: 2023 / UK – Original

Genre: Rock & Indie

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If Es’ debut album for Upset the Rhythm explored the “tension between intent and interpretation”, the London group’s 2023 EP, ‘Fantasy’, constructs a coda for resistance against the distorted gaze. A four-track contact-high anxiety amid fact and facsimile, the new release attempts to define a sound that still resonates in an increasingly confused public theatre, where cerebral dreams manifest in corrupt fascination. Echoing the legendary Pylon or the later, disco-inspired releases from PIL, tracks like ‘Emergency’ and ‘Unreal’ blend the band’s established disjunctive style of gothic restlessness with brighter, poppy, and danceable tones. These stylistically unwind in transition with the increasingly claustrophobic pieces like ‘Too Late’ and ‘Swallowed Whole’, syncopating a parallel design of the frantic and the fashionable. Paired with a lyrical intricacy which emits a desire to break the fetish of false representation, ‘Fantasy’ reminds us that worthy punk records, like any manifesto of neurotic suspicion, balance testimonial, speculative-fiction, and social critique. Indebted to the past but pointed sharply to the future, Es deconstruct our modern wreckage of personhood and self-deceit, granting a sense of solidarity inside alienation. Inside ‘Fantasy’ we visualize our own estrangement, and it is only when this mirror fades that we find the tools to fight back.

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Sock

Zango Colored Vinyl Edition

Release: 2023 / UK – Original

Genre: Rock & Indie

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Formed in Cardiff, Sock make guitar-driven alternative rock, taking inspiration from psychedelic music. Known for their creative melodic arrangements and blending of genres, the band describe their music as “a rather progressive affair”.

Following on from the bands debut album ‘Fresh Bits’, in 2018, this is Sock’s much anticipated self-titled follow up. The album features Jacob on Rhythm Guitar & Vocals, Billy on Lead Guitar, Sam on Bass & Keys, and Simon on Drums & Percussion. Produced by the band, the album was recorded during the pandemic and sees the music move into a heavier and more refined sound.

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Witch

LP | 2023 | UK | Original (Partisan)

27,99 €*

Zango Black Vinyl Edition

Release: 2023 / UK – Original

Genre: Rock & Indie

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Witch was the first band in Zambia to release a commercial album — 1973’s Introduction. Blending the rock and roll sounds of The Rolling Stones together with more traditional, African rhythms, Witch pioneered a new genre dubbed Zamrock, and during their brief, yet prolific existence, Witch (an acronym for We Intend To Cause Havoc) released 7 albums and were the most revered band in the country.

In 2023, Witch will release their 8th studio album, Zango, via Desert Daze Sound — a new Partisan imprint A&Red by the founder of the Desert Daze festival, Phil Pirrone. On Zango, bandleader Emmanuel “Jagari” Chanda is joined by Patrick Mwondela on keys, Nico Mauskoviç on drums and percussion, Stefan Lilov and JJ Whitefield on guitars, and Jacco Gardner on bass, who is also credited with producing the album alongside Witch. The album features collaborations with Keith Kabwe (Amanaz), Theresa Ng’ambi, Hanna Tembo, and Sampa The Great.

Recorded in the same studio in Zambia where the band’s sensational 1975 album Lazy Bones had been made some 46 years prior – DB Studios – Zango tells the story of the band’s phoenix-like rebirth into its current supergroup-like state. The album is full of international and inter-generational collaborations that chart musical histories from Zambia and beyond.

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Witch

LP | 2023 | UK | Original (Partisan)

Release: 2023 / UK – Original

Genre: Rock & Indie

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Excuse Me While I Vanish Red Vinyl Edition

William The Conqueror

LP | 2023 | UK | Original (Chrysalis)

29,99 €*

LP | 2023 | UK | Original (Junior Aspirin)

Release: 2023 / UK – Original

Genre: Rock & Indie

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William The Conqueror's fourth album finds the indie-rock trio firing on all cylinders as frontman Ruarri Joseph confronts the thin line between creativity and madness, inspired by compassion for the real-life angels of the world. Produced by the band in a playground of vintage gear and mixed by Barny Barnicott (Arctic Monkeys, Sam Fender, Kasabian), the resulting album's ten tracks marry earworm tunes with insistent, imperious, soaring rock shapes, punctuated by chorus hooks that are simultaneously nuanced and anthemic. Joseph's compelling semi-spoken vocals and swamp-blues-Seattle-scuzz guitars are propelled by the rhythm section of Naomi Holmes (bass) and Harry Harding (drums) as Excuse Me While I Vanish delivers an effortlessly winning blend of melody and ensemble dynamics, the most accomplished and undeniable William The Conqueror album to date.

