In 1979 at the age of 62, Bobby Robinson was an incongruous figure,
standing at the back of a Bronx club watching a performance from
GRANDMASTER FLASH and The Furious Five. According to writer Dan Charnas,
“Flash thought Bobby was either a cop or a father on the lookout for
his wayward daughter.” But the experienced record man, whose record shop
Bobby's Happy House had been the first black-owned business on Harlem's
125th Street, was on the lookout for talent.
The Sugarhill Gang's 'Rapper's Delight’ was flying out of Bobby’s record
store and through family connections – his nephew Gabriel (aka Spoonie
Gee) was staying at his apartment – Bobby signed Grandmaster Flash and
The Furious Five, and The Funky Four Plus One More to a one-record
contract. The fruits of the deal were Flash’s 'Superappin’' and The
Funky Four Plus One More's 'Rappin' And Rocking The House'. Unlike the
manufactured sound of 'Rappers Delight' this was the real thing!
‘Superappin’’ was an epic 12-minute wonder that opened with an
incredible call to arms: “It was a party night, everybody was breakin'/
The highs were screamin' and the bass was shakin'/ And it won't be long
'til everybody knowin' that Flash was on the beat box”. Whilst perhaps
too raw for national success it was rumoured to have sold over 100,000
copies in New York setting the rap scene alight. ENJOY!
Tracklist: 1. Grandmaster Flash & The Furious Five - Superappin' 2. Spoonie Gee & The Treacherous Three - Love Rap 3. The Treacherous Three - Feel The Heartbeat 4. Funky Four Plus One More - Rappin and Rocking the House 5. Fearless Four - It's Magic 6. The Masterdon Committee - Funkbox Party
Eleven instrumental burners pulled from the Record Kicks vaults,
spanning cinematic funk, Afro grooves, instrumental soul and psychedelic
jazz. The long-awaited fourth installment of the Record Kicks Breaks
& Beats series is finally here.
Record Kicks Breaks & Beats Vol. 4 digs deep into the label's
catalogue to unearth eleven hard-hitting instrumentals packed with heavy
drums, greasy rhythms, funky breaks and cinematic textures. From
crime-funk soundtracks and Afro-funk workouts to dusty soul and
psychedelic jazz, every cut is driven by heavyweight rhythms, deep
pockets and an unmistakable raw funk attitude.
Featuring some of the finest artists from the Milan label's roster,
including Italian cinematic funk pioneers Calibro 35, Moscow's
instrumental outfit The Diasonics, Afrobeat torchbearer Seun Kuti &
Egypt 80, Remo-based cinematic groove collective Whatitdo Archive Group,
Bay Area deep-funk specialists The Grease Traps, Detroit soul maestros
Third Coast Kings, Italy's powerhouse trio Savana Funk joined by
legendary dub producer Gaudi, fast-rising Tuscan groove outfit Mario
Mario, alongside Alexander Korostinsky, The Underbelly feat. Roxie Ray
and Ray Harris & The Fusion Experience. Eleven heavyweight cuts built to be played again and again. Turn it up. Chop it up. Make it yours.
Tracklist: 1. The Grease Traps - Residue 2. The Diasonics - Chickadee 3. Calibro 35 - The Twang 4. Third Coast Kings - Crush It 5. Whatitdo Archive Group - Blood Chief 6. Alexander Korostinsky - Altin Maske 7. Seun Kuti & Egypt 80 - Move 8. The Underbelly - Packin' up (feat. Roxie Ray) 9. Mario Mario - Torre Mozza 10. Savana Funk - Pallas (feat. Gaudi) 11. Ray Harris And The Fusion Experience - freedom (Lack Of Afro Inspiration)
Impressive Collective, BBE Music and Mark de Clive-Lowe present: Remixes & Reimaginations
World-renowned for decades, Mark de Clive-Lowe is a New Zealand-born,
Tokyo-based pianist, composer and producer, widely recognised as a
pioneer in nu-jazz, broken beat and electronic music.
In contrast to his previous release on Impressive Collective, the
contemplative solo project 'past present (tone poems across time)', this
collection brings together MdCL’s extraordinary reinterpretations of
other artists’ work. As he explains:
“Remixing has always meant more to me than just rearranging stems - it’s about uncovering a new reality inside the music.”
From the uplifting gospel-house of Close Counters’ 'I’ll Be There For
You', recontextualised for the broken beat dancefloor, to the timelessly
angelic tones of We Are KING’s ‘Supernatural'; from Omar’s 'This Is Not
A Love Song' reimagined almost 30 years later, to the politically
charged intensity of Anthony Joseph’s 'Maka Dimweh' - every remix has
been crafted with the progressive dancefloor in mind, while still
resonating for the deep listener and always in service to the original
artist’s essence.
