{"title":"Featured - New Arrivals","description":"","products":[{"product_id":"various-mainstream-funk","title":"Various – Mainstream Funk","description":"\u003cp\u003eWewantsounds continues its collaboration with Bob Shad's formidable label Mainstream Records, to present a selection of 12 turntable-friendly tracks recorded between 1971 and 1975 and showcasing the label's superb blend of Spiritual Jazz, Funk and Soul by the likes of Buddy Terry, Sarah Vaughan, LaMont Johnson and Johnny Coles. Most of the tracks are released on vinyl for the first time since their original release in the early 70s. – \u003ca href=\"https:\/\/wewantsounds.bandcamp.com\/album\/mainstream-funk\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWewantsounds\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"380\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/1PUC5WGEtSshvSkFwSrEgM?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e\u003cu\u003e\u003cbr\u003e\u003c\/u\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: Wewantsounds – WWSLP37\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: Vinyl, LP, Compilation\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCountry: France\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased: 28 Jan 2022\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eGenre: Jazz, Funk \/ Soul\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eStyle: Funk, Jazz-Funk\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Wewantsounds","offers":[{"title":"Default Title","offer_id":41456438018206,"sku":"3700604728023","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/a1286992033_10.jpg?v=1646290438"},{"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":"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":"portishead-third-limited-edition-45rpm","title":"Portishead – Third","description":"\u003cp\u003eTorpor fosters distemper. That's what the decade-long gestation of Portishead's \u003cem\u003eThird\u003c\/em\u003e album suggests from the moment it kicks in. The smoothness of old is supplanted by surface noise on opening track, 'Silence'. Those familiar open guitar chords descend into something more menacing - the only constant, the spidery vocal of Beth Gibbons, still obsessively pacing around her pained and private world.\u003c\/p\u003e\n\u003cp\u003eThe fluidity of Portishead's music was always something of an illusion. Rather, it was painstakingly constructed with a maddening precision. That tensile quality is even more evident on \u003cem\u003eThird\u003c\/em\u003e. Edgy, wary, snarling and dissonant, the music mirrors the morbidity of Beth Gibbon's lyrics, accentuating the unsettling quality of a voice that is closer to the hysteric tones of Sixties free jazz innovator Patty Waters than any conventional pop vocal. Beset by an almost primal sense of insecurity, you get the feeling Gibbons is capable of mining misery from bliss. She even admits as much in the opening lines of 'Nylon Smile': 'I'd like to laugh at what you said but I just can't find a smile.'\u003c\/p\u003e\n\u003cp\u003eThe album's first single, 'Machine Gun' takes Portishead's minimalist aesthetic to extremes yet still manages to sound epic, pitting Gibbons's haunted vocal against a metallic beat. There are moments of lightness, but the prevailing mood is of a group who have succumbed to a riptide of dour emotion. Never has a pit of despair sounded so inviting. — (via \u003ca href=\"https:\/\/www.theguardian.com\/music\/2008\/apr\/20\/popandrock.portishead\" target=\"_blank\" rel=\"noopener\"\u003eThe Guardian\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e—\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThird \u003c\/em\u003eis a record that comes from a creativity unleashed as much by listening to the likes of psychedelic doom bass madmen OM as Public Enemy (Geoff Barrow explained as much in a recent interview). Whereas much of Portishead's '90s output had the feel and limitations of a film soundtrack 'All Mine', especially, would have slotted nicely into a Bond flick \" Third is a complete, evocative whole. Final track 'Threads' is surely named for the unfathomably grim 1984 BBC mockumentary about Sheffield in the aftermath of a nuclear attack, and for that alone it's a brilliant way to end the album. Adding to its charm, there's a grim perfection to the deep, menacing, atonal booms that conclude it.\u003c\/p\u003e\n\u003cp\u003eOf course, a record of unrelenting misery can't succeed as well as one where the mood varies; and Third succeeds precisely because it's an album that flows as well as ebbs. On 'Plastic', a peculiar and unsettling rattle adds tension, while the Silver Apples drive to 'We Carry On' demonstrates how Gibbon's voice (Ophelia singing distractedly to herself on the way to the river) has grown in textural dexterity over the past decade, even if her lyrics, which are often more personal and fixed in matters of the heart rather than in the abstract overarching mood, are perhaps the only weakness in the Portishead armoury. 'Deep Water', ostensibly a sweet torch song with querulous banjo, sounds terrifying in its juxtaposition with the grinding song that precedes it ('We Carry On') and the brilliantly tense one ('Machine Gun') that follows.\u003c\/p\u003e\n\u003cp\u003eWhile \u003cem\u003eThird \u003c\/em\u003eis undoubtedly a dark, unforgiving album, you only have to look at the black-clad thundering legion that packed the Portishead-curated ATP last December to know that while such influences might have shaped this record, this is still a band who wave a scalpel at a very commercial jugular. Burial, say, will give you a more uncomfortable journey around the dark streets of a city at night, Sunn O))) a more stygian gloom, and so on. Still, respect is due: \u003cem\u003eThird \u003c\/em\u003eis an unexpectedly absorbing album from a band who've used ten years of exhaustion and disillusionment to hone what was initially great about them before into something entirely new. It'll leave the Sunday supplement types - with their bulgur wheat, falafels and patio heater angst - a distant memory. — (via \u003ca href=\"https:\/\/thequietus.com\/quietus-reviews\/portishead-third-review\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Quietus\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\/4BnNSzOWadogStvyYshJIo?utm_source=generator\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/kBOaLjtR4mw?si=fkqQ1-9wHgfbNhYk\" 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\/zFwPBhKwZLc?si=nUREAy_BR0LWC4b8\" 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: Mercury\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue, Stereo, Gatefold\u003cbr\u003eReissued: 2023 \/ Original Release: 2008\u003cbr\u003eGenre: Electronic, Rock\u003cbr\u003eStyle: Trip Hop, Downtempo, Female Vocals\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/\/ Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":41456461545630,"sku":"602517641044","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/ab67616d0000b2732529c50c11cb07f6f9e3ab29.jpg?v=1727438454"},{"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":"moderat-modeselektor-apparat-iii-deluxe-edition","title":"Moderat – III","description":"\u003cp\u003e\u003cspan\u003eIn 2002, Sascha, Gernot and Sebastian met for the first time. At that point in time, Apparat and Modeselektor were well established in the Berlin music scene. Sascha had already released his debut album and Gernot and Sebastian, a series of 12”s. Their shared studio time wore them down to such an extent, that they were forced to shelve the project almost immediately. But the foundations were laid and the three of them were able to present the fruits of their labour: the\u003cem\u003e Auf Kosten der Gesundheit\u003c\/em\u003e EP. Eleven years later, one still can have a sense of the sparks that must have flown in the studio: complex beats wrestling with furious bass and reduced rap elements.\u003cem\u003e\u003cbr\u003e\u003cbr\u003eIII\u003c\/em\u003e is the third studio album by electronic trio Moderat,\u003c\/span\u003e\u003cspan\u003e consisting of Modeselektor (the duo of Gernot Bronsert and Sebastian Szary) and Apparat (aka Sascha Ring)\u003c\/span\u003e\u003cspan\u003e. It was released in 2016 by Monkeytown Records. \u003c\/span\u003eIntent on creating something that contrasted their own individual projects, Moderat — the trio comprised of Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) — complete the trilogy with\u003cem\u003e III\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eIII\u003c\/em\u003e pairs an emotional pull with sensual imagery, creating dynamic sound and depth with sophisticated lyrics and themes as they direct their gaze inward. \u003c\/span\u003e\u003cspan\u003eApparat gives an insight on the journey we call life, Modeselektor reach another level, develop an intoxicating energy with their distinct rhythmical textures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne of the best parts of Moderat is their use of electronics to achieve orchestral diversity. With III, they update the songwriting tradition with an intriguing palette, born of careful attention and skill, informed by their experiences with sounds of nearly 25 years of sub-and-club culture. These three were initially brought together by \u003c\/span\u003eBerlin’s now legendary rave scene and with this as their common foundation as individuals, III signifies Moderat’s maturation in modern pop and mastery of the group.” — via Label\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/64sE3WgwkDH8VMgIr7PhdF?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: Monkeytown Records\u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eCountry: Germany\u003cbr\u003eReleased: 2016\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Techno, Electro, Dubstep, Downtempo, IDM\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/\/ House \/ Electro \/ Techno\u003cbr\u003e⦿\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Monkeytown Records","offers":[{"title":"Default Title","offer_id":41456463347870,"sku":"817231012883","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a1721011364_10.jpg?v=1712132830"},{"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":"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":"boards-of-canada-the-campfire-headphase","title":"Boards Of Canada – The Campfire Headphase","description":"\u003cp\u003e\u003cspan\u003eBoards Of Canada’s \u003c\/span\u003e\u003cspan\u003ethird album for Warp Records, \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e, was originally released in 2005. The album featured fifteen tracks, including \"Peacock Tail\", \"Chromakey Dreamcoat,\" and \"Dayvan Cowboy\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e—\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAn inimitable late-night take on psychedelia that swirls between rock and techno.\u003c\/p\u003e\n\u003cp\u003eReach a certain age and you notice a peculiar thing: your thoughts frequently get interrupted by non sequitur memory images, seemingly insignificant but disconcertingly vivid. It's as if your overstuffed brain is calling up ancient files with a view to deleting for space.\u003c\/p\u003e\n\u003cp\u003eBoards of Canada offer a more benign version of this temps perdu recovery process. Somehow the Scottish duo's signature sounds - those glistening melody trails and misty-around-the-edges textures - trigger buried memories. I'd almost say that listening to Boards of Canada is a form of therapy, except that the emotions stirred up-painful beauty, sweet sorrow - do not deserve a term that now has such glib feelgood associations.\u003c\/p\u003e\n\u003cp\u003eBoC have ploughed this 'memory-work' terrain on their previous two albums, the home-listening electronica landmark \u003cem\u003eMusic Has the Right to Children \u003c\/em\u003e(1998) and its only-slightly-less-fabulous sequel \u003cem\u003eGeogaddi \u003c\/em\u003e(2002). \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e pursues the same effect but with slightly different means. For the first time the group have incorporated acoustic and electric instruments, like guitars, alongside their customary array of vintage analogue synths and digital samples. So they're no longer making electronic music but an unclassifiable hybrid.