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The God In Hackney

The World In Air Quotes

2x12" | 2023 | EU | Original (Rebel Up)

Release: 2023 / UK – Original

Genre: Rock & Indie

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'The World in Air Quotes' is a genre-shifting style-melting kaleidoscope of art-rock, jazz, techno, folk & industrial. The God In Hackney sound like very little else from the early 2020's and whilst 'The World In Air Quotes' innovative progenitors are manifold - Eno, Coil, The Durutti Column, 1980s ECM jazz to name a few - it sounds beholden to none of them.
The God In Hackney's first album 'Cave Moderne' was Andrew Weatherall's album of the year for NTS Radio.
The God In Hackney's second LP, 'Small Country Eclipse', was album of 2020 for critic Sukhdev Sandhu of The Colloquium for Unpopular Culture: "Mordant music: stuttering, dread, black humour. A record that felt truly independent, beholden to no genre, out of step with all centres and signposted nodes."

'The World In Air Quotes' is The God In Hackney's 3rd album and their most musically emotive and lyrically inventive to date. It's an album that resonates with feelings about climate change, isolation, extinction, the social impact of technology, the flattening of history—and illuminates the darkness with imaginative rhythm, melody, noise & poetry. Songs range from widescreen, anthemic rock, to strange intricately arranged jazz-influenced songs, to abstract, textural electronic pieces. There's a strain of dark and surreal comedy too that runs through the lyrics and some of the choices the band makes in their sounds and arrangements.
The core God in Hackney quartet of Andy Cooke, Dan Fox, Ashley Marlowe and Nathaniel Mellors has expanded to include American multi-instrumentalists and composers Eve Essex (Eve Essex & The Fabulous Truth, Das Audit, Peter Gordon & Love of Life Orchestra, Peter Zummo, Liturgy) and Kelly Pratt (Father John Misty, David Byrne/St Vincent, Beirut, and Lonnie Holley among many others), signalling a new and ambitious direction for the band.

The album cover features original artwork by Iranian-American artist Tala Madani, recently the subject of a career survey exhibition at the Museum of Contemporary Art, Los Angeles.
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The Wire, Maggot Brain

Reviews & features:
Maggot Brain - forthcoming feature
Hi-Fi+ Magazine - album review in April 2023 issue
Dereck Higgins (You Tube review)
Sonosphere - interview / feature
Weirdo Shrine - interview
It's Psychedelic Baby - interview
Spettacolo (Italy) - feature.
Ghettoblaster Magtazine (usa) - feature

Airplay:
Gilles Peterson - BBC Radio 6 Music
Steve Lamacq - BBC Radio 6 Music
Dublab - playlisted & featured in Dublab Recommends (Los Angeles)
Cian Ó Cíobháin - RTE Raidió na Gaeltachta (Ireland)
Wfmu - playlisted
Resonance FM - The Wire presents Adventures In Sound & Music
Human Pleasure Radio (New Zealand)
Pete Wiggs & James Papademetie - The Seance (Repeater Radio, Sine FM & others)
Peter Hollo's Utility Fog - FBI Radio (Australia)
Jonathan Lethem & Sam Sousa on Radio Free Aftermath (ksp Claremont 88.7)
Life Elsewhere
Wrpb Princeton
In Memory of John Peel
Mike Watt's Watt from Pedro Show

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Muito Kaballa

Little Child

32,99 €*

Ecstasy Of Ruin White Vinyl Edition

Release: 2023 / EU – Original

Genre: Organic Grooves

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Since the release of the highly acclaimed album Mamari (2021), the Muito Kaballa project has continued to develop.

The new album Little Child (2022) starts with a cracker called Inside Outside. The song addresses the hypocrisy and double standards of the European Union when it comes to refugee policy. The group works together with the renowned German/Nigerian musician Ade Bantu and the Angolan guitarist Juresse Amie Tieti Ndombasi and picks up their listeners where they were parked with Mamari. Fat grooves with clearly recognizable Afrobeat influences.

