Break Free is the sophomore studio album by Finland's Rokets
Following the release of their 2020 debut full length Fast Time , the Helsinki
based 5- piece returns with 9 new cuts of high octane rock'n'roll. Break Free is
packed with super- catchy garage rock featuring piercing melodies, blazing
electric guitars, and tight, pounding rhythms. All topped with lead singer Sami's
characteristic, vibrant vocals.
Some dreams take longer to come true. For many years we trusted in Orka's musical talent and were hoping that one day we will spin the turntable and listen with our eyes closed. That moment is now at your fingertips.
Strictly limited 100 copies made for absolute musical joy. Seven tracks including three awesome remixes which warp classical music to electronic universe. Superb cover by Silvie and Marika. Shines in your collection like a pearl.
• Here are two great cuts, previously unreleased as singles, recorded for Al Sears’ Sylvia label in New York City in 1965. The Corvairs had one very good release on the label in a soul group harmony style. ‘I'll Never Do It Again’ and ‘A Feeling Deep Inside’ are more R&B and sound earlier than the 45 release. Both tracks have picked up admirers from their New Breed and Modernist CD releases and their release as a Sylvia repro label single will be very welcome.
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French pianist Vanessa Wagner collects solo piano studies of graceful minimalism and rare finesse for new album Mirrored.
Quickly following March 2022’s Study of the Invisible album, Vanessa Wagner returns with a new collection of work that paints in many colours. The application of shadow in Mirrored evokes haunting poignancy; the care and delicateness of its negative space leaves room for undulating melodic motifs to ebb and flow; its bold splashes of luminescence are striking and rich. And while the album collates re-interpretations of works by composers as varied as Philip Glass, Nico Muhly, Moondog, Leo Ferré and Camille Pepin, the potency and effect of the collection as a whole reflects only Vanessa Wagner and the extraordinary breadth of her abilities.
Performing solo, exposed to timbre, tempo and clarity, many of the pieces here - such as “Sea Horses” by (Vanessa’s one-time mentor) Moondog or Philip Glass’ “Etude 4” - demand virtuosic abilities as a performer and interpreter. But in Vanessa Wagner’s hands, they are not only made her own, but made mesmeric and magical by the sensitivity of her touch.
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Strictly limited to 500 copies on transparent blue vinyl. The Swedish AOR band HOUSTON is back with their 5th album and 3rd of their series of self-titled releases, this one, simply called “III”. Houston has been around since their self-titled debut album in 2010 and landed the number one in Classic Rock Magazine’s AOR chart that year, up against outfits such as Unruly child, CrashDiet, H.e.a.t and Nelson.
Finally available on vinyl for the first time, with extra tracks - Limited edition numbered red vinyl. 500 copies worldwide A supergroup with twenty lead singers from twenty different bands, featuring members of: Killing Joke, Carcass, Funeral For a Friend, Therapy, Hundred Reasons, Napalm Death, Sikth, Pitchshifter, Fightstar, Earthtone 9, Amen, New Model Army, Send More Paramedics, Hiding Place, Romeo Must Die, Murder One, Hondo Maclean. Architect and founding This is Menace member MD Clayden (Pitchshifter) has curated ‘Ism’ adding previously unreleased material. Reviews: “A living, breathing, subversive collective.” Kerrang Magazine / “Furious. Like a juggernaut. F*ck yeah!” Metal Hammer Magazine / “Brash...and brilliant to break stuff to.” NME
Limited edition on white vinyl and limited to 500 copies worldwide. First time on LP / Originally release on CD in 2010. This is a masterful and critically acclaimed acoustic retrospective of Tony Harnell’s prolific career.
Limited edition on white vinyl, numbered and with an embossed sleeve. Only 500 copies worldwide. This release is a reissue of the original album from 2000 by the UFO legend. Pete Way is currently touring with his new outfit – The Pete Way Band.
Limited to 500 copies on yellow and black splatter vinyl! - Comin’ in again with all guns blazin’ - Warrior Soul’s recent album affectionately called 'Rock n’ Roll Disease'.
Nixon was released in 2000 and immediately enshrined by the British music press. Uncutnamed it album of the year, Mojo ranked it 10th, and Q was still doing their lists alphabetically. The NME called Nixon “near to perfect” and the Guardian said that the band was “reinventing American music.”
