{"title":"Featured - TAV Essentials","description":"","products":[{"product_id":"kamasi-washington-the-epic","title":"Kamasi Washington – The Epic (Volumes 1,2 \u0026 3)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKamasi Washington’s 2015 breakthrough on Brainfeeder Records was nothing short of a visionary and Homeric accomplishment. The American saxophonist’s third studio album and major label debut, aptly titled\u003cem\u003e The Epic\u003c\/em\u003e, was a triple LP of monumental scope and scale.\u003c\/p\u003e\n\u003cp\u003eAccompanied by Washington’s jazz collective decet The West Coast Get Down, alongside a 32-piece orchestra and 20-member choir, The Epic emerged as an expansive masterwork that blended Afrofuturist cosmic jazz, retro funk fusion, pan-global influences, and forward-thinking elements from Los Angeles’ experimental beat scene. \u003cem\u003eThe Epic\u003c\/em\u003e did not just merely survey the past and present of jazz - it audaciously propelled it into the future through fresh and stimulating compositions that shifted the genre’s paradigm entirely.\u003c\/p\u003e\n\u003cp\u003eFrom the thrilling swing of its opener \"Change of the Guard,” to its propulsive closer “The Message,” Washington and team take the listener through a 172-minute odyssey that unfolds with breathtaking virtuosity. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eA brazen release from young Los Angeles jazz giant, composer, and bandleader Kamasi Washington. \u003cem\u003eThe Epic\u003c\/em\u003e is unlike anything jazz has seen, and not just because it emanates from the boundary-defying Brainfeeder, which isn’t so much a label in the traditional sense as it is an unfurling experiment conducted by the underground producer Flying Lotus who has featured Washington on his albums \u003cem\u003eCosmogramma\u003c\/em\u003e and \u003cem\u003eYou’re Dead!\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Epic \u003c\/em\u003eis a 172-minute, three-volume set that includes a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington. Pulsing underneath is an otherworldly ten-piece band, each member of which is individually regarded as among the best young musicians on the planet – including bassist Thundercat and his brother, drummer Ronald Bruner Jr., bassist (yes, there are two) Miles Mosley, drummer Tony Austin (of course there are two), keyboard player Brandon Coleman, pianist Cameron Graves, and trombonist Ryan Porter. Patrice Quinn’s ethereal vocals round out the ensemble.\u003c\/p\u003e\n\u003cp\u003eThe band are all from Los Angeles, mostly South Central, and its members – who call themselves variously “The Next Step” and the “The West Coast Get Down” – have been congregating since they were barely teenagers in a backyard shack in Inglewood. Washington, 32, has known Bruner since he was two. The rest met, at various stages, by the time they were in high school. The hours they have put into the music, playing together and practicing alone, total cumulatively in the tens of thousands.\u003c\/p\u003e\n\u003cp\u003e“Nothing compares to these guys,” says Barbara Sealy, the former West Coast director of the Thelonious Monk Institute of Jazz, who has championed Kamasi and his compatriots from the beginning. “I challenge any group to go out on stage with them and see if they can keep up with it… Kamasi is at the top of his game, and only getting better.” “These young guys,” the rapper Common says, “remind me of why I love music.”\u003c\/p\u003e\n\u003cp\u003eAnd the story \u003cem\u003eThe Epic\u003c\/em\u003e tells, without words but rather through some combination of magic, mastery, and sheer force of imagination, is the story of Kamasi Washington and the Next Step and their collective mission: to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again. They seek to both honour and alter tradition: as \u003cem\u003eThe Epic\u003c\/em\u003e’s opening track announces, they are the “Changing of the Guard”. The sound can be felt like flames, sometimes waving in the coziness of a fireplace, in other moments sweeping everything around like a backdraft. But Kamasi is always in control of the burning.\u003c\/p\u003e\n\u003cp\u003e “He just plays the craziest shit, man. I mean, everything — the past, present, the future,” Flying Lotus says, whose family lineage includes one of Washington’s direct musical forebears, John Coltrane. “It’s hard to find unique voices in this music. Especially in jazz, more so lately, everybody is trying to do the same shit. I don’t want to hear ‘My Favorite Things’ anymore… What I am hearing is a leader among artists.” — via Label \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2j2q2ySuVk43eHB8wI5XQj?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Brainfeeder\u003cbr\u003eFormat: 3 × Vinyl, LP, Album, 180g\u003cbr\u003eReleased: 2015\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Fusion, Psychedelic, Soul-Jazz, Modern\/Future Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Jazz  \/\/ Modern \/ Future Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Brainfeeder","offers":[{"title":"Default Title","offer_id":41456446603422,"sku":"5054429002300","price":90.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/ca630bd305129fb4759196159b036d6ccbb5a178.jpg?v=1646290598"},{"product_id":"moderat-modeselektor-apparat-moderat","title":"Moderat [Modeselektor + Apparat] – Moderat","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA sensational self-titled debut record from three of Germany’s most influential electronic music producers, Modeselektor (Gernot Bronsert and Sebastian Szary) and Apparat (Sascha Ring). Released on BPitch Control in 2009, this astonishing album features the best of both worlds - a nimble melding of Modeselektor’s boundary-pushing, floor-ready electro and techno, alongside Apparat’s emotive, introspective washes of experimental pop and glitchy IDM.\u003c\/p\u003e\n\u003cp\u003eThis compelling combination worked more symbiotically than anyone could have expected, culminating in the trio’s most accessible work here. \u003cem\u003eModerat\u003c\/em\u003e is filled with cerebral yet catchy club music that blurs the lines between early dubstep and minimal techno - seamlessly reconciling insular textures with the thumping grooves of a populist party. - \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eHaving initially surfaced in 2002 only to sink back into the deep of Berlin’s dance scene, few saw this full-length from Apparat (Sascha Ring) and Modeselektor's Sebastian Szary coming. But arrive it did, in the early summer of 2009, and it almost matched expectations set absurdly high once news of their reunion broke.\u003c\/p\u003e\n\u003cp\u003eAlmost, because nothing would have fully sated the appetites of fans fervently fond of the duo’s 'solo' work. Rightly celebrated on their own terms, Ring and Szary have broken free of the underground with genre-hopping discs that appeal effortlessly to myriad demographics. Apparat’s Walls long-player of 2007 was an almost-instant classic of its kind, a cerebral, organic journey into soft-focus electronica and tensile techno; Modeselektor’s Happy Birthday! album of the same year led to touring with Radiohead, and featured said band’s Thom Yorke on (one) highlight (of many), The White Flash.\u003c\/p\u003e\n\u003cp\u003eNeedless to say, to certain sorts \u003cem\u003eModerat\u003c\/em\u003e – the album and the artist – is a very big deal indeed.\u003c\/p\u003e\n\u003cp\u003eThe contrast of protagonist styles – one favouring washes of sound, the other aggressive beats – could easily have produced a muddled affair with little synergy between arrangements. But \u003cem\u003eModerat\u003c\/em\u003e, when heard as a complete album, is an affecting, embracing listen. It invites its audience in with a warm welcome before settling them down and asking them to open their mind to the near-endless possibilities of contemporary dance. Cold steel and sharp edges are off the agenda, much of what’s heard here is enveloping of atmosphere and texturally rich, each explosion a controlled expression of tumult which might, without the admirable restraint, ricochet and spoil the splendid overall ambience.\u003c\/p\u003e\n\u003cp\u003eSuch is the symbiosis on show that it’s tough to discern exactly what elements are brought to the table by each artist – and it’s this seamless fusion that really makes \u003cem\u003eModerat\u003c\/em\u003e an essential listen. It flirts with dubstep, shifts through smoky reggae and minimal techno; the result is a picture of compositional lines blurred and intentionally coloured over. Vocals are soft and unobtrusive, complementary rather than mix-leading; the sampled guitar passages recall the boundary-pushing sensibilities of TV on the Radio and their ilk, always catchy but never quite conventional.\u003c\/p\u003e\n\u003cp\u003eIn short, Moderat is promise realised, an album that was threatened years ago but has only now come to fruition. Though given its excellence, and elegance, obviously its makers wouldn’t have had it any other way. — (via \u003ca href=\"https:\/\/www.bbc.co.uk\/music\/reviews\/g4hf\/\" target=\"_blank\" rel=\"noopener\"\u003eBBC\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2HEh23ogCT3wiYfag2iMxD?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: BPitch Control\u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eReleased: 2009\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Techno, Dubstep, Electro\u003cbr\u003e\u003cbr\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Electronic \/\/ House \/ Electro \/ Techno\u003cbr\u003e⦿\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"BPitch Control","offers":[{"title":"Default Title","offer_id":41456448045214,"sku":"880319418815","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/457d3011cfe3a2fae525491f2a76584b8554841a.jpg?v=1646290633"},{"product_id":"portishead-dummy","title":"Portishead – Dummy","description":"\u003cp\u003e\u003cstrong\u003e— A TAV Essential Listening Album —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePortishead built upon the foundations laid by its trip hop predecessors to popularise the genre with a sensuous, shadowy, and sultry debut album for the ages.\u003c\/p\u003e\n\u003cp\u003eLed by the chilling, wounded fragility of Beth Gibbons’ sombre vocals and the spectacularly desolate atmosphere crafted by multi-instrumentalist Geoff Barrow, \u003cem\u003eDummy’s\u003c\/em\u003e entrancing amalgamation of slow-beat blues, jazz- inflected soul, dark breakbeats and hip-hop scratches feels like it was composed to backdrop the most mysterious film noir that was never filmed.\u003c\/p\u003e\n\u003cp\u003eAs cool as it is warm, as sexy as it is sad, as lonely as it is lovely - \u003cem\u003eDummy\u003c\/em\u003e is a strangely irresistible, avant-garde exploration of trip hop’s smokiest bars and gloomiest alleyways. An absolute subliminal gem. - \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003ePortishead's album debut is a brilliant, surprisingly natural synthesis of claustrophobic spy soundtracks, dark breakbeats inspired by frontman Geoff Barrow's love of hip-hop, and a vocalist (Beth Gibbons) in the classic confessional singer\/songwriter mold.\u003c\/p\u003e\n\u003cp\u003eBeginning with the otherworldly theremin and martial beats of \"Mysterons,\" \u003cem\u003eDummy\u003c\/em\u003e hits an early high with \"Sour Times,\" a post-modern torch song driven by a Lalo Schifrin sample. The chilling atmospheres conjured by Adrian Utley's excellent guitar work and Barrow's turntables and keyboards prove the perfect foil for Gibbons, who balances sultriness and melancholia in equal measure.\u003c\/p\u003e\n\u003cp\u003eOccasionally reminiscent of a torchier version of Sade, Gibbons provides a clear focus for these songs, with Barrow and company behind her laying down one of the best full-length productions ever heard in the dance world.\u003c\/p\u003e\n\u003cp\u003eWhere previous acts like Massive Attack had attracted dance heads in the main, Portishead crossed over to an American, alternative audience, connecting with the legion of angst-ridden indie fans as well.\u003c\/p\u003e\n\u003cp\u003eBetter than any album before it, \u003cem\u003eDummy\u003c\/em\u003e merged the pinpoint-precise productions of the dance world with pop hallmarks like great songwriting and excellent vocal performances. — (via John Bush \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/dummy-mw0000626613\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic)\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003ePortishead’s Mercury Prize-winning debut takes just seconds to spook its audience. An eerie drone, scratches that sound like alien chatter, a snapping beat that cracks with hip hop attitude but treads cautiously for fear of stepping on a crack and tumbling into whatever unholy chasm music like this is capable of opening. \u003cem\u003eMysterons’\u003c\/em\u003e title is apt – named after the Martian race from Captain Scarlett, it’s an emission from a faraway planet of secrets and shadows. It opens the group’s singular soundworld in a way that’s exquisitely discomforting.\u003c\/p\u003e\n\u003cp\u003eTrue, the constituents that make up much of this collection are easily traced – back to dub, to soul, and especially to hip hop; the array of scratch effects, loops and samples (the best being the slurry use of Johnnie Ray’s version of \u003cem\u003eI’ll Never Fall in Love Again\u003c\/em\u003e, on \u003cem\u003eBiscuit\u003c\/em\u003e) betraying its makers’ affections for very terrestrial traits. But it’s the manner in which the pieces come together that makes \u003cem\u003eDummy\u003c\/em\u003e special to this day. While 16 years old, it sounds remarkably fresh – perhaps because its minimalist design has been recently returned to the Mercury winners circle by The xx; perhaps because the mixture of this backdrop with the vocals of Beth Gibbons remains one of pop music’s most compelling combinations.\u003c\/p\u003e\n\u003cp\u003eWhile producer Geoff Barrow is the heart of \u003cem\u003eDummy\u003c\/em\u003e, and Adrian Utley another just-as-vital organ, the soul is Gibbons. It’s her presence that made Portishead truly stand out from the post-Blue Lines crowd, a group of artists loosely categorised as trip hop. It’s important not to exaggerate her role in taking the group from their West Country roots to worldwide acclaim, to the detriment of her bandmates, but her voice – a ghostly, fractured wail that sounds as if it’s crept from an Edwardian closet that’s been sealed since 1902 – plays a vital part in ensuring this set side-steps convention. Hers is a voice that can’t be copied, coming from the back of her mouth, shaped by throat rather than tongue and lips; it creaks and moans like Mary Celeste decking, every bit as shivers-down-the-spine inducing as Barrow’s off-kilter turntable work and unsettling electronics.\u003c\/p\u003e\n\u003cp\u003eAnd it’s not Gibbons’ words that do the damage – it’s how they’re said. \u003cem\u003eRoads \u003c\/em\u003e– the sort of contemporary masterpiece that in a parallel universe is being wheeled out on The X Factor and reducing Simon Cowell to floods of tears – is the best example of how Gibbons’ technique surpasses any lyrical content. The tone is familiar, an unspecified collapse, potential or assured but surely emotional, is spoken of; but the way she signs off a repeated line with a certain pronunciation of \"wrong\" is utterly arresting. It’s a shapeless sigh of beaten-down anguish, and there’s more heartache and pain in this single second than a whole rack of by-the-book balladeers.\u003c\/p\u003e\n\u003cp\u003eImitators have come and gone, but no act has reproduced the disquieting magnificence conjured here except Portishead themselves. The band’s next album, an eponymous effort of 1997, distanced them from the coffee tables that (wholly unexpectedly) had made room for Dummy; to some it’s a superior listen, though a lot colder and harder than its predecessor. And their overdue comeback of 2008, Third, embraced krautrock motifs to take an established sound into a new dimension. But to many, \u003cem\u003eDummy\u003c\/em\u003e is the group’s defining work – and even if you disagree with that, what can’t be doubted is that this is one of the greatest debuts of the 1990s.  — (via \u003ca href=\"https:\/\/www.bbc.co.uk\/music\/reviews\/j6vh\/\" target=\"_blank\" rel=\"noopener\"\u003eBBC\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e \u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A3gxOtUSRzweDWBKlpj7cG6\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/un8EW82GwKc?si=rQVXyIYMaDT3hWGn\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/4qQyUi4zfDs?si=8sONCCTalNVzfHFQ\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Go! Beat \u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, 180 Gram\u003cbr\u003eReissued:2003 onwards \/ Originally released: 1994\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Trip Hop, Leftfield, Downtempo, Female Vocals\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Electronic \/\/ Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Go! Beat","offers":[{"title":"Default Title","offer_id":41456448110750,"sku":"0042282852212","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/3a5a5fb330f0c9d7dd54e7851c66a9de0e71373a.jpg?v=1646290635"},{"product_id":"burial-burial","title":"Burial – Burial","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDuring the nascent stages of dubstep’s evolution in South London, the sudden emergence of Burial’s game-changing, self-titled debut LP on Hyperdub in 2006 proved to be a seismic shift in the dimly-lit, reverb drenched UK bass underground. Dystopic and claustrophobic, Burial provided the listener with a truly immersive experience of the nocturnal melancholy and urban atmospherics that was characteristic of pre dawn London.\u003c\/p\u003e\n\u003cp\u003eOften lauded as the first critically acclaimed dubstep album which brought the genre to the fore, Burial elevated the dark and grim offshoot of 2-step to new heights with his ability to mingle an array of found sounds, ghostly vocal samples, layers of lugubrious synths and subterranean basslines into a cohesive whole. With his identity hidden at the time of release, the enigma of Burial only served to intensify the eerie and oppressive soundscapes crafted on the album. - \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003cbr\u003e\u003cem\u003eBurial\u003c\/em\u003e is the first great dubstep album, legitimizing a style - a generally dark, emotive, and faceless dub offshoot of 2-step - that had thus far been confined to 12\" vinyl and the underground club scene. Even though a couple of the tracks (\"Southern Comfort,\" \"Broken Home\") had been previously released on the \u003cem\u003eSouth London Boroughs\u003c\/em\u003e EP (2005), \u003cem\u003eBurial\u003c\/em\u003e doesn't sound like a compilation of one-off productions to date, as is often the case with music of this kind. \u003c\/p\u003e\n\u003cp\u003eIt's a true album, a unified collection of songs similar in style as well as mood yet also distinct enough from one another to remain engaging over the course of 13 tracks in 51 minutes. As if it were a well-selected mix album, \u003cem\u003eBurial\u003c\/em\u003e flows well from one track to the next; the exception is \"Spaceape,\" the only song featuring a vocalist (and unfortunately sequenced third, disrupting the flow just as it begins). While some tracks stand out (\"Distant Lights,\" \"Southern Comfort,\" \"Gutted,\" \"Broken Home\"), they're interspersed by low-key tracks such as \"Night Bus\" and \"Forgive\" that enhance the overall mood and space out the highlights. \u003c\/p\u003e\n\u003cp\u003eAs the hazy, mostly black cover art of the album (a nighttime aerial photograph of South London) suggests, the mood of \u003cem\u003eBurial \u003c\/em\u003eis dim, distant, and rather dreary; from a subjective standpoint, one might characterize it as the sound of 3:00 a.m., a time of reflection and perhaps remorse, of being alone after the party's come to an end. There is an emotional aspect at work that is key to this mood, a sullen sense of despair especially evident in the ambient interludes, communicated also in the ghostly vocal samples.\u003c\/p\u003e\n\u003cp\u003eThe technical aspect of \u003cem\u003eBurial\u003c\/em\u003e is remarkable, too. The album's subterranean basslines and skittering rhythms, along with its array of found sounds and production effects, are simple yet inventive, austere yet evocative. Other dubstep producers have crafted a similar style, make no mistake, but Burial is the first to craft it on the scale of a full-length album so effectively. — (via Jason Birchmeier \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/burial-mw0000451070\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003cbr\u003eIf you only buy one dubstep album - let it be Burial.\u003c\/p\u003e\n\u003cp\u003eThe past 12 months have witnessed a flurry of reminders that dubstep can be more than just an intricately sculpted deathmask for UK garage's sarcophagus. Skream's 'Request Line\", fluttery and propulsive, was the sub-genre's most enchanting love letter to grime yet. Pitch's \"Qawalli\" went in the other direction, its distant low-end tribal thud and ghostly shards of accordion rejecting rigor mortis futurism in favour of necromantic fluidity. And then there's Burial, whose music is somewhere between these two poles, and also somewhere else entirely.\u003c\/p\u003e\n\u003cp\u003eThe most immediately striking aspect of this heretofore unknown producer's eponymous debut is that its beats are reminiscent of \"proper\" 2-step's frisky agility; except Burial's rhythms are nervous not joyous, their fleet-footed insubstantiality evoking the fear and dread of dubstep. It's not the delectably programmed beats that stick in your head, however-- else Burial would simply be Horsepower Productions redux. Instead, the success of this music lies almost entirely in its unexpected and unabashed emotionalism. Above the edgy beats hover layers of lugubrious synths, passing over one another like successive waves of blue and purple rainclouds. (The beatless \"Night Bus\" actually samples rainfall to heighten the effect.) Combined with its tense, busy rhythmic arrangements, the effect is reminiscent of the more cinematic late-90s techstep of Hidden Agenda or Dom \u0026amp; Roland.\u003c\/p\u003e\n\u003cp\u003eBurial also sporadically resurrects the 2-step practice of sampling and fucking with female vocalists: On album opener \"Distant Lights\", a bleated \"Now that I meet you...\" drifts from the swirl like Brandy caught on the other side of the looking glass. This is Burial's best trump card: The handful of tracks with sampled vocals stand well above their brethren, possessing an almost manipulative quality of quivering emotional directness. Far from speaking of final resting places, the overriding vibe is one of homelessness and rootlessness, and the nagging feeling that something important has been mislaid. Thematically and sonically, the closest reference point is Tricky's eerie, foreboding \"Broken Homes\" (ironically, Burial's own \"Broken Home\" is perhaps the album's most upbeat moment, sampling a winsome reggae crooner); I'm also reminded of the black eyeliner melodrama of parts of DJ Shadow's The Private Press. Some may scoff at such middlebrow reference points, but it's these resemblances, rather than any fidelity to inner-London dance music, which makes Burial's music such a viable crossover candidate.\u003c\/p\u003e\n\u003cp\u003eIf anything, Burial is weakest when he conforms to the undemonstrative grimness of dubstep proper: The Spartan, assymetrical groove of \"Spaceape\" (featuring the MC of the same name) might sound impressively muscular over a soundsystem, but it's also the album's only genuinely unlikeable moment, and some otherwise interesting tracks such as the brooding \"Southern Comfort\" are dragged down by an air of tight-eyed stiffness, as if afraid of the open expressiveness which the album's highlights revel in. More generally, what prevents Burial from being quite as spectacular as its strongest moments promise is simply its inconsistency-- what we have here is a brilliant EP padded out with sketches and noble failures.\u003c\/p\u003e\n\u003cp\u003eFor the future, Burial would do well to concentrate on deploying these amassed secret weapons simultaneously, as he does on the astonishing \"You Hurt Me\", where a spiralling 2-step rhythm, foreboding Middle-Eastern drones, a disembodied diva plaintively moaning the title and a too-fleeting but essential sampled \"Drop!\" coalesce into a groove that's unnerving, mournful, and compulsively physical. Shepherding together so many familiar musical impulses, it's how Burial spins them into webs of torturous beauty that can make this music so compelling. - \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/9138-burial\/\" target=\"_blank\" rel=\"noopener\"\u003ePitchfork\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A18f6aWSeCaKMZxg75d0t2g\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Hyperdub \u003cbr\u003eFormat: 2 x Vinyl, 12\", 33 ⅓ RPM, Album\u003cbr\u003eReissued:2016 \/ Original: 2006\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Dubstep, Ambient, Abstract, Leftfield\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Electronic \/\/ Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Hyperdub","offers":[{"title":"Default Title","offer_id":41456448667806,"sku":"470997","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/d36562765fd719f0b88cfad1e5bbd2439328079b.jpg?v=1646290644"},{"product_id":"trentemoller-the-last-resort","title":"Trentemøller – The Last Resort (3LP 2018 Reissue)","description":"\u003cp\u003e\u003cstrong\u003e- The Analog Vault \/\/ Essential Listening -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis full-length debut of Trentemøller, released on Poker Flat Recordings in 2006, remains one of the quintessential minimal masterpieces within the realm of 21st century electronic music. Although the Danish multi-instrumentalist and producer had previously been best known for his straight-up, beat-driven techno output, \u003cem\u003eThe Last Resort\u003c\/em\u003e finds Trentemøller shining in the micro details and multifaceted melodies of his foggy and frosty electronica compositions.\u003c\/p\u003e\n\u003cp\u003eGorgeously intricate patterns, broody glitchy textures and ambient undertones immerse the listener in an intimately introspective dancefloor that’s downtempo without ever being depressing. From the dub-techno darkness of “Nightwalker”, to the fragile melancholy of “Snowflake”, to the wide-screen Lynchian mysticism of “The Very Last Resort” - this ambitious and atmospheric LP presents a truly singular musical experience. - \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eTrentemøller's debut album on Poker Flat, \u003cem\u003eThe Last Resort \u003c\/em\u003eis a beautifully crafted, astonishing masterpiece, that will leave you breathless.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe 13 instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursions. An ever-changing kaleidoscope of colours and moods, The Last Resort without a doubt contains Trentemøller’s best work to date. \u003c\/span\u003eAlthough it’s definitely an electronic album, it also incorporates live-drums, some guitars and other acoustic instruments like celesta, glockenspiel, melodica and even DJ scratching to create a more organic feel. “Something I couldn’t manage with just electronica“, according to the producer.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMost tracks were recorded over the course of last year, often in the time in between sessions for his 12-inches and remixes. “Making these tracks was like having time-off.“, says Trentemøller, “Moments to totally space out and let the music flow.” \u003c\/span\u003e\u003cspan\u003eIt may come as a surprise that on The Last Resort Trentemøller moves away from the dancefloor and instead produces an introspective album that’s especially great for homelistening (or listening in the car). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrom his first release on Audiomatique (“Physical Fraction” from January 2005) we knew the young producer from Copenhagen was able to fuse great melodies and chord progressions with subtle, yet driving beats. \u003c\/span\u003eHis excellent remixes for Yoshimoto (“Du what U do “on OM, 2004), Röyksopp (“What else is there”, 2005) and Pet Shop Boys (“Sodom”, Parlophone, 2006) show yet another side of this multitalent, while his first releases on Audiomatique (“Physical Fraction“) and Poker Flat (‘Polar Shift’) suddenly propelled him to dancefloor-fame.