However, the musical journey leads step by step away from the usual sounds of the band. Already the second track Dansez! Dansez! shows that. The sound leads to Angola, Congo and a bit of Mali. The band stacks so many rhythms on top of each other that the word poly appears in a whole new light. It becomes clear that the nine deal intensively with the music that is the source of their inspiration. The gifted guitarist Juresse Amie Tieti Ndombasi puts the icing on the cake with his sound.

Let's continue with No = No. Here at last it becomes clear: Muito Kaballa has escaped from his drawer and is now in free flight, somewhere between jazz, fusion, afrobeat and whatever. But who cares? The sound is convincing, the feet shake to the beat and cannot be calmed down even with great effort and the message "Don't protect your daughter, educate your son" can't be said often enough.

The next song, Memories, reveals completely different sides of the band. While the sound is suddenly much more relaxed and, let's call it jazzy, the lyrics also become much more intimate and poetic. "Keep in mind, it makes you blind, starring in the sun". We don't find out what memories Niklas Mündemann, composer of the song, has in mind here but that shouldn't bother us. We just put on our sunglasses and let ourselves be carried away by the almost epic track, which with its ten minutes of playing time leaves nothing to be desired in terms of diversity. Sophisticated listeners will wonder if Niklas Mündemann listened to a bit of Kamasi Washington while composing. Maybe even a lot? Be that as it may - a special treat in the piece: the trombonist Saskia-Marleen Dahms, who makes a guest appearance on this song, rounds off the sound of the brass section again.

Last but not least, we come to the namesake of the album: the song Little Child builds on the mood of the previous track and rounds off the musical odyssey with a good portion of goosebumps. But the song doesn't just leave its mark on the surface, no, it also gets under your skin. While the melody has considerable catchy tune potential, it is above all the lyrics and the message that grab you here. Niklas Mündemann wrote the song during a phase of mental depression. Above all, psychotherapy helped him to think more positively again and to comfort his own inner child. We've all heard about that child in us. But when was the last time we hugged it? The song Little Child is the perfect accompaniment for this, because when you hear it, you immediately feel hugged, pressed and safe. Another highlight are the incredibly beautiful solos, played by Benjamin Schneider on guitar and Saskia-Marleen Dahms on trombone.

That's the end of the album and, to be perfectly honest, you don't feel left out in the rain, but you do feel left out in a (warm) shower. Time flies when you hear Muito Kaballa's new album and in the end you want more. 4 remixes for the dancefloor are delivered by French producer Kuna Maze, Polish/Angolan duo Lua Preta, French producer La Dame and Brazilian producer Badsista, tipping the remix balance into more female input.

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Autobahn

LP | 2023 | UK | Original (Tough Love)

LP | 1957 | EU | Reissue (Honeypie)

Release: 2023 / UK – Original

Genre: Rock & Indie

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Reports of their demise have been greatly exaggerated - the North has risen again. Close to five years since their last record, Leeds denizens AUTOBAHN re-enter the fray with the release of their third record, Ecstasy of Ruin, on 28th April via Tough Love. Half a decade is both a long time and no time at all: forever changes while some things remain eternal_ So it goes that AUTOBAHN may have re-emerged with many of the hallmarks of their characteristic blend of industrial post-punk intact, but under the bonnet they're a much leaner, more focused machine. AUTOBAHN 3.0. If 2017's The Moral Crossing was a record defined by its dramatic rhythm section, then it's not insignificant that the 2023 incarnation of AUTOBAHN arrives shaved to a four piece and sans their previous drummer. The change necessitates an evolution. Live drums have given way to drum-machines and sample-based percussion, and with it see the band reconfigure their typically blackened aesthetic into a hardened take on Electronic Body Music. As with their previous record, it's an entirely self-produced collection, recorded between two self-built studios on a range of analogue equipment, the ghosts of their industrial forefathers haunting the circuits. Indeed, some of Ecstasy of Ruin was made with pieces salvaged from Martin Hannett's legendary studio. The mark of their presence is clear and AUTOBAHN certainly feel part of the long tradition of crepuscular music to emanate from Northern Britain, be that the transgressive activities of COUM Transmissions from Hull, Sheffield Steel City or the gothic history of their very own hometown. It's a noble torch they carry. Still, if Ecstasy of Ruin forms part of a rich lineage, it also speaks to right now. No album opens with a song titled 'Post-History' and closes with another called 'Class War' without some concession to the current condition and its place within it. Industrial music by its very nature is a physical concern, often placing the human body and its experience in the context of t...