Meanwhile, most people in America continued to have no idea who Lambchop were. (“I don’t think Nixon made much of an impression on anyone over here,” Wagner told a seemingly baffled interviewer in spring, 2001.) Lambchop’s take on America—sly, tender, mysterious but mundane—is less a realist’s portrait than a surrealist’s impression: funnier, more pathetic, more improbable than what actually exists. In 2007 I met a German man named Frank who told me he loved seeing the band overseas because it meant getting to sit in a plush, quiet room while drinking tons of beer and listening to Lambchop, which I guess he imagined Americans were mellow enough to actually do.
Nixon is still an improbable album. The band never sounds like they’re trying very hard and yet every song breaks some convention or another. Despite its showbiz arrangements, the music is tenuous and weird (a contrast that the band toyed with again on 2012's Mr. M), and Wagner’s falsetto—usually the most vulnerable part of a man’s singing range—sounds less like a Romeo
Lush, cosmic tones from the one and only Theo Parrish. Slow-burning funk and rapid Jazz-tinged numbers on this monumental two-tracker. A welcome return to Sound Signature from it's label head! Highly recommended.
Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines. Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno. Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Jalea is the affectionate term used by seafood-craving Peruvians for one of the country's signature dishes. In this jalea the menu consists of four original tracks highlighting the artist's career on one side, and four selected remixes by iconic producers from Mexico, Argentina, and Peru. Tribi arrived on the scene as digital cumbia was busy spreading its wings from Buenos Aires, soon to take over Latin America (and later the world), with Lima the next city to catch the bug. Ernesto had been DJ'ing in clubs since the mid-90s, and experimenting with Peruvian cumbia since the mid-00s, but the birth of his alias Tribilin Sound allowed him to go wholesale into his beloved chicha, reinterpreting grooves by classic Peruvian groups like La Pintura Roja, Los Titanes and Chacalón y la Nueva Crema, as well as proving to be a dab hand at a mash-up. Soon, he found himself at the heart of a like-minded community, releasing a debut self-titled album with Peruvian label, Terror Negro, and following it up with Aquí Siempre Bailamos (2014) for pan-Latin collective Sello Regional. Coming from a club background, rhythm has always been central to Ernesto's approach, his adopting of Peruvian styles never deviating from the necessity to get bodies moving, and the remixers here seem to take delight in stretching out his rhythms. Mexico's Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines; another Mexican, Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian thunder-duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno..
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Back in stock is the re-issue of the Augustus Pablo classic album debut from 1973. The LP-Vinyl is re-mastered and expanded with the three additional tracks "Java" and "Guiding Red" from singles released the previous year, plus the unreleased "Marabi", the version to Dennis Brown's "Cheater". "This Is Augustus Pablo" was recorded at Randy's studio, mixed by Errol Thompson and produced & arranged by Clive Chin & Augustus Pablo. A masterpiece of early reggae & instrumental dub introducing the sound of the melodica!
Continuing his journey, the former member of Egypt 80 and last trumpeter of the Black President Fela Kuti releases his second album: APP (Accumulation of Profit & Power). Muyiwa Kunnuji and his band Osemako, which has been extensively recasted since Moju Ba O - which had already laid the foundations of his afroclassicbeat - have had quite an evolution, and are eager to share a recipe that has been
patiently elaborated and stewed, both on stage and in the studio.
A complex mix of deep musical and cultural heritages as well as a claimed and combative Pan-African culture, APP sets the bar still one step higher in the message, but also and especially in terms of composition and polyrhythms. Inspired by Western African highlife as well as the purest afrobeat of the Afrika 70 era, and even incorporating elements of South African marabi or Central African soukous, the whole does not sound less perfectly personal, tailored, with a natural and disconcerting ease.
But this easiness is only an apparent as Muyiwa devoted himself body and soul to the composition and harmony during the gestation of these tunes so widely inspired and yet intensely personal.
APP will thus delight fans of African music in the broad sense as well as connoisseurs, and just as much fans of funk grooves or jazzy solos; it is a deeply plural album. Multi-influenced, multicultural, multilingual, a slice of life as much as an initiatory journey, on which hovers the spectre of Covid, which has also largely inspired this second ‘effort’. Standing against absurd sanitary rules or the accumulation of profits by the powerful of this world and other
pseudo-philanthropists, APP, again, reminds us of the great Fela, as much by the use of an acronym to entitle the album as by the themes addressed or the mixing of genres. A warrior album, filled and full of revendications, but also of calls for open-mindedness. An intensely human, sincere, combative album, and however radically enthusiastic and optimistic.