\u003c\/p\u003e\n\u003cp\u003eOccasionally the new hues don't seem as idiosyncratic as their patented faded Super8-film synth tones, but then again, there's a thin line between developing your own vocabulary and coining your own set of cliches, and we should probably applaud BoC's attempt to extend their palette.\u003c\/p\u003e\n\u003cp\u003eIf the gorgeous mind-ripples of 'Satellite Anthem' and the dewy-eyed dreamwalk of \"84 Pontiac Dream' represent classic BoC almost to the point of redundancy, 'Dayvan Cowboy' steps off the group's beaten path. The track risks bombast with its stirring strings and crashing cymbal rolls (which dazzle the ear, as if the sticks are splashing into a pool of mercury) but stays just the right side of overblown.\u003c\/p\u003e\n\u003cp\u003eBlurring the boundaries between rock and techno is a smart move, because BoC have always made music that deserved to appeal beyond the electronic audience. You can imagine fans of My Bloody Valentine\/Cocteau Twins-style dreampop falling head over heels for \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e, or devotees of the Cure and Radiohead wallowing in its exquisitely textured melancholy. BoC can also be seen as heirs to the psychedelic tradition, grandchildren of Syd Barrett and the Incredible String Band. The connection comes through not just in the duo's obsession with childhood or their frankly goofy song titles, but also in the stereophonic delirium of their production. On 'Oscar See Through Red Eye' and 'Slow This Bird', sounds pan back and forth across the speakers, the drift and swirl making you melt into a voluptuous disorientation. — (via \u003ca href=\"https:\/\/www.theguardian.com\/lifeandstyle\/2005\/sep\/18\/shopping3\" target=\"_blank\" rel=\"noopener\"\u003eThe Guardian\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eThe story of how I discovered Boards of Canada isn’t very romantic or memorable, but I still remember it. Their track “Roygbiv” from 1998’\u003cem\u003es Music Has the Right to Children\u003c\/em\u003e was placed on the Matador Records compilation \u003cem\u003eEverything Is Nice\u003c\/em\u003e between songs by Cat Power and Jon Spencer Blues Explosion and that first listen stopped me in my tracks. What struck me about the band is how familiar they sounded. They had a quality about them that immediately struck me as warm, childlike and nostalgic. They were an electronic act that felt unusually organic; they weren’t restricted solely to the dancefloor or the laptop, instead creating something altogether inviting and personal and oddly eerie at times. Inspired by educational film soundtracks (from which they took their name), you could almost see photosynthesis taking place while you listened. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Campfire Headphase\u003c\/em\u003e contains essentially the same qualities that made the group’s earlier records \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e and \u003cem\u003eGeogaddi\u003c\/em\u003e as captivating as they were. The songs themselves have an immediacy and warmth not often found in IDM, the beats are never too overbearing, and the between-song interludes are frequently as fascinating and mysterious as the tracks themselves. But Headphase doesn’t have quite the same immediacy, opening up in slo-mo, like the visualized plant bud emerging from the soil.\u003c\/p\u003e\n\u003cp\u003eBy no means a “difficult” record, \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e is something of a sideways progression for the duo. While there are no glaring differences between this and the previous two full-lengths, there is a more pronounced guitar presence this time around, which makes for an interesting change in tone and palette. Part of what makes \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e seem a little strange at first is that guitar; it’s such a central part of the first proper “song” on the record (“Chromakey Dreamcoat”), that it almost seems like a different group. It doesn’t take long to get used to, however, and it brings added dimension to the Scottish duo’s sound.\u003c\/p\u003e\n\u003cp\u003eOn two of the album’s best tracks, “Satellite Anthem Icarus” and “Dayvan Cowboy,” the music draws similarities to the symphonic art funk of Serge Gainsbourg’s \u003cem\u003eHistoire de Melody Nelson. \u003c\/em\u003e“Dayvan” in particular stands out for its suspenseful buildup and heightened drum progression. Much of the album, however, still retains the analog dreamscape of \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e, at times floating in an ambient abyss, others grooving on an Air-like trip-hop haze.\u003c\/p\u003e\n\u003cp\u003eBoards of Canada are clearly still among the best electronic producers out there right now, and \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e is yet another hour of blissful, dreamy IDM. After a few listens, it reveals its subtle and crackly charms, its digital-meets-analog progression a new, immersive chapter in the group’s consistently fascinating body of work. — (via \u003ca href=\"https:\/\/www.treblezine.com\/boards-of-canada-campfire-headphase-review\/\" target=\"_blank\" rel=\"noopener\"\u003eTrebleZine\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\/6uO5B6km2Dco28tOBmZtSU?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: 2x Vinyl, LP, Album, Reissue, Stereo\u003cbr\u003eReissued: 2013 \/ Original: 2015\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Ambient, IDM, Leftfield\u003c\/p\u003e\n\u003cp\u003eFile under: Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456473079966,"sku":"801061812317","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a0608755357_10.jpg?v=1705562852"},{"product_id":"gil-scott-heron-small-talk-at-125th-and-lenox","title":"Gil Scott Heron – Small Talk at 125th And Lenox","description":"\u003cp\u003e\u003cstrong\u003eA TAV Curator’s Pick.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGilbert \"Gil\" Scott-Heron was an American soul and jazz poet, musician, author, and is most notably known for his work as a spoken-word performer in the 1970s and 1980s. His lyrical contents were predominantly concerned with the social and political issues of the time, delivered in both a rapping and melismatic vocal style. Which has gone on to be a heavy influence on future African-American music genres such as hip hop and neo soul.\u003c\/p\u003e\n\u003cp\u003eA New Black Poet - Small Talk at 125th and Lenox, is Scott-Heron’s debut album, recorded in 1970 on Flying Dutchman Records. Said to have been recorded live at a New York nightclub located on the corner of 125th Street and Lenox Avenue, the album includes his most well known and often quoted composition “The Revolution Will Not Be Televised”.\u003c\/p\u003e\n\u003cp\u003e“Small Talk at 125th and Lenox was a volcanic upheaval of intellectualism and social critique, recorded live in a New York nightclub with only bongos and conga to back the street poet.” – \u003ca href=\"http:\/\/www.allmusic.com\/album\/small-talk-at-125th-and-lenox-mw0000175340\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAllMusic\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e  \u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A1dEuqkkBkG4dy8OQjx92d5\" allowtransparency='“true\"' frameborder=\"0\"\u003e\u003c\/iframe\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=\"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=%22Gil+Scott-Heron%22\"\u003eGil Scott-Heron\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\u003eSmall Talk At 125th And Lenox\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+-+Flying+Dutchman%22\"\u003eFlying Dutchman\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\u003eVinyl, LP, Album, Reissue, 180 Gram\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003ePressing:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eUS\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\u003eUnknown\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\u003eSoul, Jazz, Non-Music\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\u003eSpoken Word, Poetry\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\u003eFDS-131\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\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\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Flying Dutchman","offers":[{"title":"Default Title","offer_id":41456483205278,"sku":"5051083091503","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/ScreenShot2023-01-18at4.21.05PMcopy_1718x_45b9e083-7ade-4d24-8d4a-fc81d3392369.webp?v=1675318481"},{"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":"a-tribe-called-quest-the-anthology","title":"A Tribe Called Quest – The Anthology","description":"\u003cp\u003e\u003cem\u003eThe Anthology\u003c\/em\u003e is A Tribe Called Quest's 1999 greatest hits compilation spanning their entire career.\u003c\/p\u003e\n\u003cp\u003eThe compilation contains songs from all of their currently existing full-length catalogue, including\u003cem\u003e People's Instinctive Travels and the Paths of Rhythm\u003c\/em\u003e, \u003cem\u003eThe Low End Theory\u003c\/em\u003e, \u003cem\u003eMidnight Marauders\u003c\/em\u003e, B\u003cem\u003eeats, Rhymes and Life \u003c\/em\u003eand \u003cem\u003eThe Love Movemen\u003c\/em\u003et. It also contains Q-Tip's \"Vivrant Thing\", which was featured on the first music compilation for Violator Management. The song would also later be featured on Q-Tip's solo effort, Amplified. The album cover features Erykah Badu with fluorescent stripes of green and orange reminiscent of the traditional colors of the Kente tribe of the north Congo.\u003c\/p\u003e\n\u003cp\u003eFor those who haven't discovered that A Tribe Called Quest made several of the best LPs in hip-hop history, Anthology is a perfect way to encapsulate the trio's decade-long career into one manageable portion.  All of their best and biggest songs are here, from the early neglected joint \"Luck of Lucien\" to classic jazz-rap from The Low End Theory like \"Jazz (We've Got),\" and their 45-rpm peak with \"Award Tour,\" all the way to their last big hit, \"Find a Way,\" from 1998's \u003cem\u003eThe Love Movement\u003c\/em\u003e. Yes, anyone who enjoys hip-hop needs to own at least \u003cem\u003eMidnight Marauders\u003c\/em\u003e and \u003cem\u003eThe Low End Theory\u003c\/em\u003e, but \u003cem\u003eAnthology\u003c\/em\u003e succeeds in delivering all the highest points from a great hip-hop group's career. The collection also includes the first solo track from Q-Tip, 1999's \"Vivrant Thing.\" — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/the-anthology-mw0000667815\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/3FAK4h4t9uV4JxzESXllAU?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\u003e↓\u003cbr\u003eLabel: Jive\u003cbr\u003eFormat: 2x Vinyl, LP, Compilation, Reissue, Stereo\u003cbr\u003eCountry: US\u003cbr\u003eReissued: 2023 \/ Original Release: 1999\u003cbr\u003eGenre: Hip Hop\u003cbr\u003eStyle: Rap, Conscious, , Jazzy Hip-Hop\u003c\/p\u003e\n\u003cp\u003eFile under: Hip Hop\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Jive Records","offers":[{"title":"Default Title","offer_id":41456487661726,"sku":"1241416910","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/71OyPGofKXL._UF1000_1000_QL80.jpg?v=1718102083"},{"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":"sonny-rollins-way-out-west","title":"Sonny Rollins – Way Out West","description":"\u003cp\u003eThe timeless \u003cem\u003eWay out West\u003c\/em\u003e established Sonny Rollins as jazz's top tenor saxophonist (at least until John Coltrane surpassed him the following year). Joined by bassist Ray Brown and drummer Shelly Manne, Rollins is heard at one of his peaks on such pieces as \"I'm an Old Cowhand (From the Rio Grande),\" his own \"Way out West,\" \"There Is No Greater Love,\" and \"Come, Gone\" (a fast stomp based on \"After You've Gone\"). The William Claxton photo of Rollins wearing Western gear (and holding his tenor) in the desert is also a classic. — via AllMusic\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6pWgCHxQp3DYbPKxduwvmC?