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBut, as Trentemøller says now, he doesn’t see himself as someone who just produces dance-tech. “Because I have always made all kinds of music. In the studio, I never think about which genre it is or what target group it is for, I just make the music I feel like. \u003c\/span\u003eWhat came out of the recording sessions for The Last Resort was a very personal album: “It reflects my life, my thoughts, my needs, my insecureness, my longings.” And it was a challenge, he adds, “to express these feelings and moods without words, only with music.” – (via \u003ca href=\"http:\/\/trentemoller.bandcamp.com\/album\/the-last-resort\"\u003eBandcamp\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003ciframe width=\"100%\" height=\"850\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A71atOmlAjqT0QIFbLcRa0a\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Poker Flat Recordings\u003cbr\u003eFormat: 3x Vinyl, LP, Album, Reissue\u003cbr\u003eCountry: Europe\u003cbr\u003eReleased: Jun 13, 2018 \/ Original Release: Oct 9, 2006\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Tech House, Ambient, Minimal, Techno\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003eFile under: House \/ Electro \/ Techno\u003c\/p\u003e","brand":"Poker Flat Recordings","offers":[{"title":"Default Title","offer_id":41456449552542,"sku":"4250382435914","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/Trentmoller.jpg?v=1653718349"},{"product_id":"dj-krush-zen","title":"DJ Krush - 漸 Zen","description":"\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eHideaki Ishi, better known as DJ Krush, is one of Japan’s earliest hip-hop pioneers. Beloved around the world, the turntablist and producer is revered for his atmospheric soundscapes and lush breakbeats, crafted from samples of esoteric jazz and soul records. Those hypnotic downtempo signatures are certainly present on his luminous 2001 album, but unlike his other works, which were mostly instrumental, \u003ci style=\"mso-bidi-font-style: normal;\"\u003eZen\u003c\/i\u003e found the prolific beatmaker incorporating a bevy of inspired vocal guests. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eFeaturing the likes of Black Thought, Company Flow, Zap Mama, N'Dea Davenport and Boss the MC (among others) - DJ Krush found the ideal rappers and singers to complement his trip hop voyage. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eZen\u003c\/i\u003e is also highlighted by stimulating collaborations with drummer Questlove, trumpeter Kazufumi Kodama and percussionist Tunde Ayanyemi, who contribute dynamic live instrumentation to the producer’s idiosyncratic beats. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003cbr\u003e—\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor \u003cem\u003eZen\u003c\/em\u003e, Japanese producer\/mixer DJ Krush works his way into a vision of sublime, downbeat hip-hop that's a snug fit with the title. The opening \"Song 1\" is an irresistible slice of trance-state trip-hop, with the cascading notes of a vibraphone and flute perfectly complementing the atmospheric grooves. Krush also continues the collaborational bent of previous LPs, with hip-hop heads Black Thought and ?uestlove from the Roots (appearing on separate tracks), Company Flow, and DJ Disk alongside left-field choices Zap Mama, N'Dea Davenport, and trumpeter Kazufumi Kodama. \u003c\/p\u003e\n\u003cp\u003eOn these tracks, the beats and effects are more pointed than on the opener and, as in the past, DJ Krush proves he's a stellar jack-of-all-trades trackmaster. The tuneless bassline and production gloom surrounding \"Vision of Art\" are the perfect bedrock for hardcore paranoiacs Company Flow, while the frenetic, quasi-jungle programming on \"Sonic Traveler\" only highlights the incredible flair of guest Tunde Ayanyemi (on kudi and bata drums). And while any other hip-hop producer would burn out on at least a few collaborations, Krush just keeps turning out excellent song beds: for DJ Disk on \"Duck Chase,\" for Zap Mama on \"Danger of Love,\" and for Kazufumi Kodama on \"Day's End.\" All these great appearances make any disappointment caused by the lack of solo jaunts after \"Song 1\" practically nil. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/zen-mw0000011722\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/_3jUC_Fm34s?si=AkVOa_1GZp1e9K6L\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ycvOoAATBL0?si=gLi7mBD5gYCbOQp3\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/WrU9deaaL6s?si=U0GmZNhVAxNiPSE2\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eVinyl tracklist:\u003cbr\u003eA1 Song 1\u003cbr\u003eA2 Zen Approach\u003cbr\u003eA3 Danger Of Love\u003cbr\u003e     Featuring – Zap Mama\u003cbr\u003eB1 Sonic Traveler\u003cbr\u003e     Featuring – Tunde Ayanyemi\u003cbr\u003eB2 Duck Chase\u003cbr\u003e     Featuring – Phonosycographdisk\u003cbr\u003eB3 Vision Of Art\u003cbr\u003e     Featuring – Company Flow\u003cbr\u003eC1 Day's End\u003cbr\u003e     Featuring – Kazufumi Kodama\u003cbr\u003eC2 With Grace\u003cbr\u003eC3 Candle Chant (A Tribute)\u003cbr\u003e     Featuring – Boss The MC\u003cbr\u003eD1 Endless Railway\u003cbr\u003e     Featuring – Ahmir '?uestlove' Thompson\u003cbr\u003eD2 Whut'z Da Solution\u003cbr\u003eD3 ゴクラクチョウ論 (Paradise Bird Theory)\u003cbr\u003e     Featuring – Sunja Lee\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Columbia, Music On Vinyl\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue, 180 Gram\u003cbr\u003eCountry: Europe\u003cbr\u003eReissued: 2010 \/ Original Release: 2001\u003cbr\u003eGenre: Electronic, Hip Hop\u003cbr\u003eStyle: Trip Hop, Abstract, Downtempo\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Electronic \/\/ Downtempo\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Music On Vinyl \/ Columbia","offers":[{"title":"Default Title","offer_id":41456458367134,"sku":"8713748980801","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/DJKrush.jpg?v=1725352785"},{"product_id":"massive-attack-mezzanine","title":"Massive Attack - Mezzanine","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eAnyone experiencing Massive Attack’s third studio effort for the first time instantly imagines the album soundtracking their life’s most pivotal and dramatic moments. It’s certainly no wonder that \u003ci style=\"mso-bidi-font-style: normal;\"\u003eMezzanine\u003c\/i\u003e has gone on to soundtrack some of the most memorable scenes in film and television history. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eEvery song on this LP feels cinematic on both the conscious and subconscious levels. Conceptualised by their lead Robert Del Naja who wanted to create something darker than the Bristol crew’s previous works, \u003ci style=\"mso-bidi-font-style: normal;\"\u003eMezzanine\u003c\/i\u003e marks a noticeable departure from the jazzy, laidback sound of \u003ci style=\"mso-bidi-font-style: normal;\"\u003eBlue Lines\u003c\/i\u003e and \u003ci style=\"mso-bidi-font-style: normal;\"\u003eProtection\u003c\/i\u003e. Anchored by classic tracks such as “Teardrop”, featuring Elizabeth Fraser from Cocteau Twins, this album’s bleak and blurry trip hop tones invariably embeds itself in the listener’s echoic memory. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003e—\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIncreasingly ignored amidst the exploding trip-hop scene, Massive Attack finally returned in 1998 with \u003cem\u003eMezzanine,\u003c\/em\u003e a record immediately announcing not only that the group was back, but that they'd recorded a set of songs just as singular and revelatory as on their debut, almost a decade back.\u003c\/p\u003e\n\u003cp\u003eIt all begins with a stunning one-two-three-four punch: \"Angel,\" \"Risingson,\" \"Teardrop,\" and \"Inertia Creeps.\" Augmenting their samples and keyboards with a studio band, Massive Attack open with \"Angel,\" a stark production featuring pointed beats and a distorted bassline that frames the vocal (by group regular Horace Andy) and a two-minute flame-out with raging guitars. \"Risingson\" is a dense, dark feature for Massive Attack themselves (on production as well as vocals), with a kitchen sink's worth of dubby effects and reverb. \"Teardrop\" introduces another genius collaboration -- with Elizabeth Fraser from Cocteau Twins -- from a production unit with a knack for recruiting gifted performers.\u003c\/p\u003e\n\u003cp\u003eThe blend of earthy with ethereal shouldn't work at all, but Massive Attack pull it off in fine fashion. \"Inertia Creeps\" could well be the highlight, another feature for just the core threesome. With eerie atmospherics, fuzz-tone guitars, and a wealth of effects, the song could well be the best production from the best team of producers the electronic world had ever seen. Obviously, the rest of the album can't compete, but there's certainly no sign of the side-two slump heard on \u003cem\u003eProtection\u003c\/em\u003e, as both Andy and Fraser return for excellent, mid-tempo tracks (\"Man Next Door\" and \"Black Milk,\" respectively). — (via John Bush \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/release\/mr0000084406\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003eSome records define a movement, others a whole period of time. Some records might even dominate the zeitgeist for years to come, or at least fester in the subconscious of pop culture’s collective memory for a long, long time. I’m not even sure in which of these categories to place Massive Attack‘s massive (pun wholeheartedly intended) third album \u003cem\u003eMezzanine\u003c\/em\u003e; perhaps it’s too fitting for all of them to reduce it to one kind of impact. Be it as it may, this gargantuan, widely acclaimed and influential recording was released 25 years ago by now, which makes it inevitable that it would appear on \u003ca href=\"https:\/\/everythingisnoise.net\/features\/a-scene-in-retrospect-massive-attack-mezzanine\/\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003eA Scene In Retrospect\u003c\/em\u003e\u003c\/a\u003e around this time.\u003c\/p\u003e\n\u003cp\u003eJoe McKenna: \"The year is 1998, the English city of Bristol is facing a period of immense cultural change the likes this Southern West city has ever seen. After an assimilation of soul, reggae, dub, and hip hop being dispersed across Bristol’s mid-’80s club scene, many of these transatlantic samples and sounds that found their way into sound systems of creatively stimulated DJs and audio engineers. Cue Massive Attack, often coined under the ‘trip-hop’ genre tagline, this west country electronic collective embodied a degree of style and aesthetic that was far too sonically expansive to fall under one particular genre. This, of course, cannot be clearer for the group than on their third studio release, \u003cem\u003eMezzanine\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eAt a time when Massive Attack became somewhat a voice for an entire youth subculture disillusioned by the turmoil of the Thatcher years a decade prior; the false hope given by a new Labour government; and general the declining socio-political landscape that plagued their future, their music had always strived to distance from other forms of dance music within the Bristol scene to convey a more socially-conscious message, yet it was with \u003cem\u003eMezzanine \u003c\/em\u003ethat the band truly augmented their rebellious outsider status within the dance scene that consisted of an unorthodox sonic palette that pushed experimentation with new aesthetic territories personifying notions of punk rock and industrial on top of hip hop and dub music.\u003c\/p\u003e\n\u003cp\u003eI’ve always gravitated towards sounds that exude a dark and sinister tone, as they tend to be most successful in holding my intrigue for the mysterious and confrontational concepts that are buried within them; to find that in \u003cem\u003eMezzanine\u003c\/em\u003e, however, was an entire new feeling that I still can’t quite describe so clearly. The overall tone needed not be too heavy, too extreme, too socially objective, too controversial for it to still evoke a darker aesthetic; rather the songs on this album are more concerned with exploring numerous outlandish musical realms that formulate it’s atmosphere. Take “Inertia Creeps” as an example of this carefully woven web of chilling beats that interlace with several abnormal textures to create this unstable sensation.\u003c\/p\u003e\n\u003cp\u003e“Dissolved Girl” was another one of these darker tracks I found myself attached to, due to its enigmatic sonic qualities that somewhat radiated a sort of warm energy at the same time, when you take the dissident electronic patterns and distorted, mechanised punk riffs whilst Shara Nelson’s icy vocal delivery adds a layer of mystique to the piece. Another personal favourite, and what I think is one of the record’s more distinguished tracks, “Teardrop” combines layers of tense melodramatic harmony, melodic plucks, and entrancing electro-beats to formulate an enchanting soundscape that allows you to fall into an otherworldly hole of mystery.\u003c\/p\u003e\n\u003cp\u003eAnother interesting aspect of this record I never really looked too much into the first time around, and what I’ve been most drawn to whilst writing this piece, is the heavily nuanced and intricate use of samples that are dispersed across many of \u003cem\u003eMezzanine’s\u003c\/em\u003e tracks. These samples are pretty evident of Massive Attack’s roots in reggae, punk, industrial, dub, and even folk music, particularly in the song “Risingson” that makes lyrical reference to “Dennis the Menace” (Dennis Pinnock), “I Found a Reason” (The Velvet Underground), and “Where Have All The Flowers Gone” (Pete Seegar), truly showing exceptionally high degree of musical diversity and nuance. The fact that the band were able to include a list of samples that expands over from ’60s\/’70s Caribbean rocksteady innovators to notorious hard rock contemporaries just goes to demonstrate the driving ambition and creative exchange that was present within Massive Attack’s musicianship at this time.\u003c\/p\u003e\n\u003cp\u003eI could go on about wide assortment of artists and songs being used within the \u003cem\u003eMezzanine\u003c\/em\u003e repertoire, but since there’s plenty of videos and analysis of that already for you to really dig into, there’s not much more left to say about this strangely unique and quite mesmerising record, other than maybe arguing that this is one of those albums that stands out for its day not just because of how it created something that stood it apart from other electronic and trip hop music that was being produced around the same time, but also because \u003cem\u003eMezzanine\u003c\/em\u003e is one of those records that contains so much sonic multiplicity that its able to draw listeners in from very contrasted music backgrounds and embrace this opaque, dystopian, post-apocalyptic record first-hand.\"\u003c\/p\u003e\n\u003cp\u003e— (via \u003ca href=\"https:\/\/everythingisnoise.net\/features\/a-scene-in-retrospect-massive-attack-mezzanine\/\" target=\"_blank\" rel=\"noopener\"\u003eEverything is Noise\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/49MNmJhZQewjt06rpwp6QR?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/85E9Q5Wx210?si=dAo8yfGz1ZKynVYy\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/u7K72X4eo_s?si=dELMhuDVgEKSvxRW\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e↓\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eLabel: Virgin \u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue, 180g\u003cbr\u003eReissued: 2023 \/ Original release: 1998\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Trip Hop, Downtempo, Leftfield\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Electronic \/\/ Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Virgin","offers":[{"title":"Default Title","offer_id":41456461742238,"sku":"0602537540433","price":75.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/1bb46eb239a69356f8a4430275de202b469e8570.jpg?v=1646290790"},{"product_id":"charles-mingus-mingus-ah-um","title":"Charles Mingus - Mingus Ah Um","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003e1959 was a watershed year for staggering jazz releases (\u003cem\u003eKind Of Blue, Giant Steps, The Shape Of Jazz To Come,  Moanin’\u003c\/em\u003e, and \u003cem\u003eTime Out),\u003c\/em\u003e but even amongst giants, Charles Mingus’ debut for Columbia stands out. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eMingus Ah Um\u003c\/i\u003e is the breathtaking apotheosis of the bassist’s sizable talent as a composer, improviser and player - and his most accessible entry point for new listeners. \u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003eRousing and rambunctious, this magnificent LP is a perfectly sequenced hard bop tribute to Mingus’ musical forebears, with quintessential tracks directly referencing his influences and inspirations (gospel, blues, Lester Young, Duke Ellington, Jelly Roll Morton and Charlie Parker). He may be nicknamed The Angry Man of Jazz, but \u003ci style=\"mso-bidi-font-style: normal;\"\u003eMingus Ah Um\u003c\/i\u003e is the fiery man at his most playful, and the virtuoso artist at his most musical. - The Analog Vault\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003eCharles Mingus' debut for Columbia, \u003cem\u003eMingus Ah Um\u003c\/em\u003e is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for \u003cem\u003eThe Black Saint and the Sinner Lady\u003c\/em\u003e as his best work overall, it lacks \u003cem\u003eAh Um's\u003c\/em\u003e immediate accessibility and brilliantly sculpted individual tunes. Mingus' compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on \u003cem\u003eMingus Ah\u003c\/em\u003e \u003cem\u003eUm.\u003c\/em\u003e The band includes longtime Mingus stalwarts already well versed in his music, like saxophonists John Handy, Shafi Hadi, and Booker Ervin; trombonists Jimmy Knepper and Willie Dennis; pianist Horace Parlan; and drummer Dannie Richmond. Their razor-sharp performances tie together what may well be Mingus' greatest, most emotionally varied set of compositions. \u003c\/p\u003e\n\u003cp\u003eAt least three became instant classics, starting with the irrepressible spiritual exuberance of signature tune \"Better Get It in Your Soul,\" taken in a hard-charging 6\/8 and punctuated by joyous gospel shouts. \"Goodbye Pork Pie Hat\" is a slow, graceful elegy for Lester Young, who died not long before the sessions. The sharply contrasting \"Fables of Faubus\" is a savage mockery of segregationist Arkansas governor Orval Faubus, portrayed musically as a bumbling vaudeville clown (the scathing lyrics, censored by skittish executives, can be heard on Charles Mingus Presents Charles Mingus). The underrated \"Boogie Stop Shuffle\" is bursting with aggressive swing, and elsewhere there are tributes to Mingus' most revered influences: \"Open Letter to Duke\" is inspired by Duke Ellington and \"Jelly Roll\" is an idiosyncratic yet affectionate nod to jazz's first great composer, Jelly Roll Morton. \u003c\/p\u003e\n\u003cp\u003eIt simply isn't possible to single out one Mingus album as definitive, but \u003cem\u003eMingus Ah Um \u003c\/em\u003ecomes the closest. — (via Steve Huey \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/mingus-ah-um-mw0000188531\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7pojWP7x9uEFSJgw765khA?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Music On Vinyl \/ Columbia\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Remastered\u003cbr\u003eReissued: 2010 \/ Original: 1959\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Bop, Hard Bop\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Jazz\u003cbr\u003e⦿\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Music On Vinyl \/ Columbia","offers":[{"title":"Default Title","offer_id":41456463544478,"sku":"886976648718","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/81PoWzt0k_L._UF1000_1000_QL80.jpg?v=1727174234"},{"product_id":"theo-parrish-american-intelligence","title":"Theo Parrish – American Intelligence","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFew figures in house music lore inspire as much fanatical devotion as Theo Parrish. The revered producer seemed to have gotten even more exploratory with age, as proven on this acclaimed 2014 album released via his influential Sound Signature label. \u003cem\u003eAmerican Intelligence\u003c\/em\u003e is as subtly radical as house music gets, threading in the cadences of free jazz, R\u0026amp;B and soul through spare rhythmic patterns and acoustic drum programming, punctuated by vocals from Parrish and special guest Ideeyah. This two-hour collection is yet another revelatory statement in the discography of man who cannot help but push boundaries. - \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003cbr\u003e—\u003cbr\u003eTheo Parrish is a musician and selector based in Detroit, Michigan, often described as a 'techno\/house' artist. He has recorded music under his own name as well as with Rick Wilhite, Marcellus Malik Pittman and Kenneth Dixon Jr as 3 Chairs. He also puts out releases on his record label, Sound Signature. Another aspect of Theo Parrish's productions are his re-edits, often of old disco, funk or soul records. He is almost as renowned for his expansive and genre-hopping live DJ sets as his productions. \u003cbr\u003e\u003cbr\u003eIn 2014 Theo Parrish took his new live show on the road. It wasn't the first time he'd been involved with live performance—he was playing shows with his Rotating Assembly ten years back—but this was Parrish putting himself out there, front and centre, performing his own material on stage with a band. This was Theo Parrish the musician, not Theo Parrish the producer or Theo Parrish the DJ. The idea of musicianship, of creating everything from scratch, also drives American Intelligence, Parrish's first solo full-length since 2007. For someone whose back catalogue is littered with examples of clever sampling, Parrish has distanced himself from sampling as an art form, explaining to Slices this year that \"As I grew older, [I began] respecting what I was sampling and editing.\" So you won't find many nifty samples on American Intelligence—it's all Parrish's music, and the vocals come from Parrish himself, or Ideeyah, an important cog in his live show.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAmerican Intelligence \u003c\/em\u003eforms a kind of companion piece to the live show. It's presented in two versions: the triple-vinyl version, which clocks in at nine tracks, and the more unwieldy 15-track double-CD, which sags heavily as the second disc wears on. The tracks that Parrish performed live this year provide American Intelligence with its strongest moments. There's \"Footwork,\" an irresistible call to dance floor and one of 2014's best singles, \"Ah,\" with Ideeyah on vocals, is sweet and mostly drum-free, and \"Be In Yo Self,\" equals anything in Parrish's catalogue in terms of groove and depth. The drums skitter on \"Drive,\" on which Theo asks, \"Where's your drive? Has it died? It keeps me alive.\" It sounds like a question posed to people around him—lazy DJs, unadventurous live acts, a music press he feels is suffering. \"Life Spice's\" stuttering loop makes it sound like an Ugly Edit of \"Miss You\" by The Rolling Stones, while \"Welcome Back\" is a three-minute imagining of a trip to the grocery store interrupted by a traffic cop, played out by Parrish and backed by belligerent drums. — via Resident Advisor\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0DoWNwSzBk0R0QzgaQIxcE?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Sound Signature\u003cbr\u003eFormat: 3x Vinyl, 12\", Album\u003cbr\u003eCountry: US\u003cbr\u003eReleased: 2014\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: House, Deep House\u003c\/p\u003e\n\u003cp\u003eFile under: House \/ Electro \/ Techno\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Sound Signature","offers":[{"title":"Default Title","offer_id":41456464953502,"sku":"SS055\/56\/57","price":75.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/d7f5212ec09641fa9e518b3a6deaa60a4fbc15a7.jpg?v=1646290819"},{"product_id":"gilles-peterson-magic-peterson-sunshine-compilation","title":"Gilles Peterson – Magic Peterson Sunshine","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGilles Peterson has a special love afair with MPS. To be exact, it goes back more than three decades to the London of the 1980’s when Gilles stood at the beginning of an exceptional career as DJ, Radio personality, and producer. At that time he was already interested in unusual and unique jazz recordings, and so he inevitably came across the record label from Germany’s Black Forest (Schwarzwald), whose catalogue encompassed a large, totally distinct repertoire that had never been released anywhere else. Naturally, there was a long list of amazing interpretations of jazz classics from acknowledged jazz masters, but early on Gilles had developed the talent to dig deeper into the depths of the archives in order to ferret out the special features of the catalogue – occasionally discovering a obscurity – and bring them to the light of day.\u003c\/p\u003e\n\u003cp\u003eHe seemed to be able to effortlessly show a completely new connection between classic jazz recordings through the way they were chosen, assorted, and sequenced. Thus, every single title was imbued with a new energy, freshness, and, above all, timelessness, always with an eye on whether the chosen recordings would possibly be compatible with the needs of clubs. This present MPS compilation is an especially good example of Gilles Peterson’s amazing talent. It delivers only a small, yet carefully chosen section out of the depths of the MPS archives. — via Label\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6VflpBTIdO5wvutZII2Grw?utm_source=generator\u0026amp;theme=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"500\" src=\"https:\/\/www.youtube.com\/embed\/5HCdVswwo4w?si=ZW85D4uZ3rdHrM91\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Edel \/ MPS Records\u003cbr\u003eFormat: 2 × Vinyl, LP, Album, Compilation\u003cbr\u003eReleased: 2016\u003cbr\u003eGenre: Jazz\u003cbr\u003e\u003cbr\u003eFile under: Jazz Compilation\u003cbr\u003e⦿\u003c\/p\u003e","brand":"MPS Records","offers":[{"title":"Default Title","offer_id":41456465838238,"sku":"4029759108818","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/81K49TOwBFL._SL1500.jpg?v=1738302665"},{"product_id":"eric-dolphy-at-the-five-spot-volume-1-200g-analogue-production-reissue","title":"Eric Dolphy - At The Five Spot, Volume 1 (2023 Analogue Productions Reissue)","description":"\u003cdiv\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/div\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003eAfter having left the ensemble of Charles Mingus and upon working with John Coltrane, Eric Dolphy formed a short-lived but potent quintet with trumpeter Booker Little, who would pass away three months after this recording. Despite all of the obstacles and subsequent tragedy, this quintet became legendary over the years justifiably so — and developed into a role model for all progressive jazz combos to come. The combined power of Dolphy and Little; exploring overt but in retrospect not excessive dissonance and atonality — made them a target for critics but admired among the burgeoning progressive post-bop scene. With the always stunning shadings of pianist Mal Waldron, the classical-cum-daring bass playing of Richard Davis, and the colorful drumming of alchemistic Ed Blackwell, there was no stopping this group.\u003c\/p\u003e\n\u003cp\u003eLive at the legendary Five Spot Café in New York City, this band set the Apple, and the entire jazz world on their collective ears. \"Fire Waltz\" demonstrates perfectly how the bonfire burns from inside the soul of these five brilliant provocateurs, as Dolphy's sour alto and Little's dour trumpet signify their new thing. Dolphy's solo is positively furious, while Blackwell nimbly switches up sounds within the steady 3\/4 beat. \"Bee Vamp\" does not buzz so much as it roars in hard bop trim. A heavy tandem line breaks and separates in the horn parts like booster rockets. Blackwell is even more amazing, and Dolphy's ribald bass clarinet set standards that still influences players of the instrument. Where \"The Prophet\" is a puckery blues, it is also open armed with minor phrasings and stretched harmonics. This is where Waldron and Davis shine in their terra cotta facades of roughly hewn accompaniments to Dolphy and Little's bold flavored statements. A shorter alternate take of \"Bee Vamp\" is newly available, shorter by two-and-a-half minutes and with a clipped introductory melody.\u003c\/p\u003e\n\u003cp\u003eMost hail this first volume, and a second companion album from the same sessions, as music that changed the jazz world as much as Ornette Coleman and John Coltrane's innovative excursions of the same era. All forward thinking and challenged listeners need to own these epic club dates. — via AllMusic\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2QmssU0RNrWDa0YIJwDcb7?