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Landmarks and milestones are always memorable, but the 50th EP release on FUSE feels that little bit more special as head honcho Enzo Siragusa steps up to the mark and returns for the second time this year. Having launched the label in 2011 with his now iconic ‘The Sagamore’ EP, the renowned selector and producer has grown and shaped the FUSE from a Sunday after-hours to one of the most notable names within house and techno worldwide - anchoring the label at the heart of its identity and bringing its trademark sound to an international audience. Following material from original residents Rich NxT, Rossko, Seb Zito and Archie Hamilton through to regular guests and close friends such as Guti, East End Dubs, Michael James and Fabe, October sees Siragusa showcase both his and FUSE’s evolution over the past decade as he uncovers two bustling productions across his ‘Dreamscape’ EP.
A production oozing with his signature sound, yet introducing fresh subtleties in amongst the track’s snaking groove and hypnotic melodies, ‘Dreamscape’ welcomes a title cut full of energy as the FUSE boss picks up right where he left off to provide yet more heavily requested material on home turf. On the flip, ‘Bean That Talks’ sees Siragusa get playful while maintaining the vigour of his bustling live sets, combining chunky low-ends with skippy percussion and rich pads to showcase precisely why he and FUSE continue to flourish as leaders of a sound that they can truly call their own.
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Stix Records, a sub-label of Favorite Recordings, is back with a special Christmas delivery from label regular Mato, using again from his special skills as a tailor of reggae and dub music.
Not much to say as the tracklist speaks for itself… Just the perfect gift to add some Jerk sauce in your Christmas’ hood !!
O'Flynn und Frazer Ray - zwei gefeierte britische Produzenten und DJs - kündigen ihr gemeinsames Album,„Shimmer“ auf Technicolour an. Das Album ist das Ergebnis der Liebe von O'Flynn und Frazer Ray (fka Soundbwoy Killah) für die britische Dance-Music-Szene, von Speed Garage bis hin zu Breaks und Hardcore, und ihr umfassendes Wissen und ihr Respekt für Underground-Kulturen und -Genres scheinen als direkter Einfluss durch. Insgesamt ist diese Herzensangelegenheit eine nostalgische Hommage an ikonische britische Nachtclubs und den Eskapismus, den sie bieten, selbst bei ihrer Abwesenheit während der Pandemie - „Musik für diese Räume zu machen während sie geschlossen sind, war eine Form des Eskapismus für uns - ähnlich wie ein Videospiel zu spielen oder ein Buch zu lesen, wir wollten einfach an einen anderen Ort transportiert werden.“.
O'Flynn hat sich in den letzten Jahren einen Namen in der britischen Electronic-Dance-Szene gemacht und bekam Support von Künstler*innen wie u.a. Four Tet, James Blake, Ben UFO, Gilles Peterson, die ihn in ihren jeweiligen Radioshows spielten, sowie von Bonobo, mit dem er auf dem Track „Otomo“ (aus Bonobos aktuellem Top 3-Album „Fragments“) zusammenarbeitete. Bereits 2017 veröffentlichte er bei Ninja Tune seine 12“ „Pluto’s Beating Heart“/ „Eleven“, bevor er 2019 sein von der Kritik gefeiertes Debütalbum „Aletheia“veröffentlichte, für das er eine 18-tägige UK-Tour absolvierte und vom Guardian als „One to watch“ bezeichnet wurde. Frazer Ray veröffentlichte ebenfalls 2019 sein Debütalbum, „Halcyon Daze“ (als Soundbwoy Killah), das auf Vinyl schnell ausverkauft war.
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Shake Chain will also be performing at Marina Abramovic’s private view at Modern Art Oxford on September 23rd.
Shake Chain have been busy demolishing audiences and expectations for the best part of three years. Vocalist Kate Mahony sets that standard by starting each live performance by crawling from the back of the room through a disbelieving crowd’s legs in a shiny yellow raincoat. The resulting questions that frantically arise of ‘what’s going on?’, ‘am I hallucinating?’ and ‘is this part of the show?’ are hallmarks of how Shake Chain approach making their unruly, lyric-bespattered rock music.
