Building on the momentum of their acclaimed debut, The Return Of - championed by FIP Radio, Craig Charles BBC Radio 6 and Reggae Vibes magazine - The Flying Hats return with a 7” featuring Traffic Light, the first taste of their upcoming LP Ups

Listen: https://listen.k7.com/dddd1830-9197-49e4-be3e-da33fd93915d

Tracklist
1. Traffic Light
2. Bust Up

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Fresh off the back of the successes of Work Money Death, The Flying Hats and The Library Archives: Volume 4, ATA Records is proud to present The Kármán Line by Outer Worlds Jazz Ensemble.

When musicians are on tour conversations naturally turn to music. Two years ago, whilst exploring the jazz kissas and record stores of Tokyo, woodwind maes Chip Whickham and ATA mastermind and bassist Neil Innes discussed their shared influences of Yusef Lateef, David Axelrod and Alice Coltrane. The seeds for a new project were sown and soon seven tracks of deep, spiritual, groove driven jazz were laid down on tape.

Listen: https://listen.k7.com/36832c2f-9c04-410d-83a5-73845cd01c43


TRACKLIST
Side A
1. Kármán Cantata
2. Alto Vento
3. Low Orbit
4. All Is

Side B
1. Celestial Matari
2. Earthly Elements
3. Molecules

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Fresh off the back of the successes of Work Money Death, The Flying Hats and The Library Archives: Volume 4, ATA Records is proud to present The Kármán Line by Outer Worlds Jazz Ensemble.

When musicians are on tour conversations naturally turn to music. Two years ago, whilst exploring the jazz kissas and record stores of Tokyo, woodwind maes Chip Whickham and ATA mastermind and bassist Neil Innes discussed their shared influences of Yusef Lateef, David Axelrod and Alice Coltrane. The seeds for a new project were sown and soon seven tracks of deep, spiritual, groove driven jazz were laid down on tape.

Listen: https://listen.k7.com/36832c2f-9c04-410d-83a5-73845cd01c43


TRACKLIST
Side A
1. Kármán Cantata
2. Alto Vento
3. Low Orbit
4. All Is

Side B
1. Celestial Matari
2. Earthly Elements
3. Molecules

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ATA Records are proud to present the new release by Work Money Death, A Portal to Here. This album continues WMD’s exploration of Spiritual Jazz and the sounds and styles that evolved out of the 60s New Thing, particularly the recordings of Alice Coltrane and Pharaoh Sanders.

Listen: https://listen.k7.com/5421fca2-61f3-44fb-bae9-6fc27f5d29c3

Tracklist:
1. Pain Becomes Prayer And The Prayer Becomes A Song
2. A Dance For The Spirits
3. Brother Earl
4. Sometimes It's Death


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The Flying Hats - the Leeds quartet responsible for one of the standout albums of the year - return in phenomenal form with Blender / Hot Cakes, two previously unreleased cuts of the highest calibre

Tracklist
1. Blender
2. Hot Cakes


Listen: https://listen.k7.com/37f72239-3d41-4cd6-90a6-34a68773f33b

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REPRESS!
Recorded using the same techniques and equipment used to create the now legendary catalogues of music sold to the film and television industry of the 60's & 70's, The Library Archive could easily sit alongside the plain minimalist covers of KPM or Telesound.

TRACKLIST
1. Slap, Whack and Blow
2. Duck Strut
3. The Needle Nose
4. Wiretap
5. Wigged Out
6. Nuclear Wind I
7. Kaye Okay
8. Siren's Sea
9. Midnight Heist
10. Nuclear Wind II
11. Planet Nine


Listen: https://soundcloud.com/atarecords-music/sets/the-library-archive-vol-1

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2025 sees the release of the fourth volume of their regular soundtrack series, the Library Archives, out on ATA Records on October 24th. An honest and forthright homage to the golden age of library recording, this new release is no exception – with nods to David Shire, Roger Webb, 60s/70s Hollywood, early anime and golden era video games.