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Prestige, New Jazz, Analogue Productions\u003cbr\u003eSeries: The Prestige Stereo Series\u003cbr\u003eFormat: Vinyl, LP, Album, Limited Edition, Reissue, Stereo, 180g\u003cbr\u003eReissued: 2023 \/ Original Release: 1961\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Post Bop, Modal\u003c\/p\u003e\n\u003cp\u003eFile under: Audiophile Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Analogue Productions \/ Prestige","offers":[{"title":"Default Title","offer_id":41456471605406,"sku":"753088826016","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/71krsXlhvzL.jpg?v=1677131199"},{"product_id":"miles-davis-cookin-with-the-miles-davis-quintet-200g-mono-analogue-productions-reissue","title":"The Miles Davis Quintet - Cookin' with the Miles Davis Quintet (Analogue Productions Reissue)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003eThe Miles Davis Quintet of 1955-’57 was a phenomenon that left many jaws dropping. Their magic and in-the-fast-lane fluidity was best caught onstage, in a live context. One who witnessed the ascent of the group was the normally staid music journalist Ralph Gleason, who later wrote:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003eI heard this band many nights at the Blackhawk in San Francisco, for which I am grateful…they wailed. And they didn’t need to warm up…the sheer intensity of it was thrilling. Fast or slow, they made every bar sound like it had been born in an atom-splitting burst of energy.\u003c\/p\u003e\n\u003cp\u003eThe quintet was a phenomenon. At their exuberant, full-throttle best, the group simply had so much to offer: Coltrane’s raw, edgy – at times endless – tenor improvisations. Garland’s fiery, left-hand chording.\u003cspan class=\"Apple-converted-space\"\u003e \u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003ePhilly Joe’s exciting cymbal work and propulsive rim shots. Miles’ subdued, muted trumpet. Chambers’ adept and soulful bowed solos. Years after the quintet’s debut, jazz writers were exhilarated by their interactivity. “The intricacy of the linkage between the minds of these musicians has never been equaled in any group, in my opinion,” wrote Gleason. Prestige president Bob Weinstock lauded them “the Louis Armstrong Hot Five of the modern era.” In 1956, when Columbia Records wanted to sign Miles away from Prestige, he still had significant time on his 3-year contract. As Columbia’s George Avakian remembered, Miles brainstormed a win-win situation that made both labels happy:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003eMiles got a crazy idea and it worked. He said “Tell Bob Weinstock you’d like to record me, and you won’t put the masters out until the end of my [Prestige] contract, which would be about two years hence. Meanwhile they can stockpile albums, and when Columbia comes out with my first album, you’re going to advertise it and promote it, right?” I said, “Sure we will.” “So Prestige will get the benefit of that . . .”\u003c\/p\u003e\n\u003cp\u003eStockpile is exactly what Prestige did: in 1956, over two marathon sessions, Miles and his Quintet performed four album’s worth of tunes, most of them from their well-rehearsed live set-list of jazz standards, with no retakes. To this day, the gerund-themed quartet of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eCookin’\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eRelaxin’\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eWorkin’\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSteamin’\u003c\/i\u003e— define a high-water mark for small group jazz improvisation.\u003cspan class=\"Apple-converted-space\"\u003e \u003cspan\u003eThe tunes are also telling of the group’s distinctive strengths: their cohesive swing — and Coltrane’s growing confidence – on burners like “Salt Peanuts,” “I Could Write A Book,” Rollins’ “Oleo,” and Miles’ “Tune Up.” Their penchant for brisk, mid-tempo numbers that closely followed Ahmad Jamal’s interpretations of “If I Were A Bell” and “Surrey With The Fringe On Top.” Their ability to re-imagine certain structures, like Thelonious Monk’s “’Round Midnight,” making them their own. The pretty songs: Miles alone with the rhythm section, Coltrane laying out as he often did on the trumpeter’s ballad features. Miles’ performances of “My Funny Valentine” and “It Never Entered My Mind” proved career-launching and revealed the inner sensitivity he spent a lifetime masking with a street-tough exterior. — via Label\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/50J57uCvPub0yK2kjkfC9J?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Analogue Productions, Prestige\u003cbr\u003eSeries: The Prestige Mono Series\u003cbr\u003eFormat: Vinyl, LP, Album, Limited Edition, Reissue, Repress, Mono, 180g\u003cbr\u003eReissued: 2022 \/ Original Release: 1957\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Bop, Hard Bop, Post Bop\u003c\/p\u003e\n\u003cp\u003eFile under: Audiophile Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Analogue Productions \/ Prestige","offers":[{"title":"Default Title","offer_id":41456472359070,"sku":"753088709432","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/81BjFop_xKL._UF1000_1000_QL80.jpg?v=1741343053"},{"product_id":"boards-of-canada-music-has-the-right-to-children","title":"Boards Of Canada – Music Has The Right To Children","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUnlike other electronic music experimentalists on the Warp roster whose innovations in the genre sounded cold and futuristic, Boards of Canada’s inventiveness was warm and nostalgic. Beginning with their debut album \u003cem\u003eMusic has the Right to Children\u003c\/em\u003e in 1998, the Scottish duo’s hallucinatory and hazy blend of downtempo, ambient, IDM, trip hop and psychedelia immediately evokes an expansive sense of emotionality and genuine optimism.  \u003c\/p\u003e\n\u003cp\u003eUsing detuned synths, drum machines and reel-to-reel tape recorders, Michael Sandison and Marcus Eoin deftly combine analogue and electronic instrumentation to craft something that feels uncannily like a personal, pastoral memory. That effect of childhood innocence is further accentuated by the brothers’ use of vintage samples, including snippets from Sesame Street and sounds from nature documentaries. Elegiac and hauntological, \u003cem\u003eMusic has the Right to Children \u003c\/em\u003eis the rare electronic album prefers to remember rather than presage. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" rel=\"noopener\" target=\"_blank\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eAlthough Boards of Canada's blueprint for electronic listening music - aching electro-synth with mid-tempo hip-hop beats and occasional light scratching - isn't quite a revolution in and of itself, \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e is an amazing LP. Similar to the early work of Autechre and Aphex Twin, the duo is one of the few European artists who can match their American precursors with regard to a sense of spirit in otherwise electronic music. This is pure machine soul, reminiscent of some forgotten Japanese animation soundtrack or a rusting Commodore 64 just about to give up the ghost. Alternating broadly sketched works with minute-long vignettes (the latter of which comprise several of the best tracks on the album), \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e is one of the best electronic releases of 1998. — (via John Bush \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/music-has-the-right-to-children-mw0000042674\" rel=\"noopener\" target=\"_blank\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eBoards of Canada’s 1998 album is a beat-music touchstone, a record that took the previous decade of home-listening electronic music and essentially perfected it. \u003c\/p\u003e\n\u003cp\u003eSometimes an album is so good and makes its case so flawlessly that it spawns a mini-genre of its own and becomes shorthand for a prescribed set of values. The Velvet Underground's \u003cem\u003ethird\u003c\/em\u003e and Miles Davis' \u003cem\u003eBitches Brew\u003c\/em\u003e are two older records that spring to mind, and I'd toss in \u003cem\u003eSpiderland\u003c\/em\u003e as well. It's not a long list, but somewhere on it belongs Boards of Canada's\u003cem\u003e Music Has the Right to Children\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eEarlier this month, Warp Records reissued \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e worldwide, adding the bonus track \"Happy Cycling\" (which we Americans with our Matador-licensed copies have always known as the album closer) and redesigning the cover art as a foldout digipak. It's always a bit strange when an album is reissued when it has not, in any sense, ever gone away. How could we possibly have forgotten about M\u003cem\u003eusic Has the Right to Children \u003c\/em\u003ewhen the sound Michael Sandison and Marcus Eoin created here is still the predominant inspiration in IDM? And yet, here we are, new package and new marketing push. Even so, six years after its original release is as good as any time to look into why Music Has the Right to Children has resonated so strongly.\u003c\/p\u003e\n\u003cp\u003eBoards of Canada's sound was not wholly original. Seeds of it can be found in Eno, Aphex Twin (in a big way), The Orb, and all over the home listening electronic scene that sprang up in the wake of Warp's Artificial Intelligence compilation. Boards used drum machines, samplers, and an unfathomable collection of analog and digital synths, like others in their sphere. Their chords were typically gauzy ambient, their beats head-nodding downtempo. Properly speaking, they invented nothing.\u003c\/p\u003e\n\u003cp\u003eAnd yet, the parts had never come together quite like this. The first thing to note is that \u003cem\u003eMusic Has the Right\u003c\/em\u003e revealed Boards of Canada to be geniuses with texture, where god is in the details. The incredibly simple melody of the short \"Bocuma\" becomes a lump-in-the-throat meditation on man's place in the universe through subtle pitchshifts and just the right mist of reverb. The slow fade-in on \"An Eagle in Your Mind\" is the lonesome sound of a gentle wind brushing the surface of Mars moments after the last rocket back to Earth has lifted off. The long history of the electric piano was nothing but a lead-in to the tone Boards used on \"Turquoise Hexagon Sun\", the perfect evocation of a happy walk through the woods in an altered state. Every IDM artist since has at least once labored over their modular unit to get a patch that sounds like one of the many brilliant sounds found here.\u003c\/p\u003e\n\u003cp\u003eBoards of Canada had released some singles and two EPs previous to this record's release, material which showed that they'd already developed their sound. But with \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e, the duo set out to make a proper album, and approached the album from a rock perspective, carefully mixing and editing the track sequence, while drafting interludes and tightly restricting the palette. You aren't likely to hear more subtly effective layering of sounds on any electronic record in the last 10 years: \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e is as unified and complete they come. Here, Boards of Canada set their sights on a small set of moods and characteristics - innocence, apprehension, wonder, mystery- and probed every possibility in minute detail.\u003c\/p\u003e\n\u003cp\u003eWhat's it all about, then? \"Childhood\" is the usual answer, but that's not as easy a connection as it seems on the surface. The giggling voices of kids that crop up are a sure giveaway, as are the song titles (\"Rue the Whirl\", \"Happy \"Cycling\"), but Music Has the Right to Children avoids the twinkling music box melodies that Múm has been coasting on for a while now. Boards managed to evoke childhood without seeming cute or twee. It's childhood not as it's lived but as we grown-ups remember it, at least those of us with less-than-fond recollections. The shades of darkness and undercurrents of tension (qualities which came further to the fore on 2002's Geogaddi) accurately reflect the confusion of a time that cannot be neatly summed up with any one feeling or emotion.\u003c\/p\u003e\n\u003cp\u003eWhen you discover that Boards of Canada took their name came from an organization committed to educational film, the overriding idea of their project clicks immediately into place. I've no memories of the National Film Board of Canada but I remember tapes with narration and incidental music accompanying filmstrips, tapes that were always damaged from age and overuse on poorly maintained equipment. The warbly pitch and warped voices mirrored the anxiety that came with the \"carefree\" days of being a kid and living subjugated to others. Boards of Canada tapped into the collective unconscious of those who grew up in the English speaking West and were talented enough to transcribe the soundtrack. No need to get hung up on specifics; however we lived and whoever we were, \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e reflected back the truth for a lot of us. You can't ask more of an album than that. — (via \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/838-music-has-the-right-to-children\/\" rel=\"noopener\" target=\"_blank\"\u003ePitchfork\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6LZiNXaDvhzvnXUubVOmNU?utm_source=generator\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Warp Records \/ Skam\u003cbr\u003eFormat: 2x Vinyl, LP, Album, Reissue, Repress\u003cbr\u003eReissued: 2016 \/ Original: 1998\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: IDM, Ambient, Leftfield\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  Electronic \/\/ Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456472719518,"sku":"801061805517","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a3351001335_10.jpg?v=1705556316"},{"product_id":"stan-getz-joao-gilberto-getz-and-gilberto-45rpm-analogue-production-reissue","title":"Stan Getz \u0026 Joao Gilberto ft. Antonio Carlos Jobim - Getz \/ Gilberto (45RPM Audiophile Edition)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBeyond being one of the best-selling jazz albums of all-time, \u003cem\u003eGetz\/Gilberto\u003c\/em\u003e also represents the crowning achievement of bossa nova. The illustrious coming together of American saxophonist Stan Getz and Brazilian guitarist\/singer João Gilberto, alongside composer\/pianist Antonio Carlos Jobim, was a watershed moment that brought the cool jazz, elegant sambas and the exotic flavours of Rio De Janeiro into the mainstream.\u003c\/p\u003e\n\u003cp\u003eHeadlined by classics such as “The Girl From Ipanema” and “Corcovado” - both sung by João's wife Astrud Gilberto in her first professional recording session -\u003cem\u003e Getz\/Gilberto\u003c\/em\u003e was a soft and sensuous album of unassailable beauty that embodied bossa nova's dreamy romanticism. This universally beloved record is the rare album that will appeal to purists and the casual public alike. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eOne of the biggest-selling jazz albums of all time, not to mention bossa nova's finest moment, Getz\/Gilberto trumped Jazz Samba by bringing two of bossa nova's greatest innovators - guitarist\/singer João Gilberto and composer\/pianist Antonio Carlos Jobim - to New York to record with Stan Getz. The results were magic. Ever since Jazz Samba, the jazz marketplace had been flooded with bossa nova albums, and the overexposure was beginning to make the music seem like a fad. Getz\/Gilberto made bossa nova a permanent part of the jazz landscape not just with its unassailable beauty, but with one of the biggest smash hit singles in jazz history - \"The Girl From Ipanema,\" a Jobim classic sung by João's wife, Astrud Gilberto, who had never performed outside of her own home prior to the recording session. \u003c\/p\u003e\n\u003cp\u003eBeyond that, most of the Jobim songs recorded here also became standards of the genre - \"Corcovado\" (which featured another vocal by Astrud), \"So Danço Samba,\" \"O Grande Amor,\" a new version of \"Desafinado.\" With such uniformly brilliant material, it's no wonder the album was such a success but, even apart from that, the musicians all play with an effortless grace that's arguably the fullest expression of bossa nova's dreamy romanticism ever brought to American listeners. Getz himself has never been more lyrical, and Gilberto and Jobim pull off the harmonic and rhythmic sophistication of the songs with a warm, relaxed charm. This music has nearly universal appeal; it's one of those rare jazz records about which the purist elite and the buying public are in total agreement. Beyond essential. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/getz-gilberto-mw0000649528\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/73ZRKdD3Ds43IjHrhKgucY?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Analogue Productions, Verve Records\u003cbr\u003eSeries: Verve Reissues\u003cbr\u003eFormat: 2 x Vinyl, 12\", 45 RPM, Album, Limited Edition, Reissue, Remastered, Stereo, 200g, Gatefold\u003cbr\u003eReissued: 2011 \/ Original Release: 1964\u003cbr\u003eGenre: Jazz, Latin\u003cbr\u003eStyle: Latin Jazz, Bossa Nova\u003c\/p\u003e\n\u003cp\u003eFile under: Audiophile Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Verve \/ Analogue Productions","offers":[{"title":"Default Title","offer_id":41456486613150,"sku":"753088854514","price":95.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/8495305457ca979874c65e717db2ed4c94251752.jpg?v=1646290963"},{"product_id":"a-tribe-called-quest-the-low-end-theory","title":"A Tribe Called Quest – The Low End Theory","description":"\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Golden Age of hip-hop produced a plethora of great rap music, but few albums from that revered era have proven to be as eminent as A Tribe Called Quest’s exceptional 1991 LP.  Produced primarily by Q-Tip, alongside increased participation from rapper Phife Dawg, the group’s sophomore effort was an unmitigated triumph in the alternative rap scene. Coated with a mellow jazzy atmosphere derived from stripped-back hard bop and bebop samples, \u003cem\u003eThe Low En\u003c\/em\u003ed Theory’s soulful grooves offered the ideal platform for Q-Tip and Phife Dawg’s razor sharp verses, revelatory interplay, and socially conscious lyricism to shine.\u003c\/p\u003e\n\u003cp\u003eSpirited and lyrically poetic, this transcendental album stands as testament to A Tribe Called Quest’s ability to capture the cultural and social zeitgeist through their sonic artistry. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eWhile most of the players in the jazz-rap movement never quite escaped the pasted-on qualities of their vintage samples, with \u003cem\u003eThe Low End Theory\u003c\/em\u003e, A Tribe Called Quest created one of the closest and most brilliant fusions of jazz atmosphere and hip-hop attitude ever recorded. The rapping by Q-Tip and Phife Dawg could be the smoothest of any rap record ever heard; the pair are so in tune with each other, they sound like flip sides of the same personality, fluidly trading off on rhymes, with the former earning his nickname (the Abstract) and Phife concerning himself with the more concrete issues of being young, gifted, and black.\u003c\/p\u003e\n\u003cp\u003eThe trio also takes on the rap game with a pair of hard-hitting tracks: \"Rap Promoter\" and \"Show Business,\" the latter a lyrical soundclash with Q-Tip and Phife plus Brand Nubian's Diamond D, Lord Jamar, and Sadat X. The woman problem gets investigated as well, on two realistic yet sensitive tracks, \"Butter\" and \"The Infamous Date Rape.\" The productions behind these tracks aren't quite skeletal, but they're certainly not complex. Instead, Tribe weaves little more than a stand-up bass (sampled or, on one track, jazz luminary Ron Carter) and crisp, live-sounding drum programs with a few deftly placed samples or electric keyboards. It's a tribute to their unerring production sense that, with just those few tools, Tribe produced one of the best hip-hop albums in history, a record that sounds better with each listen. \u003cem\u003eThe Low End Theory\u003c\/em\u003e is an unqualified success, the perfect marriage of intelligent, flowing raps to nuanced, groove-centered productions. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/the-low-end-theory-mw0000268671\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/1p12OAWwudgMqfMzjMvl2a?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Jive\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue, Remastered, Repress\u003cbr\u003eReissued: 2023 \/ Original Release: 1991\u003cbr\u003eGenre: Hip Hop, Rap\u003cbr\u003eStyle: Conscious, Jazzy Hip-Hop\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Hip Hop\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Jive Records","offers":[{"title":"Default Title","offer_id":41456487334046,"sku":"12414141811","price":65.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/81IiqfQDZoL.jpg?v=1729141439"},{"product_id":"jeff-buckley-grace","title":"Jeff Buckley – Grace (Legacy Reissue)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBob Dylan considers its creator as \"one of the great songwriters.\" David Bowie proclaimed it as “the best album ever made.” Led Zeppelin’s Jimmy Page named it as his “favourite album of the decade.” What record could possibly be worthy of such adulation from so many legends? None other than Jeff Buckley’s first and only LP, \u003cem\u003eGrace\u003c\/em\u003e. Although it was met with modest sales and mixed reviews during its release in 1994, the American singer-songwriter’s masterpiece now towers as a seminal work.\u003c\/p\u003e\n\u003cp\u003ePowered by Buckley’s dynamic four octave range and his intensely emotional songwriting, \u003cem\u003eGrace\u003c\/em\u003e is a staggering achievement in folk-rock that elicits goosebumps and stirs the soul. From his iconic cover of Leonard Cohen’s “Hallelujah” to the awe-inspiring rawness of opener “Mojo Pin” - his serenades of devastation and desperation remain timeless. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eJeff Buckley's\u003cem\u003e Grace\u003c\/em\u003e is a masterpiece. The critically acclaimed breakthrough is filled with sweeping choruses, bombastic arrangements, searching lyrics, and above all, the richly textured voice of Buckley himself. \u003cem\u003eGrace\u003c\/em\u003e is the only complete studio album by Jeff Buckley, originally released on August 23, 1994. After his death in 1997, the album grew to be one of the most important album's of the '90s. The album was produced by Andy Wallace who had mixed Nirvana's album \u003cem\u003eNevermind\u003c\/em\u003e. In addition to seven original songs, the album included three covers: \"Lilac Wine\", based on the version by Nina Simone, \"Corpus Christi Carol\", from Benjamin Britten's A Boy Was Born and \"Hallelujah\" by Leonard Cohen. \u003cem\u003eGrace\u003c\/em\u003e gives voice to those secrets of the human experience that lie mute and waiting for sound. \"Eternal Life,\" is a sonically bruising plea for emotional tolerance and psychic liberation.\u003c\/p\u003e\n\u003cp\u003e\"Lover, You Should Have Come Over,\" holds a candle in a dark circular staircase, lonesome vocals wrapped around slow tender chords and lines like \"It's never over, she's the tear that hangs inside my soul forever.\" \"Mojo Pin,\" co-written by Buckley and former Captain Beefheart guitarist Gary Lucas, is a powerful ensemble reading of a song first introduced on Live At Sin-é, a testimony to Buckley's avant-garde and free jazz procliv-ities. On the moody \"Dream Brother,\" the singer offers a warning to a friend, a mysterious message swad-dled in the unconscious. Tipping his hat to the master, Buckley renders his interpretation of Leonard Cohen's \"Hallelujah,\" a solo track recorded live-in-the-studio; the song is one of Jeff's most enthusiastically-received tunes in-concert. — (via \u003ca href=\"https:\/\/elusivedisc.com\/jeff-buckley-grace-numbered-limited-edition-180g-45rpm-2lp\/?srsltid=AfmBOor13-5GiXVyHhnGWQNDo5q7jLbNojayZzuNogwR00uLmK4fCm68\" target=\"_blank\" rel=\"noopener\"\u003eElusive Disc\u003c\/a\u003e)\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003cbr\u003eRecorded in the fall of 1993 at Bearsville Recording Studio in Woodstock, NY, \u003cem\u003eGrace\u003c\/em\u003e features Jeff on vocals, guitars, keyboards, dulcimer and tabla; Mick Grondahl and Matt Thompson, members of his touring band, on bass and drums respectively; and production by Andy Wallace (Paw, White Zombie, Soul Asylum). Noted classical composer and jazz vibraphonist Karl Berger wrote and conducted string arrangements assisted by Jeff. Within the walls of this studio, Buckley and company created a unique blend of sound and vision: emotion-drenched vocals laced throughout extraordinary instrumental work. The record includes seven originals and one cover performed with his band and two covers done solo.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGrace\u003c\/em\u003e gives voice to those secrets of the human experience that lie mute and waiting for sound. “Eternal Life,” is a sonically bruising plea for emotional tolerance and psychic liberation. “Eternal life is now on my trail,” he sings, “Got my red glitter coffin, man, just need one last nail\/While all these ugly gentlemen play out their foolish games\/There’s a flaming red horizon that screams our names.”\u003c\/p\u003e\n\u003cp\u003e“Lover, You Should Have Come Over,” holds a candle in a dark circular staircase, lonesome vocals wrapped around slow tender chords and lines like “It’s never over, she’s the tear that hangs inside my soul forever.” “Mojo Pin,” co-written by Buckley and former Captain Beefheart guitarist Gary Lucas, is a powerful ensemble reading of a song first introduced on Live At Sin-é, a testimony to Buckley’s avant-garde and free jazz proclivities.\u003c\/p\u003e\n\u003cp\u003eOn the moody “Dream Brother,” the singer offers a warning to a friend, a mysterious message swaddled in the unconscious. Tipping his hat to the master, Buckley renders his interpretation of Leonard Cohen’s “Hallelujah,” a solo track recorded live-in-the-studio; the song is one of Jeff’s most enthusiastically-received tunes in-concert.\u003c\/p\u003e\n\u003cp\u003e“The experience of creating and performing with a band was different from my solo work,” Buckley says about the recording of \u003cem\u003eGrace\u003c\/em\u003e. “All the spontaneity and attention to the dynamics of the moment is extended four times and maybe beyond. It’s the difference between the eight year-old and the twenty-eight year old: you still contain the eight year-old, but two decades exist around you. The object of going solo was to attract the perfect band. All my favorite music has been band music. I love listening to Bob Dylan, Robert Johnson and Thelonious Monk alone, but, the fact is, there are so many other areas you can go with other instruments going at the same time. You can reach a trance-like stage where what’s really going on inside the human psyche is being sung to…the music aims at what’s really going on underneath…not what people pretend to be or what they hope they can buy at a store. The little scared kid or the full-on romantic lover is being accessed. There are really majestic qualities about people that can be reached through music. People are incredible to me even though I’m healthily cynical sometimes. It’s because we are spirits and the whole tension is that we don’t know we are. Yet, music is able to touch this.”\u003c\/p\u003e\n\u003cp\u003eThe first member of this “perfect band” to come on-board was bass player Mick Grondahl who had seen one of Buckley’s solo shows inside a crypt at Columbia University. A few months later, Mick ran into Jeff on the street and offered his services. Weeks later they met at a neighborhood bar to talk, then returned to Jeff’s apartment. “We jammed,” Jeff recalls, “making this two o’clock-in-the-morning type music. And I thought, ‘he’s the one!’ He had all the qualities I dug. There are bass players all over the city that can play rings around him in terms of ‘technique,’ but nobody else could ever make the music he makes. And that’s more powerful!”\u003c\/p\u003e\n\u003cp\u003eDrummer Matt Johnson was recommended by some friends. Not only is Matt technically adept, even more crucially, he’s got a quality that’s all-too-rare in drummers: a strong sense of song. Jeff, Mick, and Matt began playing together four weeks before going to Woodstock to record \u003cem\u003eGrace\u003c\/em\u003e. “We really became a band during the album,” Jeff admits. “Even now, we’re still evolving.” Following completion of the bulk of the album’s tracks in early ’94, Jeff took to the road for the first time, playing solo electric shows throughout the U.S. and Europe. Guitar player Michael Tighe–who plays on \u003cem\u003eGrace\u003c\/em\u003e’s darkly confessional “So Real”–will perform with the band on Jeff’s first full-band tours of the United States and Europe.