The four-piece from London are completed by Robert Syres (guitar, synth), Chris Hopkins (bass, synth) and Joe Fergey (drums), all artists hailing from Goldsmiths College, Nottingham Trent and Wimbledon, University of the Arts. A mutual love of thought-provoking performance art and a yearning for disruption have helped Shake Chain lock into their wayward sound. Twitchy guitar lines jolt and jerk, synths burble noisily and tack-sharp drums pin things down for Kate’s reeling vocal to vault and slur. Kate’s singing has drawn comparisons with Yoko Ono, Su Tissue and even a seance with it’s unique embrace of flights of atonal fancy, head-first repetition and ecstatic frenzy. Opinion-dividing arguably, but singular in making Shake Chain dauntingly brilliant.
Shake Chain’s debut album ‘Snake Chain’ was recorded in the New Forest’s Chuckalumba Studios early in 2022. The tranquil setting only slightly skewed by the intense extratropical cyclone occuring outside. When asked to sum up the album the group collectively settled on it sounding like “crying in a Catholic sex dungeon with Eastenders on”, perhaps only half tongue in cheek given the soapy dramatics of opening track ‘Stace’. ‘RU’ is a stompy triumph of ad lib monotony, heavy and wonky, its vocal slowly unwinding into residual sense. Shake Chain’s songs are populated with cowboys, cherry-pickers, content-addicts, private investments, a careless driver called Mike, architects and by much lamentation at the state of our confusing existencies. This last point underlined in luminous marker pen with slow-building vortex ‘Highly Conpeptual’ and whispered closer ‘Duck’.
‘Copy Me’ races along with radiant headbangs of dynamic abandon, one part tumble, two parts pummel, “hold your breath til something changes” commands Kate whilst everything of course is in hammering flux. ‘Second Home’ is similarly coruscating yet bouyant, whilst ‘Arthur’ feels like it could tear inside in two amid sobbing wails and the twining of its disparate parts. Throughout all the unhinged freakouts, found sounds and blasting rhythms though is Kate’s questioning, resilient presence, anchoring everything. On bruising creeper ‘Birthday’ she asks most tellingly “Do we speak language or does language speak us? Is there a mouth in the middle of the desert? Do you ask how cups are designed? Would you say yes when you really mean I don’t know”? Shake Chain are cathartic and absurd, humorous and deadly serious yet always inspired. Its this tightrope walk which makes their album such a thrilling, vital listen.
The numerical solution of nonlinear partial differential equations plays a prominent role in social engineering. Artificial intelligence and consciousness algorithms, confusing soul with a determined mind state, this is the point to explore. Where is the limit?
This compilation consists in 4 sound artworks trying to program complex algorithms for isolated and confused individuals with an altered state of mind through Differential Quadrature methodologies.
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Kaizers Orchestra präsentieren eine komprimierte, aber dennoch umfangreiche Sammlung ihres facettenreichen und charismatischen, musikalischen Universums. Das norwegische Sextett, geliebt für seine kathartischen Rocksongs zwischen New Yorker Jazzmelodien und osteuropäischer Volksmusik, mischte mit seinem Debütalbum 2001 (das meistverkaufte Rockdebüt in norwegischer Sprache) die norwegische Szene auf, erreichte mit jedem Album die #1, gewann haufenweise norwegische Grammies, feierte Erfolge und tourte in und durch Europa, u.a. bespielte es dreimal die Roskilder Hauptbühne. Die 21 Songs repräsentieren die Kaizers Orchestra-Essenz und das Beste aus 21 Jahren 'Ompa-Rock'. Derzeit geht ihr 2010er Hit 'Hjerteknuser' auf TikTok viral und beschert der Band ungeahnte, neue Aufmerksamkeit passend zu ihrer 'Greatest Hits' LP.
Vieze Meisje is the singing, performing and all-encompassing second self of the mere mortal Maya Mertens. She writes idiosyncratic poetry that is at once heartwarmingly honest, hilariously funny and, at times, brutally elegant. Vieze Meisje has a fangirl/fanboy collaboration going on with her producing brother-from-another-mother Azertyklavierwerke, who composes acrobatic beats, loops and sounds for a deconstructed dance feast that ends incomplete sonoric mayhem. Once you have heard and/or witnessed Vieze Meisje, you are forever part of life’s Vieze Cirkel.