“I’m grateful to every artist who’s invited me to dive into
their work - to deconstruct it and reimagine it with love, curiosity
and respect. This compilation isn’t just a retrospective, it’s a
celebration of the remix as an art form.”
Track listings vary by format:
Tortured Souls “Did You Miss Me” is vinyl-only, Omar’s “This Is Not A
Love Song” appears on vinyl and bundled download, while Syndee Winters’
“If You Believe”, Recloose’s “Catch A Leaf”, Bobbito Garcia’s “Park Pick
Up Player” and Yameen’s “Cosmosis” are exclusive to the digital
editions.
Tracklist: 1. Close Counters - I'll Be There For You (Mark de Clive-Lowe Remix) 2. Zy The Way - Ten Acres (Mark de Clive-Lowe Remix) 3. Footshooter, Andre Espeut - Looking Back (Mark de Clive-Lowe Remix) 4. Cosmic Vibrations - OLBAP (Mark de Clive-Lowe Remix) 5. Pete Josef - The Travelling Song (Mark de Clive-Lowe Remix) 6. Cherie Mathieson - Games We Play (Mark de Clive-Lowe Remix) 7. We Are KING - Supernatural (Mark de Clive-Lowe Remix) 8. Alison Crockett - When I Think of You (Mark de Clive-Lowe Remix) 9. Anthony Joseph - Maka Dimweh (Mark de Clive-Lowe Remix) 10. Amana Melomé - Lock & Key (Mark de Clive-Lowe Remix) 11. Syndee Winters - If You Believe (Mark de Clive-Lowe Remix) 12. Recloose - Catch A Leaf (Mark de Clive-Lowe Remix) 13. Mark de Clive-Lowe - The Why (Mark de Clive-Lowe Remix) 14. Bobbito Garcia - Park Pick Up Player (Mark de Clive-Lowe Remix) 15. Yameen - Cosmosis (Mark de Clive-Lowe Remix)
FFO: Ancient Infinity Orchestra, Ebi Soda, Sun Ra, Pharoah Sanders, Charles Mingus, Ill Considered, The Sorcerers.
Hill Collective strike out with Fire In Orbit, their first release for
Batov Records and the Brighton ensemble’s most focused and expansive
studio statement to date. Rooted in spiritual jazz but unafraid of the
natural looseness, humour and raw edges that arise when imaginative
musicians collaborate, Fire In Orbit captures a band working
collectively, instinctively and with space to breathe.
Over the past three years, Hill Collective have become a central
presence within Brighton’s small but fertile jazz-adjacent scene. They
have appeared at Love Supreme Festival and The Great Escape, supported
Etuk Ubong, and built a reputation for live performances that balance
structure with volatility. Their 2024 studio album Tonal Prophecy,
released via Germany’s Fin Du Monde, introduced them to the wider jazz
press, earning praise as “a soulful, avant-garde addition to the
bustling UK jazz landscape” (UK Vibe), while Jazz Journal noted that
“the spirit of Ra is close” and All About Jazz heard “resonances of
Charles Mingus, Sun Ra and Ornette Coleman”. If that record marked their
arrival, Fire In Orbit feels like consolidation rather than expansion,
leaner in sound, clearer in intent and more assured in delivery.
Led by alto saxophonist and composer Pete Piskov, Hill Collective
emerged after his previous trio dissolved, featuring founding members of
the Ancient Infinity Orchestra, moved to Leeds. Drawing on Brighton’s
close-knit network, the group expanded into a flexible, often
double-digit ensemble, at times doubling up on instrumentation, its
spiritually inclined ethos linking the South Coast to a broader UK
conversation.
Fire In Orbit was recorded over three relaxed days at Sea Breeze Studios
by members of the band themselves. With time, equipment and no
financial pressure, the sessions felt unforced, tighter in structure but
looser in spirit. The compositions move through chorus–solo–chorus
forms, call-and-response passages and collective improvisation breaks,
yet the emphasis remains on flow and interaction rather than density or
display. It is spiritual jazz that breathes.
The title track sets the thematic arc. “Fire In Orbit” begins gently,
piano circling before an infectious double bass line establishes an
immediate groove, lifted by a snapping drum break. A mixed-voice vocal
chorus enters in clear spiritual jazz fashion, earthy and communal
rather than theatrical. The piece moves through chorus–solo–chorus into
group improvisation and a conga-driven break before returning to its
central theme. Alto and flute solos rise without disturbing the pulse,
reinforcing the album’s central metaphor of orbit and return. It feels
expansive yet grounded, celebratory rather than cosmic for effect.
“Keep Breathing” turns inward. More laidback but deeply intense, it
opens with sax and flute in loose dialogue before settling into a
devotional pulse. Midway through, vocals reappear, first in scat, then
in a direct appeal to keep breathing, transforming the piece into
mantra. The push and pull between looseness and steady groove is at its
clearest here, the rhythm section holding firm while the horns stretch
outward. The influence of spiritual forebears is felt in spirit rather
than imitation.