Listen: https://listen.k7.com/32199cc1-ab4c-4734-9b53-5c6f4c45fb3a

Track list
A1 The Galata Extraction
A2 Walter In Gabardine
A3 Roundtree
A4 Travers Popping
A5 Kien With The Iron Claw
A6 Dunaway’s Eyes

B1 A Dilemma For Holbrook
B2 Redford In Sheepskin
B3 Tatsuya, The Sword
B4 Greer’s Long Weekend
B5 Sutherland
B6 The Two Akiras

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Every ATA project is marked by collaboration - some over a few weeks and some over decades. When drummer Sam Hobbs and bassist Neil Innes decided to make The Return of, by The Flying Hats they were building on twenty years of playing together; Innes’s years of nightclub residencies and love of Afro-American dance music, and Hobbs’s intensive exploration of the links between American soul and R&B, Jamaican rocksteady and roots, and the music of the wider Caribbean from Cuba to Trinidad and Brazil.

Listen: https://listen.k7.com/1fb00c14-960c-4d15-b4c7-02d0997070e4

Tracklist
1.1Night Bus
1.2Grafter
1.3An Autumn Sun
1.4Power Cut
1.5Strong Fish
1.6Bust Up
1.7Forward
1.8Tough Swagger
1.9Iron Fist

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Orchestra have been a consistent presence on the u.k. music scene, touring constantly in promotion of their debut LP "Dilla" and follow up 45 "New Day feat. Illa J", steadily building a loyal and supportive fanbase. Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel Atwood Ferguson of the work of J Dilla, classic arranging techniques underpin modern loop-based structures, breathing new life into familiar material. Abstract Orchestra"s MADVILLAIN Vol 1. explores the jazz, TV soundtrack and film score aspect of the original work, combining it with classic big band writing and a focus on improvisation.

Tracklist
1.1Accordion
1.2Curls
1.3All Caps
1.4Bistro
1.5Fancy Clown
1.6Raid
1.7Madmix 1
1.8Great Day
1.9Madmix 2

Listen: https://soundcloud.com/abstractorchestra/sets/madvillain-vol-1

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ATA Records are proud to announce this new double A-side from The Sorcerers featuring, on the flip, the first release by The Outer Worlds Jazz Ensemble. Exit Athens marks the start of a new era for The Sorcerers. Continuing their investigations of Ethio-Jazz and 60s and 70s European library music, the group is now formed around Joost Hendrickx (Kefaya, Shatner's Bassoon, Abstract Orchestra), Richard Ormrod (saxes, flute & keys) and ATA label head, bassist Neil Innes. Exit Athens features a driving funk engine room with exotic percussion, vintage keyboards, and the classic Addis Ababa combination of vibes, flute and horns. The aim is to double-down on previous album successes The Sorcerers and In Search of The Lost City of The Monkey God, expanding their tonal palette whilst tightening their focus, with the intention of producing multiple albums of solid analog cuts, every one of which will appeal equally to DJs and audiophiles alike. On the AA side, Beg, Borrow, Play marks the debut of The Outer Worlds Jazz Ensemble. The first in an ongoing series of 45s and LP issues, each Outer Worlds release will feature the immaculate grooves of the hard-working, unsung sidemen of the Leeds Funk, Latin and Ethio/Afrobeat scenes. The Outer Worlds series was conceived to feature visiting soloists who have made a beeline to ATA in search of a specific setting for their material, and represents ATA's ambition to encompass the very best in contemporary jazz/club/rare groove/exotica sounds. Beg, Borrow, Play kicks this off with ATA veteran Chip Wickham on baritone sax, and a slice of jazz exotica that owes as much to New Orleans Street Beat as to the Eastern moods of artists like Yusef Lateef and Ahmed Abdul-Malik. The result is loose and limber, with horns reminiscent of classic Art Ensemble of Chicago, and will appeal to fans of contemporary Afro-Futurist fusions

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Love Of The Brave are a psyche folk group, based in Leeds, West Yorkshire, at the time this album was recorded, back in 2010. The founder of the group Neil Innes still runs the recording studio, ATA Records, an extremely well maintained all analogue set up, used primarily to record jazz, funk and library music. The short-lived Love Of The Brave outfit was the first project recorded at the famed studio. It brought together some of the most versatile artists in the north, many of who still work on projects with ATA today, both these factors give this release a landmark aspect for the label. The "Love Of The Brave" consists of eight tracks and draws on inspiration from artists such as Pentangle, Rotary Connection, Richie Havens, the Kinks, David Bowie and Joni Mitchell. Vocalist Fuzzy Jones features on all tracks, as does Neil, in his case playing a variety of instruments. They are joined throughout the album by a variety of musicians, including jazz drummer Joost Hendrickx, Work Money Death's Tony Burkill on sax, and famed pianist Matt Bourne on cello. The involvement of musicians such as these could give this album some crossover interest with jazz fans. Love Of The Brave's use of analogue recording techniques gives lends this album the authentic studio sound of a record from the late 60s coupled with lyrics touching on pertinent contemporary issues.