Following their debut Glastonbury Festival performance, Broadside Hacks in collaboration with British Underground today announce the UK premiere of The Broadside Hack; a new documentary telling the story of the young vanguard of UK artists sharing radical interpretations, proto-feminist narratives and queer histories through the lens of British traditional folk song. An accompanying live album of the songs performed in the film will also be released in December on LP and digitally. Having enjoyed its US premiere at SXSW in March, The Broadside Hack is a short music documentary produced by British Underground, created with the aid of a grant from Arts Council England and PRS Foundation. Directed by Crispin Parry and filmed by The Northern Cowboys, It explores the influence of traditional folk songs on a new generation of musicians, filmed just as the UK was emerging from the dark days of the pandemic. The documentary was made in collaboration with music collective Broadside Hacks and features influential artists and groups from the new folk scene, including Rough Trade signees caroline, former Goat Girl bassist Naima Bock, whose acclaimed album Giant Palm was released on Sub Pop earlier this year, Shovel Dance Collective, Thyrsis, Broadside Hacks and Boss Morris. Discovering a fresh vitality in the tunes and new histories in the stories they tell, the film includes conversations, dances and intimate performances filmed at Peter Gabriel’s Real World Studios in Box, Wiltshire between 17th and 19th August 2021. The live concert and screening of The Broadside Hack arguably marks the close of the first chapter in the story of the UK’s new folk scene; a story in which Broadside Hacks has been central. Initially formed as a folk night, the pandemic forced it to change its shape, morphing into a collective of young, like-minded musicians who met to play folk music in South London. “An adventurous exploration of traditional music by the young and folk curious” - The Times // “All your favourite players in one Sunday League team” - Loud And Quiet // "The band play old folk songs, those so old their authors have been lost in time, and inject in them such life, depth and emotion that it's extremely affecting" - The Quietus // Side 1 A1 Boss Morris - Up The Hill A2 Interview Shovel Dance Collective - ‘A Collective Authoring of History’ A3 Shovel Dance Collective - The Bold Fisherman / My Husband Has No Courage In Him A4 [Interview] Thyrsis - ‘Collaboration Across Space and Time’ A5 Thyrsis - Single Sailor A6 [Interview] Naima Bock (Broadside Hacks) - ‘Retracing Beginnings’ A7 Broadside Hacks - Gently Johnny. Side 2 B1 Shovel Dance Collective - Merrily Kissed the Quaker B2 [Interview] Shovel Dance Collective - ‘Queering Folk Songs of the Past’ B3 Thyrsis - Godstow Bridge B4 [Interview] Naima Bock (Broadside Hacks) - ‘The Broadside Hacks Folk Club’ B5 Broadside Hacks - Rain and Snow B6 Boss Morris - Young Collins
Repressed, note new price!! This young four-piece from Colorado roamed the basements and punk houses of America for a couple years as the band 10-4 Eleanor, and after building quite a following among the sweaty/bearded segment of the underground, they opted for a new band name and a fresh start in 2011. Thus ushered in the era of Elway, and along with it comes their Red Scare debut, Delusions. It marks an ambitious step up for the band as they ditched their home recordings and enlisted audio guru Matt Allison at Atlas Studios (Alkaline Trio, Lawrence Arms, LTJ, Smoke or Fire, etc). Rest assured, this one retains all the guts and grime that these guys are known for, but with more intricacy and nuance than you'd expect from your average "beardo" punk band. Delusions is thematically inspired by two things: our society's regard for God and having to deal with maniacal loved ones; and these brainy rockers from the Rocky Mountains are sure to capture plenty of attention with this impressive beginning. 01. 3/4 Eleanor 02. Passing Days 03. Spent So Long 04. Whispers in a Shot Glass 05. San Mateo 06. Song for Eric Solomon to Sing 07. Kristina's Last Song 08. The Tired Old Whore's Bedside Book 09. Aphorisms 10. It's Alive! 11. Tapout Endorsement: The Musical
Jon K and Elle Andrews’ MAL imprint returns with a new LP from one of the London experimental underground's best kept secrets, Rory Salter aka Malvern Brume. His music is rare, eccentric and mysterious - somewhere between Coil's bleak ritual magick and the BBC Radiophonic Workshop's most experimental, minimal fringes.