“A House Is A Home Like Honey” unfolds slowly and unhurried, built
around a relaxed head that feels almost like sunrise. Space defines the
arrangement, allowing melody and texture to settle naturally. Around the
seven-minute mark the horns rise together, briefly intensifying before
easing back into reflection. It carries the warmth of the sessions
themselves, intimate and unforced.
Closing track “Song For A Blossom Baby” returns to a clearer
chorus–solo–chorus structure, but with renewed lift. The phrasing has an
angular edge tempered by restraint, and subtle modal colours give the
second half of the record a slightly more eastern hue than the
groove-led opening side. The improvisation expands outward before
folding gently back into theme, echoing the album’s larger metaphor of
seed, bloom and return. It closes with release rather than finality.
The influence of Sun Ra runs deeper than aesthetic reference,
philosophical as much as musical. There are also traces of Ornette
Coleman’s freedom, the structural fire of Charles Mingus, the angular
lyricism of Eric Dolphy and the collective consciousness of Art Ensemble
of Chicago. Elements of Latin rhythm, Arabic modality and open-ended
improvisation surface naturally, absorbed rather than quoted.
Brighton’s receptive atmosphere and sense of creative space are audible
throughout. Many of the musicians were friends before the band formed;
others became family through it. That ease translates into music that
feels communal rather than performative.
At its core, Fire In Orbit is an allegory for creative community, bodies
in motion, held by invisible forces, generating warmth and illumination
together. Structured yet searching, raw but intentional, it captures
Hill Collective at a point where freedom and form feel fully aligned.
Tracklist: 1. Fire In Orbit 2. Keep Breathing 3. A House Is A Home Like Honey 4. Song For A Blossom Baby
Blue Note Records has announced the July 10 release of FATHERS, the self-titled debut by a collective of groove-savvy producer-musicians comprised of producer Kenny Beats, keyboardist Kiefer, bassist CARRTOONS, and drummer Nate Smith. The album is introduced today with the lead single “PEARL,” a marvel of sprightly melody and percolating grooves that conjures up the vibe of a lost Brazilian pop-jazz LP given a modern sheen.
FATHERS consists of artists renowned for both their jazz-rooted musicianship and their production acumen — four deeply talented individuals with serious performance chops who also love the possibilities of the studio. Just listen: The melodic hooks, evoking precision-crafted pop and electronic gems shot through with fusion-era R&B. The taut rhythms which contain both the tightness of expert beat-making and the organic virtuosity of a best-of-generation studio drummer. The design of the tracks, with their impeccable pacing and alluring way of unfolding from one earworm section to another. There’s plenty of masterful jazz improvisation too, but it’s always deployed in service of the track’s flow.
FATHERS’ producer is Kenneth Blume — better known as Kenny Beats — whose insight has transformed projects by Vince Staples, Denzel Curry, Rico Nasty, IDLES, Freddie Gibbs, Geese, Weezer and so many others. He’s also set the pace online, inviting the likes of Doja Cat, Thundercat and Skrillex to participate in his viral concepts across Twitch and YouTube.
Keyboardist Kiefer Shackelford, whose moniker is simply Kiefer, has earned acclaim for his original music, with its uniquely atmospheric blend of jazz, electronic and hip-hop. As a collaborator and producer his credits include Terrace Martin and Anderson .Paak. On the latter’s GRAMMY-winning LP Ventura, he co-produced two tracks, among them the lead single, “King James.”
On bass is the similarly genre-blurring multi-instrumentalist Ben Carr, a.k.a. CARRTOONS. In addition to producer-led projects like his latest, Space Cadet, the well-connected New Yorker has gained traction through his inventive socials, multiple Tiny Desk performances and production work with rap, R&B and jazz heavyweights like George Clinton, Freddie Gibbs, Jadakiss, Usher and Roy Ayers.
Nate Smith ranks among the most respected and influential drummers currently at work, whose meticulous, machinelike understanding of time is matched only by the soulfulness of his pocket. As a musician and writer-producer, his collaborative credits read like a hall of fame of pathbreaking musicians of the late 20th and 21st centuries: Michael Jackson, Brittany Howard, Jon Batiste, Pat Metheny, Dave Holland, Childish Gambino, Vulfpeck, the list goes on. In 2026, he won two GRAMMY Awards for LIVE-ACTION, a guest-laden project showcasing his gifts as a conceptualist and the fulcrum of an astonishing network of artists.