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: Original Jazz Classics, Contemporary Records\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Remastered\u003cbr\u003eReissued: 1988 \/ Original Release: 1965\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Hard Bop\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz - Saxophone\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Original Jazz Classics [OJC] \/ Contemporary Records","offers":[{"title":"Default Title","offer_id":41456519741598,"sku":"25218033718","price":39.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/sonny.webp?v=1734502645"},{"product_id":"massive-attack-protection-2016-reissue","title":"Massive Attack - Protection","description":"\u003cp\u003eMassive Attack's sophomore effort could never be as stunning as \u003ca href=\"https:\/\/theanalogvault.mom\/products\/massive-attack-blue-lines-2016-reissue\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003eBlue Lines\u003c\/em\u003e\u003c\/a\u003e, and a slight drop in production and songwriting quality made the comparisons easy. Still, from the first two songs Protection sounds worthy of their debut. The opening title track is pure excellence, with melancholy keyboards, throbbing acid lines, and fragmented beats perfectly complementing the transcendent vocals of Tracey Thorn (an inspired choice to replace the departed Shara Nelson as their muse). Tricky, another soon-to-be-solo performer, makes his breakout on this record, with blunted performances on \"Karmacoma,\" another highlight, as well as \"Eurochild.\" \u003cbr\u003e\u003cbr\u003e\u003ci\u003eProtection\u003c\/i\u003e\u003cspan\u003e pulls all the most accessible elements of \u003c\/span\u003e\u003ci\u003eBlue Lines\u003c\/i\u003e\u003cspan\u003e, the atmosphere, the rhythms, the vocals, and streamlines them into a sleek ride under urban lights. It spawned 3 top 30 singles and the album debuted at number 4 on the charts, making good on the promise and potential of their game changing debut the second time around. While not as essential as their debut, I cannot comprehend what kind of music connoisseur wouldn’t love having this in their collection. It is as accessible and immediate as trip-hop gets. In order for it to achieve that accessibility a bit of the edge and tension of \u003c\/span\u003e\u003ci\u003eBlue Lines\u003c\/i\u003e\u003cspan\u003e had to be sacrificed, luckily, those elements would make a comeback in a huge way on what came next.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe title track from Massive Attack's second album, which arrived four years after their debut, \u003cem\u003eProtection\u003c\/em\u003e is a beautiful, mid-tempo song which places the band firmly in the middle of the trip-hop genre they created.\u003c\/p\u003e\n\u003cp\u003eWith the abrupt departure of Shara Nelson in the aftermath of Blue Lines, the band needed to regroup to discover their future path. Mushroom, 3D, and Daddy G knew they could never replace her, nor did they want to. Instead, they chose to bring a new diversity to their sound with the addition of rotating guest vocalists; the first was Everything but the Girl's Tracy Thorn.\u003c\/p\u003e\n\u003cp\u003eIt was Thorn who penned the song that gave the band their album title and first single, and her sweetly organic, jazz-inflected voice was perfectly suited to the quiet, pared-down music the band placed behind it. A haunting love song, \u003cem\u003eProtection\u003c\/em\u003e is a subtle counterpart to the earlier \u003cem\u003eSafe From Harm\u003c\/em\u003e and is proof that the band was still on the right track. — (via \u003ca href=\"https:\/\/www.allmusic.com\/song\/protection-mt0006794435#userReviews\" 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\/5CnZjFfPDmxOX7KnWLLqpC?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, 180 Gram\u003cbr\u003eReissued: 2016 \/ Original: 1994\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Downtempo, Dub, Trip Hop\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/\/ Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Virgin","offers":[{"title":"Default Title","offer_id":41456531701918,"sku":"602557009620","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/Massive-Attack-Protection-LP-Vinyl-2016-1.jpg?v=1734518216"},{"product_id":"takeo-moriyama-east-plants-2018-reissue","title":"Takeo Moriyama – East Plants","description":"\u003cp\u003e“BBE Music is proud to present the next instalment in the J Jazz Masterclass Series: ‘East Plants’ by Takeo Moriyama, one of Japan’s finest jazz drummers.\u003c\/p\u003e\n\u003cp\u003eA genuine ‘under the radar’ album known only to a handful of Japanese jazz collectors, ‘East Plants’ is now available once more, reissued for the first time as a double 180g LP, with exact reproductions of the original artwork, obi strip and insert. It also comes with the original notes fully translated. ‘East Plants’ is also available as CD and digital formats. This reissue is fully endorsed by Takeo Moriyama himself. Originally released in 1983 on the Japanese VAP label, ‘East Plants’ is an essential album in the J Jazz canon. It’s an album that distils several key characteristics of Moriyama’s music: clearly articulated and inventive rhythms, open yet orderly arrangements, and an accessible groove balanced with a graceful control.\u003c\/p\u003e\n\u003cp\u003e‘East Plants’ features no piano, just percussion, bass and reeds. From the luxurious raga-like build of the album’s hypnotic title track and the fierce post-bop workout of ‘Fields’, to the stately modal track ‘Kaze’ (as featured on the sell-out BBE compilation, ‘J Jazz: Deep Modern Jazz From Japan 1968-1984’), the album was, until now, a rarely acknowledged masterpiece. ‘East Plants’ shows Moriyama’s quintet at their most transcendent: delicate layers of percussion by Yoji Sadanari, a warm and pliant bass from Hideki Mochizuki, with colour and texture provided by the eloquent reed work of Shuichi Enomoto and Toshiko Inoue. And, overseeing it all, Moriyama’s discreet yet commanding drumming.” – \u003cu\u003eBBE Music\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ca href=\"http:\/\/www.bbemusic.com\/downloads\/east-plants\/\"\u003ehttp:\/\/www.bbemusic.com\/downloads\/east-plants\/\u003c\/a\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/1QIFVbHwZQIutLTFg3Ft1r\" allowtransparency=\"true\" allow=\"encrypted-media\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Ug2irJ1M-os\" allow=\"autoplay; encrypted-media\" allowfullscreen=\"allowfullscreen\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eItem description:\u003c\/strong\u003e        \u003c\/p\u003e\n\u003ctable width=\"374\"\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\u003eTakeo Moriyama\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\u003eEast Plants\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\u003eBBE\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, Reissue\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003ePressing:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eEurope\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\u003eThis reissue: 28 Sep 2018 | Original: 1983\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\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\u003eContemporary Jazz, Modal, Post Bop\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\u003eBBE473ALP\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eNew\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"BBE","offers":[{"title":"Default Title","offer_id":41456584163486,"sku":"730003147319","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/a3062707888_10.jpg?v=1676538160"},{"product_id":"haruomi-hosono-shigeru-suzuki-tatsuro-yamashita-pacific-2017-reissue","title":"Haruomi Hosono, Shigeru Suzuki, Tatsuro Yamashita – Pacific","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eThe familiar sound of a cocktail shaker full of ice and the sound of distant seagulls give way to a simple, catchy melody and a lazy, carefree rythm. The first 15 seconds of\u003cem\u003e Pacific\u003c\/em\u003e, recorded in 1978 by Haruomi “Harry” Hosono (of Yellow Magic Orchestra) with collaboration of Shigeru Susuki and Tatsuro Yamashita tell you everything you need to know about what’s to come in the next 38 minutes.\u003c\/p\u003e\n\u003cp\u003eEach track has a different composer who brings his own distinct flavor to the mix, without deviating much from the record’s set thematic and tone. Every track fits solidly on the whole of the narrative but can stand as solidly on its own without context, which further proves the genius of the three main composers at creating emotionally immediate melodies and textures, efficient at the time of constructing an idyllic summer atmosphere that, freed from the obligation of telling a ‘story’, can focus 100% on painting an extremely detailed scene with the limited resources at their dispposal. A work of rare conceptual clarity, master management of composition and instrumentation that doesn’t need to prove anything, fully confident in its own capability. Simply one of the chillest albums you’ll listen to in your life. – via Sputnik Music\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6PnbwR4pgQQZDrLUdw6Kc7?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: Victory\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Unofficial Release\u003cbr\u003eReissued: 2017 \/ Original Release: 1978\u003cbr\u003eGenre: Electronic, Jazz, Folk, Pop\u003cbr\u003eStyle: Fusion\u003c\/p\u003e\n\u003cp\u003eFile under: Japanese Pop\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Victory","offers":[{"title":"Default Title","offer_id":41456584425630,"sku":"V25AH426","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/b76290e537bf002b48d75e7c5ac81fd44175d038.jpg?v=1646292545"},{"product_id":"dream-2-science-dream-2-science-2012-reissue","title":"Dream 2 Science – Dream 2 Science (Repress)","description":"\u003cp\u003eOfficial re-release of this 'lost' 6-track mini album by New Yorker Ben Cenac (of Newcleus fame). Recorded and released in 1990 and is an absolute gem of a record - very much in the vein of Larry Heard's best recordings. \u003c\/p\u003e\n\u003cp\u003eElectronic soul classic! Now available again for the first time in 22 years, remastered + full artwork.\u003c\/p\u003e\n\u003cp\u003e'A truly, dreamy, beautiful classic deep-house mini-album from the golden-post-Larry Heard era. New-yorker Ben Cenac, who was also member of electro pioneers Newcleus (and part of Sha-lor, who had a cool jazzy garage-house hit in the late 80's), shows a great sensibility and delicacy here in following mr Heard's path.\u003c\/p\u003e\n\u003cp\u003eHis approach is perhaps slightly more sci-fi in the synths and pad sounds, and perhaps a tad less crafted and mercurial in production than the master (i.e. less timeless), but this adds in realness and charm.\u003c\/p\u003e\n\u003cp\u003eSo, past the classic deep-garage dream \"My Love Turns To Liquid\" (in the vein of these sultry garage productions from Peter and Vanessa Daou), the rest of the record shows constant quality, with song titles that could have been (or actually have been) used by Mr. Heard himself, and a content oscillating between warming deep-house, sweet acid, lush garage and relaxed spacejazz piano parts, the whole thing also evoking the Beloved's better 'rave' moments (\"The Sun Rising\" etc).