Malvern Brume operates just beneath the radar, occasionally turning up at Café OTO lineups and on a smattering of releases for Low Company, Alter, Infant Tree and Kasual Plastik - but he’s never one to shout too loudly about his work. ‘Body Traffic’ is his most interesting set to date, laying bare a process melting found sounds, field recordings and spoken word into throbbing, pulsing rhythms. It’s an evocation of a fraught mindset during the early weeks of lockdown in 2020; sequestered in his flat next to a trainline, the infrasonic - and more audible - rumbles of rolling stock and a nagging sense of dread infecting his ambiguously discomfiting recordings.
Operating in a headspace that values world-building and vivid, visual emotionality, Salter’s careful melodies are familiar - the distant, weeping melancholia of 1970s British TV hangs off the recordings like net curtains, and his atmosphere loops into experiments that weave through bare traces of industrial music, blank-faced electro pop, and hedonistic Brummie techno, all reduced to a cinder.
The mood is set on the bellyaching resonance and crawling walls of the title tune, while 'Through Beaked Fog Horns' is drowned beneath morning mists: lopsided synth drones choke and drift, percussion mutates into inebriated bubbles, and tape-f*cked environmental whirrs create an atmosphere that’s hard to decipher in one take.
‘Moss Spines Clenched’ follows cryptic stains on peeling flocking, and the icy creep of ‘Tense Branches Waver’ quivers beyond a cracked windowpane. The artist’s voice appears from beneath a cardboard box fort in the imaginary world of ‘Cornered Into Sleat’ as a distant drum beats out a marching thud and traffic squeals are sculpted into chirpy whistles, before ‘Bri Dun’ resolves the eerie tension in an OOBE-like ascent above the dado-rail and across the tracks, watching himself fade into a dissociative bliss.
"All chatter falls quiet…” Salter murmurs thru saturation and white noise. It’s a sound that’s gonna stick with us for a while.
'Debes Llorar' is the second of two super limited 7"s being dropped by Dez Andres on the fledgling Future Rootz label this month. Like the other one, this 45 pulls out plenty of the Cuban influences Dez is known for. A-side 'Debes Llorar' is all life-affirming chords that fans of his classic 'New 4 U' will recognise, but stitched over ticking and raw drum beats with a Latin shuffle and Spanish vocals. 'Aqui Estamos' takes things down a notch with a more sunset sound, hip-hop flecked deep house beats and seductive vocal sounds next to gorgeous little acoustic guitar riffs.
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After a summer of touring and working on remixes, Big Miz readies this new self-released 5 track EP. The first outing on Miz Records since February, three solo cuts and two collaborations
bring us yet another versatile spin on the modern house sound.
With aquatic sound design and tight kicks introducing ‘Causal Loop’, an opener that quickly morphs into a Legowelt / Alden Tyrell type synth-led jacking house jam, the EP wastes no time in getting going. There’s a sharp vocal sample of the narcotic persuasion that brings to mind Paul Johnson’s classic ‘Give Me Ecstasy’, whilst the clubbier vibe of those early LIES 12”s is also present. The title track is a drum machine workout that gradually ends up in a loopy 90s style minimal techno groove, whereas ‘An Facile’ pushes and pulls at the dancefloor with a mean acid line and makes reference to a gig that may or may not have taken place at a now shut-down Glasgow club many moons ago. You’ll need to ask Miz.
Over to Side B and ‘Sleep Well’ brings in production help from fellow Scottish stalwart Ewan McVicar, the pair working on the tune in a hotel room after a show. Evidently no sleep was had as the swirling acid lines, modulated rimshots and tempo trickery combine to make one of the trippiest jams on the record. Things draw to an end with an Underground Resistance sampling colab with Good Thing resident DD Watermelon.
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You Always Will Be is the new album by artist Dylan Henner.
The follow up to 2020's well received 'The Invention of the Human', the new record touches on themes of nostalgia & longing for times passed; innocence yielding hardships and vice versa; ageing; the soul; life changes; parents and children; loss; love.
Dylan says:
"The piece tells the story of a single life, from birth to death. I've been thinking about the passage of life a lot recently as I lost all four of my grandparents but celebrated the birth of my daughter all within a short period of time. The brevity and preciousness of being really hit me."
The vinyl release consists of a ~ 40 min piece split across two sides, while the digital release features extended versions of the music in that piece, making up 10 individual tracks.