It was Smith who first assembled the core trio in 2023 as part of his residency at the Montreal Jazz Festival. Tours of the U.S. and Japan followed where the trio further developed their chemistry as a working group. “We all write, we all play at a high level, and we’re pushing each other to be better,” says CARRTOONS. “So we know going into anything that there’s going to be an inspiration and a push from everybody else, so that hunger that we all have independently becomes this super-being when we get together.”
FATHERS was produced by Kenneth Blume and recorded at his Putnam Hill studio in Los Angeles. “I was 95 percent through building my studio, and I asked Kiefer if he could come by with a band and play some instruments,” Kenny recalls. “We custom-built our recording console and hadn’t heard anything through it yet. So it was meant to be a test day to make sure the studio was up and running. Kiefer happened to be playing shows with Ben and Nate at the time, and in testing out the equipment we recorded these songs in 48 hours. Turns out the board works just fine.”
The eight resulting tracks — credited equally to all four members and featuring additional contributions from saxophonist Nicole McCabe, vocalist Genevieve Artadi (KNOWER), guitarist Paul Castelluzzo (HETHER) and the strings of Yasmeen Al-Mazeedi — certainly project an ethos of high-impact collaboration. But they’re also a vibe: a delightful front-to-back listen that rewards both over-ear headphone time and using the LP as a soundtrack to life.
As for the curious name of the project, that’s all Kiefer. “Father” was a funny, quirky way he addressed his collaborators around the studio — “just another weird thing he would say in the long list of weird things,” Kenny laughs. “The project honestly couldn’t ever have been named anything else.”
Tracklist: 1. EYE LEVEL 2. PATCHWORK 3. PEARL 4. STUB 5. THE LEAK 6. TOMORROW, AGAIN 7. FRONT YARD 8. FIGURE 8
WRWTFWW Records continues its collaboration with Belgian jazzman Casimir
Liberski with another Zelda-themed rendition, following his celebrated Z
Suites album. This time it’s a full-on live session – Casimir Libersk
ReTRio’s Zelda Suites (The Live Album) is a heroic Hyrule jazz adventure
available in half speed mastered DLP in a heavyweight sleeve with obi.
Casimir Liberski reimagines the golden era of video game
soundtracks with live jazz versions of Zelda favorites The Legend of
Zelda (1986), A Link to the Past (1991), Link’s Awakening (1993), and
Oscarina of Time (1998) – and tons of Easter eggs! Dancing between
nostalgia and avant-garde, the Brussels-born pianist and composer crafts
a sonic world of pixelated folklore where melody and improvisation
coexist in harmony.
Zelda Suites (The Live Album) is the origin story of Liberski’s acclaimed Z Suites album. He explains:
The live recording of Zelda Suites (The Live Album) preceded the studio
recording that later comprised ReTRio's first album, released on WRWTFWW
entitled The Z Suites. This live recording was captured at the end of a
tour in Germany and Belgium, in Osnabrück, in a small, intimate venue.
This new album therefore contains only "hot first takes," imbued with
all the emotion that permeated our playing that evening. In a way, it's
perhaps more closely linked to my initial vision for the project: to
"take the iconic themes from the Legend of Zelda games that shaped my
childhood and perform them live through a jazz lens”. For me, the
conditions of live performance are the very essence of jazz. There's a
frankness of being present, in the very moment the music is created and,
one might say, listens to itself, that draws the musicians into a
fervor and audacity that often transcends them. The magic of jazz comes
at this price. Unapologetic, as they say in English. This album reveals a
perhaps more authentic and unrestrained side of our playing. No
excuses.
Again, long live Hyrule jazz!
Tracklist: 1. Title Theme (Live) 2. Overworld (Live) 3. Tal Tal Heights (Live) 4. Dungeon Suite (Live) 5. Hyrule Castle (Live) 6. Uncovered Secret (Live) 7. Deku Tree (Live) 8. Kokiri Forest (Live) 9. Lost Woods (Live) 10. Mysterious Woods (Live) 11. Sheik's Theme / Kakariko Village (Live) 12. Windmill Hut (Live) 13. Dark World Suite (Live) 14. Mabe Village (Live) 15. Dark World Dungeon Death Mountain (Live) 16. Light World Dungeon (Live) 17. Boss Battles (Live) 18. Fairy Fountain (Live)
Recorded live to tape at Penrose Recorders by Gabriel Roth, AMÉRICA! expands on the classic Mambo sounds that the band has become known for — blending Latin soul, boogaloo and salsa - all while staying true to their Cuban roots. On their fourth studio record, the band introduces an all-star line-up of new singers including Miriam Elhajli and Carolina Oliveros (of Combo Chimbita). Elhajli and Oliveros both tap into the raw energy of Celia and La Lupe, but turn the lens toward something more intimate: themes of loss, upheaval, and the weight of the immigrant experience.
