MUSIC

Shay Hazan radiates with musical diversity on 'Wusul وصول', His second solo album on Batov Records. Acclaimed Tel Aviv bassist, band leader, composer and producer, Shay Hazan emerges into the limelight with his highly anticipated second solo album, 'Wusul وصو’. This groundbreaking musical odyssey artfully melds the enchanting sounds of Gnawa music, spiritual jazz, hip hop grooves, and electronic production, with a rich tapestry of Middle Eastern and African influences. Hazan's debut solo album for Batov Records, 'Reclusive Ritual,' unveiled a fresh musical realm. It introduced the guimbri, a three-stringed camel-skin-covered bass plucked lute used by the Gnawa people of Morocco, to a landscape of jazzy horns, synths, and laid-back hip-hop beats. The album garnered support on BBC 6 Radio Music and earned Hazan a mix on the Huey Show. With over two four-star reviews, Songlines magazine dubbed it "groovy," while Mojo magazine described it as "hypnotic." 'Wusul وصول' builds on this legacy, offering a broader sonic palette, enhanced organic instrumentation, a lighter atmosphere, and elevated production values. The album's enigmatic title, 'Wusul' (Arabic for 'arrival'), celebrates the expected birth of Hazan’s first born child, expected to arrive around the same time as this album. Fitting, given that the latter is the result of a transformative phase in Hazan's career, with many of the album’s songs evolving and taking shape during live performances. Most notably, a majority of the musicians featured on 'Wusul وصول' are integral members of Hazan's live band, bringing a synergy and connection to the music that is palpable. Standout track, “Sunflowers”, featuring the exceptional Nitai Hershkovits on keys, showcases Hazan's prowess on guimbri, guitar, percussions, and synths. This mesmerising composition, recorded by Hazan himself, seamlessly weaves together a diverse array of musical elements, resulting in an uplifting and danceable masterpiece. On “A Walk In Dir El-Assad”, Hazan invites listeners with him to the small Arabic village of El-Assad, where at night the air is full of sounds of music emanating from multiple weddings. Over a cacophony of percussion, live drums from Shahar Haziza, and Hazan’s earthy guimbri-led basslines and gritty guitar, Eyal Netzer and tenor sax and Roy Zuzovsky trade solos and harmonise over the melody. Delivering one of the heaviest grooves on the album, “Vibe jadid” commences with the distinctive percussive sound of krakebs, large iron castanet-like musical instruments, primarily known for supplying the rhythmic aspect of Moroccan Gnawa music, before the earthy guimbri bassline hits, accompanied by a half time hip-hop-like kick drum and clap. Triumphant horns ring out the anthemic melody, offset by otherworldly synths. Shay Hazan's creative process reveals a cross-cultural narrative influenced by his extensive travels, from Central America to Japan, where he encountered the rich tradition of Gnawa musicians in Tel Aviv. The album includes a fascinating tune named “Shimo Kitazawa”, inspired by a Tokyo neighbourhood, as well as other tracks infused with the global vibes that have touched his musical soul. Dedicated compositions like “Dew” and 'Yooltz” pay homage to the friends and musicians who helped shape this album. Opener “Dew” is a nod to trumpeter Tal Avraham, who contributes a hypnotising solo. “Yooltz” is a loving tribute to tenor saxophonist Eyal Netzer, who contributes a soulful solo to the song, adding a distinctive layer of brilliance to the album. The Afrobeat leaning “Oladipo”, on the other hand, is dedicated to the late great drummer, musical director of Fela Kuti's band legendary Africa '70, and pioneer of the sound, Tony Allen. Hazan utilises synths to create an eerie atmosphere on “Street Souls”, inspired by the characters who frequently inhabit the streets around Hazan's studio, sharing insightful comments from time-to-time. The slim wall of separation, provided by his machines and studio walls, from the junkies and prostitutes outside is emblematic of the slim divide between his privileged existence and theirs. This urban tension continues on album closer “Riff Raff”, taps into the tumultuous undercurrents of social movements and demonstrations, injecting a sense of urgency into the album's diverse tapestry, with its jolting groove. Shay Hazan's journey continues as he embarks on a series of international performances, including the Jazz Jantar Festival in Dansk, Poland, and the Tel Aviv Jazz Festival. He has recently captivated audiences at the prestigious Jazz in the Park Festival in Romania and the Jerusalem Jazz Festival. His music transcends borders, uniting listeners worldwide in a vibrant celebration of sound and culture. 'Wusul وصول' is an introspective journey through the intricate tapestry of musical influences that have shaped Shay Hazan's unique sound. While Western and Mizrahi pop have left their marks on the record, they serve as threads