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We Smile were part of the Hamburger Schule back in the early Nineties: expressive vocals, associative lyrics in German and English, brittle guitars and overall a quite broad interpretation of the general idea of Pop. Now, 30 years later, Hamburg label Couldn’t Care More releases these spectacular remixes of songs from We Smiles album “Für Die Anderen”: Glasgows JD Twitchs (Optimo) turns “Sack Voll Drogen” into one twisted colossus of a track, made from electro, breaks and rave , Tokyos Tentenko fires up the Casio for her two versions of "31 24 42" and Hamburgs Mense Reents (Egoexpress, Die Vögel, Die Goldenen Zitronen) builds the most extraordinary elegant Pop song from the sparse "Can't Resist (Popmusiker Sind Auch Künstler-Version)". Also included is the formidable (and remastered) original of "Kind Und Kegel".
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Kings Bell, first made available to the world on CD and digital on November 1, 2011, is now being released on a 12" vinyl courtesy of Before Zero Records. This LP joined the best of St Croix with the best of Jamaica: an amazing lineup of players spearheaded by the venerable Jamaican production maestro Andrew "Bassie" Campbell. The result of this collaboration is Kings Bell – a modern roots masterpiece. As Vaughn Benjamin's first-ever full-length collaboration with a Jamaican producer, Kings Bell was a historic release and features some of the greatest musicians the genre has ever seen including Leroy "Horsemouth" Wallace, Earl "Chinna" Smith, Squidley Cole, Mikey "Boo" Richards and Sticky Thompson.
The driving musical force behind the album, producer and bassist Andrew "Bassie" Campbell has crafted beautiful rhythms that truly compliment the deep lyrics of Vaughn Benjamin. The power and authenticity of Andrew Bassie's productions stand out from the mass of slickly-produced modern roots coming out of Jamaica today. Much of the music was recorded organically in Jamaica at Tuff Gong Studio, with additional overdubs, vocal recording and mixing completed at I Grade's studio in St. Croix. The result is a collection of songs that capture not only the essence of classic roots from the hands and minds of some of the individuals who have literally helped build the genre, but also the urgency and innovation of the present time. In more than seventy albums and in over twenty years of Midnite music nothing like this cross-fertilization of Jamaican classic roots tradition mixed with St. Croix's own deep roots tradition has ever happened, making "Kings Bell" a glowing highlight in the expansive catalogue of Vaughn Benjamin. A catalogue born from a non-stop movement in pursuit of progressing his craft and delivering his message to the world. One of Benjamin's most fruitful stops along his journey was with I Grade Records, headed by producer/engineer/multi-instrumentalist Laurent "Tippy I" Alfred, regarded by many as some of the finest work of his career.
•A touchstone LP from the beginning of reggae's 'post-Bob Marley era,’ Wailing Souls’ Fire House Rock was released by Greensleeves in 1981 to enduring acclaim. The title track became Wailing Souls’ most popular, anthemic song. Features production by Henry Junjo Lawes, backing by the Roots Radics with mixes by Scientist.
•For the Record Store Day 2022 edition, the original mixes were transferred from reel-to-reel to a pristine 24-bit/96k digital master. These are paired in a deluxe gatefold sleeve with a bonus 12-inch single disc of alternate, extended mixes originally released through VP’s Jah Guidance imprint.
•Sticker application; 180g Heavyweight Vinyl Pressing Gatefold sleeve with full-colour Inner Bags featuring rare photos and extensive notes.
Judas Triste is a metatechno band based in Porto, created by David Machado, Dora Vieira and Nuno Oliveira to announce a new era of darkness to planet Earth. Born in the shadows of Favela Discos, this prophetic trio of alchemist-musicians transfigures electricity operating an ensemble of electronic appliances and objects mechanically abused. Between explosive discharges of distortion and mysterious atmospheres, the ruthless art of Judas Triste is harsh, perverse and heavily based on improvisation.
After their debut self-titled album released in 2018, Antropomância is their second Sacrificial editorial release, an ancient lost rite of divination through human entrails. This was materialized in a 7’’ Vinyl through a Blood Pact between the record labels Love And Hate and Favela Discos.
Antropomância encapsulates two Bestial musical profanations named "Antropomância" and "Corpo Aberto", written and produced during Seven sessions of musical experimentation and technical violation. The cover was psychographed by the painter João Alves, and the Abject contains in its inside a 16 pages facsimile of Book of the Open Body.