Tracklist: 1. No Me Voy 2. Mami Qué Qué 3. Hace Tiempo 4. Aprendizaje 5. Me Tienes Sin Cuidado 6. Girassol 7. Nadie Me Toca Igual 8. Cha Cha Cha Ooh La La
Afro-Disco Makossa is the first Linear Labs album built for the dance
floor, and Adrian Younge is uniquely qualified to make it. Having
already recorded modern Afrobeat classics with Tony Allen and Ebo Taylor
through Jazz Is Dead, Younge asks a new question: what would a Ghanaian
producer in '76 have made if he set out to create an American disco
record for his hometown? The result is a relentless, hypnotic patchwork
of Afrobeat, funk, and disco recorded to tape, built for the DJ of any
era.
Tracklist: 1. Feel the High Life 2. Shake Down 3. Number One 4. Every Body 5. Fire in the Disco 6. Afro-Disco Makossa
Renowned for turntablism and super-sharp productions, Krafty Kuts has built a reputation as one of the most consistent forces in bass music. From early releases with Ministry of Sound, Fabric and Finger Lickin’ to the foundation of his own Against The Grain label, and as founder of Brighton’s Supercharged, his career reads like a long-form study in British bass music culture.
A selector as much as a technician, he digs deep and blurs the lines between genres with intent. His DJ sets are a genuine journey: one minute Santana, the next Sami Virji. It’s a never-ending drive to keep breaking boundaries.
Now, with his forthcoming album, Krafty Kuts pushes his music production further. This isn’t an album that blends genres—it destabilises them. Pulling from UKG, breaks, bassline and flashes of jazz, Turbulence twists familiar forms into something harder to pin down. The beats are fractured, the low-end rumbling, the energy unpredictable by design.
Take Changes, for
example: a four-to-the-floor, bassline-driven banger that effortlessly
slips into emotive, soulful vocals before taking another twist into
jungle-esque breaks and bass – it’s a masterclass in how keep listeners
on the edge of their seat.
Other examples include Curvy, a more UKG-inspired vocal stunner, the bassline tearer New Ting, and the hedonistic energy of All Night – Krafty Kuts has delivered his best album to date.
Tracklist: 1. Curvy 2. All Night 3. Changes 4. Running (feat. MC Spyda) 5. New Ting 6. Flowers (with Skool Of Thought & Liliana Rose) 7. Friction 8. Aint No Way 9. Rocket (feat. Scarlett Quinn) 10. Making You 11. Wub Juggler 12. Best In Me (feat. B Live) 13. Real Tight 14. Don't Let Me Go 15. Out of Sight (Beatport Exclusive DJ Bonus Track)
Ancient Infinity Orchestra return with their third album, It’s Always
About Liberation, a new record that deepens the vision of their
acclaimed recent work while moving into darker, more searching emotional
territory.
Conceived as a partner to It’s Always About Love, this new body of work
shares its predecessor’s generosity and spiritual openness, but carries a
different charge. Where the previous album focused on healing and
warmth, It’s Always About Liberation is largely animated by struggle,
perseverance and the desire for transformation while still offering a
path to betterment. It is music made in full awareness of a fractured
world, yet unwilling to surrender to it.
Like It’s Always About Love the album title draws inspiration from words
spoken by Moor Mother during their 2024 We Out Here festival
performance that deeply affected bandleader Ozzy Moysey: “It’s always
about love / It’s always about liberation.” Those twin ideas became a
framework for the two albums Ancient Infinity Orchestra were creating.
If one album explored love as repair, this one explores liberation as
movement, continually striving toward freedom, clarity and deeper
connection.
Tracklist: 1. Nafas 2. Akshay 3. Triton 4. Illuminations 5. Celebrating the Beautiful Lineage of Sound & Hypnotic States 6. Mountain
A prolific British composer, arranger, and
session musician, Alan Hawkshaw created a widely-heard body of work
without ever achieving any sort of celebrity, a situation which suited
him just fine. Although he was a member of the Shadows, played keyboards
with everyone from David Bowie to Donna Summer, and even scored a
number one dance hit in the U.S., Hawkshaw's most enduring contributions
were in the form of library music, which was licensed extensively
across film and television from the late-1960s onward. By the time of
his death in 2021, his theme songs to British programs like Countdown,
Grange Hill, and the Channel 4 News remained intimately familiar to
many.
Tracklist: 1. Beat Me ’Til I’m Blue 2. Chicken Man 3. Senior Thump 4. Man On The Move 5. Girl In a Sportscar 6. Studio 69 7. Delivery Date 8. Sunflower 9. Road and Rail 10. Rocky Mountain Runabout 11. Merry Go Round 12. Strangelands 13. Sky Train 14. Gingerbread 15. Rally Car 16. Roving Reporter 17. Mad Moment
Internationally acclaimed harpist Alina Bzhezhinska and legendary
saxophonist Tony Kofi present Whispers of Rain (Live) - a powerful
reimagining of Alina’s recent studio album, co-written with Ibiza-based
producer Tulshi. Captured in an intimate live setting, this record is
shaped by the unique chemistry between two master improvisers.