\u003c\/p\u003e\n\u003cp\u003eJeff Buckley wrote his first song at age 13, “some stupid thing about a break-up,” he claims. His horizons as a lyricist have expanded considerably since then; he now explores complex themes of love, inner strife, and separation. “Sensitivity isn’t being wimpy,” he explains. “It’s about being so painfully aware that a flea landing on a dog is like a sonic boom.” His lyrics are sharply-focused, yet enigmatic, revealing simple truths shrouded in the riddles of their origin. “I enjoy a lot of mystery,” he admits. “It provides a bit more movement without too much trivializing scrutiny.”\u003c\/p\u003e\n\u003cp\u003eDescribing himself as “rootless trailer-trash born in southern California,” Jeff Buckley grew up singing in the car with his mother, a classically-trained pianist and cellist. At the age of five, he discovered his grandmother’s guitar and began to teach himself to play. At 17, he left home, finished high school and wound up in Hollywood. The widening orbit of his sensibility led him through a motley series of rock and reggae bands and he did scattered studio session work “for grocery money.”\u003c\/p\u003e\n\u003cp\u003eIn 1990, he moved to New York, performing with various local outfits before striking out on his own. Hanging out on the Lower East Side, he found himself feeling very much at home. “More than any place,” he claims, “this is where I felt I belonged. I prefer the Lower East Side to any place on the planet. I can be who I am here…I couldn’t do it any place I lived as a child. I never fit in in California, even though my roots are there.”\u003c\/p\u003e\n\u003cp\u003eJeff Buckley describes his music as a “low-down dreamy bit of the psyche. It’s part quagmire and part structure. The quagmire’s important for things to grow in…do you ever have one of those memories where you think you remember a taste or a feel of something…maybe an object…but the feeling is so bizarre and imperceptible that you just can’t quite get a hold of it? It drives you crazy. That’s my musical aesthetic…just this imperceptible fleeting memory. The beauty of it now is that I can record it onto a disc or play it live. It’s entirely surreal. It’s like there’s a guard at the gate of your memory and you’re not supposed to remember certain things because you can only obtain the full experience by completely going under its power. You can be destroyed or scarred…you don’t know…it’s like dying.” — (via \u003ca href=\"https:\/\/jeffbuckley.com\/discography\/grace\/\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/7yQtjAjhtNi76KRu05XWFS?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/y8AWFf7EAc4?si=CKfpf8mHebhGXbqh\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eVinyl tracklist:\u003cbr\u003eA1 Mojo Pin \/\/ Written by Gary Lucas, Jeff Buckley\u003cbr\u003eA2 Grace \/\/ Written by Gary Lucas, Jeff Buckley\u003cbr\u003eA3 Last Goodbye \/\/ Written by Jeff Buckley\u003cbr\u003eA4 Lilac Wine \/\/ Written by J. Shelton\u003cbr\u003eA5 So Real \/\/ Written by Jeff Buckley, Michael Tighe\u003cbr\u003eB1 Hallelujah \/\/ Written by Leonard Cohen\u003cbr\u003eB2 Lover, You Should've Come Over \/\/ Written by Jeff Buckley\u003cbr\u003eB3 Corpus Christi Carol \/\/ Written by Sir Benjamin Britten\u003cbr\u003eB4 Eternal Life \/\/ Written by Jeff Buckley\u003cbr\u003eB5 Dream Brother \/\/ Written by Jeff Buckley, Matt Johnson, Mick Grondahl\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Columbia, Legacy\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, 180 Gram\u003cbr\u003eReleased: 2015 \/ Original Release: 1994\u003cbr\u003eGenre: Rock\u003cbr\u003eStyle: Alternative Rock\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  School of Rock\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Columbia \/ Legacy","offers":[{"title":"Default Title","offer_id":41456506699934,"sku":"86977798313","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/jeff-Buckley.jpg?v=1646291247"},{"product_id":"quasimoto-the-unseen","title":"Quasimoto - The Unseen","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Unseen \u003c\/em\u003eis the debut studio album by Quasimoto, an alter ego of American hip hop musician Madlib, originally released under Stones Throw Records in 2000. Each one of music hyphenate Madlib’s multidisciplinary projects tend to be revelatory. But even among the Californian native’s treasure trove of hip-hop jewels, few were as sui generis as his high-pitched yellow aardvark alter ego, Quasimoto. Quasimoto’s debut on Stones Throw was a quantum leap for Madlib’s creativity journey - with the album featuring a boisterous assembly of funk, prog, jazz, and soul samples, punctuated by various skits and interludes.\u003c\/p\u003e\n\u003cp\u003eMadlib’s idiosyncratic beats were augmented by the surreal and free-associative verses of the rapper duelling with the animated split personality Lord Quas, who satirized gangsta rap. \u003cem\u003eThe Unseen\u003c\/em\u003e has proven to be an impeccable showcase of Madlib’s unbound creativity and proficiency as both a skilled rapper and consummate producer.\" — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003cbr\u003eQuasimoto's \u003cem\u003eThe Unseen\u003c\/em\u003e is one of the most imaginative albums of the new West Coast underground, a puzzling, psychedelic jazz-rap gem riddled with warped humor and fractured musical genius. Producer Madlib actually outdoes his inventive work on the Lootpack's debut album, \u003cem\u003eSoundpieces: Da Antidote\u003c\/em\u003e!, crafting deep, dreamy jazz loops littered with found sounds and wiggy vocal samples. \u003c\/p\u003e\n\u003cp\u003eQuasimoto's helium-huffing voice is actually Madlib's, electronically altered for an effect not unlike Prince's abandoned Camille project. It might put some listeners off as gimmicky, and it's really a shame if it does, because it isn't really the focal point of The Unseen's left-field brilliance. It's more of an added textural element for Madlib's off-kilter soundscapes and a vehicle for the cartoonish humor hinted at in his choice of samples. \u003c\/p\u003e\n\u003cp\u003eThe lyrics are highly free-associative (that is to say, stoned beyond belief), and by turns paranoid, threatening, or hallucinatory. But it all melts into the warm, druggy haze of the music; unlike, say, the Wu-Tang Clan or Dr. Octagon, this dream isn't supposed to be a nightmare. \u003c\/p\u003e\n\u003cp\u003eQuas' scattershot flow isn't what you'd call technically accomplished, but that's by design - he's supposed to be fragmented, not quite all there. The song structures are similarly loose, with rhymes coming from nowhere and disappearing just as quickly; the tracks are short (all under four minutes) and end abruptly, as though Quas is too blunted to think of anything else to say. (Madlib does appear as himself on occasion, and usually sounds just as noncommittal as his \"collaborator.\") \u003c\/p\u003e\n\u003cp\u003eHighlights are plentiful, and include the brilliant singles \"Microphone Mathematics\" and \"Come on Feet,\" the bizarre trash-talking of \"Bad Character\" and \"Put a Curse on You,\" and the joy-of-music cuts \"Return of the Loop Digga\" and \"Jazz Cats, Pt. 1,\" which recount Madlib's obsession with record collecting and name-check his favorites. It takes some time to assimilate, but \u003cem\u003eThe Unseen\u003c\/em\u003e gradually reveals itself as one of the most unique and rewarding albums of its era. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/the-unseen-mw0000068073\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0dCxrv92J8gKDh4zObd2ZZ?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Stones Throw Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue\u003cbr\u003eReissued: 2024 \/ Original Release: 2000\u003cbr\u003eGenre: Hip Hop\u003cbr\u003eStyle: Rap, Jazzy Hip Hop, Leftfield, Abstract\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Stones Throw Records\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":41456510533790,"sku":"659457202514","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/81th0uJALML._UF894_1000_QL80.jpg?v=1746344356"},{"product_id":"nightmares-on-wax-smokers-delight","title":"Nightmares On Wax ‎– Smokers Delight","description":"\u003cp\u003e\u003cstrong\u003e- A TAV Essential Listening Album -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis sophomore album from English DJ and producer Nightmares on Wax (aka George Herbert Evelyn) remains one of trip hop’s foundational documents, alongside the likes of Massive Attack’s Blue Lines and Portishead’s Dummy. Released in 1995 on Warp, \u003cem\u003eSmokers Delight\u003c\/em\u003e offers a summery cornucopia of dubby reggae, hip hop, smooth soul, Latin percussion and jazz-funk fusion layered through Evelyn’s evocative downtempo atmospherics.\u003c\/p\u003e\n\u003cp\u003eAs the album title implies, this chilled out record is ideal listening for stoners - bringing the listener on a hazy, super baked joyride that is continuously absorbing from beginning to end. Highlighted by zone out tunes such as the Quincy Jones-sampled “Nights Introlude” and the snare drum-driven, bluesy bass of “Pipes Honour” -\u003cem\u003e Smokers Delight\u003c\/em\u003e is a subminimal trip into the laid-back grooves of the mid-90s. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThe first quarter of \u003cem\u003eSmoker's Delight\u003c\/em\u003e is trip-hop basking in summer's glow. Hooks and breakbeats swing like Cubana's in the quinceanera of their favorite niece.\u003c\/p\u003e\n\u003cp\u003eWith that being said, \u003cem\u003eSmoker's Delight\u003c\/em\u003e is dynamic with a warm analog sound that is well suited for armchair listening (this facet of the album becoming more prominent as the record progresses).\u003c\/p\u003e\n\u003cp\u003eNightmares on Wax certainly channels that noir atmosphere that trip-hop is known for, but he never ventures as far into that realm as groups like Portishead or Massive Attack; for \u003cem\u003eSmoker's Delight\u003c\/em\u003e, a little flirtation with this sound is just enough. The drum pattern in tracks like dreddoverboad is undeniably Latin, but the samples of RnB vocals and the saxophone riff keep it from being pigeonholed into any specific genre. These transitions and flirtation with different sounds truly made Warp Records so exciting at the time. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSmoker's Delight\u003c\/em\u003e is evocative. Its ability to conjure images and sensations that are palpable and wholly engaging is astounding. These soundscapes are expertly manipulated to assist the listener in total absorption.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSmoker's Delight\u003c\/em\u003e is good and, at times, even a great album, but this is wholly contingent upon where you are and what you are looking for when the needle drops. -\u003ca href=\"https:\/\/www.sputnikmusic.com\/review\/84962\/Nightmares-On-Wax-Smokers-Delight\/\" target=\"_blank\" rel=\"noopener\"\u003eSputnik Music\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7mO1rDeboFf4ii6cp9maWJ?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Repress, 180 gram\u003cbr\u003eCountry: UK\u003cbr\u003eReissued: 2014 \/ Original Release: 1995\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Trip Hop, Dub, Downtempo\u003c\/p\u003e\n\u003cp\u003eFile under: Downtempo\u003cbr\u003e⦿\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456512762014,"sku":"801061003616","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/996fdc47a65370735ddb64e3d403b9d1f0176023.jpg?v=1646291364"},{"product_id":"hugh-masekela-hope-45rpm","title":"Hugh Masekela – Hope (Analogue Productions 33RPM Reissue)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHugh Masekela is a world-renowned South African flugelhornist, trumpeter, bandleader, composer, singer and defiant political voice. Masekela began to hone his, now signature, Afro-Jazz sound in the late 1950s during a period of intense creative collaboration, most notably performing in the 1959 musical King Kong, written by Todd Matshikiza, and, soon thereafter, as a member of the now legendary South African group, the Jazz Epistles (featuring the classic line up of Kippie Moeketsi, Abdullah Ibrahim and Jonas Gwangwa). — (via \u003ca href=\"https:\/\/hughmasekela.co.za\/biography\/\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003eFrom his roots as part of the Jazz Epistles in the 1950s, to his work in the 1960s within New York’s thriving jazz scene, to his famed anti-apartheid anthems such as \"Soweto Blues\" and \"Bring Him Back Home'' in the decades after – it is difficult to condense Masakela’s half century career as \"the father of South African jazz.\" Thankfully, we have his 1994 live album originally released on Triloka Records to guide us through his legendary discography. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHope\u003c\/em\u003e is a time-travelling expedition, surveying the most iconic tunes from Masakela’s repertoire. From his chart-topping instrumental hit “Grazing in the Grass,” to an early Afro-jazz fusion highlight in \"Abangoma,\" to a wonderful cover of Fela Kuti’s “Lady” - Hope is the ideal introduction to Masakela’s legacy as a multi-instrumentalist, singer, composer and political activist.  — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003eThe Analogue Productions reissue of Hugh Masekela's masterpiece\u003cem\u003e Hope\u003c\/em\u003e, now available on 33 1\/3 LP. Mastering from Kevin Gray at Cohearent Audio; 180-gram knock-your-socks-off silent heavyweight vinyl plated and pressed by Quality Record Pressings. Stoughton Printing tip-on old-style heavyweight gatefold jacket. The ultimate.\u003c\/p\u003e\n\u003cp\u003eA longtime audiophile demonstration disc. \u003cem\u003eHope\u003c\/em\u003e will show off your system's dynamic range as well as any record ever released. Hugh Masekela, the outstanding South African trumpeter, assembled a seven-piece group and recorded this great set live at Washington, D.C.'s Blues Alley. The songs stretch over a period of nearly five decades and serve as an informal guided tour of Masekela's life. The songs are honest and bare, and as for the sound, wow.\u003c\/p\u003e\n\u003cp\u003eUnlike a prior 45 RPM version that included seven songs, this 33 1\/3 reissue contains the full program as originally recorded with all 12 tracks included! Plus, as an added bonus, this version includes a special insert — featuring an exclusive interview with Grammy\/Emmy Award-winning engineer David Hewitt, who recorded Hope originally.\u003c\/p\u003e\n\u003cp\u003e\"Hugh's record is right up near the top for a lot of reasons,\" Hewitt says.\u003c\/p\u003e\n\u003cp\u003eHewitt and his team were afforded the time they needed, and they pulled out all the stops to pull off what's now recognized as an all-time great recording. They used better-quality microphones, they were micing the room for ambient sound, and Masekela was performing for a sophisticated and appreciative audience.\u003c\/p\u003e\n\u003cp\u003e\"We used stuff from our stash of mics as opposed to what you'd find typically at a jazz club. We actually had control via the record label and producers, so we could take our time. We had the ability to mic the room for abient sound. ... you've got people that actually know and appreciate the music and respond accordingly. What you've got there is all the right stuff at the right time and the right people, and then something magical happens.\"\u003c\/p\u003e\n\u003cp\u003eListen to that magic unfold — put on this Analogue Productions reissue of \u003cem\u003eHope\u003c\/em\u003e, and be transported.\u003c\/p\u003e\n\u003cp\u003e\"How sad, if timely: this stunning reissue of the 1994 live album arrived in the very week that trumpeter Masekela passed away. One of the most successful ambassadors ever for African music, his fusing of the continent's rhythms and instruments with contemporary jazz and rock proved irresistible. Nearly every one of you has heard him, thanks to guess spots with The Byrds and Paul Simon. His breakthough hit from 1968 — the infectious \"Grazing In The Grass\" — is here, along with another 11 tracks recorded at Blues Alley, the U.S. club that gave us Eva Cassidy. Notably, despite its early-1990s origins, this is all-analogue.\" — Sound Quality = 90% - Ken Kessler, HiFi News, May 2018\u003c\/p\u003e\n\u003cp\u003e\"...\u003cem\u003eHope\u003c\/em\u003e is one of those intensely visceral, large as life, and immediately present recordings that will make pretty much any system sound at least very good, and will cause better ones to raise goose bumps.\" — Wayne Garcia, The Absolute Sound, August 2008\u003c\/p\u003e\n\u003cp\u003e\"...The high quality original mix plus Analogue Productions' superb mastering has resulted in a terrific, very transparent sonic with great impact.\" — John Henry, Audiophile Audition\u003c\/p\u003e\n\u003cp\u003e — (via \u003ca href=\"https:\/\/store.acousticsounds.com\/d\/127593\/Hugh_Masekela-Hope-180_Gram_Vinyl_Record\" target=\"_blank\" rel=\"noopener\"\u003eAcoustic Sounds\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"750\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A2Ubm26bDPar5pEM0wsajZt\" allowtransparency='“true\"' frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Analogue Productions\u003cbr\u003eFormat: 2x Vinyl, LP, Album, Reissue\u003cbr\u003eReissued: 2018 \/ Original: 1994\u003cbr\u003eGenre: Jazz, Folk, World\u003cbr\u003eStyle: African\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  Audiophile Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Analogue Productions \/ Triloka","offers":[{"title":"Default Title","offer_id":41456525115550,"sku":"753088000614","price":85.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/ff5a557f9268e3a65521edd78813bbc35194e26e.jpg?v=1646291555"},{"product_id":"shabaka-and-the-ancestors-wisdom-of-elders","title":"Shabaka And The Ancestors – Wisdom Of Elders","description":"\u003cp\u003e\u003cstrong\u003e- The Analog Vault \/\/ Essential Listening -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAs co-founder of cutting-edge groups such as Sons of Kemet, Heliocentrics. and The Comet Is Coming - Shabaka Hutchings established himself as the figurehead of Britain’s 21st century jazz renaissance. With Shabaka and the Ancestors, the English saxophonist pushes the envelope further with a talented South African ensemble led by trumpeter Mandla Mlangeni.\u003c\/p\u003e\n\u003cp\u003eRecorded in Johannesburg over a single day, with no rehearsal, Wisdom of Elders is an Afrofuturist, avant-garde jazz journey steeped in African and Caribbean traditions. From its blistering 13-minute opener “Mzwandile” all the way to the resonant minimalism of its closer “Nguni” - this 2016 Brownswood Recordings release is a “is a psalm in nine parts” that delves deep into spiritual jazz by way of Barbadian calypso, spacey blues, progressive post-bop and South African folk rhythms. An undisputed modern classic. - \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e“Tradition shapes your work. For saxophonist and bandleader Shabaka Hutchings, that’s something he’s long understood. After years spent in the orbit of London’s jazz circuit, he examines and reimagines his influences with a dexterity that’s unique. Drawing out the vision underlying his new album, he says, “I see energy as being a form of wisdom to be passed down through the ages.”\u003c\/p\u003e\n\u003cp\u003eUnpicking the album’s title, he continues, “When we study the music, the lives, the words of our master musicians we obtain a glimpse of that artist’s essential energy source. This is the core vitality of the individual which leads them to utilise the musical specifics of their chosen genre in a way that mirrors their inner source of power. This is an intuited wisdom that’s handed to us from the legacies of our elders.”\u003c\/p\u003e\n\u003cp\u003eThe album is a document of sessions combining Hutchings with a group of South African jazz musicians he’s long admired. His connection to the group was Mandla Mlangeni (bandleader of the Amandla Freedom Ensemble), whom he’d flown there to play with over the past few years. Recorded across just one day, the group drew on their South African lineage – heroes like Zim Ngquwana and Bheki Mseleku – to bring their own slant to the American jazz lineage being reconfigured in Hutchings’ compositions themselves.\u003c\/p\u003e\n\u003cp\u003eGoing beyond the jazz greats Hutchings cites, influences are drawn from plenty of other sources: Caribbean calypso, central African song structures and Southern African Nguni music all play a part. Bringing together those ideas with the contributions of his bandmates is, he explains, crucial to what he sees in the role of an album artist. “Even though I wrote all the music, for me, the leader of the project isn’t the person who writes all the music but the one who has a vision for how certain musical elements will be combined.”\u003c\/p\u003e\n\u003cp\u003eBorn in London, moving to the Barbados from the age of six to 16, his tenor sax has become a regu-lar sight on stages around London and beyond since his return. Receiving awards from Jazz FM and the MOBOs for playing in – and often leading – groups like Sons of Kemet, The Comet Is Coming, Melt Yourself Down and Sun Ra Arkestra, he’s part of a generation whose idea of jazz is pointedly unrefined. That’s to say, Wisdom of Elders comes from an artist interested in the indefinable gaps more than fitting into boxes.” – \u003ca href=\"http:\/\/www.gillespetersonworldwide.com\/shabaka-and-the-ancestors-wisdom-of-elders-announced\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eGilles Peterson Worldwide\u003c\/a\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/XuNID7KviuQ\" allowfullscreen=\"allowfullscreen\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\"Wisdom of the Elders was recorded in Johannesburg in 2015 on one of many trips Shabaka Hutchings took there to immerse himself in the country’s rich musical heritage. The album is a psalm in nine parts. An episodic unfurling of a sonic journey across the Atlantic.\u003c\/p\u003e\n\u003cp\u003e“The grand scheme of this album is to present the musical language that I normally associate with my UK bands in the context of SA musicians and musical sensibilities,” explains Shabaka Hutchings.\u003c\/p\u003e\n\u003cp\u003e8 men in a studio in Johannesburg; one tenor sax, one alto sax, one trumpet. One on vocals, one on ivory, one bass, one on percussion and one the drums. 800 million voices. 700 years. Millions of bones cracking under the weight of 22 false free years. Innumerable tiny sparks. One uncontrollable blaze.\"\u003c\/p\u003e\n\u003cp\u003eMusicians:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eShabaka Hutchings - Tenor Sax\u003c\/li\u003e\n\u003cli\u003eMthunzi Mvubu - Alto Sax\u003c\/li\u003e\n\u003cli\u003eMandla Mlangeni - Trumpet\u003c\/li\u003e\n\u003cli\u003eSiyabonga Mthembu - Vocals\u003c\/li\u003e\n\u003cli\u003eNduduzo Makhathini - Rhodes, Piano\u003c\/li\u003e\n\u003cli\u003eAriel Zomonsky - Bass\u003c\/li\u003e\n\u003cli\u003eGontse Makhene - Percussion\u003c\/li\u003e\n\u003cli\u003eTumi Mogorosi – Drums\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eSource: \u003ca href=\"https:\/\/shabakaandtheancestors.bandcamp.com\/album\/wisdom-of-elders\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eShabaka and the Ancestors\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e“Recorded in a single day, the set is steeped in what Hutchings calls Afro-futurism, with the influence of Sun Ra strong in the mix (plenty of rippling Fender Rhodes keyboards, occasional vocals), though the group also draw on South Africa’s heritage, notably on the 13-minute opener Mzwandile. Hutchings’s tenor cuts a path between melodicism and “out” playing, and Mlangene’s trumpet likewise veers between stately Miles-esque lines and urgent bursts of an almost New Orleans flavour. Pulsing, exploratory and vibrant.” – \u003ca href=\"https:\/\/www.theguardian.com\/music\/2016\/sep\/11\/shabaka-and-the-ancestors-wisdom-of-elders-review-mandla-mlangeni-hutchings\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eThe Guardian\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e“This recording is the culmination of the triangular experiences of tenor man Shabaka Hutchings and his personal destiny. Born in London, his family relocated back to their native Barbados, where Hutchings was raised in a musical environment until his teen years. Returning to London, he became a fixture on the free jazz scene, and while on holiday to South Africa, was drawn back to the primordial source of inspiration. Recorded over one day with no rehearsal, Wisdom Of Elders explores and expands upon traditional Nguni rhythms, while injecting blues, spiritual hymns, and Caribbean calypso.\u003c\/p\u003e\n\u003cp\u003eAccompanied by the best players from Capetown; this session transformed into a tribute to those who have played jazz in the townships, especially saxophonist Bheki Mseleku, a major influence on Hutchings, and an inspiration for this production. This is an intended throwback to the era when African jazz was played as a spiritual path to resistance and creative survival.” – \u003ca href=\"https:\/\/www.allaboutjazz.com\/wisdom-of-elders-shabaka-hutchings-brownswood-recordings-review-by-james-nadal.php\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAll About Jazz\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A1dU66qas6j5H0ym9ZGyJvJ\" allowtransparency=\"true\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eItem description:\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"498\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.mom\/search?q=%22Shabaka+And+The+Ancestors%22\"\u003eShabaka And The Ancestors\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eWisdom Of Elders\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.mom\/search?q=%22Label+-+Brownswood+Recordings%22\"\u003eBrownswood Recordings\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e2 × Vinyl, LP, Album\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e2016\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eJazz, World\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eAvant-garde Jazz, African, Fusion, Soul-Jazz\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCatalog No:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eBWOOD0155LP\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Brownswood Recordings","offers":[{"title":"Default Title","offer_id":41456528654494,"sku":"5060180322878","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/ae920c252947103beeef86b44457e024a23b7911.jpg?v=1646291590"},{"product_id":"massive-attack-blue-lines-2016-reissue","title":"Massive Attack – Blue Lines","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRegarded as one of trip hop’s most crucial albums, this debut by English collective Massive Attack was the blueprint for the genre’s then-emerging style. Although underpinned by hip-hop elements, \u003cem\u003eBlue Lines\u003c\/em\u003e distinguished itself by recontextualising them through the lens of UK’s underground club culture - imbuing elements of electronic music, breakbeat, dub and reggae.\u003c\/p\u003e\n\u003cp\u003eThe result was a revolutionary LP that came to define the Bristol sound. Stylish, sleek and smooth - Massive Attack balanced diva-led jams and British rap upon a tightrope of groovy, downtempo dance music. What Massive Attack accomplished with Blue Lines remains as sophisticated today as it was over a few decades ago. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003eThe first masterpiece of what was only termed trip-hop much later, \u003cem\u003eBlue Lines \u003c\/em\u003efiltered American hip-hop through the lens of British club culture, a stylish, nocturnal sense of scene that encompassed music from rare groove to dub to dance.\u003c\/p\u003e\n\u003cp\u003eThe album balances dark, diva-led club jams along the lines of Soul II Soul with some of the best British rap (vocals and production) heard up to that point, occasionally on the same track. The opener \"Safe from Harm\" is the best example, with diva vocalist Shara Nelson trading off lines with the group's own monotone (yet effective) rapping. Even more than hip-hop or dance, however, dub is the big touchstone on Blue Lines. Most of the productions aren't quite as earthy as you'd expect, but the influence is palpable in the atmospherics of the songs, like the faraway electric piano on \"One Love\" (with beautiful vocals from the near-legendary Horace Andy). One track, \"Five Man Army,\" makes the dub inspiration explicit, with a clattering percussion line, moderate reverb on the guitar and drums, and Andy's exquisite falsetto flitting over the chorus.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBlue Lines\u003c\/em\u003e isn't all darkness, either - \"Be Thankful for What You've Got\" is quite close to the smooth soul tune conjured by its title, and \"Unfinished Sympathy\" - the group's first classic production - is a tremendously moving fusion of up-tempo hip-hop and dancefloor jam with slow-moving, syrupy strings. Flaunting both their range and their tremendously evocative productions, Massive Attack recorded one of the best dance albums of all time. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/blue-lines-mw0000264743\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/5mAPk4qeNqVLtNydaWbWlf?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Virgin \u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180 gram\u003cbr\u003eReissued: 2016 \/ Original: 1991\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Trip Hop, Downtempo, Leftfield\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Electronic \/\/  Downtempo\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Virgin","offers":[{"title":"Default Title","offer_id":41456531636382,"sku":"602557009606","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/5cc581b5df84e7adb390115feeaed313a2588790.jpg?v=1646291638"},{"product_id":"floating-points-elaenia-uk-press","title":"Floating Points ‎– Elaenia","description":"\u003cp\u003e\u003cstrong\u003e- A TAV Essential Listening Album -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis debut album from British producer Sam Shepherd aka Floating Points is a fluid and spacious electronic symphony. Originally conceived as one long piece, Shepherd eventually divided his composition into seven tracks that flow from quiet, open spaces to beatless techno to sci-fi fantasia. While Floating Points commands a deserved reputation as an outstanding DJ, Elaenia is not meant for the club.\u003c\/p\u003e\n\u003cp\u003eConceived from a dream he had about a bird that became engulfed in a forest, and drawing inspiration from classical, jazz, electronic, soul and Brazilian music, this record subtly envelops the listener as they journey further inward through its richly arranged foliage of ambient electronica and orchestral elements (violin, viola and cello). From the sumptuousness of its 10-minute epic “Silhouettes (I, II, III),” to the unorthodox weave of synth threads on “\"Nespole\" - \u003cem\u003eElaenia\u003c\/em\u003e patiently unfolds at unexpected moments. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ehe full-length debut from Sam Shepherd (aka Floating Points) is as warm and fluid an \"electronic\" album as you will hear all year, and it has a timeless feel: There's no reason it could not have been written and recorded 10, 20, or even 30 years ago.\u003c\/p\u003e\n\u003cp\u003eThe title track of Sam Shepherd's debut album as Floating Points was inspired by a dream: A migratory bird strays from its flock and is swallowed up by the forest, mimicking the way our atoms are absorbed into the fabric of the universe when we die (or so goes one theory, anyway). We might find ourselves \"reincarnated as a SIM card in Singapore, or as a beetle in Scotland,\" as Shepherd told Pitchfork recently.\u003c\/p\u003e\n\u003cp\u003eHe recorded the song \"Elaenia\" the very next morning, and its improvised, fluid form mirrors the dream's holistic vision. Made with just a Fender Rhodes electric piano and a handful of arcane synthesizers, it bobs between gurgles and limpid, lyric melodies. At more than seven minutes long, it is the second-longest song on the album, and also the most spare— just a handful of chords, some rumble, and a lot of nuance. Like an ocean swell, it is simple on the surface but complex beneath, and the same could be said of \u003cem\u003eElaenia\u003c\/em\u003e as a whole.\u003c\/p\u003e\n\u003cp\u003eThough comparatively short—just seven songs totaling some 43 minutes—\u003cem\u003eElaenia\u003c\/em\u003e is rich and welcoming, balancing Shepherd's intelligence with intuition. Flitting between strange time signatures and simple pulses, it utilizes mostly analog synthesizers, pairing them with live instrumentation: electric bass, guitar, piano, live drums, and strings. It is as warm and fluid an \"electronic\" album as you will hear all year, and it has a timeless feel: There's no reason it could not have been written and recorded 10, 20, or even 30 years ago.\u003c\/p\u003e\n\u003cp\u003eFor long-time fans of the UK producer, musician, and DJ, \u003cem\u003eElaenia\u003c\/em\u003e feels both like a surprise and a logical extension of his previous singles and EPs. Rhythms are played, not looped or sampled; the album skirts the edges of the dancefloor, flitting between ambient miniatures and extended jams falling somewhere between post-rock and jazz fusion. But nothing here feels like a radical departure, which is a testament to Shepherd's gradual process of refinement. He is trained in neuroscience and epigenetics, but it would be just as easy to imagine him as a furniture builder who had spent the past six years working on a single desk. The underlying structure of his work has remained more or less constant for years, but with every recording, it gets a little smoother, a little more perfect, inching a little closer to its ideal form.\u003c\/p\u003e\n\u003cp\u003eShepherd has cited Talk Talk as an inspiration, and you can hear the influence of albums like Laughing Stock on the porous fabric of \u003cem\u003eElaenia\u003c\/em\u003e. It's a record best heard loud, because the quiet parts can be very quiet, and its spirit lies less in melodies or even moods than in tiny details. With the exception of the cosmic jazz-leaning \"Silhouettes (1,11,111)\", you're left less with hummable themes than with small, passing moments: the burnished gleam of a lone Rhodes key hit hard, a faint scrap of radio static, soft notes that cling to each other like burrs.\u003c\/p\u003e\n\u003cp\u003eIn keeping with the transfiguration theme, the music seems to have no stable center at all. It moves like clouds in the sky, slowly and imperceptibly shape-shifting, and at any given moment, what's being played matters less than how we arrived at that point. The sense of an unbroken line is paramount, leading to the album's final thrill when it is suddenly yanked up at a 45-degree angle. In five minutes it goes from silence to jet-engine loud. Synthesizers snarl, the string section goes into overdrive, and the drum kit rolls on inexorably, explosion upon explosion. The song, \"Peroration Six\", is the only one where you feel Shepherd and company really letting loose.  It's a revelation and a rush, a full-on \"Fuck yeah!\" shouted into the coming storm. The last thing we hear sounds almost like a wrong note, and then it's all simply cut short. The silence is deafening; it feels like waking up from a very heavy dream. — (via \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/21110-floating-points-elaenia\/\"\u003ePitchfork\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7rVCUeALk18LDSTP1X2msh?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Pluto\u003cbr\u003eFormat: Vinyl, LP, Album, Repress\u003cbr\u003eRepressed: 2021 \/ Original Release: 2015\u003cbr\u003eGenre: Electronic, Jazz\u003cbr\u003eStyle: Contemporary Jazz, House\u003c\/p\u003e\n\u003cp\u003eFile under: Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Pluto","offers":[{"title":"Default Title","offer_id":41456532226206,"sku":"5053760061182","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/Capture_c3645753-70d3-46ea-a8cd-28d306c6d482.jpg?v=1708958108"},{"product_id":"autechre-tri-repetae-2016-reissue","title":"Autechre ‎– Tri Repetae [Reissue]","description":"\u003cp\u003e\u003cstrong\u003e- A TAV Essential Listening Album -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile Autechre is remembered today as one of the vanguards on the bleeding edge of IDM during the mid-1990s, it’s important to note that their first two albums were rather conventional. Though excellent, Incunabula and Amber were rooted to the English duo’s techno and electro upbringing. In contrast, their third album \u003cem\u003eTri Repetae\u003c\/em\u003e presented a paradigm shift, signalling Rob Brown and Sean Booth’s transition into Warp’s pantheon of experimental trailblazers alongside Aphex Twin and Squarepusher. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTri Repetae\u003c\/em\u003e found the production pairing diving deep into glitch and noise - complementing their ambient, breakbeat, and techno expertise with more intricate, minimal and spacious patterns. The result was a series of industrial soundscapes punctured by twisted metal and alien frequencies. \u003cem\u003eTri Repetae\u003c\/em\u003e is where Autechre’s legend truly begins, and it remains as revelatory today as it was in 1995. - The Analog Vault\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTri Repetae\u003c\/em\u003e, the third album from Autechre finally made available again on vinyl, having been out of print on vinyl since 2001. On reflection, \u003cem\u003eTri Repeate\u003c\/em\u003e stands tall as one of the most out-there (and if you know what that means...) and boundary-pushing releases from Ae ever. Going back to the group's roots as b-boy's, \u003cem\u003eTri Repetae\u003c\/em\u003e features ten variations on street sounds from hip-hop and techno to industrial and jungle.\u003c\/p\u003e\n\u003cp\u003eReleased at a time when producers were ripe with ideas for cosmic breakbeat experimentation, \u003cem\u003eTri Repetae\u003c\/em\u003e mixed the glitchy twisted dynamics of EPs such as the criminal justice bill protest Anti and sculpted a long player that resembles some of the most 'floor friendly' Ae to ever grace a packed nightclub soundsystem. The ten tracks pulled influence from previous outings, from the glacial Amber chug of Overand to the Incunabula acid of Leterel. But the overall sound is one of mixing influence from the avant-garde of Iannis Xenakis, Edgard Varese \u0026amp; Tod Dockstar with the mid 90's post-hardcore sound of jungle. — (via \u003ca href=\"https:\/\/bleep.com\/release\/20864-autechre-tri-repetae\" target=\"_blank\" rel=\"noopener\"\u003eBleep\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"500\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A0ioIXXMV89w0qC39FpxYnL\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2x Vinyl, LP, Album, Reissue, Repress\u003cbr\u003eCountry:    UK\u003cbr\u003eReissued: 2016 onwards (Original: 1995)\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Abstract, IDM, Ambient\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/ Leftfield\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456533438622,"sku":"801061803810","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a3796515172_10.jpg?v=1705491097"},{"product_id":"moondog-moondog-rsd2017","title":"Moondog – Moondog","description":"\u003cp\u003e\u003cstrong\u003e— A TAV Essential Listening Album —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFrom the 1940s to 1960s, Louis Thomas Hardin, aka Moondog, was well-known in New York City as a vagrant busker performing in a viking costume. Yet somehow, he built a loyal fanbase that included Duke Ellington, Igor Stravinsky, Charlie Parker, Bob Dylan, Philip Glass and Steve Reich (who christened him “the godfather of minimalism”). In 1969, the wider world would also get to know the complex simplicity of his compositions through his self-titled album on Columbia Masterworks. Featuring pieces that Moondog had been constructing for over a decade, the eccentric record contained minisyms (short symphonies), canons, chaconnes, jazz and ballet music. Brought to life with the help of 50 musicians, Moondog’s oddly metered yet richly melodic third stream tour de force shook the music world, helping the minimalist master break out beyond the street corners of Manhattan.- The Analog Vault\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eHe was born Louis Hardin, but the world knew him as Moondog—and his avant-garde compositions influenced a generation of minimalist composers like Philip Glass and Steve Reich. Now, Moondog, The Viking of 6th Avenue’s seminal 1969 album recorded with producer James William Guercio, will be reissued on white vinyl, its first pressing in over a decade. Featuring original symphonic and classically-inspired works (including material dedicated to Charlie Parker and Benny Goodman), Moondog is an album that must be heard to be believed. – \u003cu\u003e\u003ca href=\"http:\/\/recordstoreday.com\/SpecialRelease\/9523\" target=\"_blank\" rel=\"noopener noreferrer\"\u003ePress Release\u003c\/a\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e“Moondog, would feature compositions Moondog had been constructing for more than a decade, including two canons, two \"minisyms\" (short symphonic-styled pieces for miniature orchestras), three symphonic works, a chaconne memorializing the legendary saxophonist Charlie Parker (“Bird’s Lament”), and ballet music written with modern dance pioneer Martha Graham in mind (\"Witch of Endor\"). The collection would come to be known as a singular entry in the catalog of Third Stream music and possibly Moondog’s finest hour.\u003cbr\u003e\u003cbr\u003eThe music here could be described as minimalist; however, with its composer taking cues from the shrill car horns and rumbling subways of the Big Apple, it is by no means lacking power. Not unlike Borges and his fiction, Moondog encapsulates in six minutes or less the intrigue and magnificence of a larger-than-life symphony. The whirling “Minisym #1” bursts at the seams with menace and drive despite its stunted runtime, and the melodies woven throughout “Symphonique #3 (Ode to Venus)” boast a poignancy that could rival Elgar’s famed Cello Concerto in E minor, Op. 85. Jazz elements are just as prevalent and at their most in apparent in pieces like “Symphonique #6”, where clarinets croon with big band flair in apt tribute to the “King of Swing” himself.\u003cbr\u003e\u003cbr\u003eMoondog’s disdain for convention and his knack for genre fusion are intoxicating, but the album’s standout is his flawless integration of unusual percussion and odd meter, or what he called snaketime, into his distinct amalgam of modern classical elements and jazz leanings. Instruments of Moondog’s own design punctuate the record’s introductory “Theme” with peculiar rhythms before seguing into the equally serpentine snare and timpani work of “Stamping Ground”. It’s a fitting opening statement for a man who would “not die in 4\/4 time”.\u003cbr\u003e\u003cbr\u003eQuirks notwithstanding, this collection is arguably less \"experimental\" than some of Moondog's other works. The music is surprisingly accessible given its origins, yet its ambitiousness and creativity is none the worse for wear. The Viking may have been blind, but his vision was crystalline. Moondog is a career highlight of an unlikely hero, who amidst the clatter of a busy street corner forged a path all his own. For someone who had the stones to criticize J.S. Bach for his counterpoint “mistakes”, it must have seemed like the only way to go.” – \u003cu\u003e\u003ca href=\"http:\/\/www.sputnikmusic.com\/review\/68740\/Moondog-Moondog\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eSputnik Music\u003c\/a\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"Theme\" – 2:34\u003c\/li\u003e\n\u003cli\u003e\"Stamping Ground\" – 2:36\u003c\/li\u003e\n\u003cli\u003e\"Symphonique #3 (Ode to Venus)\" – 5:48\u003c\/li\u003e\n\u003cli\u003e\"Symphonique #6 (Good for Goodie)\" – 2:44\u003c\/li\u003e\n\u003cli\u003e\"Minisym #1: i - Allegro, ii - Andante Adagio, iii - Vivace\" – 5:42\u003c\/li\u003e\n\u003cli\u003e\"Lament 1 (Bird's Lament)\" – 1:41\u003c\/li\u003e\n\u003cli\u003e\"Witch of Endor: i - Dance, ii - Trio: (a) Adagio (The Prophecy), (b) - Andante (The Battle), (c) - Agitato (Saul's Death'), iii - Dance (reprise)\" – 6:27\u003c\/li\u003e\n\u003cli\u003e\"Symphonique #1 (Portrait of a Monarch)\" – 2:34\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/8SD87q_A9cQ\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Columbia Masterworks \/ Legacy\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, White \u003cbr\u003eReissued: 2017\u003cbr\u003eGenre: Jazz, Classical\u003cbr\u003eStyle: Big Band, Contemporary\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":41456542449822,"sku":"MoondogMooDefaultTitle","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/Moondog.jpg?v=1646743423"},{"product_id":"kamaal-williams-the-return","title":"Kamaal Williams – The Return","description":"\u003cp\u003e“The Return is a natural evolution from the Yussef Kamaal project, mining the influence of visionary jazz but blended with all kinds of texture, sounds and signals from the over-saturated London streets. Notable tracks for old and new listeners are ‘Salaam', 'Situations', 'Medina', 'LDN Shuffle' which features Mansur Brown (of Mansur's Message) and for those die hard Yussef Kamaal fans - they should hear the interpolated roots of 'Strings of Light' in the title track 'The Return’. And that signature Wu Funk can be heard on 'Broken Theme', and 'High Roller'.” — (via Label)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0XKj7L2flZPg2i7efBZT2N?utm_source=generator\u0026amp;theme=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Black Focus Records\u003cbr\u003eFormat: Vinyl, LP, Album, 180gr\u003cbr\u003eReleased: 2018\u003cbr\u003eGenre: Electronic, Jazz\u003cbr\u003eStyle: Jazz-Funk, Contemporary Jazz, Broken Beat\u003cbr\u003e\u003cbr\u003eFile under: Modern \/ Future Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Black Focus Records","offers":[{"title":"Default Title","offer_id":41456570237086,"sku":"5060384613413","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/7623bb1d04030eb51d56bdbe84a4b31f56e52554.jpg?v=1646292356"},{"product_id":"ryo-fukui-scenery-we-release-jazz","title":"Ryo Fukui – Scenery (We Release Jazz Reissue)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe debut album of pianist Ryo Fukui is undoubtedly one of the most important Japanese jazz records ever created. Marked by the characteristic dexterity of the self-taught prodigy, Fukui combined modal, post-bop and cool jazz influences to craft a smooth jazz masterpiece that Bill Evans would be proud of.\u003c\/p\u003e\n\u003cp\u003eFeaturing refreshing interpretations of old standards such as “Willow Weep For Me,” “Autumn Leaves” and “I Want To Talk About You”, alongside a bevy of brilliant original arrangements, \u003cem\u003eScenery\u003c\/em\u003e is a majestic showcase for the Fukui trio’s technical virtuosity and compositional elegance. As underappreciated as this tasteful and textured album has been since its 1977 release, those in the know revere \u003cem\u003eScenery\u003c\/em\u003e as a monumental triumph. A quintessential release for all Ryo Fukui fans. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eUnquestionably one of the most important Japanese jazz albums ever recorded, \u003cem\u003eScenery\u003c\/em\u003e reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From \"It Could Happen To You\" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of \"Early Summer\", or the incredible teamwork of \"Autumn Leaves\" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have.\u003c\/p\u003e\n\u003cp\u003eThe Hokkaido wizard-pianist followed \u003cem\u003eScenery\u003c\/em\u003e with the soulful gem Mellow Dream (also available on We Release Jazz) in 1977. He then focused on improving his live skills, often performing at Sapporo’s Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing 2 live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come.  — (via \u003ca href=\"https:\/\/wereleasewhateverthefuckwewantrecords.bandcamp.com\/album\/scenery\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003eJapanese jazz, casually known as Jap-Jazz, has had a very interesting history. The genre arrived to the nation due to WWII when American forces stationed in Japan brought and introduced said music from overseas. After a few decades, it evolved like it did in the West with slight differences. The main difference was Jap-Jazz was not as developed as American jazz. Artists like Miles Davis were already pushing the sound of fusion in the early 70s while Magical Power Mako started doing so later in the decade with a more dissonant, bare style. As a matter of fact, he and a few others started the now-signature avant-garde Japanese movement, which would explain why so much experimental music comes out of the country. The problem with the newborn experimental style of music at the time, however, was that it didn't show how to truly embrace jazz as an art form.\u003c\/p\u003e\n\u003cp\u003eBecause of Jap-Jazz’s confused identity, one the genre’s most important albums was Ryo Fukui’s \u003cem\u003eScenery\u003c\/em\u003e. While other artists were busy getting to know the textures of music, self-taught pianist Ryo, accompanied by a drummer and a bass player, decided to give his own spin on American jazz. He borrowed elements of post-bop, cool jazz, and even blues to create something unique, something unheard of before: a jazz album that prioritized composition rather than improvisation. The six song album continuously proves that Ryo is the complete master at his craft. Every section flows seamlessly into one another whilst providing tasteful and rich musicality. All notes seem relevant, and decisions feel like they are taken purposefully. This leads to a very pleasing sound in which the trio perfectly complements each other. Their sound is so full, they may not even strike the listener as a three piece group initially.\u003c\/p\u003e\n\u003cp\u003eEven though Ryo prioritizes composition, he still manages to show his virtuosity. His unbelievable playing displays dexterity and skill but also exhibits melodic and rhythmic awareness. On\u003cem\u003e Scenery\u003c\/em\u003e, the piano directed the band’s harmonic focus as it also added a cool, vocal-esque layer on top. A perfect example is “Early Summer,” in which Ryo crafts beautiful melodies and soon plays one of the greatest piano solos in all of jazz. However, he somehow leaves room for his group to show off as well. This is clearly seen by the fantastic drum solo later in the aforementioned song and on “Autumn Leaves.” Towards the last third of the latter, every instrument lays back to make way to an exquisite bass driven section. Clearly, all musicians shine, but the pianist’s unmistakable playing steals the show.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eScenery\u003c\/em\u003e marks the evolution of Jap-Jazz from experimentalism to a fully fleshed-out form of expression. Ryo’s decision to acknowledge what's already done and build on top of the shoulders of giants only took the quality of Japanese music to a level never seen before. Upon its release, it received massive praise and deeply influenced Japan’s music: to this day, people cite it as an undeniable game changer. Looking back at the lovely scenery, it's hard to disagree. - \u003ca href=\"https:\/\/www.sputnikmusic.com\/review\/74418\/Ryo-Fukui-Scenery\/\" target=\"_blank\" rel=\"noopener\"\u003eSputnik Music\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/5Uny0mkKiVGDat7H6SNDyS?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: We Release Jazz\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Half Speed Cut\u003cbr\u003eReissued: 2018 \/ Original Release: 1976\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Bop, Modal, Cool Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Japanese Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"We Release Jazz","offers":[{"title":"Default Title","offer_id":41456570597534,"sku":"4260544825095","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/0012930403_10.jpg?v=1725355472"},{"product_id":"kimiko-kasai-herbie-hancock-butterfly","title":"Kimiko Kasai \u0026 Herbie Hancock - Butterfly","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOrginally intended as a Japan-only release in 1979, this beautiful album initially went unnoticed outside the county - until word of mouth justifiably made\u003cem\u003e Butterfly\u003c\/em\u003e one of the most coveted rarities in the world in subsequent decades. Fortunately Kimiko Kasai's legendary collaboration with Herble Hancock was reissued by Be With Records in 2018, ensuring this LP receives the wider recognition it deserves. \u003cbr\u003e\u003cbr\u003eRecorded in Tokyo, \u003cem\u003eButterfly\u003c\/em\u003e showcases the lauded Japanese chanteuse leading six vocal versions of the jazz-funk pioneer's compositions, punctuated by highlights such as a fantastic cover of Stevie Wonder's \"As\". Featuring drummer Alphonse Mouzon, organist Webster Lewis and guitarist Ray Obiedo - alongside the Headhunters Bennie Maupin on saxophones, Paul Jackson on bass, Bill Summers on peroussion, and Hancock himself on keyboards, synthesiser and vocoder - \u003cem\u003eButterfly\u003c\/em\u003e is a classy subliminal listen. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFirst ever official reissue of the positively sublime and very rare \u003cem\u003eButterfly \u003c\/em\u003eLP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock.\u003c\/p\u003e\n\u003cp\u003eDue to its super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie \/ Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years.\u003c\/p\u003e\n\u003cp\u003eThe LP opens with Kimiko’s highly desirable version of “I Thought It Was You”, an elegant take on Herbie’s own anthem. Other superb re-workings include the delicately soulful “Butterfly”, jazzy groover “Sunlight”, the smooth and sexy “Tell Me A Bedtime Story” and the beautiful ballads “Maiden Voyage” and “Harvest Time”. A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn’t be missed, the set closes with a jaw-dropping version of Stevie Wonder’s “As”.\u003c\/p\u003e\n\u003cp\u003eThis lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece. The stunning artwork which adorned the original jacket - complete with OBI strip and sumptuous 4 page folded insert - has been faithfully restored. Simon Francis’ sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Essential. — (via \u003ca href=\"https:\/\/www.bewithrecords.com\/products\/kimiko-kasai-with-herbie-hancock-butterfly-lp\" target=\"_blank\" rel=\"noopener\"\u003eBe With Records\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003eReissues from Herbie Hancock's jazz-funk catalogue are always welcome, and few more so than Be With Records's vinyl-only edition of this long-neglected beauty. Recorded in Tokyo in 1979, it is comprised in the main of vocal versions of six Hancock originals and was singer Kimoko Kasai's fourth CBS-enabled collaboration with a leading US jazz musician—following Satin Doll with Gil Evans in 1972, In Person with Oliver Nelson in 1974 and Kimoko Is Here with Cedar Walton in 1975. The line-up includes Hancock on keyboards and synthesisers (and the era's signature vocoder), and the Headhunters's Bennie Maupin on saxophones, Paul Jackson on bass and Bill Summers on percussion.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eButterfly\u003c\/em\u003e was originally released in Japan only. In the less well-connected world of the late 1970s and early 1980s, this meant the album slipped unnoticed past most listeners in Europe and the US. But it is on radar now. And better late than never, for the performances are as classy as the set list.\u003c\/p\u003e\n\u003cp\u003eThis is not revolutionary jazz-funk, as Hancock's own Head Hunters (CBS, 1973) was and Future Shock (CBS, 1983) would be. It is music with which to soothe a furrowed brow or two. There are elegant contributions from Hancock, Maupin on soprano and tenor saxophones and Webster Lewis on organ and acoustic piano. The trio float over sumptuous grooves laid down by Jackson, Summers, guitarist Ray Obiedo and drummer Alphonse Mouzon. Along with the Hancock originals, some with lyrics written by Hancock's sister Jean, the album includes Stevie Wonder's \"As\" and Graselli \u0026amp; Malanet's \"Head In The Clouds.\"\u003c\/p\u003e\n\u003cp\u003eThere is not one dud on the album. Highlights include the soulful title track and \"Sunlight,\" the ballads \"Maiden Voyage\" and \"Harvest Time,\" and Wonder's \"As.\" — (via \u003ca href=\"https:\/\/www.allaboutjazz.com\/butterfly-kimoko-kasai-with-herbie-hancock-be-with-records-review-by-chris-may\" target=\"_blank\" rel=\"noopener\"\u003eAll About Jazz\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"600\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2xbDI0ItU5LUmk2HvFKUcw?