Newvelle Records is proud to introduce KIMBROUGH: a collection of 61 original compositions by jazz artist and educator Frank Kimbrough, who passed away in December 2020. Featuring tributes from 67 of Frank’s former bandmates, students, and friends across multiple generations, Kimbrough was recorded over three and a half days in New York as the musical world began reawakening in May 2021. All proceeds from this definitive collection of Frank’s music, available on high-quality digital download on Bandcamp, will benefit the Frank Kimbrough Jazz Scholarship at The Juilliard School.

Girls, Girls, Girls continued Mötley Crüe's commercial hot streak, eventually going quadruple platinum as its predecessor, Theatre of Pain, had; meanwhile, the title track brought them their second Top 20 single, and "Wild Side" became a popular MTV item. In general, the Crüe really plays up the sleaze factor on this album, trying to recapture some of the street-tough grittiness that fueled Too Fast for Love even appearing on the cover astride motorcycles and wearing leather; this time around, the influence of Aerosmith is felt to a much greater degree.

Based on an initial idea by Gordon Pym (or was it Klaxon?), and taking advantage of the temporary presence of a second piano in the concert venue of la malterie, two trios from the Muzzix collective came together in late 2020 to create a quintet… The acoustic version of Toc (see Qeqertarsuatsiaat – Circum-Disc 2015) takes on the energy and electricity of the original trio, exploring soundscapes full of freedom. The trio Abdou/Dang/Orins (see Lescence / Gmatique – Circum-Disc 2020) plays the organic and the infinitely small.

A protean project created in 2010 after finding raw material in a dumpster of a small metal factory in the Vallée du bout du Monde in Thiers. David Bausseron’s metal instrumentarium already consisted of a few thin strips and slats of mechanical brush found in the street, halogen lamp bases with an astonishing resonance. Several forms have emerged over the years, from installation and interactive street performances to the most noisy electroacoustic concerts. Sound actions where the stunt body throws itself into reptative acoustic crossings or amplified tributes to broken faces. Acoustics, spaces, surfaces, performance, scenography, gesture, minimalism, gigantism, clutter, purity, electroacoustics, improvisation, composition, solo. This record, “Maelström” is a selection of recordings and the result of ten years of experimentation with metal objects. It brings together two aspects of the guitarist’s work on metal materials: acoustic and electroacoustic.

When Toc deals with hair, it’s not about splitting them ; the three musicians are closed enough in their quest of the ultimate sonic brushing. Toc seeks, cuts, equalizes, and often uncurls. Its research is slow and progressive, repetitive and insistent, with electrified energy, always built in the moment. Neither permanent nor straight, the music waves, makes loops, gradations and colors.

Continuing his solitary explorations, Peter Orins used an impeded year to initiate two distinct developments that enrich his approach to the drum solo. The piece VRTN is a variation, or an extension, of the piece Happened By Accident, the subject of the eponymous album released in 2019 (Circum-Disc – LX014). It takes up the use of the drums as a resonator of various objects, wood, metal, glass, and the preponderance of the unexpected, by introducing accidents and interactions. The musician adds electronic treatment, which we find in his first record (Empty Orchestras – 2013), produced by Pure Data software: a device, designed in collaboration with Antoine Rousseau, autonomous enough to influence him in an unpredictable way.

After experimenting with randomness and electronic transformation (see Empty Orchestras – 2014), Peter Orins returns this time with his only drum set, and some objects, bowls, wood, shells… As an improviser, he is interested in sound textures, the ambiguity of timbres and their production, the saturation of sounds or the harmonics specific to each instrument: make it possible to hear both the “microscopic” noises of skins or metals rubbed, struck, prepared, at very low power, and the acoustic pressures felt at high volume.

Peter Orins project could be called an accompanied solo. The drummer has designed an electronic device autonomous enough to influence him in his play in an almost unpredictable way. Therefore a kind of dialogue is established between the musician and the electronics where the usual roles are reversed: the drummer offers an insistent and repetitive form, transformations and random treatments performed live cause the disorder conducive to improvisation. Magnified timbres or on the contrary disturbed rhythmic progressions cause welcome accidents or extend the resonances of the instrument. In this game between natural timbres of cymbals and skins and amplified deformations of the electronics, Peter Orins seeks vibration and saturation to produce a music made of extreme and powerful rhythms and sound textures.

Quartet Base is a long-lasting formation. For 18 years now, Sebastien Beaumont has been writing a music that relies on the trust set in between the musicians. Based on the inmost, this new repertoire releases a deep, tensed, but sometimes funny and mischievous proposition. Texts, melodies, climates and sound memories are so many materials to a narrative and expressionist music.

The trio Brûlez les meubles (« Burn the furniture ») is the meeting of three musicians with very different paths around the desire to create a jazz guitar trio that is oblique in the history of the genre. Nourishing aesthetic filiations with many precursors, from Jim Hall to Sonny Sharrock via Abercrombie or Bill Frisell, the trio stands out by a marked indifference to the habitual harmonic progress of jazz as for the repetitive movements and prefers melodic lines with indefinite harmony (harmolodie?) and incisive riffs.

One of the most original albums of the '80s, the Innocents' debut remains a long-lost gem of an album that deserved a wider audience, but was met with hardly any interest at all. Perhaps it was due to the fact that the band were highly original, or maybe vocalist Michael Hurt's quivering wail was too much for the Top 40. Whatever the reason, The Innocents is a fantastic album filled with quirky musical left turns, wonderful melodic hooks, and inventive songs. "Directly From the Heart" and "Twisted Kiss" are classics that should turn up on just about any new wave compilation that is released (but never will), while "Hold My Hand" was a great '80s high school makeout song. "Backseat of My Car" is a fun new wave romp. The album as a whole should entice any fan of "new wave" and turn them onto some of the best music created during that period.

Sal Baglio (vocals and guitar) and his fellow Stompers (Stephen Gilligan on bass, Mark Cuccinello on drums, and Dave Friedman on keyboards) debut on Neil Bogart's Boardwalk Records imprint was a great rock & roll album that got caught up in the new wave scene, though it deserved to be fed to a mass audience hungry for some real music. While every other band in the '80s were trying to be ahead of their time, the Stompers were proud to be of their time, playing a Springsteen-ish brand of good-time rock with it's roots stuck proudly in the '50s and '60s.

1983 fifth album from the famous 80's disco funk group. It went to #32 on the R&B charts and includes the hit singles "Don't Be So Serious" &"It's So Delicious". The famous disco funk group of the eighties 'Starpoint' released 10 albums and build a big fan base, which exists until today. Starpoint scored many (club) hits in the 80's.

Offering a word of encouragement, Dreamer Boy continues to charm listeners with his 80s-inspired dream-pop blend. Nashville-based singer and songwriter Zach Taylor, AKA Dreamer Boy, releases his second full-length album with All The Ways We Are Together.

The Dutch jazz trumpeter Ack van Rooyen has a sound is so unmistakable that it only takes a few seconds, a few notes, to identify him. A sound full of warmth and a touch of melancholy - something, by the way, that also characterises the man Ack van Rooyen, who turned 90 last year and celebrated his birthday with this production! '90' presents a bi-national sextet - with three musicians each from the Netherlands and Germany. In addition to Ack on flugelhorn throughout, is tenor saxophonist Paul Heller, who was in charge of the production, guitarist Peter Tiehuis, pianist Hubert Nuss, Ingmar Heller on bass and drummer Hans Dekker play on this wonderful album with Rooyen in top form!