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Abstract Orchestra's composer, leader, arranger and producer Rob Mitchell has now added remixing to his already notable list of credits, in this case turning his hand to Abstract's MADVILLAIN project. Rob has worked with many artists during his busy career; The Haggis Horns, Rag 'n' Bone Man, Sharon Jones and the Dap–Kings, Brand New Heavies, and Slum Village, alongside many others but it was the orchestra's work he wanted to revisit. Seeing the pandemic as an opportunity to spend more time in the studio, Rob spent several months polishing his production skills before embarking on this remix project, he wanted to make sure he did it justice. Working under the moniker Ghostlife, a nod to the fabled anonymity of rapper MF DOOM, Rob has reworked the big band orchestration of Abstract, creating a beat led affair with greater dance floor appeal. For Abstract Orchestra MADVILLAIN REMIXES, Ghostlife cherry picked ten tracks from Abstract's two-album project and plays with a higher BPM count within the hip hop aesthetic of the original. The tracks include "Raid", "Fancy Clown", "Curls", and "Figaro" and in this case Ghostlife has forgone the big arrangements Abstract is known for, rather he has coaxed out hooks and samples from their tracks and produced something he hope will appeal to a different crowd. There is dancefloor potential in "Eye","Accordian" and bass heavy "Borrowed Time" while the reworks of 'Fancy Clown" and "Curls" would fit well into any radio show.

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The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher'). It only seemed natural for the team at ATA Records to scratch their own Library itch and so last year's "The Library Archive Vol. 1" was born. Recorded over a series of sessions in the Alladins cave of vintage recording equipment that is ATA studios, it featured many of the stalwart musicians from the label who can also be found recording with The Sorcerers, Work Money Death and The Lewis Express. Garnering praise from Library aficionado Shawn Lee("Holy F*$K this sounds great! ATA really smash the classic British Library sound. 10 out of 10") and the Don of British Library Music himsel fAlan Hawkshaw, "The Library Archive Vol. 1" was very well received and so a follow up was inevitable. Recorded during the Autumn of 2020, "The Library Archive Vol. 2" still has the golden age of European Library music squarely in it's sights, but this time the focus is drawn more to the wonky organ work of Italian quartet I Marc 4.
Each track has been lovingly crafted with a keen ear for authenticity and the same eye for detail shown on 'The Library Archive Vol. 1', recorded on the same instruments and equipment and with the same techniques as the music that inspired it.


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Next up in Mr Bongo's Groove Merchant Records reissue series, sees an outing for a much-loved and heavily sampled funk/soul/blues album by Junior Parker. Originally issued under the title The Outside Man on Capitol Records in 1970 with an alternative cover, this reissue replicates the Groove Merchant release titled Love Ain't Nothin' But A Business Goin' On featuring the car cover released in 1971.

The Mississippi-born, Memphis-based blues singer, harmonica player and songwriter Junior Parker (aka Little Junior Parker) had a stellar career in music. Since the early 1950s he released records on labels such as Duke, Mercury, United Artists Records and more. Sadly though, Parker died at the young age of 39 during surgery on November 18, 1971.

Originally released under the alternate title a year before his untimely death, Love Ain't Nothin' But a Business Goin' On is drenched in Parker’s trademark buttery vocals and soulful grooves, swaggering between smokey blues, raw funk outings and orchestrated soul ballads (with sublime arrangements by Horace Ott).

The album also features three Beatles cover versions in the form of ‘Taxman’, ‘Lady Madonna’ and ‘Tomorrow Never Knows’. For 'Taxman', Parker completely reinterprets the song taking into a New Orleans funk realm, a sample of which was used as the main hook line on Cypress Hill's classic 'I Wanna Get High'. Elsewhere, 'Tomorrow Never Knows' is flipped into a tripped-out, psychedelic soul-swamp blues ballad, whilst 'Lady Madonna' is given a funky blues makeover.

As shown with Cypress Hill’s use of ‘Taxman’, since the ‘70s Parker’s legacy has been immortalised for future generations through the deep well of samples that his music has become a source of. Tracks from Love Ain't Nothin' But a Business Goin' On have been sampled by some of the biggest names out there, such as A Tribe Called Quest, DJ Shadow and De La Soul.