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eVinyl tracklist:\u003cbr\u003eA1 I Thought It Was You \/\/ Written-By – H. Hancock, J. Cohen, M. Ragin\u003cbr\u003eA2 Tell Me A Bedtime Story \/\/ Written-By – H. Hancock, J. Hancock\u003cbr\u003eA3 Head In The Clouds \/\/ Written-By – D. Graselli, M. Malanet\u003cbr\u003eA4 Maiden Voyage \/\/ Written-By – H. Hancock, J. Hancock\u003cbr\u003eB1 Harvest Time \/\/ Written-By – H. Hancock, J. Hancock\u003cbr\u003eB2 Sunlight \/\/ Written-By – H. Hancock\u003cbr\u003eB3 Butterfly \/\/ Written-By – H. Hancock, J. Burvick\u003cbr\u003eB4 As \/\/ Written-By – S. Wonder\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Be With Records\u003cbr\u003eFormat: Vinyl, LP, Album, Limited Edition, Reissue, Remastered\u003cbr\u003eReissued: 2018 \/ Original Release: 1979\u003cbr\u003eGenre: Jazz, Funk \/ Soul\u003cbr\u003eStyle: Soul-Jazz, Female Vocals\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  Jazz \/\/ Japanese Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Be With Records","offers":[{"title":"Default Title","offer_id":41456570859678,"sku":"5050580687448","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/0f2bbddc1dbcf15b24abcae65e2aef9c7ebafe0e.jpg?v=1646292375"},{"product_id":"sons-of-kemet-your-queen-is-a-reptile","title":"Sons of Kemet – Your Queen Is A Reptile","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWith sleeve notes declaring \"Your Queen is not our Queen \/ She does not see us as human\" - British jazz outfit Sons of Kemet were out to make a statement with their third record, and in doing so they crafted one of the most powerful pieces of jazz in the 21st century. Released in 2018 on Impulse!, \u003cem\u003eYour Queen Is A Reptile\u003c\/em\u003e rejects the racism and xenophobia of England’s monarchy by honouring black women who’ve made their mark on history.\u003c\/p\u003e\n\u003cp\u003e Much like how the opening track \"My Queen Is Ada Eastman\" salutes bandleader Shabaka Hutchings' Barbadian great grandmother, others memorialise figures such as Harriet Tubman, Nanny of the Maroons, and Yaa Asantewaa, among others. Led by Hutchings’ fiery saxophone, this album is a celebration of Black revolutionaries that blends Afrobeat, calypso, grime and reggae into an avant-garde jazz carnival. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYour Queen Is a Reptile\u003c\/em\u003e signals the arrival of Caribbean-born, London-based saxophonist\/clarinetist Shabaka Hutchings' Sons of Kemet on Impulse! The band's unusual lineup - saxophone\/clarinet, tuba, and two or three drummers - fits with the historic label's revolutionary tradition forged by John and Alice Coltrane, Pharoah Sanders, etc. Hutchings is no mere descendent of his heroes, however. He's amassed dozens of musical credits (including work with Mulatu Astatke and Yusef Kamaal) and leads three different bands: Sons of Kemet, Shabaka and the Ancestors, and the electro space-jazz outfit Comet Is Coming.\u003c\/p\u003e\n\u003cp\u003eThis is Sons of Kemet's third album. Its title refers to the white patriarchy as made manifest in royal and political matriarchies (the queen and Theresa May), and their unrepentant racism toward immigrants. The nine tracks pay homage to iconic Black women from Angela Davis and Harriet Tubman to social psychologist Mamie Phipps Clarke and Hutchings' own great-grandmother, Ada Eastman. Despite the charged nature of the concept, these sounds are not easily categorized as \"angry.\" In fact, if one knew nothing about the motivation here, they would swear the music reflects only Black celebration and joy.\u003c\/p\u003e\n\u003cp\u003eHerein lies the terrain where the carnival tradition of the Caribbean stretches west and north simultaneously to New Orleans' marching bands and South London's adventurous, well-integrated contemporary music scene; it's where modern avant-jazz meets funk, folk tradition, grime (thanks to two raps by poet Joshua Idehen), and reggae (courtesy of toaster Congo Natty). \"My Queen Is Ada Eastman\" opens with rolling double-drum kits (Tom Skinner and Seb Rochford - the latter alternates with or complements Eddie Hick and Moses Boyd) - while Theon Cross' tuba establishes a hypnotic bassline and Hutchings weaves a labyrinthine, almost snaky melody. \u003c\/p\u003e\n\u003cp\u003eThey dig deep into reggae with \"My Queen Is Mamie Phipps Clarke,\" as Natty delivers a Rasta poem with Hutchings' tenor winding around him amid stretched-out dub effects. \"My Queen Is Angela Davis\" equates, knotty, martial, yet funky rhythms as Cross and Hutchings exchange a contrapuntal lyric line that touches on carnival music and Arabic double-harmonic scales. While \"My Queen Is Nanny of the Maroons,\" titled for the famed Jamaican anti-colonialist, uses a hypnotic Nyabinghi rhythm, the tuba lays down a rocksteady bassline and Hutchings breathes out a gentle modal ballad.\u003c\/p\u003e\n\u003cp\u003eNubya Garcia adds a second saxophone to \"My Queen Is Yaa Asantewaa\" amid incantatory Ghanaian-style drumming and a declarative tuba. On \"My Queen Is Albertina Sisulu,\" the drumming and stretched harmony delineate where South African township jive meets avant-jazz (and traces a direct line from Brotherhood of Breath). Hip-hop, funk, and Fela all meet in closer \"My Queen Is Doreen Lawrence\" (titled for the British Jamaican campaigner), with punchy tenor lines, roiling snares, and kick drums with bleating below-the-floor bass notes. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYour Queen Is a Reptile\u003c\/em\u003e is easily Sons of Kemet's most compelling outing. It offers inspired stylistic contrasts, canny improvisation, and killer charts. It's tight, furious, joyous, and inspirational. — (via Thom Jurek \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/your-queen-is-a-reptile-mw0003139532\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/6zpSJemfxQFHKVVqMDNW9J\" allowtransparency=\"true\" allow=\"encrypted-media\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse! ‎\u003cbr\u003eFormat: 2 × Vinyl, LP, Album\u003cbr\u003eReleased: 2018\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Afrobeat, Free Improvisation, Avant-garde Jazz, Modern\/Future Jazz \u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Jazz \/\/ Modern\/Future Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":41456570925214,"sku":"602567364320","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/1846a61c61b7730148c0da950c82b4ed25844980.jpg?v=1646292377"},{"product_id":"demon-fuzz-afreaka","title":"Demon Fuzz - Afreaka! (2017 Reissue)","description":"\u003cp class=\"MsoNormal\"\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003cspan lang=\"EN-GB\"\u003e- The Analog Vault \/\/ Essential Listening -\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eFormed by a group of talented Caribbean immigrants, Demon Fuzz (slang for “devil’s children” or “bad policemen”) was one of the most criminally underrated and creatively unique bands to have come out of the London scene in the late-1960s and early-1970s. While their tenure was short, their legacy lives on with their enduringly cool 1970 release \u003cem\u003eAfreaka!\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eDemon Fuzz’s one and only album was a wild fusion of their members’ influences in West African music, calypso, soul, jazz, funk and ska - alongside hypnotic strains of psychedelic soul and prog rock. The resulting hot mess of infectious grooves and snaking instrumentals coalesced into vigorous and vibrant semi-improvised jams that will expand your mind. This obscure masterpiece of Afro rock and freaky jazz juju is a must-have. — The Analog Vault\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7BNkvpv44NRKzYYSzVajw2?utm_source=generator\u0026amp;theme=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Music On Vinyl, Sanctuary, BMG\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Remastered, Stereo, 180 Gram\u003cbr\u003eReissued: 2017 \/ Original Release: 1970\u003cbr\u003eGenre: Jazz, Rock, Funk \/ Soul\u003cbr\u003eStyle: Fusion, Afrobeat, Jazz-Funk, Jazz-Rock, Prog Rock\u003c\/p\u003e\n\u003cp\u003eFile under: Funk \u0026amp; Soul\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Music On Vinyl","offers":[{"title":"Default Title","offer_id":41456571908254,"sku":"8719262004375","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/DemonFuzz.jpg?v=1660113992"},{"product_id":"jaimie-branch-fly-or-die","title":"Jaimie Branch – Fly or Die","description":"\u003cp\u003e\u003cstrong\u003e- The Analog Vault \/\/ Essential Listening -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe late, great Jaimie Branch was one of the most inventive American jazz trumpeters of the modern era. From cross-pollinations with artists as diverse as William Parker, Matana Roberts, TV on the Radio, Spoon, Madlib and Talib Kweli; to her stellar work in Chicago and New York’s progressive jazz scenes - Branch’s open-minded, improvisational style could never be boxed into any particular genre. \u003c\/p\u003e\n\u003cp\u003eNowhere is her innovation more apparent than on Branch’s marvellous debut album as a bandleader on International Anthem Recording Co. Released in 2017, \u003cem\u003eFly or Die\u003c\/em\u003e is a record of unconventional musicality that blends Branch’s disposition for free jazz with strains of R\u0026amp;B, calypso, indie rock and classical. This compact and textured 35-minute suite is the ideal introduction to Branch’s eccentric, boundary-pushing genius. - The Analog Vault\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/5oXtlidODVnOtsXUeIyZvl\" allowtransparency=\"true\" allow=\"encrypted-media\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eItem description:\u003c\/strong\u003e        \u003c\/p\u003e\n\u003ctable width=\"374\" style=\"width: 465px;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 140.625px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 296.375px;\"\u003e\n\u003cp\u003eJaimie Branch\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 140.625px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 296.375px;\"\u003e\n\u003cp\u003eFly or Die\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 140.625px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 296.375px;\"\u003e\n\u003cp\u003eInternational Anthem Recording Company\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 140.625px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 296.375px;\"\u003e\n\u003cp\u003eVinyl, LP, Album\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 140.625px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eReissued\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 296.375px;\"\u003e\n\u003cp\u003e2019 onwards (Original: 2017)\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 140.625px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 296.375px;\"\u003e\n\u003cp\u003eJazz\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 140.625px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 296.375px;\"\u003e\n\u003cp\u003eAvant-Garde, Free Improvisation\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 140.625px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 296.375px;\"\u003e\n\u003cp\u003eNew\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"International Anthem Recording Company","offers":[{"title":"Default Title","offer_id":41456602415262,"sku":"664992991212","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/0e4a4fc9b7eb244676e44c79439946a16f64886a.jpg?v=1646292701"},{"product_id":"grantgreen-borntobebluetonepoetseries","title":"Grant Green - Born To Be Blue (Blue Note Tone Poet Series)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough Grant Green provided his share of groove-oriented soul-jazz and modal post-bop, his roots were hard bop, and it is in a bop-oriented setting that the guitarist excels on \u003cem\u003eBorn to Be Blue\u003c\/em\u003e. Most of the material on this five-star album was recorded at \u003c\/span\u003eRudy Van Gelder\u003cspan\u003e's New Jersey studio on December 11, 1961, when Green was joined by tenor titan \u003c\/span\u003eIke Quebec\u003cspan\u003e, pianist \u003c\/span\u003eSonny Clark\u003cspan\u003e, bassist \u003c\/span\u003eSam Jones\u003cspan\u003e, and drummer \u003c\/span\u003eLouis Hayes\u003cspan\u003e. Tragically, \u003c\/span\u003eQuebec\u003cspan\u003e was near the end of his life -- the distinctive saxman died of lung cancer at the age of 44 on January 16, 1963 -- but there is no evidence of \u003c\/span\u003eQuebec\u003cspan\u003e's declining health on Born to Be Blue. He was playing as authoritatively as ever well into 1962, and the saxman is in fine form on hard-swinging interpretations of \"Someday My Prince Will Come\" and \u003c\/span\u003eAl Jolson\u003cspan\u003e's \"Back in Your Own Back Yard.\" It's interesting to hear \u003c\/span\u003eQuebec\u003cspan\u003e playing bop, for his big, breathy tone was right out of swing and was greatly influenced by \u003c\/span\u003eColeman Hawkins\u003cspan\u003e and \u003c\/span\u003eBen Webster\u003cspan\u003e. \u003cbr\u003e\u003cbr\u003eAlthough \u003c\/span\u003eQuebec\u003cspan\u003e and Green (who was 14 years younger) had very different musical backgrounds, they were always quite compatible musically. They clearly enjoyed a strong rapport on the uptempo selections as well as ballads like \"My One and Only Love\" and \u003c\/span\u003eMel Torme\u003cspan\u003e's \"Born to Be Blue.\" — via AllMusic\u003c\/span\u003e\u003cbr\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/54Hn6pJrW564ZmaZDbK6Td?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Blue Note ‎Records\u003cbr\u003eSeries: Blue Note Tone Poet Series \u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180 gram, Gatefold\u003cbr\u003eReissued: 2019 \/ Original Release: 1962\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Hard Bop, Soul-Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Blue Note Tone Poet Series\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Blue Note Records","offers":[{"title":"Default Title","offer_id":41456676307102,"sku":"602577868443","price":65.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/68e30af02b992db8e6c8a134c2ed43d5146bdd95.jpg?v=1646294272"},{"product_id":"joydivisionunknownpleasures2015reissue","title":"Joy Division - Unknown Pleasures","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIt is not at all hyperbolic to say that this is the most important and influential post-punk record of all-time. Besides inspiring a whole new generation of bands with their serrated sound, \u003cem\u003eUnknown Pleasures\u003c\/em\u003e became a pop culture touchstone - spawning a multitude of books, documentaries and films - not to mention the far-reaching impact of its iconic radio waveform cover artwork. With a legacy so steeped in the mainstream consciousness, it may be tempting to describe Joy Division’s paradigmatic 1979 debut as overrated… except that all it takes is a single listen to realise that every song on this album is a genuine classic. From Ian Curtis’ dark, bluntly parsed lyricism and Peter Hook’s ominous basswork, to Bernard Sumner’s angular riffs and Stephen Morris' tribal, tom-driven drumming - Joy Division birthed a singularly alien brand of art rock that somehow resonated with the masses. And it all began here. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt even looks like something classic, beyond its time or place of origin even as it was a clear product of both -- one of \u003c\/span\u003ePeter Saville\u003cspan\u003e's earliest and best designs, a transcription of a signal showing a star going nova, on a black embossed sleeve. If that were all\u003cem\u003e Unknown Pleasures\u003c\/em\u003e was, it wouldn't be discussed so much, but the ten songs inside, quite simply, are stone-cold landmarks, the whole album a monument to passion, energy, and cathartic despair. The quantum leap from the earliest thrashy singles to \u003cem\u003eUnknown Pleasures\u003c\/em\u003e can be heard through every note, with \u003c\/span\u003eMartin Hannett\u003cspan\u003e's deservedly famous production -- emphasizing space in the most revelatory way since the dawn of dub -- as much a hallmark as the music itself. Songs fade in behind furtive noises of motion and activity, glass breaks with the force and clarity of doom, and minimal keyboard lines add to an air of looming disaster -- something, somehow, seems to wait or lurk beyond the edge of hearing. But even though this is \u003c\/span\u003eHannett\u003cspan\u003e's album as much as anyone's, the songs and performances are the true key. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eBernard Sumner\u003cspan\u003e redefined heavy metal sludge as chilling feedback fear and explosive energy, \u003c\/span\u003ePeter Hook\u003cspan\u003e's instantly recognizable bass work was at once warm and forbidding, and \u003c\/span\u003eStephen Morris\u003cspan\u003e' drumming smacked through the speakers above all else. \u003c\/span\u003eIan Curtis\u003cspan\u003e synthesizes and purifies every last impulse, his voice shot through with the desire first and foremost to connect, only connect -- as \"Candidate\" plaintively states, \"I tried to get to you\/You treat me like this.\" Pick any song: the nervous death dance of \"She's Lost Control\"; the harrowing call for release \"New Dawn Fades,\" all four members in perfect sync; the romance in hell of \"Shadowplay\"; \"Insight\" and its nervous drive toward some sort of apocalypse. All visceral, all emotional, all theatrical, all perfect -- one of the best albums ever. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/unknown-pleasures-mw0000202764\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJoy Division (and Martin Hannett) re-define post-industrial popular music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe duochrome Peter Saville cover of this first Joy Division album speaks volumes. Its white on black lines reflect a pulse of power, a surge of bass, and raw angst. If the cover doesn’t draw you in, the music will.\u003c\/p\u003e\n\u003cp\u003eFollowing the first kick of drums and bass come the vocals: \"I’ve been waiting for a guy to come and take me by the hand\". This young band was the ‘guy’ to take post punk music by the hand and lead it to 80s electronica. Joy Division were unlike anything that came before them and anything that has ever come after them.\u003c\/p\u003e\n\u003cp\u003eThe album is at times aggressive: \"And all God’s angels beware. And all you judges beware, sons of chance take good care. For all the people out there, I’m not afraid anymore,\" Ian Curtis intones on Insight, lapsing, at times, into despondency. \u003cem\u003eUnknown Pleasures\u003c\/em\u003e is always brooding and always intense.\u003c\/p\u003e\n\u003cp\u003eJoy Division were four boys from 1970s Salford. They took their name from the literary prostitution wing of a Nazi concentration camp and they took their inspiration from the familiar atmosphere of run-down, post-industrial estates. Deep heaving baritones come out of a man so small he’d be blown away by the gust of his own voice. Together Curtis, Bernard Sumner, Peter Hook and Stephen Morris created something approaching pure energy.\u003c\/p\u003e\n\u003cp\u003eOn Shadowplay the guitars launch into a dimension reminiscent of the sonic dimensions that Bowie and Eno dwelt in, in the late 70s. The band’s sound is echo-y, cavernous, but thanks to Factory Records producer, Martin Hannett, never empty. By adding sound effects such as breaking glass, deep breaths, and footsteps he brings the music out of the mental torture of the lead singer and into the real world. It’s these details that keep you with it and make it feel more measured than their manic live performances. For this he was initially resented by the band.\u003c\/p\u003e\n\u003cp\u003eThe classic She’s Lost Control builds intensity as threatening growling is replaced with manic crescendo. It’s simple, it’s terse. Day of the Lords feels like it should accompany an Edgar Allen Poe tale, as pulsing drums and howling guitars penetrate the air towards an unknown conclusion.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eUnknown Pleasures\u003c\/em\u003e borders on nihilism, but is pregnant with expectation. And like Bowie’s Low, once heard it's never forgotten. It’s like going to the doctor and having your ears syringed. This is a sound that’s ready to explode. And it still feels personal. — (via \u003ca href=\"https:\/\/www.bbc.co.uk\/music\/reviews\/zc3n\/\" target=\"_blank\" rel=\"noopener\"\u003eBBC\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/5Dgqy4bBg09Rdw7CQM545s?utm_source=generator\u0026amp;theme=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Factory, Rhino Records\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Remastered, 180 Gram, Textured Sleeve\u003cbr\u003eReissued: 2015 \/ Original Release: 1979\u003cbr\u003eGenre: Rock, Electronic\u003cbr\u003eStyle: New Wave, Post-Punk\u003c\/p\u003e\n\u003cp\u003eFile under: School Of Rock\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Factory","offers":[{"title":"Default Title","offer_id":41456699998366,"sku":"825646183906","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/440972a_1.jpg?v=1727603539"},{"product_id":"weldonirvine-timecapsule","title":"Weldon Irvine - Time Capsule","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhether as a sideman for Kenny Dorham and Joe Henderson, or as the bandleader for Nina Simone, the gifted Weldon Irvine was always proven to be one of the most vital jazz musicians America has ever produced. But his finest works were his brilliant solo endeavours in the 1970s, which cemented Irvine as one of jazz-funk’s principal protagonists. \u003c\/p\u003e\n\u003cp\u003eMost notably, his 1973 LP \u003cem\u003eTime Capsule\u003c\/em\u003e, released under his own label Nodlew Music, was Irvine’s proudest achievement. As the composer, arranger, lyricist, vocalist, pianist and organist for \u003cem\u003eTime Capsule\u003c\/em\u003e - Irvine applied his considerable multidisciplinary talents to craft a sonic diary documenting the political and social currents of the era. With assistance from his sublime ensemble, Irvine’s blend of soul, jazz, funk and spoken word was as sensational as it was searing. - \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThe sublime \u003cem\u003eTime Capsule\u003c\/em\u003e remains Weldon Irvine's most fully realized and influential recording. Assembled as a kind of musical scrapbook documenting the thought patterns and belief systems of the early '70s, it nevertheless boasts a surprising vitality and timelessness thanks to luminous funk grooves that anticipate the latter-day emergence of acid jazz. Irvine also rhymes over several tracks, further cementing his influence on successive generations of hip-hop.\u003c\/p\u003e\n\u003cp\u003eA profoundly righteous spirituality winds through all eight of \u003cem\u003eTime Capsule\u003c\/em\u003e's performances, assaying both the affection (\"Soul Sisters\") and anger (\"Watergate\") vying for control of post-Woodstock America. Irvine's searing keyboard and piano playing further capture the moment in question, deftly balancing between beatitude and bitterness. -  Jason Ankeny \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/time-capsule-mw0000771400\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/3q4fkNvNFYx6LbSS9Rz0lu?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eLabel: Nodlew Music \/\/ P-Vine Records\u003cbr\u003eFormat: LP, Album, Reissue\u003cbr\u003eReissued: 2023 (Originally Released: 1973)\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Jazz-Funk, Fusion, Soul-Jazz, Vocals\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"P-Vine Records","offers":[{"title":"Japan Repress","offer_id":41456706322590,"sku":"4995879078273","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/p10_6465.jpg?v=1733906266"},{"product_id":"johncoltrane-alovesupremeacousticsoundsseries","title":"John Coltrane - A Love Supreme (Acoustic Sounds Series)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe defining album of legendary American jazz saxophonist John Coltrane’s storied career,\u003cem\u003e A Love Supreme\u003c\/em\u003e emerged as a prayerful paragon that was beyond reproach. Structured as a through-composed suite in four parts and delivered in praise of God - this modal, post-bop masterpiece was the sound of Coltrane’s spiritual awakening, existing in an exalted plane that few (if any) albums made before or since have been able to touch.\u003c\/p\u003e\n\u003cp\u003eRecorded with Coltrane’s classic quartet - Elvin Jones, McCoy Tyner and Jimmy Garrison - A Love Supreme was not just technically experimental, it was emotionally and conceptually ambitious. From \"Acknowledgement\" to “Psalm”, Coltrane eloquently translated his personal journey from darkness to enlightenment through his chosen medium of free jazz. The result was a magnum opus of divine proportions. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003cbr\u003eOne of the most important records ever made, John Coltrane's \u003cem\u003eA Love Supreme\u003c\/em\u003e was his pinnacle studio outing, that at once compiled all of the innovations from his past, spoke to the current of deep spirituality that liberated him from addictions to drugs and alcohol, and glimpsed at the future innovations of his final two and a half years. \u003c\/p\u003e\n\u003cp\u003eRecorded over two days in December 1964, Trane's classic quartet - Elvin Jones, McCoy Tyner, and Jimmy Garrison - stepped into the studio and created one of the most the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship. From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical and emotionally varied soloing, while the rest of the group is completely atttuned to his spiritual vibe. Composed of four parts, each has a thematic progression. \u003c\/p\u003e\n\u003cp\u003e\"Acknowledgement\" is the awakening to a spiritual life from the darkness of the world; it trails off with the saxophonist chanting the suite's title. \"Resolution\" is an amazingly beautiful, somewhat turbulent segment. It portrays the dedication required for discovery on the path toward spiritual understanding. \"Pursuance\" searches deeply for that experience, while \"Psalm\" portrays that discovery and the realization of enlightenment with humility. Although sometimes aggressive and dissonant, this isn't Coltrane at his most furious or adventurous. His recordings following this period--studio and live-- become progressively untethered and extremely spirited. \u003cem\u003eA Love Supreme\u003c\/em\u003e not only attempts but realizes the ambitious undertaking of Coltrane's concept; his emotional, searching, sometimes prayerful journey is made abundantly clear. \u003c\/p\u003e\n\u003cp\u003eClocking in at 33 minutes; \u003cem\u003eA Love Supreme\u003c\/em\u003e conveys much without overstatement. It is almost impossible to imagine any jazz collection without it. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/a-love-supreme-mw0000187827\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003eJohn Coltrane's\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eA Love Supreme\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis widely regarded as one of the greatest jazz albums of all time. Released in 1965, the album features Coltrane's quartet at the height of their creative powers, and is a testament to the saxophonist's spiritual and musical vision. The album is divided into four parts, each representing a different aspect of Coltrane's personal journey towards spiritual enlightenment.\u003c\/p\u003e\n\u003cp\u003eThe opening track, \"Acknowledgement,\" is a meditative piece that features Coltrane's iconic \"A Love Supreme\" chant. This is followed by \"Resolution,\" a high-energy piece that showcases Coltrane's virtuosic saxophone playing.\u003c\/p\u003e\n\u003cp\u003eThe third track, \"Pursuance,\" is a dynamic, fast-paced tune with intricate solos by each member of the quartet. The album concludes with \"Psalm,\" a reflective, hymn-like piece that features Coltrane's saxophone playing in a more subdued, spiritual mode. Throughout the album, Coltrane's playing is characterized by his signature \"sheets of sound\" technique, in which he plays rapid, complex runs of notes that seem to cascade and flow endlessly. The quartet's interplay is also exceptional, with each member contributing to the album's overall sense of improvisational freedom and musical unity. Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison together created one of the most thought-provoking albums of their relationship.\u003c\/p\u003e\n\u003cp\u003eLyrically, the album explores themes of spirituality, redemption, and the search for meaning in a chaotic world. The music is delivered with an intensity and sincerity that is palpable, making it a deeply moving and powerful listening experience. Overall,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Love Supreme\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a landmark album that showcases Coltrane's unparalleled musicianship and profound spiritual insight. It's a must-listen for jazz enthusiasts and anyone who appreciates music that speaks to the soul. — (via Label)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/7Eoz7hJvaX1eFkbpQxC5PA?