Nothing But Net presents “Perceptions”, the debut LP from Los Angeles producer/beat maker Jamma-Dee aka Dyami O’Brien. Jamma-Dee has been a figure in the west coast modern funk and boogie scene, both as an accomplished DJ and music producer, having released records under his own name and producing for the likes of Joyce Wrice, Mndsgn and others. From a musical upbringing in Los Angeles, Dyami’s adolescent obsession with record digging and beatmaking eventually led him to Dam-Funk’s renown Funkmosphere parties where he built friendships with key players in the LA funk scene and began to make a name for himself as a DJ and producer. In the second half of the 2010’s he released a series of EPs on Arcane and hosted the legendary Soul In Paradise show on NTS radio. His first full-length, “Perceptions” is a long time in the making. Beginning with studio experiments nearly a decade ago, a version of the album found its way to producer and Nothing But Net label boss Onra, who helped guide the project to completion. The album artwork was created by outsider soul music conceptualist and painter, Mingering Mike, whom O’Brien felt compelled to reach out to after discovering his work years earlier. Thematically, the artwork, record, and its title touch on very modern themes: the alienation of life in a world of instant-gratification, an overly-connected society of masks, distorted realities and shifting identities. Musically, “Perceptions” is the culmination of a life lived under the groove. Featuring a long list of collaborators, including Benedek, Mndsgn, Koreatown Oddity, the legendary Craig T. Cooper and fellow NBN labelmate, Devin Morrison, the double album touches on all of O’Brien’s musical influences. Album opener “Up N Down” sets the scene with it’s syrupy g-funk impressionism, before “Jamma’s Jam” bounces out of the speakers through an auburn-colored sunset haze of lush Rhodes chords and sparkling vibraphones. “It Takes A Freak” and “Datafile Groove” shuffle westward, re-imagining New Jack Swing grooves through a distinctly Californian lens. Elsewhere, the album touches on classic deep house rhythms (“Tic Toc” and “Silly”) and crystalline, downtempo R&B and UK street soul (“Joy”, “Saturday”).“U.R.” features legendary L.A. guitarist Craig T. Cooper laying down a network of stunning, silken guitar lines with absolute class. Over the course of these 15 tracks, Jamma Dee consolidates, renovates and perpetuates the sound of his influences. “Perceptions” is a masterclass in modern funk and soul production.

Overproof levels of fruity, dazzling, early machine funk from South indian film composer Vijaya Anand, plucked out by David Byrne’s Luaka Bop for first time vinyl pressing - a must-check for anyone smitten with Finders Keepers’ Ilaiyaraaja sets, YMO, LG Mair Jr.’s midi-funk, or classic cartoon scores from Hanna-Barbera to Mark Mothersbaugh ‘Asia Classics I - The South Indian Film Music of Vijaya Anand: Dance Raja Dance’ is a very welcome return to the Tamil film music realms previously revealed to the western world thru a number of Finders Keepers comps in recent decades. Where those sets attended to the catalogues of A.R. Rahman and Ilaiyaraaja (and even prompted a Rian Treanor edit down the years), this one was originally issued in 1992 and brings the work of Vijaya Anand into striking focus through 11 tracks of lavish string arrangements synced to devilishly detailed disco drum machine programming and synth edits, all sung in Tamil and Telugu languages. Like the aforementioned FK comps, it spanks our tiny minds with its abundance of colourful melody and club-ready grooves wrapped up in incredibly intricate song-writing that never fails to leave us beaming. In the 30 years since its release on CD, ‘Asia Classics I’ has led to Vijaya collaborating with David Byrne on ‘Happy Suicide’ from the ’95 Hollywood flick ‘Blue in the Face’, and a remix of his work by Deee-Lite’s Super DJ Dmitry - two reference points that personify his music’s broad appeal beyond its original purpose on Kollywood screens. From the no wavey psych-funk of ‘Aatavu Chanda (Dancing is Beautiful)’ thru to the wildly animated carousel of ‘Ba Ennalu (When I Say Come)’ its not hard to hear a playful genius at work, riddling every cut like a game of snakes and ladders with multiple stop/start chops, electro-funk fills and complex big band swing, while never losing sight of the groove and audience’s attentions. We’ve absolutely no doubt that it’s a serious baga fun for lovers of the choicest midi-funk and the busiest J-pop alike.