A seriously smooth album oozing with soul and emotion from a Blues Hall of Fame inductee, Junior Parker’s Love Ain't Nothin' But A Business Goin' On is a superb example of the early ‘70s crossover funk/soul sound.

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Tracklist:

1.1Neredesin Sen
1.2Gönül Dagi
1.3Öldürme Beni
1.4Nigde Baglari
1.5Benim Yarim
1.6Sucum Nedir
1.7Gel Yanima Gel
1.8Zülüf Dökülmüs Yüze
1.9Gel Kacma Gel
1.10Bir Nazar Eyledim

Altin Gün, the Grammy-nominated Turkish psych-groove quintet from Amsterdam, return with their sixth studio album Garip — their most ambitious and diverse release to date, and a heartfelt tribute to the legendary Turkish folk bard Neset Ertas.

Neset Ertas (1938–2012) was a beloved icon of Anatolian music; a gifted singer, lyricist, and baglama virtuoso who carried the spirit of the ashik folk tradition into the modern era. Garip ("Strange" in English) features ten of his compositions, each reimagined and richly expanded through Altin Gün’s distinctive lens.

An electrifying live band with an ever-growing global following, Altin Gün push their sonic boundaries even further on Garip — weaving in lush Arabesque string arrangements, bursts of saxophone, glimmering synth balladry, and a fresh surge of tightly wound rock ’n’ roll.

-----------------------------------

Since bursting onto the scene in 2018 with their debut album, On, Amsterdam-based Altin Gün have been at the vanguard of the 21st century revival of Turkish-influenced psychedelic grooves.

Coming straight out of the gate with a wah-wah and organ heavy sound that effortlessly captured the spirit of Anatolian 70s psych-funk masters like Baris Manço and Erkin Koray, they deepened and expanded their palette with 2021’s Yol, which brought synths and drum machines into the mix for a more 80s-influenced dream-pop vibe.

But no matter how far out they’ve gone, they’ve always maintained a strong link to the same Anatolian folk traditions that inspired those early pioneers. Founder and bassist, Jasper Verhulst says: “We’re doing the same thing a lot of those artists were doing, which is playing Turkish traditionals and songs written by folk artists.”

Now, with their sixth album, Garip, they’ve brought that connection to the folk source front and centre, showcasing a collection of songs all originally written by Turkish folk legend Neset Ertas.

Ertas (1938-2012) was a revered and much-loved Turkish singer, lyricist and baglama player, and a modern-day embodiment of the ancient ashik tradition of the folk-bard-troubadour. Throughout his long career, he recorded more than 30 albums and wrote hundreds of songs – some of which were famously recorded by the likes of Baris Manço and Selda Bagcan.

For Altin Gün's vocalist, keyboardist and baglama player, Erdinç Eçevit, interpreting a suite of Ertas’s tunes is a chance to get back to his roots.

“Both of my parents are from Turkey, from the same area he is from,” he says. “It's the music that I grew up with. When I was five, six years old, my grandfather always had cassettes by Neset Ertas and I used to listen to it all day long. Then I was too young to really understand the lyrics and the meaning, but I really liked the melodies.

Now, years later, Eçevit has fully immersed himself in Ertas’s lyrics – messages from the heart that are, he says, “stories about what he’s facing in life. The Turkish traditional music is the blues of the Turkish people.”

Nowhere is this better exemplified than on ‘Gönul Dagi,’ one of Ertas’s most famous compositions, here brought to life by Eçevit’s yearning, sensitive vocals.

“‘Gönul Dagi’ is about the pain of love, the storms of the heart and the loneliness of longing,” says Eçevit. “He’s expressing what rural Anatolia has always felt – that love is both sacred and sorrowful, a force of nature.”

In Altin Gün's hands, the tune becomes a languid funk-rock crawl with watery guitar, a loping bassline and a palpable hint of mystery deepened by luxuriant string arrangements provided by the Stockholm Studio Orchestra.

The strings feature on several tracks, touching on influences including Egyptian popular music, Bollywood soundtracks and Turkish Arabesque. But, as Verhulst explains, there’s another touchstone underpinning the sound. “There’s definitely a French Italian influence in those arrangements,” he says.

It's a prime example of Altin Gün's urge to cast their net wide and incorporate a far-reaching set of magpie musical directions.