\u003c\/p\u003e\n\u003cp\u003eThis record could be studied in university as the synthesis of the deep-house scene of the early 1990s. Classic.' (Review by Restless, taken from Discogs). — (via \u003ca href=\"https:\/\/www.rushhour.nl\/record\/vinyl\/dream-2-science\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003e“The Dream 2 Science EP is a no-brainer reissue: it's a spotless record of classic New York house that's been out of print for 22 years (as if the extortionate Discogs prices weren't enough of a hint). Project mastermind Ben Cenac was a member of Newcleus, a pioneering electro outfit who, without fail, showed up in spacesuits on the cover of nearly every single record they made. His Dream 2 Science project turns their ebullient space funk inwards, turning his thirst for novel sounds and textures towards introverted deep house.” – (via \u003ca href=\"https:\/\/www.residentadvisor.net\/reviews\/10974\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cu\u003eResident Advisor\u003c\/u\u003e\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/4PfrMu7QT2VQ7PTM8DaU3I\" allowtransparency=\"true\" allow=\"encrypted-media\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/_hoKTHj-Qrw\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"allowfullscreen\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/BQkXXbIb2hY\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"allowfullscreen\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Rush Hour Recordings\u003cbr\u003eFormat: Vinyl, LP, Reissue\u003cbr\u003eReissued: 2012 \/ Original: 1990\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Acid House, Deep House\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/\/ House \/ Techno \/ Electro\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Rush Hour","offers":[{"title":"Default Title","offer_id":41456596648094,"sku":"RHRSS4","price":38.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/R-3548854-1460714307-6415.jpg?v=1698730251"},{"product_id":"noriki-dream-cruise-first-reissue","title":"Noriki - Dream Cruise","description":"\u003cp\u003e\u003cspan\u003eNoriki is keyboardist Soichi Noriki – who plays Fender Rhodes, Hammond, and other keys here in a setting that's a nice blend of soulful fusion and some of the Japanese crossover modes of the time. There's just a bit of vocals on the record – courtesy of singer Yuri Kokubu but the album moves along with its strongest focus on the instrumental solos – which includes work from Shin Kazuhara on trumpet, Yasuo Hirouchi on trombone, and the great Jake Concepcion on tenor, alto, and baritone – an artist we love from some great records of the 60s, but haven't ever heard this late in his career. The whole thing's got a warm, sunny fusion vibe that really fits the cover – and titles include \"You Can Make It\", \"When The Rain Stops\", \"Uncle Bearcat\", \"Easy Way\", \"Mild Live\", and \"Night Lights\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/123dRNWDFhuIltk5cGzvXT?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: Eastworld, Universal Music Group, HMV Record Shop\u003cbr\u003eFormat: Vinyl, LP, Album, Limited Edition, Reissue, Clear Vinyl\u003cbr\u003eReissued: 2024 \/ Original Release: 1984\u003cbr\u003eGenre: Electronic, Jazz\u003cbr\u003eStyle: Fusion, Jazz-Funk, Smooth Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Japanese Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"HMV Record Shop","offers":[{"title":"Default Title","offer_id":41456638591134,"sku":"4988031650202","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/61lP0Puj5PL._UF894_1000_QL80.jpg?v=1732618965"},{"product_id":"themysterykindaichibandtheadventureofkohsukekindaichi","title":"The Mystery Kindaichi Band ‎– The Adventure of Kohsuke Kindaichi","description":"\u003cp\u003eThe ‘imaginary’ soundtrack to \u003cem\u003eThe Adventures Of Kindaichi Kosuke\u003c\/em\u003e, the cult detective book series by writer Seishi Yokomizo is on many DJ want-lists. Arranged by soundtrack master Kentaro Haneda and featuring a mysterious group of the best 70s Japanese Funk musicians, the album is pure undiluted Disco Funk. This reissue is the album's first official release outside of Japan. Remastered from the original tapes, it features artwork by renowned illustrator Ichibun Sugimoto, OBI strip and a 4 page insert with a new introduction by British journalist Anton Spice. — (via Label)\u003cu\u003e\u003cbr\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/_-LZudHEk7k\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Wewantsounds\u003cbr\u003eFormat: Vinyl, LP, Album, Limited Edition, Reissue, Remastered, Stereo, Clear\u003cbr\u003eReleased: 2024 \/ Original: 1977\u003cbr\u003eGenre: Jazz, Funk \/ Soul\u003cbr\u003eStyle: Soundtrack, Jazz-Funk, Disco\u003c\/p\u003e\n\u003cp\u003eFile under: Japanese Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"Default Title","offer_id":41456640688286,"sku":"3700604723790","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/bcf12053152dc78a369a59f3c4cff3469e60a179.jpg?v=1646293146"},{"product_id":"mccoy-tyner-expansions","title":"McCoy Tyner – Expansions (Tone Poet series)","description":"\u003cp\u003eThe soulful and elegant pianist Sonny Clark brings his A-game to My Conception, a program of all-Clark originals recorded in 1959 but not released until 1979. Joining the pianist are a cast of hard bop masters including Hank Mobley on tenor saxophone, Donald Byrd on trumpet, Paul Chambers on bass, and Art Blakey on drums. Highlights from this session include the lead-off track “Junka,” the fiery brilliance of “Minor Meeting,” and Hank Mobley’s sublime soloing on “Royal Flush.” – \u003cu\u003eBlue Note Tone Poet\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/3404M6AYZg8trSX9jWEVhZ\" 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: Blue Note – B0033004-01, Blue Note – BST 84338\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eSeries: Blue Note Tone Poet Series\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180g\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCountry: US\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased: 6 Aug 2021\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\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Blue Note Records (Tone Poet series)","offers":[{"title":"Default Title","offer_id":41456646291614,"sku":"602435268170","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/99bbdfec651d24a9f2eb336755dea4db473827a8.jpg?v=1646293301"},{"product_id":"gaborszabothesorcerer","title":"Gabor Szabo ‎– The Sorcerer (Verve By Request Reissue)","description":"\u003cp\u003eThis 1967 set, recorded live at Boston’s Jazz Workshop, showcases virtuoso guitarist Szabó—a veteran of Chico Hamilton’s and Charles Lloyd’s bands—at the top of his game on a diverse program featuring standards (“What Is This Thing Called Love”) and pop hits (“The Beat Goes On”) as well as the original and psychedelic-tinged jam, “Space.” — (via \u003ca href=\"https:\/\/store.ververecords.com\/products\/gabor-szabo-the-sorcerer-lp-verve-by-request-series?srsltid=AfmBOoo0Xuve76pW8genCEbgrWa56lOk6ofLIfKO2etPsWsqGnTR_qhf\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003eGabor Szabo's quintet featuring Jimmy Stewart was one of the guitarist's very best units. Live performances like this, recorded at Boston's Jazz Workshop, document some of the excitement the group stirred in 1967-1968.\u003c\/p\u003e\n\u003cp\u003eThe playing seems inspired, and the interplay within the group is something to behold -- even when performing lightweight tunes like \"The Beat Goes On.\" — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/the-sorcerer-mw0000654967\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/4dS4LflzNdWVbk3tYDdQfn\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Verve Records, Impulse!, UMe \u003cbr\u003eSeries: Verve By Request\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, Gatefold, 180g\u003cbr\u003eReissued: 2023 \/ Original: 1967\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Soul-Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz \/\/ Soul-Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Verve \/ Impulse!","offers":[{"title":"Default Title","offer_id":41456653205662,"sku":"602448991072","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/verlp99107__52979.jpg?v=1686051727"},{"product_id":"jackie-mclean-destination-out-classic-vinyl-series","title":"Jackie McLean – Destination... Out! (Classic Vinyl Series)","description":"\u003cp\u003eBy the time Jackie McLean began recording for Blue Note in 1959, the alto saxophonist had already been a stalwart of the NYC jazz scene for nearly a decade having spent the entirety of the 1950s cutting his teeth alongside bebop legends like Miles Davis and Charles Mingus. As the early 1960s progressed, McLean’s innovative hard bop sound began to take on a harder edge and a more adventurous spirit. Inspired by the likes of Ornette Coleman and John Coltrane, McLean started to seek a greater freedom of expression in his music and began to introduce elements of the avant-garde, while never fully relinquishing a grounding in his soulful sense of swing and chordal structures. On his 1963 quintet album One Step Beyond, McLean teamed up with the unique trombonist and composer Grachan Moncur III and brought in vibraphonist Bobby Hutcherson instead of a pianist, a move that gave the music a freer, more spacious feel. Inspired by this new musical direction and the tonal qualities of the band, McLean brought Moncur and Hutcherson back into the studio later that year with Larry Ridley on bass and Roy Haynes to record what would be his masterpiece of inside-out jazz: Destination… Out! On four original pieces—three by Moncur (“Love and Hate,” “Esoteric,” “Riff Raff”) and one of McLean’s (“Kahlil the Prophet”)—the quintet goes exploring, conjuring different moods and creating exciting new sounds that still sound fresh today.\u003c\/p\u003e\n\u003cp\u003eThis Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal. – \u003ca href=\"https:\/\/store.bluenote.com\/products\/jackie-mclean-destination-out-lp-blue-note-classic-vinyl-series\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eBlue Note\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/5G3L2XFdPWxKmsFSljLjj1?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\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:\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eBlue Note – 3876157, UMe – 3876157, Blue Note – 84165, Blue Note – ST-84165, Blue Note – BST 84165, Blue Note – 006002438761579\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eSeries:\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eBlue Note Classic Vinyl Series\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat:\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eVinyl, LP, Album, Reissue, Stereo, 180g\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCountry:\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eWorldwide\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased:\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e21 Jan 2022\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eGenre:\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eJazz\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eStyle:\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eHard Bop, Post Bop\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":41456661790878,"sku":"602438761579","price":39.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/destination-out-blue-note-classic-vinyl-series.jpg?v=1646293714"},{"product_id":"theoparrish-theoparrrishsblackjazzsignature","title":"Theo Parrish - Theo Parrrish's Black Jazz Signature","description":"\u003cp\u003e\u003cem\u003eBlack Jazz Signature\u003c\/em\u003e is a compilation mix album was released in 2013 by Snow Dog Records, and features tracks from 1970s record label Black Jazz Records. Black Jazz Records was an independent jazz record label founded in Oakland, California by jazz pianist Gene Russell and percussionist Dick Schory. The label was created to promote the talents of young African American jazz musicians and singers, and released twenty albums between 1971 and 1975. Some of the more notable artists to record for Black Jazz Records were Cleveland Eaton, former bassist for Count Basie and Ramsey Lewis, and pianist Doug Carn, whose four albums were the most successful of any Black Jazz artist. \u003cbr\u003e\u003cbr\u003eSnow Dog Records acquired Black Jazz Records in 2012, and began re-issuing the albums as its first project. The remastered albums included new liner notes and previously unpublished photographs as part of it's offering. Black Jazz Records was also known for its unique album cover concept, which was copyrighted by the label. The concept included a design that allowed the title to be shown regardless of how the albums were positioned in the browsing rack at record stores. All of the albums had white lettering on a black background, with the liner notes and personnel listed in the same place on each of the labels releases.