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse!, Verve Records, UMe\u003cbr\u003eSeries: Acoustic Sounds Series\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Repress, Stereo, 180g, Gatefold\u003cbr\u003eReissued: 2021 \/ Original Release: 1965\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Free Jazz, Post Bop, Modal\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  Audiophile Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Verve \/ Impulse!","offers":[{"title":"Default Title","offer_id":41456709697694,"sku":"602508889288","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/A1LfosEqwcL._UF1000_1000_QL80.jpg?v=1709895672"},{"product_id":"va-wamonoatozvoli","title":"Various Artists - Wamono A To Z Vol. I","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eCurated by two of the most knowledgeable experts in the Japanese rare groove scene - DJs Yoshizawa Dynamite \u0026amp; Chintam (who co-wrote the eponymous record guide book) - \u003ci style=\"mso-bidi-font-style: normal;\"\u003eWamono A To Z Vol. I\u003c\/i\u003e is a whirlwind compendium of some of the finest Nipponese jazz-funk and soul-jazz fusion tunes released between 1968 and 1980. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eHighlights include Toshiko Yonekawa’s immensely funky, shimasen-infused opener “Sōran Bushi,” and Chumei Watanabe’s noirish, shinobue flute-driven “Downtown Blues” on side A. Similarly, Akira Ishikawa \u0026amp; Count Buffalo \u0026amp; The Jazz Rock Band’s Afrobeat-leaning cover of Lee Morgan’s classic “The Sidewinder,” and Norio Maeda, Jiro Inagaki \u0026amp; The All-Stars’ Rhodes-centric boogie “Go Go A Go Go” stand out on side B.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eFrom top to bottom, this is a terrific compilation of ten vintage Wamono pearls. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eActive as a professional DJ in Japan since the late eighties, DJ Yoshizawa Dynamite is also a renowned remixer, compiler and producer. An avid record collector and an expert of the Wamono style, Yoshizawa published the Wamono A to Z records guide book in 2015 which instantly sold-out. The book unveiled a myriad of beautiful and rare records from a highly prolific, but still then unknown, Japanese groove scene.\u003c\/p\u003e\n\u003cp\u003eAfter many years working as a record buyer for several stores, DJ Chintam opened his own Blow Up shop in 2018 in Tokyo’s Shibuya district. A member of the Dayjam Crew and a specialist of soul, funk, rare groove and disco music, Chintam is also an expert of the home-brewed Wamono grooves. He supervised and wrote the Wamono A to Z records guide book together with Yoshizawa. \u003c\/p\u003e\n\u003cp\u003eWith this first volume of the Wamono series, our two DJs here guide you through some of the best and rarest jazz funk and rare groove tunes produced in Japan between 1968 and 1980. Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese funk, soul, rare groove and disco music developed throughout the years since the end of the sixties in Japan! — (via \u003ca href=\"https:\/\/wamono.bandcamp.com\/album\/wamono-a-to-z-vol-i-japanese-jazz-funk-rare-groove-1968-1980-selected-by-dj-yoshizawa-dynamite-chintam\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2152390351\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: 180g\u003cbr\u003eSeries: Wamono A To Z\u003cbr\u003eFormat: Vinyl, LP, Compilation, 180g\u003cbr\u003eReleased: 2020\u003cbr\u003eGenre: Jazz, Funk \/ Soul\u003cbr\u003eStyle: Jazz-Funk, Soul-Jazz, Japanese Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  Jazz\/\/ Japanese Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"180g","offers":[{"title":"Default Title","offer_id":41456718938270,"sku":"5050580740839","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/5b062ad1c05610a0f7c9e3426d46f11833ee11ba.jpg?v=1646295517"},{"product_id":"nujabesmodalsoul","title":"Nujabes ‎– Modal Soul","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe second, and sadly final, full-length album of Seba Jun’s lifetime is widely considered to be the beatmaker’s magnum opus. Although underappreciated during its initial release in 2005, \u003cem\u003eModal Soul\u003c\/em\u003e has posthumously become Nujabes’ most cherished work.\u003c\/p\u003e\n\u003cp\u003eA timeless masterpiece by any standard of measurement, this LP off his own record label Hydeout Productions, showcases the producer at his most inspired. Featuring Nujabes’ warm and captivating take on instrumental hip-hop, backboned by old soul and jazzy samples from the likes of Miles Davis and Yusef Lateef, and complemented by seven different emcees lending their intelligent lyricism to Seba’s genius compositions - \u003cem\u003eModal Soul\u003c\/em\u003e is an unforgettably rich and chromatic sonic experience. — The Analog Vault\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6nVACH6a27eOWiumAJhDWS?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Hyde Out Productions\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue, Repress\u003cbr\u003eReissued: 2024 \/ Original Release: 2005\u003cbr\u003eGenre: Electronic, Hip Hop, Jazz\u003cbr\u003eStyle: Jazzy Hip-Hop, Downtempo, Cool Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Hip-hop 2000 \u0026amp; beyond\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Hydeout Productions","offers":[{"title":"Default Title","offer_id":41456731619486,"sku":"4997184112826","price":80.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/6731e69914e3043104f9685d9765fb564c12a310.jpg?v=1646295713"},{"product_id":"tommischyussefdayeswhatkindamusic","title":"Tom Misch \u0026 Yussef Dayes ‎– What Kinda Music","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eThis unexpected collaborative project between London musicians - singer-songwriter Tom Misch and progressive jazz drummer Yussef Dayes - asked an intriguing question with its album title \u003ci\u003eWhat Kinda Music\u003c\/i\u003e – is it electronica? Is it acid jazz? Is it hip-hop? Is it neo-soul? \u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003eWhat Kind Music\u003c\/i\u003e amalgamates multiple genres, but thinking about labels is surely not as important as enjoying its incredibly psychedelic vibe. Released on the legendary Blue Note Records, this debut record from the British duo finds a uniquely warm synergy between Misch’s catchy riffs and laidback crooning alongside Dayes’ punchy and punctuated drumming. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eFeaturing guest appearances from saxophonist Kaidi Akinnibi, rapper Freddie Gibbs, and bassist Rocco Palladino - \u003ci style=\"mso-bidi-font-style: normal;\"\u003eWhat Kinda Music\u003c\/i\u003e reveals superb musicianship and vital rhythmic energy at every turn. An engrossing album by two of the UK’s brightest young talents that defies categorisation. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eTom Misch is a singer, producer, and guitarist, releasing music since 2012. He's also the star child of nū-jazz, and a master of the Instagram pick-up jazz guitar sound. Yussef Dayes, for his part, is best known as the man behind the drums of duo Yussef Kamaal, as well as collaborations with Alpha Mist, Mansur Brown, et. al.\u003c\/p\u003e\n\u003cp\u003eThough not the most likely of bedfellows, it is immediately apparent this pairing have found a comfortable gestalt in their music: Take Misch’s pretty-boy melodies and clean, almost plastic Niles Rodgers guitar production, and throw them over Dayes’ psychedelic hip-hop tinged jazz beats. Dayes’ wild energy contrasts Misch’s chilled-out vibes perfectly. The result is a warm, vibe-y album for hype beasts and chops aficionados alike.\u003c\/p\u003e\n\u003cp\u003eBasically, \u003cem\u003eWhat Kinda Music\u003c\/em\u003e bridges the gap between these two musicians. For fans of Misch’s tunes, there is some tasty guitar net-soul riffage and some crooning R\u0026amp;B bops. Fans of Dayes’ ever-evolving groove-based instrumentals get their fix too, with a barrage of drum-led jams.\u003c\/p\u003e\n\u003cp\u003eIndeed, the drums are mixed front and centre, as much a melody instrument as the voice or the guitar — sometimes more so. The production is what really makes this album special — warm, compressed, and very saturated. Big synth basses carpet the bottom end, while Misch’s guitar and voice occupy the middle of the mix as wide, woozy synths and analog delay effects fill the spaces in between. There are even a few moments of choice string arrangement, reminding listeners that on top of everything else, Misch is also an accomplished violinist.\u003c\/p\u003e\n\u003cp\u003eThe majority of the vibe comes from the reverb \/ delay ambiances on everything from the vocals to the kick and the warbling white noise flutters filling up the sonic pallet. Good use of post- production makes what would otherwise sound like a jam session level up to be a fully realized project.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhat Kinda Music\u003c\/em\u003e also features an unlikely collaboration with acclaimed MC Freddie Gibbs. Sonically, it fits perfectly: the Misch \/ Dayes project is not far off from Gibbs’ main production collaborator Madlib.\u003c\/p\u003e\n\u003cp\u003eIt's refreshing to see legendary jazz label Blue Note take an interest in the new generation of UK musicians. Historically known for producing a score of influential hard bop albums in the 1950s and 1960s, in recent years their output has been focused on established American instrumentalists (trumpet player Ambrose Akinmusire, drummer Chris Dave, and bassist Derrick Hodge, among others). Here's hoping Misch \u0026amp; Dayes will help bridge the gap between the vibrant UK jazz scene and the far reaching American audiences. — (via \u003ca href=\"https:\/\/www.thelineofbestfit.com\/reviews\/albums\/tom-misch-and-yussef-dayes-what-kinda-music-album-review\" target=\"_blank\" rel=\"noopener\"\u003eThe Line of Best Fit\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhat Kinda Music\u003c\/em\u003e? Well, that’s a very good question. Indie jazz? Hip-hop? R\u0026amp;B with hints of electronica? As the title hints, that really doesn’t need answering as it doesn’t matter. Carrying the torch of genreless music, South London pair Tom Misch and Yussef Dayes have teamed up to create an engaging and expansive project which pushes both artists into unchartered territory. A journey defined by vivid colours and flair.   \u003c\/p\u003e\n\u003cp\u003eYoung producer and singer-songwriter Tom Misch has been heading towards becoming a household name over the past few years, recognised for his catchy melodic writing which has captured his fan base. Alternatively, Yussef Dayes has come up through the jazz underground scene and his own cult following, creating a real name for himself with the duo Yussef Kamaal before going onto release material independently after the duo split. Having known each other for years through their South London settings, the pair reunited at a release event for Geography which became the spark for \u003cem\u003eWhat Kinda Music\u003c\/em\u003e. Although the pair may be from musically different backgrounds, the project shows that they jell well and highlight their broad musicality as they tap into each another’s’ energy. \u003c\/p\u003e\n\u003cp\u003eFrom the get-go, you realise that \u003cem\u003eWhat Kinda Music\u003c\/em\u003e is a deviation from Misch’s previous style. Drawing on the vigour of live performance and jams, the record isn’t overproduced and helps to paint an encompassing musical atmosphere. The title-track immediately immerses us with psychedelic vibes, powered by deep thundering synths, Misch’s high howling vocals, lush swooping strings and Dayes’ punchy punctuated drums. ‘Festival’ encapsulates the free, swirling spirit of these summer gatherings. As painful as it is casting our minds on these beautiful settings in the time of Corona, the nostalgia of this bliss is intoxicating. This wistful dreamscape continues through the cool West Coast hip-hop vibes of ‘Nightrider’, where we see superb musicianship as we hear Dayes and Tom Driessler’s bass rhythmically dance, Misch’s vocal harmonies burst through in the chorus while Freddie Gibbs’ free-flowing verse flawlessly matches the scene. Rounding off the first half, we see brilliant sonic shapes with ‘Tidal Wave’ through the juxtaposition of Dayes’ dramatic drumming and Misch’s silky vocals, whilst the mighty Aretha Franklin’s vocals are channelled for ‘The Real’ to create the summery jazz-hop feel.\u003c\/p\u003e\n\u003cp\u003eThe second, funkier, half of the album beings with ‘Lift Off’, a masterclass of musical prowess. The song teems with energy and vibrance, styled by a stunning conversation between Rocco Palladino’s pulsating bass and Misch’s replying guitar, whilst Dayes’ inspired drumming glues the two together. ‘I Did It For You’ and ‘Last 100’ are characteristic of that “classic Tom Misch” sound - bright and airy. ‘Kyiv’ sees the musicians really stretch their legs, showcasing class instrumental passages from both players and helping to reinforce that Dayes is one of the best fucking drummers on the scene. The trance-like ‘Julie Mangos’ builds you to the final song ‘Storm Before The Calm’, which is the perfect outro to the album with the staunch beat of Dayes’ drumming allowing Kaidi Akinnibi’s powerful sax playing to let loose and riff us out. \u003c\/p\u003e\n\u003cp\u003eAtmospheric and immersive, \u003cem\u003eWhat Kinda Music\u003c\/em\u003e exhibits the collaborative force of the contemporary music scene. It’s emotive and contemplative approach is enchanting, and it shows how Tom Misch and Yussef Dayes, who come from different musical settings, are able to bring out the best of each other. Spanning styles and sounds, both musicians stretch each other in different ways to create an impressive and profound work. — (via \u003ca href=\"https:\/\/www.jazzrevelations.com\/post\/what-kinda-music-tom-misch-yussef-dayes\" target=\"_blank\" rel=\"noopener\"\u003eJazz Revelations\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6iOCv7oGL5sGi2aVnRz2BI?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Blue Note, Beyond The Groove\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, 180 Gram, Gatefold\u003cbr\u003eCountry: Worldwide\u003cbr\u003eReleased: 2020\u003cbr\u003eGenre: Jazz, Electronic, Hip Hop\u003cbr\u003eStyle: Broken Beat, Modern \/ Future Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Modern \/ Future Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Blue Note Records","offers":[{"title":"Default Title","offer_id":41456732733598,"sku":"842812123108","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/WhatKindaMusic_TomMischandYussefDayes.webp?v=1729071572"},{"product_id":"marvingaye-whatsgoingon","title":"Marvin Gaye - What's Going On","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhat’s Going On \u003c\/em\u003eis one of the most significant and seminal albums from the soul and R\u0026amp;B canon. Released in 1971 on Motown Records' subsidiary Tamla, What’s Going On was an unapologetically political record that weaved jazz, doo-wop, and hymns into Marvin Gaye’s passionate prog-soul style. By the time of the album’s release, Gaye was already legendary but coming off personal tragedies and his experiences as a Black man in America - the singer risked commercial backlash and alienation from his White audience, to create a revolutionary masterpiece dealing with the worst of his country’s ills.\u003c\/p\u003e\n\u003cp\u003eDesigned as a song cycle told from the perspective of a returning Vietnam War veteran, this poignant album tackles themes of racism, police brutality, drug abuse, poverty, war, and environmental degradation. \u003cem\u003eWhat’s Going On\u003c\/em\u003e remains a prescient and vital artistic statement that resonates till this day. \u003cspan\u003e\u003cem\u003e—\u003c\/em\u003e\u003c\/span\u003e \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e—\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eWhat's Going On\u003c\/em\u003e is not only Marvin Gaye's masterpiece, it's the most important and passionate record to come out of soul music, delivered by one of its finest voices, a man finally free to speak his mind and so move from R\u0026amp;B sex symbol to true recording artist. With \u003cem\u003eWhat's Going On\u003c\/em\u003e, Gaye meditated on what had happened to the American dream of the past -- as it related to urban decay, environmental woes, military turbulence, police brutality, unemployment, and poverty. These feelings had been bubbling up between 1967 and 1970, during which he felt increasingly caged by Motown's behind-the-times hit machine and restrained from expressing himself seriously through his music. \u003cbr\u003e\u003cbr\u003eFinally, late in 1970, Gaye decided to record a song that \u003c\/span\u003ethe Four Tops\u003cspan\u003e' \u003c\/span\u003eObie Benson\u003cspan\u003e had brought him, \"What's Going On.\" When \u003c\/span\u003eBerry Gordy\u003cspan\u003e decided not to issue the single, deeming it uncommercial, Gaye refused to record any more material until he relented. Confirmed by its tremendous commercial success in January 1971, he recorded the rest of the album over ten days in March, and Motown released it in late May. Besides cementing Marvin Gaye as one of the most important artists in pop music, What's Going On was far and away the best full-length to issue from the singles-dominated Motown factory, and arguably the best soul album of all time. — via AllMusic\u003c\/span\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.rollingstone.com\/music\/music-news\/marvin-gaye-whats-going-on-50th-anniversary-digital-reissue-1117561\/\" target=\"_blank\" rel=\"noopener\"\u003e\u003cbr\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2v6ANhWhZBUKkg6pJJBs3B?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Tamla\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Gatefold, 180g\u003cbr\u003eReissued: 2021 \/ Original Release: 1971\u003cbr\u003eGenre: Funk \/ Soul\u003cbr\u003eStyle: Rhythm \u0026amp; Blues, Soul, Male Vocals\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  Funk \/ Soul\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Tamla","offers":[{"title":"Default Title","offer_id":41456734175390,"sku":"731453002210","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/719kIe1npJL.jpg?v=1744103870"},{"product_id":"gaborszabo-dreams","title":"Gabor Szabo - Dreams","description":"\u003cp\u003e\u003cstrong\u003e- A TAV Essential Listening Album -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGábor Szabó’s sorcerous alchemy of folk music from his native Hungary with jazz, pop and chamber music makes him one of the most captivating guitarists of the 20th century. After cutting his teeth in jazz drummer Chico Hamilton’s quintet, and dabbling with Indian, Latin and psychedelic rock fusion during his stint at the Impulse! record label - Szabó spread his wings to create his own label, Skye Records. It was here that the brilliant Hungarian crafted his masterworks, peaking in 1968 with the album \u003cem\u003eDreams\u003c\/em\u003e. \u003c\/p\u003e\n\u003cp\u003eBacked by an indomitable octet (on guitar, bass, skins, horns, strings and piano), the assortment of spectral classical and pop covers alongside virtuoso originals showcased Szabó at his finest. \u003cem\u003eDreams\u003c\/em\u003e unfolds itself as an elemental and ethereal third-stream reverie of mellow psychedelic jazz fused abundantly with Eastern classical sounds. — The Analog Vault\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7Fe9lDU8kekHQjl8W2gCFO?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Skye Records\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Gatefold\u003cbr\u003eReissued: 2022 \/ Original Release: 1968\u003cbr\u003eGenre: Jazz, Classical\u003cbr\u003eStyle: Avant-garde Jazz, Guitar, Fusion\u003cbr\u003e\u003cbr\u003eFile under: Jazz - Bass \/ Guitar\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Skye Records","offers":[{"title":"Default Title","offer_id":41456745676958,"sku":"8016670138877","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/8c63902bbd7ac0642780ccc69a0cf0eb7986de48.jpg?v=1646296029"},{"product_id":"johncoltranequartetballads","title":"John Coltrane Quartet ‎– Ballads (Acoustic Sounds Series)","description":"\u003cp\u003eJohn Coltrane's immortal Impulse! records, \u003cem\u003eA Love Supreme\u003c\/em\u003e (1964) and \u003cem\u003eBallads\u003c\/em\u003e (1963) both have drawn rave reviews since their original release. A.B. Spellman, former administrator for the National Endowment for the Arts, once described Ballads as \"some of the most sensitive, heartfelt music that any lover ever sang on a horn.\" Put simply, most guys don't play the saxophone like John Coltrane.\u003c\/p\u003e\n\u003cp\u003eThe intense passionate Coltrane interpretation of standards such as \"All Or Nothing At All,\" \"What's New,\" \"It's Easy To Remember\" and the Sinatra classic \"Nancy (With The Laughing Face)\" are the essence of \u003cem\u003eBallads\u003c\/em\u003e. When asked why attempt such an undertaking, Coltrane replied \"Variety.\" While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s.\u003c\/p\u003e\n\u003cp\u003eSeeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' new audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. — via Label\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2fdnSzyVkyG5R0VJgo9Gv5?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse!, Verve Records\u003cbr\u003eSeries: Acoustic Sounds Series\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180g, Gatefold\u003cbr\u003eReissued: 2020 \/ Original Release: 1963\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Modal, Cool Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Audiophile Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":41456746234014,"sku":"602508889301","price":75.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/71_ZhpWip5L.jpg?v=1741152223"},{"product_id":"nubyagarciasource","title":"Nubya Garcia ‎– Source","description":"\u003cp\u003e\u003cstrong\u003e- The Analog Vault \/\/ Essential Listening -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA queenpin of London’s jazz renaissance, multi award-winning British tenor saxophonist and composer Nubya Garcia can be found at her most virtuous in this much anticipated debut album released on Concord Records, under the iconic Concord Jazz imprint. Born to parents from Trinidad and Guyana, \u003cem\u003eSource\u003c\/em\u003e traces her musical heritage by melding Garcia’s formal foundations in jazz classicism with dubstep, reggae, cumbia, calypso, hip-hop, soul and more.\u003c\/p\u003e\n\u003cp\u003eThis album is a stunning introduction to Garcia’s abundant talent - evident as she applies her anguid and sumptuous playing style as a needle to weave together sonic threads from the African diaspora. Aided by producer Kwes (Damon Albarn, Solange, Bobby Womack), Garcia’s graceful fusion of tradition and modernity is richly melodic exploration of collectivism and ancestry. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eTenor saxophonist and composer Nubya Garcia's first full-length album has been a long time coming—but the wait has been worth it. \u003cem\u003eSource\u003c\/em\u003e is a cracker and more than fulfills the weighty expectations that built up in anticipation of its arrival.\u003c\/p\u003e\n\u003cp\u003eIt was back in 2017 that Garcia debuted with the EP Nubya's 5ive (Jazz Re:freshed) and since then she has been a leading light of the new London jazz scene. One of a triumvirate of tenor stars—the other two being Shabaka Hutchings and Binker Golding—Garcia has since 2017 illuminated a host of other ex-London albums (too many to list here), along with projects initiated by Chicago drummer \/ producer Makaya McCraven, an early US celebrant of the London scene. She has also been an integral member of the (originally all female) collective Nerija. In the three years since Nubya's 5ive, \u003cem\u003eSource\u003c\/em\u003e is the first time Garcia has taken the time to stretch out and present her own vision as sole leader.\u003c\/p\u003e\n\u003cp\u003eThe jazz which Garcia and her peers have developed is characterised by its cultural inclusiveness, which reflects the Caribbean and West African musical heritages of many of its leading players. It is these diverse but ultimately intersectional sources which, one imagines, give rise to the album title. Certainly they are reflected in the title track, a twelve-minute dub-loaded gumbo sculpted by London's multi-cultural make-up.\u003c\/p\u003e\n\u003cp\u003eCommanding the stage throughout the album is Garcia's gloriously big, rich tenor, in which one can still hear traces of her formative influence, Joe Henderson. Her longstanding keyboard player, Joe Armon-Jones, is also given plenty of space to shine. There are some supporting cameo roles. Armon-Jones, double bassist Daniel Casimir and drummer Sam Jones are joined on the title track and \"Stand With Each Other\" by trombonist Richie Seivwright of Ezra Collective, and by alto saxophonist Cassie Kinoshi, leader of SEED Ensemble, and trumpeter Sheila Maurice-Grey, leader of Kokoroko, both of whom are fellow members of Nérija. Grey also guests on \"Before Us In Demerara \u0026amp; Caura.\" Seivwright, Kinoshi and Grey double up on vocals on these tracks.\u003c\/p\u003e\n\u003cp\u003eA conscious intention to forge a jazz style embracing the entire African diaspora—along with all progressively minded, liberal people—is the central strand running through \u003cem\u003eSource\u003c\/em\u003e, and it is underlined by track titles such as \"Together Is A Beautiful Place To Be,\" \"Stand With Each Other\" and the closer, \"Boundless Beings,\" which echoes the title of Makaya McCraven's album Universal Beings (International Anthem, 2018), the first of two McCraven albums featuring Garcia (along with Shabaka Hutchings and Daniel Casimir). - \u003ca href=\"https:\/\/www.allaboutjazz.com\/source-nubya-garcia-concord-music-group\" target=\"_blank\" rel=\"noopener\"\u003eAll About Jazz\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/5iooBeTrG8wPKMgo7OAOX6?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Concord Jazz \u003cbr\u003eFormat: 2 x Vinyl, LP, Album\u003cbr\u003eReleased: 2020\u003cbr\u003eGenre: Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz - Saxophone, Modern \/ Future Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Concord Jazz","offers":[{"title":"Default Title","offer_id":41456749904030,"sku":"888072175594","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/63513aca673ddf218b07b769b42094d30bc7ae9e.jpg?v=1646296153"},{"product_id":"wayne-shorter-night-dreamer","title":"Wayne Shorter - Night Dreamer (Blue Note Classic Vinyl Series)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAfter his apprenticeship with Art Blakey \u0026amp; The Jazz Messengers, but just before he joined Miles Davis’ Second Great Quintet, Wayne Shorter came into his own with his maiden run as a bandleader. The finest of the American jazz saxophonist’s earlier works is indubitably his 1964 Blue Note debut, Night Dreamer. With his assembled quintet of trumpeter Lee Morgan, pianist McCoy Tyner, bassist Reggie Workman, and drummer Elvin Jon - Shorter crafted a bravura record that showcased his move away from hard bop into modal and post-bop territory.\u003c\/p\u003e\n\u003cp\u003eHis five original compositions, plus an adaptation of \"Oriental Folk Song,\" are subliminally elegant - exploring unpredictable melodic lines and unhurried soundscapes that are rooted in minor simplicity, but often elevated through improvised spontaneity. A beautifully composed and meditative album well-suited to accompany those nocturnal blues. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e—\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNight Dreamer\u003c\/em\u003e comprises a six-pack of Shorter compositions beginning with the title track, where the tenor blows with urgent brio over Elvin’s ¾ time drum drive. Arranged from an old Chinese tune, “Oriental Folk Song” features Shorter and Morgan sketching the theme before the improvisations swing into action, and Shorter offers lyrical melancholy on “Virgo” (his astrological sign). The buoyant “Black Nile” has a flow akin to a river with plenty of splashes from Elvin’s drums bash, “Charcoal Blues” grooves as a smooth, bluesy swinger, and the pensive end piece “Armageddon” catches a groove that the rhythm team pushes ahead with McCoy’s sparkling runs, Elvin’s muscular and tumbling drums, and Reggie’s solid pulse. It makes for a dramatic close to an arresting album. — (via \u003ca href=\"https:\/\/www.bluenote.com\/spotlight\/night-dreamer-wayne-shorters-maiden-voyage\/\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2lcz9fPwBhtESyIFVGKvq6?