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Duke Ellington

A Drum Is A Woman

13,99 €*

LP | 2023 | EU | Original (Twenty One Eighty Two)

Release: 1957 / EU – Reissue

Genre: Organic Grooves

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A Drum Is a Woman is a musical allegory by American pianist, composer, and bandleader Duke Ellington and his long-time musical collaborator Billy Strayhorn. It tells the story of Madam Zajj, the personification of African rhythm, and Carribee Joe, who has his roots firmly in the jungle with his drums. Zajj travels out into the world seeking fame and sophistication and melds with the influences of cultures she weaves through the story, which gives a brief history of the rise of jazz and bebop. Originally recorded for the Columbia label in 1956, it was produced for television on the US Steel hour on May 8, 1957

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Diminished Men

Damage Mécanique

26,34 €* 30,99 € -15%

Metamorphose - Owhaaou...!

Release: 2023 / EU – Original

Genre: Organic Grooves, Rock & Indie

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Damage Mécanique thrusts the listener into a malfunctioning industrial sci-fi soundscape. Trance inducing guitars beckon with haunting wails, high-tension wires spin and spit with a crackling hiss. Circular kosmische rhythms and anxiety-drenched beats destroy and rebuild around fractured melodies and noise. The band oxidizes and melts into experimental post-punk and acousmatic environments as hypnotic groove and vertigo copulate in cinematic assemblage. Limited Edition black vinyl LP. Damage Mécanique was recorded by Evan Schiller, mixed by Randall Dunn at Figure 8 in Brooklyn, NY and mastered by Alan Jones at Laminal Audio, Tracyton, WA. Pressed at Gotta Groove Records. Edition of 500.

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Stanislas Tohon

LP | 1985 | EU | Reissue (Hot Casa)

26,99 €* 29,99 € -10%

LP | 2023 | UK | Original (Shapes Of Rhythm)

Release: 1985 / EU – Reissue

Genre: Organic Grooves

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Tribute to the Soul brother of Benin with Rare Afro- Funk and Digital Soul songs from the Maestro . Following the tremendous «!Dans le Tchink System «!reissue album, we wanted to celebrate the legacy of one the greatest singer from Cotonou . Owhaaou ! is an original 4 tracks 12 inch vinyl taken from the extremely obscure , futuristic and now expensive record «!Metamorphose!» released in 1985, recorded on 24 analog tracks channel with an incredible backing band such as Hilaire Penda on bass, Daniel Bentho from Poly Rythmo de Cotonou to name a few . The B side is a Dj friendly Edit of the dance floor burner «! Zemidjan «! recorded in 1991 . A composition done to pay tribute to the Taxi moto of Cotonou .The last track «!Mi Tchinker!» is a typical Stanislas Tohon hit with a mix of Tchink Rhythm , Soul and funky melodies . Stanislas Tohon aka Papy Grande was born in the “Country of the kings” (Benin), in Abomey , December 30 th 1955. He’s “Chevalier de la legion d’honneur” in Benin for his brilliant musical career .The famous soul singer from Cotonou started his musical career at this age of 9, played with the greatest such as Gnonnas Pedro and recorded almost 35 albums. Influenced by the traditional “Tchingoume“ music , he invented his own rhythm called “Tchink Système”, a mix of soul and Beninese traditional rhythm . Sang in Fon, his native language from Benin, this EP is a soulful call for Peace respect and unity in Africa, a real definition of Afro Soul music! Sadly died in February 26 th 2019 in Paris, this Ep is a tribute . Remastered by The Carvery (uk), officially licensed and strictly limited to 1000 copies. Enjoy!