Batov Records is thrilled to announce the release of ‘Middle Eastern Grooves’, a double gatefold LP compilation of standout tracks from the label’s highly successful series of 7” singles released under the same name, hand selected by label co-founder DJ Kobayashi. Spanning from 2015 to the present day, the compilation features a mix of classic favourites, new releases, and never-before-heard gems from some of the most talented emerging artists. Batov Records “Middle Eastern Grooves’ 7” series have become staples in the sets of DJs looking to broaden their sets to incorporate psychedelic and Middle Eastern sounds alongside the familiar funk, jazz, and soul catalogue. In the process, the series has enjoyed support across BBC 6 Radio Music, from Gilles Peterson to Gideon Coe, and made waves around the world, from Radio Nova and FIP in France, across the Atlantic to KEXP and Music Is My Sanctuary, and laid the seeds for debut albums from series staples, Sababa 5 and Şatellites. The compilation opens with the desert funk sound of "Badawee" by the iconic producer and multi-instrumentalist, Kutiman, followed by the instrumental edit of "Ya Raiyat" by Tel Aviv digging pioneers Radio Trip. Other highlights include the deranged & spooky synths of “The Egyptian” by Baharat, a prime example of the label's core sound, the psychedelic Middle Eastern groove bomb "Deli Deli" by Şatellites, and “Nasnusa”, Sababa 5’s acclaimed collaboration with Japanese vocalist Yurika Hanashima. The compilation also includes some exclusive tracks, released here for the first time. Following their recent collaborative EP, Sababa 5 back the newly discovered vocalist Shiran Tzfira with a simple but effective combo of synths and percussion on the haunting “Manginat Mahepeha”. Şatellites band leader Itamar Kluger contributes “Saved From The Jazz” from his new psychedelic funk project Eje Eje - watch out for the drums on this! And finally, underground belly dancing princess turned Mediterranean psych chanteuse, Cherry Bandora, contributes the hypnotic “Esý”. This first volume of highlights from the Middle Eastern Grooves 7" series offers a comprehensive look at the evolution of the label's sound and its place in the wider musical context. From surf rock to Mediterranean psych, this collection showcases the diverse and captivating sounds of the Middle East and its influence on modern music. The compilation will be available on double gatefold vinyl and for digital download and streaming from 19th May, 2023. When he isn’t managing Batov Records, DJ Kobayashi can be found digging for grooves and melodies that stand out from the norm, and sharing them at the likes of Brilliant Corners, Spiritland, and his biweekly show on Soho Radio. His vast collection spans funk and beats from across the globe, and reflects, of course, a particular predilection for Middle Eastern grooves. His refined tastes have created a great demand for his selections, leading to him playing alongside the likes of Islandman, Balkan Beat Box, The Apples, and Baba Zula.

Bacao Rhythm & Steel Band, the mysterious steel pan outfit hailing from Hamburg, Germany have amassed a cult following around the globe. With a slew of classic 7”s and three critically acclaimed full length albums, they set a high bar for themselves, one they clearly intend on pushing even higher with this new offering. On their fourth album BRSB, Bacao are back with more of the same, but more of the same with them is inherently different. Covering songs that span genres and range from mega hits to underground album cuts, they make them their own with their unique approach to the traditional steel pans of Trinidad and Tobago. While part of the allure of a new Bacao Rhythm & Steel Band album is finding out what covers they do it is equally intriguing to see what original tunes they cooked upland this record is foul of stand out originals. The album opener, “In The Crosshairs” is a rough and tough mid tempo head nodder while both “Grilled” & “Treasure Quest” pick up the tempo with heavy African Funk influences on both. Bacao goes deep with “Hazy Memories”, a bass heavy slow burner that walks a line between hypnotic and hype. All these originals stand as testament that the term “cover band” is a shoe that could never fit Bacao. However, in the tradition of steel pan music, they do a heavy amount of covers. This time around there is a big West Coast Hip Hop influence with covers of Game & 50 Cent’s “How We Do”, Dr Dre & Snoop Dogg’s “Nuthin But A G Thang”, and Tupac’s “Got My Mind Made Up” all of which take on new energy and lend themselves to the BRSB steel treatment. Bacao puts another certified dancefloor filler on their resume with their cover of Claudja Barry’s uber Disco classic “Love For The Sake Of Love” which they flip into a dubbed out affair aptly changing even the title to “Love For The Sake Of Dub”. Pulling from the contemporary smash hit section of Hop Hop they cover Drake’s “Hotline Bling” and “Love$ick” by Mura Masa & A$AP Rocky. Then they go very unexpected with “Stranger Things Theme” where they take the synth heavy theme song to the hit show and give it a more hypnotizing tone than the original.By the time BRSB is through, Bacao has taken the listener on a journey spanning a myriad of energies, tempos, and moods while keeping it all under one umbrella. For all that, these songs are alive, and they will be taken out of the context of this album and sewn into the fabric of DJ sets around the globe for many years to come. Bacao Rhythm & Steel Band continues building their legacy and pushing the boundaries of steel pan music forward with another rock solid musical offering. Enjoy.

Welcome to ‘Instrumental Dubs #2’, a deep dive into the world of the Dub version and beyond. The A side has a distinct boogie feel, starting slow with a George Kerr produced cut from 1984 followed by a Brit Funk-esq instrumental from Harold Melvin & the Bluenotes originally released on the Philly World label (home to ‘Voice of Q’). The A side closes with the ‘Sweeter’ instrumental mix of Boogie bomb ‘Loving Sweet Devotion’ by Idiater Edwards. The B side opens with ‘H2S04’ from Mad Professor that defies categorisation, sitting somewhere between Reggae, Electro, Disco and Dub. Last but by no means least there’s an uptempo Dub mix of Rockers Hifi ‘Push Push’ making its first appearance on Vinyl having only been on the CD single release first time around. Pressed on 180g Heavyweight Vinyl with full sleeve jacket design by Bradley Pinkerton.