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis LP version is unmixed. Arguably one of the world's most important underground dance music producer \/ DJs Theo Parrish lends his hands to selecting and mixing a set of jazz and funk records licensed from and originally released on the Black Jazz label 1971-1976. World-renowned for his DJ sets and remixes\/productions, this Chicago-raised artist is near impossible to pigeonhole. Revered by a wide spectrum of dedicated music fanatics, he is known for his otherworldly DJ sets, and his serious approach to DJing as an art form.\u003cbr\u003e\u003cbr\u003eThis compilation is an exhilarating listen and the perfect reflection of Black Jazz Records’ singular musicians, Black Jazz Signature is a record you will probably keep and return to for life. — (via Label)\u003cbr\u003e—\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eNot so much a polymath as a polyglot, Theo Parrish has been treading the relatively unexplored ground between American soul and the avant-garde via his chosen medium of Detroit techno and house for some two decades. It’s this very universal understanding, and subsequent subversion of commonplace approaches to both dance music rhythms and melodies, that Parrish shares with artists on early 70s Californian Afro-jazz label Black Jazz.\u003c\/p\u003e\n\u003cp\u003eAs a complement to the ongoing series of Black Jazz reissues by the Japan-based Snow Dog Records, this album is the label’s fourth DJ mix built entirely from Black Jazz source material. Following Gilles Peterson and Muro’s contributions last December, and utilising little more than his two turntables, Parrish’s mix is arguably the most hands off of the lot. Regardless, his contribution as selector – along with his minor conjoining fades in and out – crafts a continuous listening experience that manages to synthesise something new, present highlights from the Black Jazz catalogue, and still preserve the intrinsic value of those original releases.\u003c\/p\u003e\n\u003cp\u003eTheo Parrish’s musical skills have always seemed those of a sculptor rather than painter, shaping source material into a deformed something new. The ‘Ugly Edits’ that comprised Uget best represent the man’s strengths. Focusing on ephemeral passing moments from varied disco, soul and funk records, Parrish looped and cut and spliced them, extrapolating passing seconds into 10-minute boogie epics in a daunting act of musical asexual reproduction. He’s well aware of the complexities inherent in crafting with rhythm and music as his chosen medium, telling Crack magazine last February, \"When you’re dealing with 3D work, you’re dealing with volume, height, density. With sound, you’re dealing with almost the same things except you’re dealing with the time element too.\"\u003c\/p\u003e\n\u003cp\u003eThe output of Black Jazz – recorded and released entirely between 1970 and 1975 – seemingly had a similar outlook of ‘music as sound sculpture’, albeit unable to electronically subvert the fourth dimension quite as effectively as Parrish. The label was founded by pianist Gene Russell, whose subsequent death in 1976 (though there are conflicting reports as his death date) signalled the end for Black Jazz. Both music and label are often pigeonholed alongside ‘African spiritual jazz’ and the like, and while its artists did indeed share a similarly Pan-Africanist outlook, they never really made it the focus of the music. The Pan-Africanist concept, that all people of African descent have a united destiny, chiefly serves to cement Black Jazz’s egalitarian approach to instrumentation, focusing on ensuring that every player and every sound is heard.\u003c\/p\u003e\n\u003cp\u003eThe result is a raucous and cataclysmically free sort of soul-jazz, defined by its aural density and its colourful and wildly busy rhythm sections. The almost omnipresent electric keys\/bass\/drum kit constantly mesh swinging bop with funkier snare hits and colourful polyrhythms, the utter array of African-American rhythmic influences on display perhaps hinting at that purported Afro-spiritualism. This is, however, not as obviously Afro-centric as Archie Shepp or Pharoah Sanders. For example, tracks by The Awakening – the one actual ‘band’ on the Black Jazz roster – and native Chicagoans like Theo Parrish himself, seemingly embody any and every permutation of jazz at that time. Contributing a third of the compilation’s dozen tracks, The Awakening neither spout Shepp’s spoken word, nor resort to seemingly deity-centric masses like Sanders, choosing instead to operate democratically, and the resultant instrumental convergence is pretty devastating.\u003c\/p\u003e\n\u003cp\u003eThe variety of ways and constantly flowing manner in which the horn players, guitarist, Calvin Keys, and other soloists contribute over the course of the record is incalculable. Parrish’s almost exclusively high-energy selections, and the near-seamless segues, merge into an almost impenetrably complex freakout montage, only occasionally punctuated by fleeting lulls. The mood progresses in melting shades, from the surreal Sun Ra-esque opening fanfare of Doug Carn’s ‘Trance Dance’, through the funky On The Corner beats of The Awakening’s ‘March On’, on to the busy-fingered guitar playing of Calvin Keys, whose ‘Criss-Cross’ drags Charlie Christian’s electrified big-band noodling kicking and screaming into the world of bluesless, post-Coltrane modalism. Somehow, at the album’s climax we find ourselves in the midst of a mega schlocky organ muzak run through of ‘Blue Bossa’, Parrish’s sleight of hand guiding us seamlessly from the sublime to the ridiculous.\u003c\/p\u003e\n\u003cp\u003eTrying to accurately summarise the journey is a pointless endeavour, it’s eighty minutes of unmappable terrain. The songs themselves simply contain so many notes, and seem to have been recorded and mixed to emphasise every single one. Through Parrish’s minimal revisionist framing, this music appears as open-ended and difficult as the free forms coming into vogue at the time they were recorded, yet never strays into the dissonance of early free-jazz watersheds such as Ascension. What’s more, there’s little discernible empty space throughout its entirety (save the brief respite of Walter Bishop Jr.’s solo piano introduction to ‘Those Who Chant’), something particularly underscored by Parrish’s selection when listened to in one sitting, and an inimitable characteristic of Black Jazz.\u003c\/p\u003e\n\u003cp\u003eIt’s a demanding, almost numbing record. Parrish’s selections and hands-off approach pays off and then some. This kaleidoscopic mix emphasises the Black Jazz catalogue’s consistently searching brand of music, and both complements and abridges one of jazz’s most undersung and thrilling musical footnotes. — (via \u003ca href=\"https:\/\/thequietus.com\/quietus-reviews\/theo-parrish-black-jazz-signature-review\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Quietus\u003c\/a\u003e) \u003c\/p\u003e\n\u003cp\u003e  \u003ciframe width=\"100%\" height=\"750\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/4RXSHIPNU48R9iE9xUNuUZ?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↓\u003cbr\u003eLabel: Black Jazz Records, Snow Dog Records\u003cbr\u003eFormat: 2x Vinyl, LP, Compilation, Repress\u003cbr\u003eReissued: 2020 \/ Original: 2013\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Soul-Jazz, Jazz-Funk\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz Compilations\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Snow Dog Records \/ Black Jazz","offers":[{"title":"Default Title","offer_id":41456665690270,"sku":"761514v1","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/7811bf18de88e4d1cdd29506dba13441cec01d26.jpg?v=1646293838"},{"product_id":"dexter-gordon-go-blue-note-classic-vinyl-series","title":"Dexter Gordon – Go! (Blue Note Classic Vinyl series)","description":"\u003cp\u003eBy the time he recorded GO! in 1962, Dexter Gordon had already lived several lifetimes in jazz. He was among the first to adapt the language of bebop to the tenor saxophone in the 1940s, but after a decade in which personal troubles limited his output, he signed with Blue Note in 1961 and began a run of essential albums that marked a rebirth for the tenor giant. Featuring a quartet with Sonny Clark on piano, Butch Warren on bass, and Billy Higgins on drums, GO! was a showcase of Gordon’s limitless creativity on hard-swinging numbers like his great tune “Cheese Cake” and a sure-footed version of “Love for Sale,” as well as his peerless artistry on ballads as evidenced on stunning takes of the standards “I Guess I'll Hang My Tears Out to Dry” and “Where Are You.”\u003c\/p\u003e\n\u003cp\u003e-\u003c\/p\u003e\n\u003cp\u003eThis Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal. – \u003cu\u003eBlue Note\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"100%\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/5nEJj9bjoarnzlS88NiWet\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Blue Note Records\u003cbr\u003eSeries: Blue Note Classic Vinyl Series\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180g\u003cbr\u003eReissued: 2021 \/ Original: 1962\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Hard Bop\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz \/\/ Blue Note Records\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Blue Note Records","offers":[{"title":"Default Title","offer_id":41456673030302,"sku":"602435799070","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/e536240109f4bd3d7b8ff5956abe6c5d8af0a558.jpg?v=1646294194"},{"product_id":"massiveattackvsmadprofessor-noprotection","title":"Massive Attack vs Mad Professor - No Protection","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003eProtection\u003c\/em\u003e was widely considered a disappointing follow-up to Massive Attack's groundbreaking debut, Blue Lines. Where their debut bent all of the conventional hip-hop, dub reggae, and soul rules,\u003cem\u003e Protection\u003c\/em\u003e essentially delivered more of the same. Perhaps that's the reason why Mad Professor's remix of the album, \u003cem\u003eNo Protection\u003c\/em\u003e, was welcomed with open arms by both Massive Attack fans and critics. Mad Professor has returned the group to their experimental, cut-and-paste dub reggae and hip-hop roots. He has gutted the songs - twisting and reassembling the vocal tracks, giving the songs deeper, fuller grooves and an eerily seductive atmosphere. In other words, he has made Protection into a more daring and fulfilling album with his remixes. — (via Stephen Thomas Erlewine \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/no-protection-mw0000183371\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e—\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGiven Massive Attack's background, it was almost inevitable that they'd release a dub overhaul of one of their albums at one point. That time came in 1995, when British sound system legend Mad Professor - responsible for some of the greatest UK-made dub records of all time - put his distinctive twist on Protection. 21 years on, the set still sounds sublime: a radical translation that frequently bares only a passing resemblance to the Bristol band's original. It's packed with highlights, from the spaced-out, dub-house rework of \"Spying Glass\" (\"I Spy\"), to the ricocheting percussion hits and twinkling pianos of \"Weather Storm (Cool Monsoon)\", and creepy, delay-laden string surges of \"Eternal Feedback (Sly)\".  — (via \u003ca href=\"https:\/\/www.juno.co.uk\/products\/massive-attack-vs-mad-professor-no-protection-vinyl\/628745-01\/\" target=\"_blank\" rel=\"noopener\"\u003eJuno\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/31m3CasBlRFcf8exTSkM1r\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Virgin\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, 180gram\u003cbr\u003eReissued: 2016 \/Original:1995\u003cbr\u003eGenre: Electronic, Reggae\u003cbr\u003eStyle: Downtempo, Dub, Trip Hop\u003c\/p\u003e\n\u003cp\u003eFile under:  Electronic \/\/ Downtempo\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Virgin","offers":[{"title":"Default Title","offer_id":41456682270878,"sku":"602557009637","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/bb340fabb2d173946752097ce018999b0fe99b70.jpg?v=1646294435"},{"product_id":"art-blakey-the-jazz-messengers-the-big-beat","title":"Art Blakey \u0026 The Jazz Messengers – The Big Beat (Blue Note Classic Vinyl Series)","description":"\u003cp\u003e\u003cspan\u003eThe timeless 1960 hard bop classic \u003cem\u003eThe Big Beat\u003c\/em\u003e was the album that first introduced one of the greatest line-ups of Art Blakey \u0026amp; The Jazz Messengers to the jazz public with the legendary drummer and bandleader joined by trumpeter Lee Morgan, tenor saxophonist Wayne Shorter, pianist Bobby Timmons, and bassist Jymie Merritt. Shorter was the band’s newest member, and it was immediately clear that his presence would steer the group’s sound in a new more modern direction. \u003cbr\u003e\u003cbr\u003eThree of the album’s six pieces were penned by Shorter including the swaggering set opener “The Chess Players,” the imaginative “Sakeena’s Vision” written for Blakey’s young daughter, and the tribute “Lester Left Town” which was dedicated to influential jazz tenor forefather Lester Young. However, it was Timmons’ unforgettable gospel-influenced tune “Dat Dere,” a suitably soulful follow-up to the band’s previous hit “Moanin’,” that the album would ultimately become best-known for. This excellent edition of The Jazz Messengers would go on to record a phenomenal run of classic albums including A Night In Tunisia, Like Someone In Love, The Freedom Rider, Roots \u0026amp; Herbs, and The Witch Doctor. — via Label\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/3xTvTulNR8Ba1uk0oDaQbs?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\u003cbr\u003eSeries: Blue Note Classic Vinyl Series\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180 gram\u003cbr\u003eReissued: 2021 \/ Original Release: 1960\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Hard Bop\u003c\/p\u003e\n\u003cp\u003eFile under: Blue Note Records\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Blue Note Records","offers":[{"title":"Default Title","offer_id":41456685744286,"sku":"602438176113","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/The-BIG-bEAT.jpg?v=1646294472"},{"product_id":"john-patton-soul-connection","title":"John Patton – Soul Connection","description":"\u003cp\u003eOne of the most influential and underground Hammond organists of the 1960's was \"Big\" John Patton as he was then known. If it was the groove that you wanted Patton was your Man and he made several albums for the legendary Blue Note label, many of which went on to sell for eye watering prices. As his style went out of favor, some of the recordings never saw the light of day until almost 20 years later and at the same time Patton slipped into the background. He resurfaced in the 1980s and went into the studio. Among his albums Soul Connection, originally released in 1983 on Nilva Records has now been re-released on what many consider to be the Re-Issue Label of these times; Jazz Room Records.\u003c\/p\u003e\n\u003cp\u003ePatton had a strong band with him on this record. Avant Garde trombonist Grachan Moncur III fits in just nicely with some funky lines and solo's. Acid jazz Guitar Hero Melvin Sparks rides in the all important funk grooves but the revelation has to be saxophonist Grant Reed, who you may know from the Jazz Room Release of \"Shamek Farrah \u0026amp; Folks\" and who was a mainstay of the Mongo Santamaria set up. Jazz Exile Alvin Queen has been part of the sound set ups of Junior Mance, Stanley Turrentine and Charles Tolliver, among others. The whole album sounds as if it was laid down in a Rudy Van Gelder session in the mid 60's and then languished in a vault somewhere, waiting until the fan base had returned. That time is now, this is a Funky Organ Groove with a Spiritual Soul Swing! – \u003ca href=\"https:\/\/bigjohnpatton.bandcamp.com\/album\/soul-connection\"\u003e\u003cu\u003eJazz Room Records\u003c\/u\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003c\/u\u003e \u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/4Gc8WgjZV9vKX8T8PE5NHV?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: Jazz Room Records\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue\u003cbr\u003eReissued: 2021 \/ Original: 1983\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Soul-Jazz, Jazz-Funk, Modal\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz \/\/ Soul-Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Jazz Room Records","offers":[{"title":"Default Title","offer_id":41456694460574,"sku":"5050580773912","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/a4254869139_10.jpg?v=1646294636"},{"product_id":"gilscott-heron-nothingnew","title":"Gil Scott Heron - Nothing New","description":"\u003cp\u003eToday would have been Gil Scott-Heron's 65th birthday, and XL have announced their plans to release a posthumous Heron album, Nothing New. During the sessions for 2008's I'm New Here, Scott-Heron accompanied himself on piano on a number of stripped down versions of his old songs. Six months after his death in 2011, producer Richard Russell revisited those recordings and compiled them into Nothing New*.* It'll be available on limited edition 12\" vinyl, and will be released on April 19 for Record Store Day. - \u003ca href=\"https:\/\/pitchfork.com\/news\/54599-gil-scott-heron-album-nothing-new-collects-stripped-down-2008-takes-on-old-songs\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003ePitchfork\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/7dRpJX5PWLiDbkzcHUJu1o\" 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: XL Recordings ‎– XL-575-0\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: Vinyl, LP, Album, Repress\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCountry: US\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased: 10 May 2020\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eGenre: Jazz, Funk \/ Soul\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eStyle: Soul, Jazz-Funk\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"XL Recordings","offers":[{"title":"Default Title","offer_id":41456694591646,"sku":"5115351","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/0955c21fa93c2d05bbd28fa914967550fb871561.jpg?v=1646294643"},{"product_id":"don-rendell-quintet-space-walk","title":"Don Rendell Quintet – Space Walk","description":"\u003cp\u003eA figure in British modern jazz for over half a century, Don Rendell was both active protagonist and key witness to the main developments in the music from its rise out of tiny clubs and back rooms on up to the most prestigious national stages. From his earliest performances in London’s West End and his work of the 50s and 60s — most not ably with the Don Rendell-Ian Carr Quintet — to the lower profile work of the 70s and 80s, his quite assurance and consistent performance marked him out as a highly respected figure among his peers. He is one of a handful of British artists to feature on Blue Note Records and appeared on some of the most distinctive and characterful British jazz albums by the likes of Michael Garrick, Stan Tracey, Amancio D’Silva, and Neil Ardley. Even though Rendell eschewed much of the free and electric fusion styles that came to the fore in the late 60s, in the main sticking to an acoustic sound with melody and rhythm at its heart, he similarly bridled at any notion that he was merely a ‘bopper’, a description he positively hated. In many ways, Space Walk was as much a valedictory as transitionary album for Rendell. It was his last for Denis Preston, the fabled producer behind Lansdowne Studios, described by Neil Ardley as a ‘rare Diaghilev like figure’ who steered many of the key figures of the British jazz scene into the studio when nobody else would record them. – \u003cu\u003eSounds of The Universe\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"100%\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/0vGzs7X8SQkJ59d3XpJaiI\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Decca, Lansdowne Records \u003cbr\u003eSeries: British Jazz Explosion, Lansdowne Series\u003cbr\u003eFormat: Vinyl, LP, Album, Limited Edition, Reissue, Remastered, Stereo, 180g\u003cbr\u003eReissued: 2021 \/ Original: 1972\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Post Bop, Modal, British Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Decca","offers":[{"title":"Default Title","offer_id":41456695738526,"sku":"602435687858","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/476de49bd51243ba3617053a6ee1af1f2d20c729.jpg?v=1646294703"},{"product_id":"djyoshizawadynamitejpchintamwamonoatozvolii-japanesefunk1970-1977","title":"Various Artists ‎– Wamono A To Z Vol. II","description":"\u003cp\u003e\u003cspan\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\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eunknown, Japanese groove scene. After 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. \u003cbr\u003e\u003cbr\u003eIn this second volume of the acclaimed Wamono series, Yoshizawa and Chintam dig into some of the best and rarest funky tunes produced in Japan during the seventies. Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese jazz, funk, soul, rare groove and disco music developed throughout the years since the end of the sixties in Japan! \u003c\/span\u003e— (via Label)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1866762062\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u0026gt;\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: 180g\u003cbr\u003eSeries: Wamono A To Z\u003cbr\u003eFormat: Vinyl, LP, Compilation\u003cbr\u003eReleased: 2021\u003cbr\u003eGenre: Jazz, Funk \/ Soul\u003cbr\u003eStyle: Jazz-Funk, Soul-Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Japanese Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"180g","offers":[{"title":"Default Title","offer_id":41456698491038,"sku":"5050580754331","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/31ef7d90abaff7c82d96b9e5ce254ff4cc65d436.jpg?v=1646294834"},{"product_id":"takeshi-inomata-sound-limited-sounds-of-sound-ltd","title":"Takeshi Inomata \u0026 Sound Limited – Sounds Of Sound L.T.D.","description":"\u003cp\u003e\u003cspan\u003eWith his young and talented Sound L.T.D., drummer Takeshi Inomata heralds the arrival of the golden age of jazz rock in high spirits. Inomata, who led the Japanese jazz scene with his precise stick work and musicality with an eye on the times, formed Sound L.T.D. at the end of the 1960s, influenced by the brass rock music that was flourishing at the time. \u003cbr\u003e\u003cbr\u003eHe said: “I wanted to fuse jazz and rock and bring together young musicians to play music with vitality. I want this group to be a group with a large scale that is not confined to the small frame of modern jazz”. Their first album, \u003cem\u003eSounds Of Sound L.T.D\u003c\/em\u003e., released in 1970, became their masterpiece. It is full of energy and enthusiasm, starting with the “Theme-Mustache”\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003etune, which has become one of the most beloved and iconic songs of the band. — (via Label)\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/4xD0hfqComAxiL1tu6BGUC?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: Columbia, Deep Jazz Reality\u003cbr\u003eSeries: Project Re:Vinyl, Takt Jazz Series, New Stream In Jazz, Groovy Sound Series\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo\u003cbr\u003eReissued: 2024 \/ Original Release: 1970\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Jazz-Rock, Jazz-Funk\u003c\/p\u003e\n\u003cp\u003eFile under: Japanese Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":41456699244702,"sku":"4549767326665","price":90.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a3200401860_10.jpg?v=1731996125"},{"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":"burial-antidawn-ep","title":"Burial – Antidawn EP","description":"\u003cp\u003eAntidawn reduces Burial’s music to just the vapours.