Recorded during performances celebrating the release of Whispers of
Rain, the live album distils the emotional core of the project, a
meditation on movement, with rain acting as a recurring metaphor for
renewal, loss and transformation. Stripped back and expansive in equal
measure, these live versions allow the music to unfold naturally in the
moment.
Journey Home (Live) anchors the album with quiet intensity. Reflective
and searching, it explores the idea of home as something internal rather
than fixed, a feeling carried rather than a place returned to. In the
live setting, the dialogue between harp and saxophone feels especially
intimate, moving between restraint and release with effortless grace.
Throughout the album, Alina’s harp, redefined here as both rhythmic and
melodic lead, intertwines seamlessly with Tony Kofi’s warm, searching
tenor tone. Tracks such as Whispers of Rain,
Across the Sea and Warm Days, Cold Nights take on new depth in
performance, shaped by spontaneous interaction and a shared trust
developed through years of collaboration. The result is music that feels
fluid and alive, grounded in jazz tradition while unbound by form.
Alina Bzhezhinska continues to expand the role of the harp in
contemporary music. A composer, bandleader and collaborator, she has
worked with artists including Brian Jackson, Chaka Khan, Shabaka
Hutchings, DJ Spinna and Sly Johnson, while her duet work with Tony Kofi
has been described by DownBeat Magazine as “a masterpiece.”
Tony Kofi is one of the UK’s most respected saxophonists, renowned for
his deep roots in jazz history and his expressive, contemporary voice. A
long-time collaborator of Alina Bzhezhinska, their musical partnership
is built on listening, instinct and mutual respect, qualities that sit
at the heart of Whispers of Rain (Live).
The studio version of Alina Bzhezhinska and Tulshi’s collaborative album
‘Whispers of Rain’ is released on vinyl and CD, check it out here: alinahipharp.bandcamp.com/album/whispers-of-rain
Tracklist: 1. Child's Play (Live) 2. Nomad's Nocturne (Live) 3. Whispers of Rain (Live) 4. Warm Days, Cold Nights (Live) 5. Starling (Live) 6. Across the Sea (Live) 7. Journey Home (Live)
BIMHUIS Productions present REFLEX: Daily New Beginning by Jamie Peet.
REFLEX is a series by BIMHUIS Productions, in which musicians are
invited to reflect on the pulse of our times through composition,
curation and performance. The projects are recorded live from our stage.
In September 2025, we invited drummer Jamie Peet into the rehearsal
space of our venue.
In the last decade, Jamie Peet has proven himself as a jazz drummer for a
new generation, seamlessly blending jazz with hip-hop, classical music,
and electronic influences. He has established himself as a prominent
voice in both the Dutch and European music scenes.
For the occasion he has formed a band with saxophonist Ben van Gelder,
bassist Pat Cleaver and renowned vibraphonist Joel Ross. 'I believe in
symbiosis', writes Jamie to us when asked about his band. 'In how
differences can support, challenge, and strengthen each other. When
individual voices truly listen to one another, space is created for
something new. I think that is precisely where the strength of this
formation lies.’
For Daily New Beginning, Jamie Peet departs from the concept of shoshin,
which stands for the ‘beginner’s mind’. According to this philosophy
from Zen Buddhism you approach each situation with a humble, open
attitude, whatever your level or experience.
The Trip To Vega is about deep outer space
odyssey that occurs in the process of traveling from Earth through the
Cosmos to another “favorable” star system 25.3 light-years away.
The time is year 2097, Sept 23rd.
To
this day, Earthlings have managed to dodge some of nature’s more
dangerous extremities, massive volcanic eruptions, Earthquakes, solar
burst that knocked out the Planet’s entire electrical grid for 3 years,
numerous plagues of disease, food and fresh water shortages, domestic
and International Wars and many other life-changing operas, but for this
event, what remains is a realization that has no remedy. The cause:
Earth’s physicality has changed. It is no longer favorable for living
things.
It is the constant shifting of
the planet’s internal tectonic plates which has unfortunately produced
an unexpected and impassable dilemma.
Because
of the collisions, deep within the planet’s core, the planet is now
producing an extraordinary amount of sound that includes a specific
harmonic frequency that erodes the natural senses of all life on Earth.
It is intensifying. It is intolerable and it is unlivable.
Yet,
some humans prefer to stay, to “ride it out” like the Titanic captain
going down with his ship. Some, in total disbelief as some have
concluded it is the second coming of Jesus Christ. But for most, the
decision is clear. To live another day, leaving is the only rational
choice.