Chicago OG, Specter unleashes four cuts of deep house psychedelia that have been marinading in the archive, dedicated to his pal Brutus, pictured on the cover. R.I.P. little one. One of Sound Signature’s MVP’s, Andres Ordonez first really broke thru circa 2009 with a killer EP on Downbeat and his debut for Theo Parrish’s label, ‘Pipe Bomb’ in 2010 that really put him on the map. This new/old suite hails the singular producer during that era, and up to a few years ago, across four tunes that play to his wonkiest and jazziest machine tekkerz, comparable to waviest gear by Theo, Jamal Moss, Detroit’s Howard Thomas or even Michael J. Blood in their loose and dare-to-differ steez. Running in ever increasing circles, the vibes get progressively looser from the stop/start sequencer fuckry of ‘The Birth’, with its mazy B-line and intricate arps, thru to fizzing deep techno like MJB meets Legofeet on ‘The Spirit’, to a pair of 10 minute+ jams where he really gets lost in his thing, from the clipped strut and midi jazz spritz of ‘The Death’ to an outstanding finishing move of slow-mo cubist jazz house calculations in ‘The Ascension’.

Gospel, Soul … 2xLP of long lost gospel classics.

George Clinton, who was immersed in LSD, instructed guitarist Eddie Hazel, "Play as when your mother was told to be dead." , an album released in 1971, which is famous as the best masterpiece in Funkadelic history.

Ebalunga!!!, Everland and Dundgol invite you to discover the rich and diverse world of Mongolian music. "Mongolian Music from 70s - vol. I" opens the gates to the golden era of Mongolian music. This period, spanning from the 1970s to the early 1980s, is considered as the brightest and most influential period in history of Mongolian music. During this time, Mongolian musicians started using new instruments and technologies, such as electric guitars and synthesizers, which led to the emergence of new and exciting sounds in Mongolian music. "Mongolian Music from 70s - vol. I" is an excellent representation of this period, with strong rhythms, memorable melodies, and vivid arrangements that combine traditional Mongolian melodies and instruments with elements of Western rock music. The new release also includes experiments by Mongolian musicians with new genres such as funk, disco and soul, bringing fresh and modern sounds to Mongolia. This outstanding compilation will allow you to dive into the golden era of Mongolian music and enjoy its variety and uniqueness. Fans of Mongolian music as well as music collectors who like digging the musical history of foreign countries will love this compilation! "Mongolian Music from 70s - vol. I" is a wonderful mark in history of Mongolian music, with all it's amazing beauty and versatile instrumentations and vocals. Don't miss out on this incredible journey into the heart of Mongolia's music heritage!

Another lost musical treasure unearthed by the Everland-YU imprint! Seven years have passed since this material landed in our hands and we counted the days since we could give it the justice it deserves. Fully licensed and remastered from original master tapes, this chronologically arranged LP is a collection of previously unreleased radio recordings all of which have one thing in common: the unmistakably original musical ideas and vocal performances of Marin Škrgatić (1950-2014). Marin was a Croatian prog-rock pioneer, who as a result of a series of unfortunate circumstances, did not receive much recognition in the dawn of the Yugoslavian prog-rock era. In their prime, his groups were an active and well-acknowledged underground phenomenon, filling stadiums and music halls all over Yugoslavia. This material represents some of the first attempts to record complex progressive rock arrangements in Yugoslavia – sourcing heavily from local folk music, jazz, and classical influences. Interestingly enough, most of the songs presented here were dismissed as being too progressive at that time - by the largest Yugoslavian record company Jugoton. This gatefold LP includes thus far unpublished photos and detailed liner notes about the evolution of Marin’s groups resulting from interviews with former band members with whom we’ve uncovered some of the mysteries of Yugo-prog-rock’s annals.

The rare second volume of Tim Maia’s Racional album series from the 70s – even funkier and more harder-edged than the first! The record really follows the heavy soul influence that Tim had been hitting on his early 70s albums for Polydor – a strong dose of American funk and R&B, especially from the east coast indie scene – filtered down beautifully by Maia, one of the few cats in Brazil at the time who really knew how to get the sound right – and how to mix it with the best of his local influences! There’s some wonderful grooves here – definitely of the funky Brazilian type you-d know from the Samba Soul generation, but also much more solidly soul, too – given Tim’s fantastic vocals, and strong ear for putting over a tune!

Atlanta’s original Eccentric Soul labels, Jesse Jones’ Tragar & Note concerns captured critical regional R&B, soul, and funk from 1968-1976. Compiling 34 tracks and sprawled across two LPs, this 15 year anniversary deluxe edition appears on vinyl for the first time. Featuring rare-as-hens-teeth 45s by Eula Cooper, Tee Fletcher, Richard Cook, Frankie & Robert, Tokay Lewis, Nathan Wilkes, Chuck Wilder, Bill Wright, Sonia Ross, Sandy Gaye, Four Tracks, Young Divines, and several others we can’t fit on a hype sticker.