\u003c\/p\u003e\n\u003cp\u003eThe record explores an interzone between dislocated, patchwork songwriting and eerie, open-world, game space ambience. In the resulting no man's land, lyrics take precedence over song, lonely phrases colour the haze, a stark and fragmented structure makes time slow down. Antidawn seems to tell a story of a wintertime city, and something beckoning you to follow it into the night. The result is both comforting and disturbing, producing a quiet and uncanny glow against the cold. Sometimes, as it enters 'a bad place', it takes your breath away. And time just stops. - \u003ca href=\"https:\/\/burial.bandcamp.com\/album\/antidawn-ep\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eBandcamp\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\/7LtQeOwb04n1ovSnFax21b?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\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\" style=\"width: 52.7132%;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003eLabel: Hyperdub – HDBLP050\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003eFormat: Vinyl, 12\", EP\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003eCountry: UK\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003eReleased: 28 Jan 2022\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003eGenre: Electronic\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003eStyle: Ambient\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Hyperdub","offers":[{"title":"Default Title","offer_id":41456705437854,"sku":"5056321637680","price":39.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/Anti-Dawn.jpg?v=1646295148"},{"product_id":"kennydorhamtrompetatoccatabluenote80","title":"Kenny Dorham ‎– Trompeta Toccata | Blue Note 80","description":"\u003cp\u003eKenny Dorham’s 1964 album Trompeta Toccata would be the final album that the great underrated trumpeter and composer would record as a leader, and it stands as a fitting testament to his prodigious talent. The album featured a stellar quintet with Dorham and his frequent collaborator Joe Henderson on tenor saxophone along with pianist Tommy Flanagan, bassist Richard Davis, and drummer Albert “Tootie” Heath. The brilliant album cover design by Reid Miles featured the bold typography that made his style so influential.\u003c\/p\u003e\n\u003cp\u003e-\u003c\/p\u003e\n\u003cp\u003eThis Blue Note 80 Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.– \u003ca href=\"https:\/\/store.bluenote.com\/products\/kenny-dorham-trompeta-toccata-lp-blue-note-80-vinyl-edition\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eBlue Note\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/0MbOmmvDUHC8Y1FBtG3HDl\" 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: Blue Note ‎– 00602508525490, Blue Note ‎– 0852549, Blue Note ‎– BST-84181, Blue Note ‎– ST-84181, Blue Note ‎– 84181, UMe ‎– 0852549\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eSeries: Blue Note 80 Vinyl Reissue Series –\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180g\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCountry: USA \u0026amp; Europe\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased: 19 Jun 2020\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: Bop\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Blue Note Records","offers":[{"title":"Default Title","offer_id":41456710647966,"sku":"602508525490","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/17701b1e4f530f00e7133201f67201cb742d5881.jpg?v=1646295336"},{"product_id":"kiyoshi-sugimoto-quintet-babylonia-wind","title":"Kiyoshi Sugimoto Quintet - Babylonia Wind (HMV Project Re: Vinyl Reissue)","description":"\u003cp\u003e\u003cspan\u003eKiyoshi Sugimoto's \u003cem\u003eBabylonia Wind\u003c\/em\u003e is a mesmerising dive into deep, mysterious grooves that entice you while challenging your surrender. Celebrated by peers like Terumasa Hino and Akira Ishikawa, Sugimoto's guitar work represents the pinnacle of modern jazz and jazz rock. This album beautifully showcases the collective talent of his band, featuring Hideo Ichikawa's electric piano creating ripples, Yoshio Ikeda's rich bass anchoring the sound, and Motohiko Hino's dynamic drumming. From the oceanic depths of the title track to the ethereal charm of 'Hieroglyph,' this reissue is an essential listening experience. — via Label\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"500\" src=\"https:\/\/www.youtube.com\/embed\/Q-Oj2rVB9Js?si=K7smYGyl-PApWv1O\" 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: Columbia, Deep Jazz Reality\u003cbr\u003eSeries: Project Re:Vinyl, The Essence Of Jazz Series – 2\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Gatefold\u003cbr\u003eReissued: 2015 \/ Original Release: 1972\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Fusion, Jazz-Rock\u003c\/p\u003e\n\u003cp\u003eFile under: Japanese Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Nippon Columbia ‎","offers":[{"title":"Default Title","offer_id":41456710844574,"sku":"HMJY-104","price":80.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/Kiyoshi.jpg?v=1646295345"},{"product_id":"meitei-kofu-ii","title":"Meitei – Kofū II","description":"\u003cp\u003e\u003cspan\u003eMeitei’s 2020 album \u003cem\u003eKofū \u003c\/em\u003ewas the bold bookend to an expedition, where sounds were first navigated and then subverted in 2018’s \u003cem\u003eKwaidan\u003c\/em\u003e and 2019’s \u003cem\u003eKomachi\u003c\/em\u003e. \u003c\/span\u003e\u003cspan\u003eAll three albums were Meitei’s attempt at immersive storytelling, reimagining moments of Japanese history he felt were being washed away – not least by the unforgiving sands of time – through wistful compositions that stretched across ambient music, hauntology, and musique concrete. \u003c\/span\u003e\u003cspan\u003eWhen it came to finalizing \u003cem\u003eKofū\u003c\/em\u003e, Meitei found he was left with over 60 fully realized tracks, bursting with ideas that fired in divergent, curious directions. Meitei was content with the 13 tracks he had selected. But when it came time to begin his next album, he found that it had been sitting in front of him all along. He realized his work wasn’t over yet.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMeitei sounds right at home celebrating the past he first reimagined in his previous work. The merriment is palpable in its first two tracks of \u003cem\u003eKofū II \u003c\/em\u003e– a loop of cheery whistling amidst the clanking of wood leads into strings, cricket sounds and flutes, all united in bustling harmony. \u003c\/span\u003e\u003cspan\u003e'Happyaku-yachō' is where it comes into focus. Pitch-shifted vocal samples roam around in the crowded sonic field. “My image of this music is that it expresses the vibrant mood of Edo's merchant culture,” says Meitei, “where old Japanese dwellings were densely packed together in a vast expanse of land.” The affair becomes bittersweet as the track leads into the desolate 'Kaworu', a compositional piece lifted from his 'Komachi' sessions – a final requiem to his late grandmother. — via Label\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7pWhkwLglyr3he6crAv1gJ?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: Kitchen. Label\u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eReleased: 2022\u003cbr\u003eGenre: Electronic, Folk, World, \u0026amp; Country\u003cbr\u003eStyle: Experimental\u003c\/p\u003e\n\u003cp\u003eFile under: Japanese Electronic\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Kitchen. Label","offers":[{"title":"Default Title","offer_id":41456725655710,"sku":"KI-032LP","price":39.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/KOF.jpg?v=1646295669"},{"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":"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":"everythingbutthegirltemperamental","title":"Everything But The Girl - Temperamental (Half Speed Master 180g Vinyl 2LP)","description":"\u003cp\u003e\u003cem\u003eTemperamental\u003c\/em\u003e is the tenth studio album by English musical duo Everything but the Girl. It was released on 27 September 1999 and issued by Virgin Records and Atlantic Records. It was the last Everything but the Girl album before they entered a two-decade hiatus. Tracey Thorn and Ben Watt recorded the LP in the immediate period following the birth of their twin daughters in 1998. Due to Thorn's preoccupation with motherhood, her level of involvement in the creation of the album was scaled back, with Watt taking on a more prominent role in writing lyrics and music. Thorn recorded most of her vocals during late-night studio sessions, after the twins had gone to sleep. In her autobiography Bedsit Disco Queen (2013), she remarked that \"in a sense, [she] ended up being guest vocalist on someone else's album\".\u003cbr\u003e—\u003cbr\u003eEverything but the Girl's resurrection as a sophisticated electronica outfit may have been unpredictable, but it certainly revitalized the duo's music. Prior to 1996's \u003cem\u003eWalking Wounded\u003c\/em\u003e, Ben Watt and Tracey Thorn had taken their charming, jazzy acoustic pop as far as it could go. Adding electronica, primarily drum'n'bass and trip-hop, to the equation broke their potential wide open, as the captivating, seductive \u003cem\u003eWalking Wounded\u003c\/em\u003e proved. It was such a drastic, fulfilling departure that it did raise the question of where they go from here; its 1999 sequel, \u003cem\u003eTemperamental\u003c\/em\u003e, answers that by offering more of the same, except just a little different. Temperamental tempers the lightly skittering drum'n'bass and eliminates trip-hop, yet retains the same feel as \u003cem\u003eWalking Wounded\u003c\/em\u003e. House music, everything from classic '80s house to contemporary house serves as the musical foundation, which actually opens the doors for slight jazzy inflections, along with long, hypnotizing instrumental passage. \u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWeirdly, it also serves as a good setting for a batch of songs that are essentially in the singer\/songwriter vein. In fact, there aren't as many clear pop hooks here as there were on \u003c\/span\u003e\u003cem\u003eWalking\u003c\/em\u003e\u003cspan\u003e. \"Five Fathoms,\" \"Tempermental,\" and a couple of other tracks work as singles, but the album is a more of a meditative, reflective piece, like a singer\/songwriter album -- except it's dressed in sultry, evocative electronic dance music. That means, of course, that Temperamental isn't all that different than its predecessor, but its blend of house, electronica, pop, jazz, and folk is equally satisfying as that landmark album. \u003c\/span\u003e— (via AllMusic)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/4Geaebqk6nJC78Agw6VXG9?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: Buzzin' Fly Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue\u003cbr\u003eReissued: 2020 \/ Original Release: 1999\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Breakbeat, House, Leftfield, Downtempo\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/\/ Downtempo\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Buzzin' Fly Records","offers":[{"title":"Default Title","offer_id":41456751018142,"sku":"5060516092666","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/71RLip8R2tL._AC_SL1400.jpg?v=1726731809"},{"product_id":"artblakeythenewjazzmenliveinparis65","title":"Art Blakey \u0026 The New Jazzmen ‎– Live In Paris ‘65","description":"\u003cp\u003e\u003cem\u003eArt Blakey Live in ’65\u003c\/em\u003e boasts an exceptional one-hour concert from Paris in 1965. This performance showcases one of the few undocumented Blakey bands, the New Jazzmen, featuring Freddie Hubbard on trumpet, Jaki Byard on piano, Reggie Workman on bass, Nathan Davis on sax, and, of course, Blakey on drums. Freddie Hubbard’s incendiary playing on “Blue Moon” and the blistering 24-minute version of his own “Crisis” shows that he was one of the most innovative trumpeters in jazz history.