At an increasing rate, scientific
research data shows that humans and most animals, excluding the
Jellyfish will eventually lose the usage of hearing and are to greatly
suffer from an array of other neurological and psychological effects.
The sense of touch and taste, sleep depreciation, severe nerve damage,
constant hallucinations. Everyone will lose many of their cognitive
abilities within an estimated 12 months from now.
On
this day and every 7 days afterwards until all registered passengers
have departed, the first of a fleet of large number of massive size
spacecraft carrying approximately 1 million humans per vessel will
permanently leave Earth to begin the long and adventurous trek across
outer space to a new home: Vega.
This is
not a precautionary tale as there is nothing to learn. Instead, a
decision has been made and a Trip To Vega is the consequence.
Tracklist: 1. Destination Bright Star 2. Ten Cycles 3. Omega Dust Rings 4. Lyra 5. Equinox 6. Twenty-Five Light Years Away 7. March Of The Purple Orbs 8. Terraform 9. Alpha Quadrant 10. Orbiting The Star 11. Circumstellar Debris
Is this Khruangbin? Nope, but if you like them, you’ll dig this. Kraut-Funk – that’s our preferred term.
The Karl Hector adventure continues with their fourth studio album.
'Yolek' digs deeper into the Krautrock history embedded deep in the soil
of their native Munch – three of the most influential bands of the
1970s experimental German rock scene sprung from there: Amon Düül, Popol
Vuh and Embryo. Drawing from those bands’ homebound and worldly
influences, JJ Whitefield and Zdenko Curulija conceived and produced
this kosmiche-werk.
Influenced by these musical heroes, and following the path of 'Non Ex
Orbis,' Whitefield and Curulija shape a sound that takes the
experimental approach of the classic Krautrock era and slides between
beat-heavy drone and spacey, prog-rock suites.
'Yolek' symbolizes an innocent way of composing and improvising music,
free from the influences of our contemporary environment, preserving a
childlike way of hearing sounds in their unfiltered purity.
“Some will classify this as a retro, but for the band it simply is a
form of creating, Whitefield states. “We’re drawing from an established
musical vocabulary which was popular at a time in Germany, when
underground musical culture had its creative peak.”
Tracklist: 1. Go Caravan! 2. Space Race 3. Mellow Skyfall 4. Blurry Time 5. Yolek 6. The Unseen Road 7. Zen / / / Topia 8. Love Is The Key 9. Aiaiai 10. Noon At The Oasis 11. Exot 12. Crimson Dune 13. Sahara Sepp
In the late 1960s, the coastal city of Paramonga, just a three-hour
drive north of Lima, gave rise to a vibrant music scene shaped by surf,
rockabilly, and tropical sounds. Among its protagonists were two
musicians, Víctor Ramírez and Maximiliano Chávez, who, with their
psychedelic guitars, Fender amplifiers, and wah-wah pedals, would define
not only their own sound but also shape the musical identity of the
region.
Under the mentorship of their manager, Néstor “Romanito” Robles, the two
guitarists added a few remarkable percussionists to the lineup and
formed Los Orientales. Their debut single, "Lobos Al Escape,” recorded
in 1970, reached the very top of the Peruvian charts, catapulting the
band to national fame and spreading their electrifying cumbia throughout
the country. Despite this early success, internal tensions led to a
split between Víctor and Maximiliano, resulting in two rival groups with
the exact same name.
Seeking wider recognition, Los Orientales de Paramonga of Víctor Ramírez
- the band featured in this project — traveled to Lima and signed with
Sono Radio, the country’s leading label. Under the direction of
Argentine producer Enrique Lynch, they recorded a series of successful
singles before releasing their debut album,
"Con Sabor Tropical," in 1972. Blending cumbia with guaracha, salsa,
and guaguancó, the band gained national acclaim and expanded their
audience through relentless touring.
Their follow-up album "Tremendo Ritmo" from 1973 further cemented their
reputation, incorporating vocal arrangements and aiming to rival top
tropical acts of the era. Known for their electrifying live performances
— often playing multiple venues in a single night — they eventually won
over audiences in the capital after dominating northern Peru.
By the mid-1970s, after several releases including “Ritmo Para Ti”,
Ramírez concluded his chapter with Sono Radio and continued evolving
musically, later embracing emerging styles such as chicha and
experimenting across genres. His former counterpart, Maximiliano Chávez,
withdrew from professional music altogether.
Today, Víctor Ramírez lives in Genoa, Italy, leaving behind a legacy as
one of Peru’s most innovative and versatile musicians — an artist who
helped shape modern cumbia while never forgetting his roots.
The seven songs on Side A of this compilation are from the LP “Con Sabor
Tropical”, and the six songs on Side B are from the LP “Tremendo
Ritmo”, while Sides C and D are compilations drawn from their 45 RPM
singles. Together, these recordings offer a complete journey through the
sound and spirit of Los Orientales de Paramonga at their peak.