Teenage melancholy from the original Miami Sound Machine. Backed by the infamous FAMU Marching 100 Band and Frank Williams’ crack shot players The Rocketeers, I Am Controlled By Your Love compiles sides from Helene Smith’s ’60s tenure with the Deep City, Lloyd, Reid, and Blue Star labels. A sweltering album of 12 deeply soulful, alternate universe hits from the First Lady of Miami Soul!

The music could score a romantic drama, an action thriller, or a modern twist on a classic film noir. The spare, cascading vocals accentuate the lush instrumental orchestrations composed, performed, arranged and produced by multi-instrumentalist Seth Applebaum, whose latest brainchild was conceived and conceptualized during The Great Pause of 2020, a time of tension, bewilderment and isolation. Evoking the grooviness of an era which preceded his arrival on earth, Applebaum draws upon sonic devices of mid-century exotica and the succinct but dense arranging style of the leaders of the pop orchestras which dominated the hit parades of the 60s and early 70s. He blends impressions of this bygone era with an expression of his actual experiences as a young filmmaker coming of age in the 21st century, citing influences such as Sharon Jones and The Dap Kings and Antibalas. A New Kind of Love encompasses a reverence for the past without attempting to recreate it. I Each song on Ghost Funk Orchestra’s 3rd album, A New Kind of Love, due to be released on Colemine Records … 2022, resonates like the soundtrack to a scene from an imaginary movie. The music could score a romantic drama, an action thriller, or a modern twist on a classic film noir. The spare, cascading vocals accentuate the lush instrumental orchestrations composed, performed, arranged and produced by multi-instrumentalist Seth Applebaum, whose latest brainchild was conceived and conceptualized during The Great Pause of 2020, a time of tension, bewilderment and isolation. Evoking the grooviness of an era which preceded his arrival on earth, Applebaum draws upon sonic devices of mid-century exotica and the succinct but dense arranging style of the leaders of the pop orchestras which dominated the hit parades of the 60s and early 70s. He blends impressions of this bygone era with an expression of his actual experiences as a young filmmaker coming of age in the 21st century, citing influences such as Sharon Jones & The Dap Kings and Antibalas. A New Kind of Love encompasses a reverence for the past without attempting to recreate it. In the tradition of the “production forward” discographies of such record makers as David Axelrod and the Mizell Brothers, it’s easy to visualize Applebaum as a “mad doctor” figure, hunkered down in a studio channeling this musical representation of his inner world into the 12 compositions which make up A New Kind of Love. His writing stretches his psyche to explore a terrain in which to capture emotional notes of love going well, love gone sour, manifesting love songs based in ghostly affairs. While the studio is obviously a wondrous happy place of experimentation and creativity for Applebaum, he’s a band guy too (having actually fronted punk outfit The Mad Doctors). Applebaum has the wherewithal to bring his dreamy material to the 10 piece all star Ghost Funk Orchestra, leading them to breathe life into this sophisticated body of work which heralds the celebration of a new era for the group. Ghost Funk Orchestra will be touring in concert this summer and fall to celebrate the release of A New Kind of Love, an album which is sure to stand the test of time.

There has always been a Reggae influence in the music of El Michels Affair. From their cover of “Hung Up On My Baby” done in a Reggae style, to the general sound and approach that permeates Leon’s production style. While recording Bailey’s 2020 Ekundayo album, they did some straight forward reggae tunes inspired by different eras alongside some modern R&B tracks that would fit more comfortably next to Frank Ocean than Jacob Miller. It is this same notion that old and new can live so comfortably together that birthed the idea of Ekundayo Inversions. Traditional dub came out of reggae in the late 60s and early 70s when pioneers like King Tubby and Lee Perry started taking the multi track recordings of songs and running them back through the board adding effects and additional instrumentation. These recordings are called “dubs” or “versions” and are typically instrumentals with flourishes of vocals from the original tracks. El Michels decided to use the blueprints left behind and make something using the influences of today. He wound up straying so far from the traditional format that it didn’t seem right to use the word ‘Dub’, hence Ekundayo Inversions. All the songs are tied together by WhatsApp messages between Leon and Liam that perfectly narrate the story of this record and their working relationship. One of the highlights on Ekundayo Inversions is a guest appearance from the legendary Lee “Scratch” Perry on the “Ugly Truth” version. L$P switches between singing and talking, proclaiming his powers one minute and playing with the track’s title the next. On “Awkward take. 2” Leon takes one of the most experimental songs from Ekundayo and actually straightens it out. A track that once seemed to be floating in space has now been anchored by the addition of drums and bass. “Faded”, a version of “Paper Tiger”, is given the full EMA treatment with the addition of emotive horns over an uncomfortably sparse rhythm track peppered with Liam’s voice drenched in delay and echo. “Champions” features a verse from Black Thought of The Roots and halfway through, El Michels sends the rhythm section 50 years back. At the end of the day, Ekundayo Inversions is a testament to how strong the original songs are. Whether they’re in a R&B style, reggae style, stripped down to their bare bones, or loaded with production, the songs will move you.