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Blue Note, UMe\u003cbr\u003eSeries: Blue Note Classic Vinyl Series\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180 gram\u003cbr\u003eReissued: 2023 \/ Original Release: 1964\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Hard Bop, Post Bop\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Jazz \/\/ Blue Note Records\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Blue Note Records","offers":[{"title":"Default Title","offer_id":41456758653086,"sku":"602547173065","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/71dqUSPPatL-_SL1500.jpg?v=1646296378"},{"product_id":"eddiechaconpleasurejoyandhappiness","title":"Eddie Chacon – Pleasure, Joy And Happiness","description":"\u003cp\u003e\u003cstrong\u003e- The Analog Vault \/\/ Essential Listening - \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eEddie Chacon’s multidisciplinary career could encompass many lifetimes. After brief fame as one-half of 90’s neo-soul duo Charles \u0026amp; Eddie, shelved major label debuts, and ghostwriting stints for pop groups, Chacon left the music business to become a fashion photographer and creative director. Then, at the age of 56, Chacon made a miraculous comeback with his first solo release - \u003cem\u003ePleasure, Joy and Happiness\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eAided by keyboardist and composer John Carroll Kirby (a frequent collaborator of other soul \/ R\u0026amp;B luminaries including Frank Ocean, Blood Orange, Solange amongst others), Chacon’s 2020 return was a lo-fi, neo-soul revelation. His supple, falsetto-laden voice - now coated with the ruggedness of wisdom and heartache - drives this album’s soulful, strppied-back musings on romantic grief. This cathartic rejuvenation of a forgotten musician’s regal talent will fill you with everything its title promises. - \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/1F5Z67342YpaehnC7MJ5ea\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003ctable border=\"1\" style=\"border-collapse: collapse; width: 100%; height: 134.375px;\"\u003e\n\u003ccolgroup\u003e\n\u003ccol style=\"width: 30.3745%;\"\u003e\n\u003ccol style=\"width: 69.5225%;\"\u003e\n\u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr style=\"height: 22.3958px;\"\u003e\n\u003ctd style=\"height: 22.3958px;\"\u003eLabel: \u003c\/td\u003e\n\u003ctd style=\"height: 22.3958px;\"\u003eDay End Records \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 22.3958px;\"\u003e\n\u003ctd style=\"height: 22.3958px;\"\u003eFormat:\u003c\/td\u003e\n\u003ctd style=\"height: 22.3958px;\"\u003eVinyl, LP, Album, Stereo\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 22.3958px;\"\u003e\n\u003ctd style=\"height: 22.3958px;\"\u003eReissued:\u003c\/td\u003e\n\u003ctd style=\"height: 22.3958px;\"\u003e2021 (Original: 2020)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 22.3958px;\"\u003e\n\u003ctd style=\"height: 22.3958px;\"\u003eGenre:\u003c\/td\u003e\n\u003ctd style=\"height: 22.3958px;\"\u003eFunk\/Soul\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 22.3958px;\"\u003e\n\u003ctd style=\"height: 22.3958px;\"\u003eStyle:\u003c\/td\u003e\n\u003ctd style=\"height: 22.3958px;\"\u003eSoul, Male Vocals, Ballads\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Day End Records","offers":[{"title":"Default Title","offer_id":41456778182814,"sku":"809555749583","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/4c2fb014588ac7da9cfadb819495a81a681739d8.jpg?v=1646296917"},{"product_id":"eugenemcdanielsheadlessheroesoftheapocalypse","title":"Eugene McDaniels ‎– Headless Heroes Of The Apocalypse","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePassionate, provocative and politically potent - Eugene McDaniels’ 1971 musical missive was a fire and brimstone navigation of racial injustice in America through the medium of psychedelia, free jazz, soul, rock and funk. From the tragicomic mundanity of bigotry on “Supermarket Blues,” to the righteous Biblical retribution of “The Lord Is Back,” to the social pessimism of ahis protest song \"Freedom Death Dance\" - \u003cem\u003eHeadless Heroes of the Apocalypse\u003c\/em\u003e confronted thorny issues by juxtaposing relentless waves of conscience with an unstoppable groove. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough sales faltered because United States Vice President Spiro Agnew asked Atlantic Records to withdraw it from stores, McDaniels’ album has become a coveted classic in later years, and has since been immortalised in samples from hip-hop producers like Pete Rock, Q-Tip, and Beastie Boys. - \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e—\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen \u003cem\u003eHeadless Heroes of the Apocalypse\u003c\/em\u003e was first released in 1971, so the legend goes, Spiro Agnew himself called Atlantic Records to complain about the album's incendiary lyrics. Promotional efforts dried up, and since then, the album has become one of the great rare gems of the funk era. With this first-ever CD release from Label M, it is available again in all its strange, eclectic glory. McDaniels had earned his living as a producer and songwriter for artists like \u003c\/span\u003eRoberta Flack\u003cspan\u003e and \u003c\/span\u003eGladys Knight\u003cspan\u003e, and was in all honesty not much of a singer, but somehow his clumsy lyrics and dry delivery combined to carry his message across. In an unthreatening manner that hardly warranted a call from the White House, McDaniels warns that man's struggles against each other are pointless, as some dark sinister force controls us all (\"Headless Heroes\"), and that protest without action is futile (\"no amount of dancing is going to make us free,\" he sings in \"Freedom Death Dance\").\u003cbr\u003e\u003cbr\u003eWith a dry wit he recounts an episode of everyday racist brutality in \"Supermarket Blues,\" and finds simple carnal pleasures in the acoustic folk-flavored \"Susan Jane.\" It all gets wrapped up in an appealing stew that draws from rock, funk, folk, soul, and even free jazz. Considering the number of times McDaniels' sinewy beats and chunky guitar riffs have been sampled over the years, it's about time a proper re-release allowed listeners to hear the whole picture. \u003c\/span\u003eThe album is dedicated to Roberta Flack who is credited: \"Special thanks to Miss Roberta Flack for not being afraid to help a brother. She, in my opinion, is a lady of quality, grace, humanity and talent of the highest order. I love you, Bert-G.\" – (via Label \/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/headless-heroes-of-the-apocalypse-mw0000003422\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic)\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/3d6r8XuRKejXiqXisnMNoi?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Music On Vinyl, Atlantic\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180 gram\u003cbr\u003eReissued: 2018 \/ Original Release: 1971\u003cbr\u003eGenre: Jazz, Rock, Funk\u003cbr\u003eStyle: Fusion\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  Jazz \/\/ Soul-Jazz \/ Jazz-Funk\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Music On Vinyl \/ Atlantic","offers":[{"title":"Default Title","offer_id":41456780902558,"sku":"8719262008144","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a_29b6c3bd-2da3-4ebd-b5dc-3f1ffbe17dbc.jpg?v=1760777558"},{"product_id":"jorgelopezruizelgritosuiteparaorquestadejazz","title":"Jorge Lopez Ruiz – El Grito","description":"\u003cp\u003e\u003cstrong\u003e- The Analog Vault \/\/ Essential Listening -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA seminal South American jazz record that stands as Jorge López Ruiz’s magnum opus. Crafted by the Buenos Aires-born double bassist and composer in 1967 as a protest suite against Argentina’s oppressive military dictatorship, this album was initially banned at the time of its release. But nothing could have silenced \u003cem\u003eEl Grito\u003c\/em\u003e (translated as The Scream), a courageous concept album of cinematic arrangements that embodies Ruiz’s revolutionary ideas through hard bop-leaning, big band jazz. \u003c\/p\u003e\n\u003cp\u003eWhile professedly a fiery political statement, \u003cem\u003eEl Grito \u003c\/em\u003ealso functions as a swinging and dramatic LP for cool hepcats to dance to. From the urgency of \"M.A.B. - Amor\" to the sublimely emotive \"Tendré El Mundo”, Ruiz leads his virtuoso orchestra through a passionate whirlwind that will sweep the listener off their feet. - The Analog Vault\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/51i8GgIiIz1eEnjl8ehOP6\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eLabel: CBS \/\/ Beatball, Light in the Attic\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: Vinyl, LP, Album, Reissue, Remastered, Stereo, Black Vinyl\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased: 2021 (Original: 1976)\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eGenre: Jazz\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eStyle:Modal, Post Bop, Big Band\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Beatball","offers":[{"title":"Default Title","offer_id":41456783655070,"sku":"8809114696572","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/elgrito.jpg?v=1706107929"},{"product_id":"jorgelopezruizelgritosuiteparaorquestadejazz2021","title":"Jorge Lopez Ruiz ‎– El Grito (Suite Para Orquesta De Jazz) | 2021","description":"\u003cp class=\"MsoNormal\"\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003cspan lang=\"EN-GB\"\u003e- The Analog Vault \/\/ Essential Listening -\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eA seminal South American jazz record that stands as Jorge López Ruiz’s magnum opus. Crafted by the Buenos Aires-born double bassist and composer in 1967 as a protest suite against Argentina’s oppressive military dictatorship, this album was initially banned at the time of its release. \u003c\/p\u003e\n\u003cp\u003eBut nothing could have silenced El Grito (translated as The Scream), a courageous concept album of cinematic arrangements that embodies Ruiz’s revolutionary ideas through hard bop-leaning, big band jazz. From the urgency of \"M.A.B. - Amor\" to the sublimely emotive \"Tendré El Mundo”, Ruiz leads his virtuoso orchestra through a passionate whirlwind that will sweep the listener off their feet. -\u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003e The Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eBe With is delighted to present Jorge López Ruiz’s El Grito (Suite Para Orquesta De Jazz), eternal Argentinian magic released on CBS in 1967 that must be one of the most sought-after South American jazz LPs.\u003c\/p\u003e\n\u003cp\u003eThe work of a genius artist living under an oppressive dictatorship, erased by the government of the time, this is buried treasure in every sense and it’s been a rare record for over 50 years. But it isn’t just being hard to find that has pushed up the prices of those few original copies that survived, this is a foundational record in the development of jazz in South America.\u003c\/p\u003e\n\u003cp\u003eYet this is not challenging jazz. There are certainly avant garde, free jazz flourishes, but the hard bop characteristics make this a very accessible album: easy to listen to without being easy listening. And López Ruiz’s love of film brings a definite cinematic feel.\u003c\/p\u003e\n\u003cp\u003eThis Be With edition of El Grito sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost. The tortured artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every protest art collection. – \u003ca href=\"https:\/\/www.bewithrecords.com\/products\/jorge-lopez-ruiz-el-grito-suite-para-orquesta-de-jazz-lp\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eBe With Records\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/186WD7asPEHmL9JtYmw8mA\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eLabel: Be With Records ‎– BEWITH078LP\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: Vinyl, LP, Album, Reissue\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReissued: 2021 (Original: 1967)\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eGenre: Jazz\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eStyle: Big Band, Post Bop, Modal\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Be With Records","offers":[{"title":"Default Title","offer_id":41456788078750,"sku":"4251804122214","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/6aed5016a1c4b3ba9857a889bfe5ce496bfd76d6.jpg?v=1646297253"},{"product_id":"tylerthecreatorigor","title":"Tyler, The Creator ‎– Igor","description":"\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFrom the grotesquery of his horrorcore beginnings to his jazz-fused alternative hip-hop evolution - Tyler, the Creator was rap’s poster boy for the 2010s, heralding an odd future for the genre. But it was not until his sixth album in 2019 that Tyler reached his zenith.\u003c\/p\u003e\n\u003cp\u003eSpurred by a breakup (as most great music often is) and produced entirely by himself,\u003cem\u003e IGOR\u003c\/em\u003e’s dramatic soundscapes - leaning on neo-soul, R\u0026amp;B and funk influences - provide a widescreen backdrop for Tyler’s heartsick content. Exploring themes of jealousy, vulnerability, and compulsion, Tyler abandoned his MC roots in favour of pitch-altered singing to express this record’s love triangle narrative. Featuring appearances from Playboi Carti, Lil Uzi Vert, and Solange (among others), \u003cem\u003eIGOR\u003c\/em\u003e is a rewarding and revealing work by one of the 21st century’s most fascinating hip hop artists. — The Analog Vault\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eThe moods of Tyler, the Creator’s albums have largely been defined by absence—of his father, of critical acclaim, of love. He responded to what was missing with antagonism, album after album, until 2017 when he looked back at his life with a sunny lens and twinge of nostalgia to deliver his best work, \u003cem\u003eFlower Boy\u003c\/em\u003e. That Grammy-nominated album is eminently pleasing, the sound of an iconoclast succumbing to his better judgment.\u003cem\u003e IGOR,\u003c\/em\u003e the 28-year-old’s sixth full-length, is Tyler finally content in the face of all that agony.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIGOR \u003c\/em\u003esounds like the work of a perfectionist giving shape to his more radical ideas. Tyler, who proudly produced, wrote, and arranged the album, is singing more but he’s not worrying whether his tracks have a traditional pop arc. Songs don’t build to a crescendo, they often begin there. The opening “Igor's Theme” serves less as a guiding force and more like a recurring motif of doom that hides in the shadows and pops its head in at select moments, like on “New Magic Wand” where spooky synths erupt below Tyler’s thought process: “I saw a photo, you looked joyous,” goes one of the more poignant lines. Atop this budding dread, Tyler layers candied keys and harmonizing vocals. The brightness is defiant, as Tyler processes the loss of someone he loves. — (via \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/tyler-the-creator-igor\/\" target=\"_blank\" rel=\"noopener\"\u003ePitchfork\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eTyler gives his creative exuberance free rein on an album that incorporates everything from twinkling R\u0026amp;B to soulful balladry.\u003c\/p\u003e\n\u003cp\u003e‘Excuse my voice; I can’t sing but I don’t care because it feels good.” So said Tyler, the Creator before he launched into an impassioned – if tuneless – rendition of \u003cem\u003eSee You Again\u003c\/em\u003e on his 2017 NPR Tiny Desk concert. That song was taken from his then-newly released fourth album, \u003cem\u003eFlower Boy\u003c\/em\u003e, a bright, optimistic departure from his usual dark, introspective rap. It marked a newfound confidence in the 28-year-old’s music; no longer relying on the shock tactics of earlier records like\u003cem\u003e Goblin\u003c\/em\u003e, he was refreshingly comfortable in his own skin and endearingly enthusiastic about his own work.\u003c\/p\u003e\n\u003cp\u003eOn the follow-up,\u003cem\u003e Igor\u003c\/em\u003e, there is a lot more singing and even more joy. Performing concerts in support of the album while dressed in a Warhol wig, shades and dazzling neon suits, Tyler cavorted all over the stage celebrating an even greater breadth to his music. His singing has improved somewhat, while his lyrics are expository and personal: in the closing lines of twinkling R\u0026amp;B track\u003cem\u003e Earfquake\u003c\/em\u003e, he pleads with a partner, “Don’t leave, it’s my fault”, before moving on to the self-discovery of a settled breakup on Running Out of Time with the lines: “You never lived in your truth \/ But I finally found peace, so peace.”\u003c\/p\u003e\n\u003cp\u003eThis internal peace is crucial to the functioning of \u003cem\u003eIgor\u003c\/em\u003e’s genre mix. While songs rarely top the three-minute mark, jumping around from the thudding, percussive opener \u003cem\u003eIgor’s Theme\u003c\/em\u003e to the hook-laden\u003cem\u003e I Think\u003c\/em\u003e and \u003cem\u003eA Boy Is a Gun’s\u003c\/em\u003e soulful balladry, Tyler’s self-assuredness holds the 12 tracks together, his delivery measured and unhurried, whether left unadorned or passed through a pitch filter. Tracks either abruptly snap off like an unfinished thought or dissolve into silence. While Tyler has always been chameleonic, on Igor his restlessness feels like a conscious choice for the first time, not merely the jittering impatience of a young star looking to explore new sounds.\u003c\/p\u003e\n\u003cp\u003eThis confidence, and fluidity, allows him to resist being pinned down to any one identity. There was speculation over his sexuality following lyrical references on \u003cem\u003eFlower Boy\u003c\/em\u003e, which he resurrects on Igor with the line “you’re my favourite garçon” on \u003cem\u003eA Boy Is a Gun\u003c\/em\u003e, but never clarifies; his Igor tour stage costume similarly resists a simple reading. Track titles like \u003cem\u003eI Don’t Love You Anymore; Gone, Gone \/ Thank You;\u003c\/em\u003e and \u003cem\u003eAre We Still Friends?\u003c\/em\u003e suggest this is a breakup album, but in the end the object of his lyrical references doesn’t matter. It is not important to know whether Tyler is gay or straight, happy or heartbroken – his appeal as a songwriter and performer is his ever-evolving exuberance.\u003c\/p\u003e\n\u003cp\u003eUltimately, Tyler sings because he wants to, regardless of how he is heard, and that self-confidence is a joy to behold on this fifth album. The angsty leader of the Odd Future collective no more, Tyler has stepped into his own identity – even if you can’t always make out what is going on behind the blond wig. — (via \u003ca href=\"https:\/\/www.theguardian.com\/music\/2019\/dec\/16\/best-albums-2019-no-5-tyler-the-creator-igor\" target=\"_blank\" rel=\"noopener\"\u003eThe Guardian\u003c\/a\u003e, 50 best albums of the year)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/5zi7WsKlIiUXv09tbGLKsE?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/HmAsUQEFYGI?si=y0aTAF8Y9PDuHmaf\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Columbia\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Gatefold\u003cbr\u003eReleased: 2019\u003cbr\u003eGenre: Hip Hop, Funk \/ Soul\u003cbr\u003eStyle: Rap, Contemporary R\u0026amp;B, Neo Soul\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Hip Hop\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":41456790143134,"sku":"190759652213","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/f16856ab63cd44c01f8720cae65d343ae70c7889.jpg?v=1646297323"},{"product_id":"mingus-the-black-saint-and-the-sinner-lady-acoustic-sounds-series","title":"Mingus  – The Black Saint And The Sinner Lady (Acoustic Sounds Series)","description":"\u003cp\u003e\u003cstrong\u003e- The Analog Vault \/\/ Essential Listening -\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eRecorded in a single immortal session, this 1963 tour de force became one of Charles Mingus’ most towering achievements. Consisting of a single continuous composition, divided into four tracks and six movements - the American double bass doyen, alongside his 11-piece band, crafted a complex aural exploration of his own tortured psyche. This album is a structurally adventurous and hauntingly eloquent song suite, a multi-layered swirl of emotion manipulated through a rumbling swarm of saxes, flamenco guitar lines and expressive upper woodwinds. The Black Saint And The Sinner Lady’s balletic struggle between rage and suffering is without a doubt one of the most awe-inspiring and fiercely avant garde compositional manoeuvres in jazz history.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"100%\" height=\"420\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6Sts4Yh7KsDFwq2yTWrGGV?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/u\u003e↓\u003cbr\u003eLabel: Impulse! , Verve Records, UMe – B0033602-01\u003cbr\u003eSeries: Acoustic Sounds Series\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180g, Gatefold\u003cbr\u003eCountry: Worldwide\u003cbr\u003eReissued: Nov 19, 2021 \/ Original Release: 1963\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Post Bop\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003eFile under: Audiophile Jazz\u003cu\u003e\u003c\/u\u003e\u003cu\u003e\u003cspan style=\"color: #000000;\"\u003e\u003c\/span\u003e \u003c\/u\u003e\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":41456793288862,"sku":"602435862156","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/Black-Saint-and-the-Saint.jpg?v=1646297418"},{"product_id":"kruder-dorfmeister-the-kd-sessions","title":"Kruder \u0026 Dorfmeister – The K\u0026D Sessions™","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCompiled and mixed by Vienna-based DJ duo Kruder \u0026amp; Dorfmeister, this 1998 album has indubitably become one of the hallmark albums amongst downtempo and trip hop aficionados. Hailed as one of the most influential electronica releases of all-time, \u003cem\u003eThe K\u0026amp;D Sessions\u003c\/em\u003e is a tour de force of downbeat and dub that flawlessly conjures the perfect kickback mood.\u003c\/p\u003e\n\u003cp\u003eThe album, which set the bar for what compilations could achieve, comprises an array of exceptional original tracks, dubs, and remixes of classics from diverse acts ranging from Bomb the Bass and Bone Thugs-n-Harmony, to Roni Size and Rockers Hi-Fi.\u003c\/p\u003e\n\u003cp\u003eThe Austrian pair artfully shapes their sprawling selections into something that goes beyond a DJ mix - this is as complete and cohesive an album as any you’ll ever find. With this 5LP reissue, the album received a long overdue \u003cem\u003edefinitive audiophile LP \u003c\/em\u003eremastering by Bernie Grundman Mastering sixteen years after the album's original release. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eWhile Kruder \u0026amp; Dorfmeister remained unwilling to release a \"proper\" album even several years after their breakout, The K\u0026amp;D Sessions is proof positive they're still doing what they do best -- making the most blissfully blunted music the world has ever heard.\u003c\/p\u003e\n\u003cp\u003eThe [5LP] set is first and foremost a K\u0026amp;D mix album, to add to the two they'd already released. It's also a remix collection, though; each of the 21 tracks are reworkings (by Kruder, Dorfmeister, or both) for artists including Roni Size, Lamb, David Holmes, Bomb the Bass, Depeche Mode, Bone Thugs-N-Harmony, Sofa Surfers, and Count Basic.\u003c\/p\u003e\n\u003cp\u003eAs could be expected,\u003cem\u003e The K\u0026amp;D Sessions\u003c\/em\u003e is earthy, downtempo and acid-based, even moreso than previous mix albums by the pair. The pinging vocal samples that echo through the duo's remix of \"Bug Powder Dust\" by Bomb the Bass prove amply that Kruder \u0026amp; Dorfmeister have a better handle on 21st-century dub techniques than any other producers out there, and the impossibly deep beats on almost every track simply couldn't have been recorded by any other act. Yes, it's a bit of a shame that the pair still hadn't released an album of own-productions, but with (re)mix albums this stunning and accomplished, Kruder \u0026amp; Dorfmeister hardly needed one to gain respect. — (via John Bush \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/the-k-d-sessions-mw0000047051\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic)\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/6mNVqDGJQpknhtx3RjKRst?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: !K7 Records\u003cbr\u003eFormat: 5 x Vinyl, LP, Compilation, Reissue, Remastered, 20th Anniversary Edition, Trifold Cover, 180g\u003cbr\u003eReissued: 2022 onwards \/ Original: 1998\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Downtempo, Dub, Trip Hop\u003cbr\u003e\u003cbr\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  Electronic \/\/ Downtempo\u003cbr\u003e⦿\u003c\/p\u003e","brand":"!K7 Records","offers":[{"title":"Default Title","offer_id":41456793714846,"sku":"730003707346","price":98.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a4123514436_10.jpg?v=1732095845"},{"product_id":"horacetapscott-thecall","title":"Horace Tapscott - The Call","description":"\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e- A TAV Essential Listening Album -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eAfter his stints playing with the likes of Don Cherry and Eric Dolphy -\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eHorace Tapscott envisioned turning the Los Angeles jazz scene into a nurturing community. To that end, he kickstarted a number of cooperatives, the most notable being the Pan Afrikan Peoples Arkestra - a 16-piece big band that accommodated his creative impulses and his personal wish to create a brotherhood of African-American artists. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eNowhere did Tapscott’s musical and communal desires coalesce more beautifully than on this 1978 album originally released via Nimbus West Records. Filled with epic pieces that are at once experimental, spiritual and progressive - \u003ci style=\"mso-bidi-font-style: normal;\"\u003eThe Call\u003c\/i\u003e is an energetic and dense record that blazes with explosive chemistry and technical finesse. Interestingly, Tapscott himself doesn’t play here, preferring to conduct his Arkestra and showcase the impressive skills of his band members through his grand compositions. - \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eJust when the extensive and long overdue reissue programme of the music of Horace Tapscott looks set to have finished, more recordings come to light. As is the case with previous releases, these latest new old albums are superlative.\u003c\/p\u003e\n\u003cp\u003eThe Los Angeles-based pianist-composer-activist kept faith in the big band aesthetic throughout the 1970s, a time when many orchestras were on the wane, and, more importantly, he developed a personal language for his 16-piece ensemble that combined his own vision as a composer and the skills of his bandmembers.\u003c\/p\u003e\n\u003cp\u003eOn both\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Call\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eFlight 17,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eTapscott stays true to his modus operandi of epic pieces: sometimes with slow moving modal patterns that build on the timeless Trane\/Tyner foundation, sometimes with faster, hard-edged riffs that have a starkly dissonant quality that serves the rousingly aggressive if not confrontational ambiances created.\u003c\/p\u003e\n\u003cp\u003eThe heavy bottom end of the band – with a doubling up of drums and basses – as well as the chunky brass scores impart a statuesque character to Tapscott’s music, as if he were intent on embedding a whole landscape of sound into every performance. Drawing on anything from swing to avant-garde and African rhythms he loosely picks up from where Randy Weston left off with his landmark\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eUhuru Kwanza\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ealbum to create a style of his own. Among his skilled accompanists, the likes of flautist Linda Hill, vocalist–flautist Adele Sebastian and saxophonist Jesse Sharps all stand out; but Tapscott’s work is very much about the whole as well as the many very substantial parts.\u003c\/p\u003e\n\u003cp\u003eThis is a glorious example of black culture as rousing community action, literally and figuratively. - \u003ca href=\"https:\/\/www.jazzwise.com\/review\/horace-tapscott-conducting-the-pan-afrikan-peoples-arkestra-the-call\" target=\"_blank\" rel=\"noopener\"\u003eJazzwise\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Rhq36BhcHW8?si=ObAq4Spd9Pawu7Ky\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/hkFI6vW8jo0?si=b2D8HJz898yJ4odO\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eLabel: Nimbus West Records \/\/ Outernational Sounds\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue \u003cbr\u003eReissued: 2021 (Original: 1978)\u003cbr\u003eGenre: Jazz \u003cbr\u003eStyle: Orchestra, Free Jazz, Free Improvisation\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Outernational Sounds","offers":[{"title":"Default Title","offer_id":41456850075806,"sku":"646274","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/86a9482f0d95072e7fbc5df84825d763d6f0e9e4.jpg?v=1646297692"}],"url":"https:\/\/theanalogvault.mom\/collections\/curated.oembed?page=4","provider":"The Analog Vault","version":"1.0","type":"link"}