Album opener, ‘Neredesin Sen,’ is a throbbing, bass led vamp with a strong early-80s Indie flavour that showcases the fluid chemistry between drummer Daniel Smienk and percussionist Chris Bruining. The closing track, ‘Bir Nazar Eyeldim,’ is a breathtaking ballad with Eçevit’s pleading vocals playing out over lush synth arpeggios and a sparse electronic rhythm. Along the way, the band also touches on proggy vibes, with Eçevit getting down and dirty on the synth’s pitch-bend, and a laid-back west coast ambiance. Check out Thijs Elzinga’s gorgeous slide guitar on the smouldering ‘Gel Kaçma Gel’ to dig just how relaxed they can sound.

Fans of Altin Gün's past work will find much to love too.

The Anatolian element is still strong – and not just in Eçevit’s aching vocals. Eçevit’s tight baglama figures are woven throughout, making a direct link back to those earliest influences on tracks like the smoky ‘Nigde Baglari,’ with its off-kilter folk rhythm and cavernous sense of the Anatolian steppes stretching out for miles.

“It’s our most eclectic album,” says Verhulst. “There’s a little bit of everything. The songs are harder to label. We wanted to do something different than what we’ve done before. Less in your face, less poppy, less obviously psych-rock. More just vibing.”

Garip is the sound of a band that’s constantly evolving. A mature musical unit with nothing to prove. A band that’s having a whole lot of fun.

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Evelyne/Masao bring TESTPATTERN to Dark Entries for the label’s first foray into vintage Japanese electronics. Masao Hiruma and Fumio Ichimura’s project Testpattern is known for their release Apres-Midi, a cult slab of synthpop perfection released by Yukihiro Takahashi and Haruomi Hosono’s legendary Yen Records in 1982. While Hiruma and Ichimura parted ways following Apres-Midi, Hiruma’s musical endeavors would continue after meeting French/American model and vocalist Evelyne Bennu in 1984 at a café bar where she would sit and write poetry. Their collaborative efforts as Evelyne/Masao were fruitful, and the duo first performed together in June 1984 on a television program called TOKYO ROCK TV. The album TESTPATTERN comprises seventeen songs recorded in Hiruma’s home studio, which have never been released previously. The Evelyne/Masao duo continues building on the soundworld of Apres-Midi: lush, sophisticated electronics with intricate yet minimalist production. Tracks like “Sakuramochi” and “Bird Island” bear influence from Hosono most clearly, their soaring melodies revealing a subtly ironic redeployment of East Asian musical tropes. But TESTPATTERN is more than homage to Yellow Magic Orchestra. “Tabac” and “Le Soleil Se Leve” display oddball sensibilities closer to Sky Records icons Asmus Tietchens or Cluster. Elsewhere, the project shows affinity for the punkier ethos of continental DIY electronics, like on the quirky “Alien Go Home” and a positively skewed cover of “Singin’ in the Rain.” Bennu’s vocals provide a common thread through these explorations, as she alternates deftly between New Wave deadpan and unhinged chanson singer—check her waxing maximally Francophone on “Au Clair de Lune,” based on an 18th century French song. TESTPATTERN will be available on both double LP as well as CD, and includes a fold-out poster with liner notes with lyrics. This album is dedicated to Masao Hiruma, who passed away in 2011.

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Colored Vinyl Repress!

A four-piece band based in Tokyo.

Initially playing reggae/dub music, the band gradually developed into an innovative fusion of diverse musical influences, such as jazz, soul, psyche pop, new age, and exotica. A sound is based on groove and euphoria, with nostalgic melodies.

They have performed at iconic events in Japan such as Fuji Rock Festival, and also have been looking overseas since they performed in Canada(Toronto, Montreal, and Vancouver) in 2019. The new EP "Ramble In The Rainbow"(2024) is their first international release on the US label Peoples Potential Unlimited.

The work shows their musical maturity, drawing inspiration from Sun Ra, Lee "Scratch" Perry, and Yasuaki Shimizu.

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Cortex’s lost 1979 tracks, recorded in a barn-studio near Paris, resurface years later—featuring the legendary sample used by Damso and Wu-Tang.

A1 - I Heard A Sigh
A2 - Back To My World
A3 - Said I Don
A4 - A Winning Team
A5 - High On The Funk
A6 - Bring My Bonnie Back
B1 - Monin
B2 - Stand And Move
B3 - Hannibal March
B4 - The Sky Is Grey I'm So Blue
B5 - Maïlys
B6 - Emily


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