Bay Area singer-songwriter, multi-instrumentalist and producer Lindsay Olsen is the brilliant mind behind the warped and magical project Salami Rose Joe Louis. Drawing from her studies in planetary sciences, she creates a unique experience: exploring ideas of multiverses and climate change through the lens of a fictional post-apocalyptic keyboard-toting earthling with a flashlight, a can of cashews and a hopeful optimism. Melding influences from jazz, rock and hip-hop – Shuggie Otis, Captain Beefheart, Stereolab, and R. Stevie Moore – she creates a unique blend of experimental galaxy sounds with jazz influenced vocals and keys. 

Her album “Akousmatikous” (Ah-coooz-mat-e-koi) features collaborations with Brijean (Ghostly International) and Soccer96 (a project from The Comet is Coming’s Danalogue and Betamax). It is released on 19th May 2023 with SRJL’s headline North American tour kicking off the following week. 

Akousmatikous/Akousmatikoi (or acousmatic) translates to “sound where there is no identifiable source”. The Akousmatikoi were a sect of Pythagorean mystics from the 5th century BC that were called the “listeners” as opposed to the Mathematikoi sect that were called the “learners”. The Akousmatikoi focused on ritual, harmony, and ethical behavior. “I am enamored with the concept of listening to a sound when we don’t know the source,” says Lindsay. “The act of listening in this great expanse of the universe, for answers, for questions, or just for something undefinable that we seek.” 

The former climate scientist signed with Flying Lotus’ Brainfeeder label to release “Zdenka 2080” (2019) and “Chapters of Zdenka” (2021). Both collections were packed with short bursts of experimental pop, abstract beats and bedroom R&B songs connected by a sci-fi narrative describing a future dystopian Earth in the year 2080 that has been mis-managed by unethical governments and corporations. The Line of Best Fit proclaimed “Zdenka 2080” “disorientating and fascinating” whilst Bandcamp described “a sweet journey into a world of pure imagination” and charted it in their Best Albums of 2019. The album was also nominated for Album of the Year 2019 at Gilles Peterson’s Worldwide Awards. 

“Akousmatikous” is the narrative sequel to “Zdenka 2080”: 
After the metropolis spaceship crashes into earth at the end of “Zdenka 2080”, there is a dimensional collapse. As a result, the earthlings have their heads and hands transformed into screens, which is where we begin the new album. The earthlings get stuck in a never ending video feedback loop between their heads and their hands. An interdimensional being, Zeeanori, is manipulating this feedback loop because he wants the plants to reclaim Earth and for nature to be flourishing and healthy again. An old friend and past love of his, Akousmatikous (from a distant planet), comes to earth to speak to him, curious about his motives and the complicated ethics of the situation. Akousmatikous agrees that nature will be beautiful and flourish, but is concerned for the fate of the earthlings trapped in infinite feedback loops. Akousmatikous hopes for a solution that can be beneficial for every being and entity, a path toward symbiosis. 

The title track ‘Akousmatikous (feat. Soccer96)’ is blessed with a stunning animated video directed by Academy Award-nominated filmmaker Carlos López Estrada (Disney, MARVEL). 

As on previous releases, Olsen primarily worked alone to write, record, produce and mix this record on her beloved Roland MV-8800 music workstation, but did venture out of her comfort zone to bring in some of her favorite musicians: Soccer96, Miguel Atwood-Ferguson, Juuwah, Brijean, Sergio Machado Plim, Danalogue, Jason Lindner, Dakim and Dan Nicholls. “I am a very introverted producer which has sometimes hindered me from pursuing collaborations in the past as I am shy to work with others in person,” explains Lindsay. “Having the opportunity to collaborate via the internet was a wonderful experience and led to some beautiful connections and new friendships.” 

The album artwork is by award winning designer and filmmaker Winston Hacking – best known for his collaborations with Flying Lotus, Run The Jewels, Animal Collective, Andy Shauf and BADBADNOTGOOD. His passion lies in conjuring hybrid works that are equal parts contemporary collage and early cinematic illusion. 