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Mldva & Cinar Timur

LP | 1985 | EU | Reissue (Staubgold)

Release: 2023 / UK – Original

Genre: Rock & Indie

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Shapes of Rhythm is proud to present the self-titled debut LP of Turkish psychedelic pop from Mldva & Çınar Timur. This record is a celebration of the classic music and culture typically of the 70s and 80s, but which also leans into western jazz funk and soul jazz moments. If you're into the Turkish music legends of the 70s and 80s such as Barış Manço and more recently Altın Gün or Derya Yıldırım & Grup Şimşek, you've come to the right place.
Mldva were formed in Krakow, Poland in 2013 as a DJ and production outfit. Under the influence of Greek and Turkish folk and psych-rock music they began to transform into a band, taking up instruments including the Saz which is one of the most recognisable trademarks of the Turkish sound. Two years later in 2015 they invited Turkish instrumentalist Çınar Timur to join them and this completes the line up on their debut. This electric album is packed with excellently-recorded expansive tracks which are full of energy, psychedelic deep grooves, hard-hitting breakbeats and everything else you'd expect with classic Turkish sounds.
The instrumental double-header of Neşat Erkaş' Zülüf Dökülmüş Yüze, moving into the time-honoured traditional Kozan Dağıis the perfect opening track. The introduction is an overture of sorts with two minutes of Çınar Timur's pondering guitar. This tees up the record perfectly before heading into a break-beat driven workout with the band matching Çınar's evocative and energetic riffing. The result is a tight sound and a heavy groove that sets the tone for what's to come.
With the band unveiled, Sarı Çizmeli Mehmet Ağa, written by Barış Manço (a legend in Turkish popular music), hits a relaxed, deeper and more psychedelic groove, dominated by Wojciech Długosz's dreamy Rhodes piano, set against choppy wah-wah guitar licks that characterize that classic electric Turkish pop sound. We're introduced to Ulaş Çıbuk's vocals for the first time, telling the historic tale of a charitable village lord Mehmet Ağa from 19c Anatolia known for his generosity. He shared his fortune with people inneed and as a result, died penniless. This track also features the unique sound of Çınar's Mictrotonal electric guitar.
Bir Adım Öte is Mldva & Çınar Timur's magnificent mellow moment, marking the halfway point in their debut. The group shows that it's not all about the frenetic in a nod to western Soul-Jazz constructs. They showcase restraint, emotion and that joy in repetition of a wonderful guitar refrain. Not content with holding this down, Wojciech Długosz's Rhodes solo steps into a world that's US-influenced Soul jazzand is a lesson in reduction and feeling. Çınar Timur then takes a solo turn, keeping it western-influenced with an on the spot improvisation. When the three minutes of solos are over, we're brought back out of thedream and towards the East again.
Adımız Miskindir Bizim kicks off like a hip hop/funk crossover tune, until the chord changes muscle in, to remind you where you are in the world. As with other tracks on the debut, the tune is marked by recurring motifs, this time from Çınar's microtonal electric guitar. We've more solo Rhodes action, thist ime busier and more urgent. The lyrics–originally written by Yunus Emre – criticizevalues such as holding grudges that destroy ideas of love, friendship and peace among people which causes hostility. Adımız Miskindir Bizim concludes with an uplifting vocal vamp which switches it up unlike any of thetracks on the LP.
In Fesupanallah– made most popular by Erkin Koray – Ulaş Çıbuk sings about the simple subject ofbeing patient with never ending problems in life, and trying to find a solution for them. This cut takes a rhythmical side-step to the rest of the album. The kick drum maps out a solid four-four, but the vocals and guitar lines move around it to impose Fesupanallah as being the record's most traditionally Turkish-sounding cut.
The album's closing track Ölüm Allah'ın Emri (another Manço classic) was recorded live in the band's more familiar surroundings of Krakow's Cheder Cafe during 2020's Jewish Culture Festival. The lyrics tell the tale of someone who has accepted death but cannot accept the separation that comes with it. We open with a dreamy, psychedelic mood before progressing into a heavy-riffing rock feeling with probing synths. Ulaş delivers his vocals over the top of a stripped back, shuffling groove. As the track progresses towards a frenetic conclusion, drummer Szymon Piotrowski cuts loose, combining with Grzegorz Dąbek's synth lines.
Mldva & Çınar Timur's debut LP is not the sound of a band starting out. Taking time to hone their craft and let influences across the global spectrum of music mature, this is the result of years of jamming, gigging and collaborating. Now, after prestigious festival appearances and their place on Saz Power – an essential modern Turkish music compilation – they're making a lasting contribution to a rich, time-honored culture. Mldva & Çınar Timur releases Friday 30 June 2023 on limited edition vinyl LP and digital download/streaming services on Shapes of Rhythm. Global distribution by Kudos Records.