\u003c\/p\u003e\n\u003cp\u003eOn this live session, the audiences seem to have been enthusiastic and appreciative. “Everywhere we’d go people would say, This is the best Jazz Messengers we’ve heard!”, according to Davis. “And because of the way Jaki would play and Reggie would go, it was like a semi-freedom thing – with Messengers heads, you know, but when we got to soloing…! And Blakey was ridin’ and floatin’ the time…but he would always be loose enough to follow, to keep it going. He’s one helluva musician.” — (via Label)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"500\" src=\"https:\/\/www.youtube.com\/embed\/rArOTPng5aU\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Sam Records, INA\u003cbr\u003eFormat: Vinyl, LP, Album, Remastered, Mono, 180 gram\u003cbr\u003eCountry: France\u003cbr\u003eRepress: 2024 \/ Original Release: 2020\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Hard Bop\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz Groups\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Sam Records","offers":[{"title":"Default Title","offer_id":41456761503902,"sku":"3770010277071","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/LP-1.jpg?v=1729070827"},{"product_id":"weldonirvine-liberatedbrother","title":"Weldon Irvine - Liberated Brother","description":"\u003cp\u003eWeldon Irvine's debut as a leader remains one of the most fiercely idiosyncratic electric jazz outings of the early '70s. Innovative not only for its moody, nuanced jazz-funk sensibility, Liberated Brother also translates the uncommonly strong passion of Irvine's political and philosophical views into its grooves, creating music of rare sincerity and ambition. While the record's first-half features longer, more meditative songs, like the Latin-inspired title tune and \"Blues Wel-Don,\" the second side of Liberated Brother commands the most attention. With sterling contributions from guitarist Tommy Smith, bassist Roland Wilson, and drummer Napoleon Revels-Bey, cuts like \"Mr. Clean\" and \"Sister Sanctified\" (later sampled by Boogie Down Productions for the rap classic \"My Philosophy\") achieve a deeply funky consciousness forged from elements of jazz, soul, and psychedelia; \"Juggah Buggah\" even features Irvine on Moog synthesizer, further expanding the LP's cosmic reach. - Jason Ankeny \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/liberated-brother-mw0000551109\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/3x3i8VNRZ3HBSe8cGqQK6f\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eLabel: P-Vine Records\u003cbr\u003eFormat: Vinyl, LP, Reissue\u003cbr\u003eReissue: 2023 \/ Original: 1972\u003cbr\u003eGenre: Jazz, Funk \/ Soul\u003cbr\u003eStyle: Soul-Jazz, Funk\u003c\/p\u003e","brand":"P-Vine","offers":[{"title":"Default Title","offer_id":41456761766046,"sku":"4995879078266","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/5060149622919.jpg?v=1733906342"},{"product_id":"tete-mbambisa-tetes-big-sound","title":"Tete Mbambisa – Tete's Big Sound","description":"\u003cp\u003eLeading on piano, Mbambisa enlisted the support of a five-piece brass section with guitar, bass and drums for the January 1976 recording session at Gallo Studios in Johannesburg that yielded Tete’s Big Sound. The arrangements were meticulously prepared and confidently executed but there was more at stake than personal reputation for Mbambisa as a jazz creator in 1970s South Africa as Vusi Khumalo, writer of the album’s original liner notes, passionately extolls. Tete’s Big Sound was an affirmation of black excellence in modern arts and culture that calmly dismantled the doctrine of a regime that denied equality to black citizens on the basis of race. And while much of Mbambisa’s early work was guided by black heroes from the United States, Tete’s Big Sound articulated a voice that was both proudly South African and unmistakably his own. Reissued in collaboration with Tete Mbambisa and As-Sham\/The Sun, Mad About Records’ 2021 edition of Tete’s Big Sound marks the album’s very first international release. Using a quartet format, Mbambisa recorded a second album for As-Shams\/The Sun entitled Did You Tell Your Mother in 1978 and unreleased sessions from this period have yet to be fully issued. \u003c\/p\u003e\n\u003cp\u003e-\u003c\/p\u003e\n\u003cp\u003eIn recent years, Mbambisa has released a pair of live recordings in partnership with the Music Research Centre at the University of York. Turning 80 in 2022, Tete Mbambisa lives in Cape Town and continues to enchant audiences with ad hoc special appearances. – \u003ca href=\"https:\/\/madaboutrecordslabel.bandcamp.com\/album\/tete-mbambisa-tetes-big-sound\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eBandcamp\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"380\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7l90OKF2ooltbS5amoWJB0?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\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: Mad About Records – MAR 051, The Sun – GL.1830\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: Vinyl, LP, Album, Deluxe Edition, Limited Edition, Reissue, 180 Gram\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCountry: Portugal\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased: 22 Nov 2021\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: Cape Jazz\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Mad About Records","offers":[{"title":"Default Title","offer_id":41456771530910,"sku":"4040824090821","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/Tete.jpg?v=1646296739"},{"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":"fkjfrenchkiwijuice","title":"FKJ - French Kiwi Juice","description":"\u003cp\u003eThe debut offering from French\/New Zealand native FKJ (French Kiwi Juice) provides a unique blend of soul \u0026amp; electronic influence that provides a platform for both relaxation and party. Fresh off a recent Australian \u0026amp; New Zealand tour, which included feature shows at ‘Strawberry Fields’ in Victoria and the inaugural ‘Majestic Casual Festival’ in Sydney, the multi-instrumentalist brings forth a completely minimalist album that does not try to overcompensate with mass production. Rather, FKJ cleverly utilises the space created within each track through an emphasis on intricate percussion that draws comparisons to artists such as Frank Ocean \u0026amp; TA-KU. \u003cbr\u003e\u003cbr\u003eFrom the first listen of \"Skyline\" it becomes apparent FKJ is the perfect mix of Jarryd James and Glass Animals’ Dave Bayley. These vocals beautifully set the scene with the grouping of the low and high range of FKJ, being the forefront of the mix and essentially carrying the smooth charisma of the track. The percussion within \"Skyline\" builds from an empowering introduction within the beginning verse to an artistic fill within the choruses, pulling in and out to create emphatic dramatic effect. \"Lying Together\" centres itself around the sampled vocals, with simplistic reverbed snaps and a brooding synth progression in the beginning that lead to an upbeat, funk filled crooner. There are many elements within this track that build an astonishing soundscape, from the ‘wah’ effect within the guitar, the smooth bassline and the splashes of electronic piano coming in and out of the track.\u003c\/p\u003e\n\u003cp\u003e“Now, go and do everything without heart and do it good”; a bold statement that sets an intense starting point for \"Joy\", a funk filled delight that carries significant groove within. The saxophone is incredibly emphatic within the solo sections, where it takes the precedence it well and truly deserves. The silkiness within the bassline combined with the free-flowing percussion allows for plenty of that party vibe to come through the track. If this debut is anything to go by, FKJ is one to watch and it will be interesting to see where the future leads this talented producer. — (via Acid Stag)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0jJ7mMkCkTe7p9EJgSRxgi?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: Roche Musique\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Special Edition, Gold, Gatefold\u003cbr\u003eReissue: 2022 \/ Original Release: 2017\u003cbr\u003eGenre: Electronic, Jazz, Funk \/ Soul, Pop\u003cbr\u003eStyle: Contemporary R\u0026amp;B, Nu-Disco, Synth-pop\u003c\/p\u003e\n\u003cp\u003eFile under: Contemporary R\u0026amp;B\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Roche Musique","offers":[{"title":"Default Title","offer_id":41456782737566,"sku":"3760239540643","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a1492740352_10.jpg?v=1732010144"},{"product_id":"tribehometowndetroitsessions1990-2014","title":"Tribe ‎– Hometown: Detroit Sessions 1990-2014","description":"\u003cp\u003eIn 1977, Harrison teamed up with pianist\/composer Harold McKinney to form Rebirth Inc., aided by Detroit cultural warrior John Sinclair, a continuation of the Tribe community ethos. Musically, it formed a link with radio station WDET and began an outreach program to teach children and to publish Harrison’s jazz instruction books. Harrison continue to record extensively as a leader with his own labels, WenHa and Tribe, documenting the collective through sessions led by Phil Ranelin, Harold McKinney, Pamela Wise and more.\u003c\/p\u003e\n\u003cp\u003eThe ‘Hometown’ compilation places the spotlight on this later era of Tribe and Rebirth Inc., with rare and previously unreleased recordings from Harrison’s WenHa \/ Rebirth Studios and the SereNgeti Gallery And Cultural Center. Among many highlights, Harold McKinney and his “McKinfolk” family of musicians contribute the pulsing ‘Wide And Blue’ and dance celebration ‘Juba’; Phil Ranelin re-works his classic ‘He The One We All Knew’; Poet Mbiyu Chui (Williams Moore), pianist Pamela Wise and percussionist Djallo Djakate spark on the uncompromising ‘Ode To Black Mothers’ and the rallying cry of ‘Marcus Garvey’: “If we ever get together we will astound the world.” Harrison himself evokes the power and majesty of juju on ‘Conjure Man’.\u003c\/p\u003e\n\u003cp\u003e‘Hometown’ comes as a 2LP gatefold and 1CD digipak fully remastered by Technology Works from the original session recordings. Both formats include exclusive sleeve notes by journalist Herb Boyd with rare photos from Wendell Harrison’s personal archive.  - \u003ca href=\"https:\/\/strut.bandcamp.com\/album\/hometown-detroit-sessions-1990-2014\" target=\"_blank\" rel=\"noopener\"\u003eStrut\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/1HQLIrtHuntFdTTPL5TJKd\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ctable class=\"table_1fWaB\" border=\"1\" style=\"border-collapse: collapse; border-width: 1px;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eLabel:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003cspan style=\"color: #000000;\"\u003eStrut\u003cspan\u003e \u003c\/span\u003e– STRUT210LP,\u003cspan\u003e \u003c\/span\u003eArt Yard\u003cspan\u003e \u003c\/span\u003e– STRUT210LP\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eFormat:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\n\u003cdiv class=\"format_item_3SAJn\"\u003e2 x\u003cspan\u003e \u003c\/span\u003eVinyl,\u003cspan\u003e \u003c\/span\u003eLP, Compilation\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eCountry:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003cspan style=\"color: #000000;\"\u003eEurope\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eReleased:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003ctime datetime=\"2019-11-08\"\u003e\u003cspan style=\"color: #000000;\"\u003e8 Nov 2019\u003c\/span\u003e\u003c\/time\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eGenre:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003cspan style=\"color: #000000;\"\u003eJazz,\u003cspan\u003e \u003c\/span\u003eFolk, World, \u0026amp; Country\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eStyle:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003cspan style=\"color: #000000;\"\u003eAfrican\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Strut","offers":[{"title":"Default Title","offer_id":41456784048286,"sku":"4062548002157","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/ec8a21544b7a9252cc6bbeab60e06c48aaf48265.jpg?v=1646297141"},{"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"}],"url":"https:\/\/theanalogvault.mom\/collections\/new-arrivals.oembed?page=5","provider":"The Analog Vault","version":"1.0","type":"link"}