Orgōne is a pillar of West Coast soul music, maintaining an unmissable touring presence for more than a decade. The group’s arresting intensity, impeccable playing style, and undeniable, irresistible chemistry have earned them the reputation as one of the tightest bands of the modern era. Fresh off of doubling as the studio band for discodelic sensation Say She She and circling the globe as the live band for their wildly successful world tour, Orgōne is back in California and coming in hot with Chimera, a fire-breathing spectacle of psychedelic Afro-soul. Produced by Sergio Rios (Neal Francis, Say She She), Chimera is an electrifying, dream-like odyssey, tripping through the hazy swamps of New Orleans, weaving textures of entrancing voodoo soul, thrumming Afro-funk, and stoney psych-rock. In Chimera, the heavy-hitting new LP from Orgōne, out February 9th, 2024 on 3 Palm Records, the Los Angeles-based outfit carves tough, gritty, infectious grooves into heady dance rhythms. Taking its name from a mythical beast with the head of a lion, the body of a goat, and the tail of a serpent, Chimera conjures a state that is at once trance-like and heart-poundingly exciting. The album offers a spellbinding mix of cathartic instrumentals, dub voyages, and soulful vocal performances by Jamie Allensworth, Terin Ector, and Congolese musical alchemist Mermans “Mofaya” Mosengo. Known for their gripping instrumentals and incendiary live show, the band is firing on all cylinders and the earned confidence of this time-tested, cult-favorite crew is on display throughout Chimera. Describing the process of producing and engineering this psych-funk showcase, guitarist and Orgōne co-founder Sergio Rios says, “The album really took form organically. It’s raw and dark with a hopeful thread throughout that’s highlighted by the incredible soul singers we work with. There's a looseness to most of the cuts, giving the album the feeling of a shadowy dream.” With Chimera, the band has tapped into a deeper version of themselves. The sounds are fresh yet classic, the grooves are ferocious and infectious, and the vocal performances are captivating. The album opens like a heady puff of smoke in the face with “Hallowed Dreams,” drawing the listener into a state where reality blurs and the music takes control. The focus track, “Zum Zum,” is a hooky Afro-funk dance floor heater that synchronizes your heart rate to its propulsive percussion, the hypnotic rhythm building into a raucous, psychedelic climax. Mermans “Mofaya” Mosengo sings in his native Lingala, jabbing and weaving around the rhythm section’s chugging force with his gruff and soulful voice. On the raw and rousing “Tula Muisi (Dance Like Them),” a tapestry of Afrobeat and heavy psych-rock bolsters Mosengo’s call for unity and respect, which translates to “Hear the music, and dance like them.” On “Lies & Games,” Terin Ector brings yearning soul vocals to this righteous lament of the rocky road to redemption over grimy rhythm guitar, spaced-out synths, breakbeat-worthy drums, and haunting Wailers-inspired backing vocals. “Parasols” is a jaunty, head-bobbing slab of greasy New Orleans funk, and a heartfelt nod to Josie-era Meters and the unmistakable early 70s-era production of Allen Toussaint. The instrumental serves up a punchy, slightly tipsy rhythm that sways with sweetly melodic gospel-tinged organ. Drawing on multicultural influences of Afrobeat, Southern soul, psych-rock, and raw funk, Chimera bridges the darkest reaches of psychedelia to the highest peaks of joyful dance music. With easy SoCal swagger, deep New Orleans roots, and a profound reverence for the sounds of the African diaspora, Orgōne creates a unique, transporting experience that feels untethered to any single place or time. Relentlessly vibey and immersive from start to finish, Orgōne’s newest LP feels like a sustained hypnagogic hallucination — the place between waking and sleep where reality is fluid and anything feels possible. From its inception, Orgōne has always been a chimera — a multifaceted creation and the physical manifestation of impossible quixotic dreams. Chimera will delight fans of early Orgōne while showcasing the band’s effortless and endless ability to shape-shift. It’s an electrifying, mesmerizing record sure to exceed expectations and keep the listener rapt. For fans of Altun Gun, Khruangbin, King Gizzard and the Lizard Wizard, Witch, Goat & Monophonics.

After the fall of the Deep City label, Rocketeers bandleader Frank Williams set up shop under the name of his twin daughters Saadia and Giwada and got to work reinventing the Miami Sound. Tracked between 1968-1970, this LP gathers 15 of Saadia’s funkiest and deeply soulful moments, featuring Pearl Dowell, Joey Gilmore, Little Beaver, Frank Williams’ Rocketeers, Robert Moore, Brother Williams, and Sam Baker. Your next sample, first dance, workout jam or closing credits is buried in here somewhere.

Another one from the original dirty south in the ATL. "Love Juices" LP features 9 unreleased tracks from Wilkie and the Wayy, also includes the recording from his sole 7 inch single released in 1983 on the infamous Cold Wave Records, "It Only Happened Once". Feels good to be able to finally tell the band, "It's Happened Again"! Special thanks to Angelo Angione for all your time making this happen and hunting down the DATs, tapes, and reels!

Shades of Yesterday is the new covers album by DJ Harrison – 11 tracks that pay homage to his musical heroes, representing some of his most treasured childhood memories, out February 9th on Stones Throw. It was created over several years at his home studio Jellowstone, where he also created his previous two Stones Throw albums, 2021’s Tales from the Old Dominion and 2017’s HazyMoods. The announcement comes with a new song, too. “L’Anthropofemme” is a cover of French group Syntaxe.“L’Anthropofemme” was first introduced to DJ by Tyler, the Creator during an L.A. studio session where the two artists shared some of their most loved songs. Last year, Harrison shared “Lil Birdie”, a cover from Vince Guaraldi’s iconic A Charlie Brown Thanksgiving special, and a cover of Donald Fagen’s “IGY”, which he decided to record after opening for the Steely Dan legend in his hometown of Richmond, Virginia. While DJ Harrison has spent his career as a sought-after collaborator, playing in the funk-jazz fusion outfit Butcher Brown and collaborating with Pink Siifuu, Joyce Wrice, and winning two Grammy nominations for his work with Kurt Elling, Shades of Yesterday was created solo, with Harrison playing almost every instrument himself.