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The Lo Yo Yo

Extra Weapons

Bacao Rhythm & Steel Band

Release: 1985 / EU – Reissue

Genre: Rock & Indie

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The Lo Yo Yo"s only album from 1985 for the first time reissued on vinyl. Featuring Mick Hobbs (The Work, Half Japanese) and Alig Fodder (Family Fodder), produced by Charles Bullen (This Heat). Limited to 500 copies worldwide.The Lo Yo Yo was founded in 1984 by Family Fodder"s John Pearce, aka Alig Fodder. They were active for two years and released one cassette, one split cassette with French band Look De Bouk and one full-length LP. The Lo Yo Yo"s line-up went through changes over its whole lifetime, but with some constants - most notably singer Joey Stack and drummer Carrie Brooks. Charles Bullen of This Heat occasionally played drums with Family Fodder and produced The Lo Yo Yo"s LP Extra Weapons in 1985. Alig says "It was impossible not to get together. In this era it was quasi compulsory to get a band together with your mates. It was normal to be left-wing, inclusive, anti-racist, anti-sexist, anti-homophobic and in opposition. And to form a band, with or without experience. It started as a rhythm section: Carrie on drums and myself on bass. She brought a mate along (Joey Stack) and so did I (Mick Hobbs)."Pearce"s punchy bass playing and Carrie Brooks" hard-hitting drumming form the backbone of The Lo Yo Yo sound, with Jo"s singing and keyboard sitting firmly on top. It was made complete with Mick Hobbs on guitar and percussion, and the addition of cellist Annie Hunt.

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Hotline Bling / Murkit Gem

7" | 2023 | EU | Original (Big Crown)

12,99 €*

Junie' Live At Dooley's 1975

Release: 2023 / EU – Original

Genre: Organic Grooves

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Bacao Rhythm & Steel Band return with another set covers bound to get you out of your seat and on your feet. The mysterious German steel pan outt is working on their fourth studio album now and treat us to another must have two-sider to hold us over while they nish it. This one is sure to become another favorite among DJs worldwide. On the A side BRSB take on a huge hit with an eerie cover of Drake's "Hotline Bling". The intro melodica hints at the melody and when the beat drops and the top line plays on the pans all bets are off. The B side is something of a Big Crown family affair as Bacao covers "Murkit Gem" from El Michels Affair's Yeti Season album. The tune lends itself to the pans with its infectious melodies and the way BRSB plays it, it takes on a James Bond spy chase energy that works perfectly.

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Junie Morrison

LP | 2023 | EU | Original (P-Vine)

34,99 €*

7" | 2023 | EU | Original (Four Flies)

Release: 2023 / EU – Original

Genre: Organic Grooves

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Excavated from the halls of funk! A newly discovered live album from the late great Junie Morrison! 1975 was a transitional year for \former Ohio Players and future P-Funk keyboardist Junie Morrison. He had just left the former band after working on a trio of releases that would catapult the funk band to fame, and his burgeoning solo career was just beginning to take off. Recorded at Dooley’s in Lansing, Michigan, this live album was likely recorded just after his fantastic second solo album Freeze. This performance focuses on songs from Freeze, such as the incredibly groovy opening track “Junie II”. The rhythm section are perfectly at home in the pocket, with Junie’s keyboards and charismatic vocals floating effortlessly over horn rhythms. This is followed up by a medley of the Ohio Players’ best songs, “Pain; Cookies Will Get You; Please; Ecstasy” played at a breakneck tempo. Junie’s synthesizer lines are something of a forerunner to the cosmic funk he would play with Parliament, but hearing the Players’ iconic songs as a medley is enough to justify getting this record! Of course, don’t miss the covers of Aretha Franklin’s “Oh Me Oh My (I’m A Fool For You Baby)”, Diana Ross’s “Surrender”, and The Temptations’ “Shakey Ground”! This album, put on vinyl for the first time ever is a must-have for all fans of funk!

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Psyche

Cumbia Mahare / Ophis

16,99 €*