Tracklist: 1. San Patricio 2. Buscando La Zorra 3. Chiquilla En Onda 4. Bailando Con Betty 5. Guajira Oriental 6. A-Chi-Li-Pu 7. Te Gusta Como Azucar 8. Viajando Con Un Loco 9. El Guarda Caballos 10. El Monito Y La Jirafa 11. Siempre Contagiando 12. El Botecito 13. Paseando En El Bosque 14. El Metiche 15. El Romanito 16. Mi Guajira Te Llama 17. Guajira Caliente 18. Sapos Al Agua 19. Me Voy Pa, La Montana 20. El Hombre Lobo 21. La Ronda De Los Enanos 22. Tuco Y Tico 23. Onda Tropical 24. La Playa Me Voy Cantando 25. La Chica Del Bikini Rojo
Yasiin Bey, the artistic mastermind formerly known as Mos Def, has announced a reissue of his 2009 album, The Ecstatic, which returns to vinyl and all physical formats on August 14th. It is also now streaming exclusively via Qobuz.
This marks the first time that The Ecstatic will be widely
available in more than 15 years. The deluxe edition comes pressed on
2xLP 180-gram black vinyl, which comes with a translucent red 7-inch
single including the previously unreleased bonus tracks “The Size” and
“The Tournament.” Pre-orders are ongoing.
The expanded release also comes with a 120-page hardcover book
containing behind-the-scenes shots by official photographer Cognito, as
well as lyric quotes and some of Bey’s handwritten notes from the era.
Originally released in June 2009, The Ecstatic stands as a defining
artistic statement from Mos Def (now known as yasiin bey) — a richly
textured return to form that reaffirmed his status as one of hip-hop's
most adventurous and intellectually engaged voices. Arriving a decade
after his celebrated debut Black on Both Sides, the album was widely
regarded as his strongest work in years, earning near-universal praise
for its lyrical breadth, eclectic production, and thematic ambition.
Musically, The Ecstatic weaves a global sonic tapestry shaped by an array
of forward-thinking producers including Madlib, J Dilla, Oh No,
Preservation, Mr. Flash, Chad Hugo (of The Neptunes), and Georgia Anne
Muldrow. The resulting soundscape is both rooted in hip-hop tradition
and unbound by genre, integrating elements of jazz, soul, West-Asian and
North-African inflection, and experimental sample work. Tracks like
"Supermagic" and "Twilite Speedball" establish a vibrant, restless
energy that mirrors the album's expansive creative scope.
Lyrically, yasiin bey traverses personal, political, and philosophical
terrain with characteristic incisiveness, confronting social inequality,
Western imperialism, and questions of cultural identity with poetic
urgency. Embracing risk and complexity rather
than nostalgia, The Ecstatic remains a mature, deeply felt body of work
whose ambition, depth, and enduring resonance have solidified its place
as a standout entry in yasiin bey (FKA Mos Def)’s catalog and in modern
hip-hop history.
Tracklist: 1. Supermagic 2. Twilite Speedball 3. Auditorium (feat. Slick Rick) 4. Wahid 5. Priority 6. Quiet Dog Bite Hard 7. Life In Marvelous Times 8. The Embassy 9. No Hay Nada Mas 10. Pistola 11. Pretty Dancer 12. Workers Comp 13. Revelations 14. Roses (feat. Georgia Anne Muldrow) 15. History (feat. Talib Kweli) 16. Casa Be
Deluxe: 17. Size 18. The Tournament
Instrumentals: 1. Supermagic (Instrumental) [Prod. Oh No] 2. Twilite Speedball (Instrumental) [Prod. Mos Def & The Neptunes] 3. Auditorium (Instrumental) [Prod. Mos Def & Madlib] 4. Wahid (Instrumental) [Prod. Preservation] 5. Priority (Instrumental) [Prod. Madlib] 6. Quiet Dog Bite Hard (Instrumental) [Prod. Preservation] 7. Life in Marvelous Times (Instrumental) [Prod. Mr. Flash] 8. The Embassy (Instrumental) [Prod. Mr. Flash] 9. No Hay Nada Mas (Instrumental) [Prod. Preservation] 10. Pistola (Instrumental) [Prod. Oh No] 11. Pretty Dancer (Instrumental) [Prod. Madlib] 12. Workers Comp (Instrumental) [Prod. Mr. Flash] 13. Revelations (Instrumental) [Prod. Madlib] 14. Roses (Instrumental) [Prod. Georgia Anne Muldrow] 15. History (Instrumental) [Prod. J Dilla] 16. Casa Bey (Instrumental) [Prod. Mos Def] 17. Size (Instrumental) [Prod. Oh No] 18. The Tournament (Instrumental) [Prod. Preservation]