Holy Hive released two full length albums and one EP in the short span of 3 years and then they decided to disband. In 2019, while recording their debut album world renown harpist Mary Lattimore was in NY. They got together in the studio on a whim and wound up recording their Harping EP in a few days. They followed that up with their 2020 full length debut Float Back To You which became an instant cult classic and defined their unique “Folk Soul” sound. Frontman Paul Spring’s tender falsetto and maverick guitar playing over Homer Steinweiss’ incomparable drumming and production proved to be a match made in heaven and created a sound that piqued the ears and charmed the hearts of all those who heard it. By the time they started recording their sophomore album COVID, commitments, and life started taking their toll on the band. Spring and Steinweiss took their sound and pushed it way forward on their eponymous 2nd album keeping the anchor of their sound they established while exploring where else they could take it. Unbeknownst to the public by the time that record was released the band was done and had moved on to other things individually. While fans will undoubtedly not like this news, we will all have the timeless music they made while together, and, prolific they certainly were… Big Crown Vaults Vol. 3 : Holy Hive digs into the treasure trove of unreleased recordings and pulls some that never saw their way to vinyl and in all honesty, this is not even half of what is in there. These recordings were made during their two album sessions largely, some were recorded before they even signed to Big Crown. The compilation kicks off with the tune that started it all on the label, their smashing cover of The Invincibles “This Is My Story” that was previously only on a 7”. “Love It Is Not Love”, “Middle Of The Night”, “Celeste”, and their cover of “Kingdom Of The Sun” all feature guest vocals by Shanny of The Shacks who had started playing bass with them at their live shows and sitting in on a lot of the recording sessions. “The Shame” features Robin Pecknold of Fleet Foxes on bass and El Michels Affair on flute, the latter also plays on “A Perfect Space”. At one point in time the would turn the live show over to Paul Spring who would perform the Irish folk tune “Red Is The Rose” in a traditional style with just him singing and playing acoustic guitar and then launch into their rendition of the song that is on Float Back To You. That stripped down version is featured here on Vaults Vol. 3. The comp finishes poetically with “End Of Time” and it is unlikely that we will ever release the rest of what is sitting in the vault. On behalf of ourselves and all the fans we’d like to take this time to thank Holy Hive for the gorgeous music they made together. We will continue to enjoy it forever. Of course as individuals everyone involved from the core members to the people who lent their talents to certain songs continue to make music. Find them, follow them, enjoy their music.

Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others. In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric TRIBE record label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces. In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the WENHA record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo). In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison’s recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase. It is on REBIRTH that Harrison released the opus: BIRTH OF A FOSSIL (1985), which we are proudly presenting you today. BIRTH OF A FOSSIL is a monster of an album featuring an all-star line-up that includes Dennis Rowland (Count Basie) on vocals, Duke Billingslea (Martha Reeves) on bass guitar, Pamela Wise (Tribe) on keyboards and Lorenzo Brown (Marcus Belgrave, Strata Records, Dennis Coffey) on percussion. On this fantastic sounding album (produced by the maestro himself) the listener is invited to experience a synthesis of what has been and what is now. The record shows Wendell’s trademark proficiency on saxophone, flute and clarinet…and although you can hear the 80ies creeping in with a smoother fusion sound, more synths, and R&B vocals… this remains a very spiritual (and soulful) jazz record. From the first to the last note you get an irresistible blend of soul jazz combined with funky electric instrumentation…a groovy sound which is very much of its time, yet overtly timeless and as relevant today as it was back when it was initially released. Tidal Waves Music now proudly presents the first ever vinyl reissue of ‘Birth Of A Fossil’ since its release in 1985. This official reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies) and comes with the original artwork.

First vinyl reissue since ’79 for the mystique-shrouded composer and his enigmatic songstress! Songstress Moon Ji-young remains one of the most enigmatic figures of Korea’s 70’s gayo scene. Her debut release from SRB Records would be her sole record. The record was produced in 1979 with SRB-affiliated composer/arranger Yon Seok-won at the helm. In addition to 5 songs for Moon, Yon also included tunes that had been released through his solo and group projects, the Outsiders among them. Standout tracks include the title track ‘Love Tactics‘, gained a new following upon its rediscovery among fans of 70’s K-Funk, the 2-part epic ‘Tree in Winter’, and the noir-inspired blues/jazz tune ‘Terminus’. The instrumental ‘When Love Comes and Goes’ is another interesting track that foreshadows Yon’s later excursions into jazz-based New Age/Ambient territory. Included as a bonus track is the killer funky banger ‘Unwavering Heart’ by the Outsiders.。