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Composer and saxophonist Brian Brown produced some of the most refined Australian jazz recordings during the 1970s. A versatile musician whose distinct impressionist music melded modern jazz with the outer limits of free experimentation. Considered to be his greatest work was the 1975 concept album Carlton Streets, an ambitious recording that romanticised the sights, sounds and the nostalgia of this once-bohemian Melbourne neighbourhood. Differing from his eco-jazz composition Wildflowers heard on the recent Roundtable compilation Pyramid Pieces, Carlton Streets explores the polar opposite, offering jazz impressions of the urban environment. Comparable to other pioneering jazz-rock groups such as Ian Carr's Nucleus and mid-period Soft Machine, the album is a mosaic of ecstatic jazz-rock groove, spirited free improvisation and expanded experimental textures. A potent fusion that owes as much to Australian 20th-century avant-garde composers as it does to the influence of the electric jazz innovators, specifically early Weather Report and Herbie Hancock's Mwandishi. The Roundtable are pleased to showcase this important artist and offer a new edition of this landmark Australian jazz recording. Restored from the original master tapes and presented in a gatefold sleeve including liner notes and rare photos. Released for Record Store Day 2021.

The Frank OST LP made its debut on transparent green vinyl for Record Store Day 2015 and quickly sold out.

The album comprises Stephen Rennicks's song based soundtrack to Leonard Abrahamson's fantastical black comedy featuring Michael Fassbender as the masked leader of doomed avant-rock group, The Soronprfbs.

The music press were quick to laud FRANK as one of their top soundtracks of 2014, with Mojo placing it at No.3 in their

Top Ten for the year and Record Collector giving it 5*, while public fascination with its Beefheart-esque sound has ensured cult status. The songs, sung mainly by Fassbender, veer from manic comedy to heart-breaking pathos and the

vinyl release was specially recompiled to feature all the songs, most of the incidental music

and an exclusive for vinyl version of 'Frank's Most Likeable Song.... Ever'.

Seit anderthalb Jahrzehnten geht Jan Plewka (Selig) auf Tour und singt die Songs von Rio Reiser und Ton Steine Scherben. Die Shows mit der schwarz-roten Heilsarmee sind inzwischen legendär und begeisterten bereits abertausende Besucher bei über 200 ausverkauften Performances. Im September erscheint nun das Live-Album + DVD "Wann wenn nicht jetzt - Jan Plewka singt Ton Steine Scherben und Rio Reiser II", das bei den Auftritten auf Kampnagel in Hamburg aufgenommen wurde. Die Singles "Jenseits von Eden" und "Macht Kaputt was euch kaputt macht" sind bereits erschienen. "Mit 14 Jahren habe ich Ton Steine Scherben zum ersten Mal gehört. Seitdem bin ich ein glühender Verehrer von Rio Reiser, von seiner Musik, seiner Poesie, seinen Utopien. Seit über 15 Jahren bin ich mit diesem Programm nun schon auf Tour. Das ist die eine Konstante in meinem Leben." - Jan Plewka Der Traum geht weiter: Wenn Jan Plewka mit der schwarz-roten Heilsarmee auf der Bühne steht, um die unvergesslichen Songs von Rio Reiser und Ton Steine Scherben zu feiern, wird sehnsüchtig und zärtlich, gleichzeitig revolutionär und kraftvoll. "Wann wenn nicht jetzt" versammelt auf Doppel-LP / CD 17 Livetracks, die 2019 auf Kampnagel aufgezeichnet wurden und filmisch von Tom Stromberg festgehalten wurden. Die beiliegende DVD kommt mit fünf Bonustracks auf insgesamt 22 Stücke.

‘IIUII’ is essentially a re-imagining, a reminiscence
and a unique take on the Best Of format, with the
band re-recording key Fink tracks from 2006-2016
- “that whole arc, from my bedroom to having a
proper hit, playing the big festival stages with big
production, and all the rest,” according to Fin
Greenall aka Fink.
In 2019, after heavy band touring for three years,
Fin did a solo acoustic tour which took him full
circle back to the simplicity of those early days.
Making an album that reflected this seemed like a
beautiful way to tie the whole story together.
Fink has previously collaborated with artists such
as Bonobo, Amy Winehouse, John Legend,
Professor Green and more.
For fans of Bon Iver, The National, Nick Mulvey,
Jose Gonzalez, Iron & Wine.
CD in a gatefold sleeve. Comes protected by
recyclable bio-based shrinkwrap.
Gatefold 140gram black double vinyl in a printed
inner sleeve. Comes protected by recyclable biobased shrinkwrap.

Jimmy Tamborello returns with a collection of 10 pop-infused vocal hymns – simultaneously perfect dance floor fillers and lullabies. "Away" is the second of two Dntel albums to be released in 2021 by Morr Music in collaboration with Les Albums Claus. While "The Seas Trees See" showcased Tamborello's more intricate and quiet side, "Away" embraces his love for pop music. A genre which like no other has been resonating the advancements of technology from the very beginning. Songwriting was sequenced and computerized on such a large scale that it would change the sonic aesthetics of the charts forever.

Dntel is a musician who changed pop music forever – and still works in this never-ending labour of love, both effortless and highly focused, constantly tweaking the universe of our musical perception. Whether beatless or uncompromisingly embracing the limelight of collective ecstasy with one of his most remembered tunes "(This Is) The Dream Of Evan And Chan", his almost forgotten anthem "Don’t Get Your Hopes Up" or his work as James Figurine. "Away" features 10 of these extravaganzas – uniting his audience once more in hope and future-bound optimism.

"I grew up with 80s techno-pop – these influences always come through in my music", Jimmy writes from Los Angeles. For this album, though, "I was thinking more of 80s indie pop or labels like 4AD. It is a mix of those influences along with trying to figure out what elements of my own discography I still connect with. I wanted it to reflect old Dntel records as well as the techno-pop band Figurine I used to be in. I have always considered my music basically being techno-pop, but not referring to pop as popular music – I just like pretty melodies. But with the Dntel moniker, I never had the ambition to produce music for a really big audience.”

It is exactly that looseness in approaching music which makes Tamborello’s style of composing so unique. On "Away" he combines a healthy dose of distortion with the most-sticking melodies, vocals and bitter-sweet lyrics he ever came up with – performing all vocals himself, with the help of technology. "My voice has a limited range. When I applied this vocal processing it seemed to bring out the emotions more. I don’t see it as the same as the more artificial, autotuned style of modern pop music. I think it still sounds like it could be a real person singing, just not me."

Using this technique, Dntel disembodies himself from his own art, welcoming all kinds of interpretations re. his current state as an artist. "Somehow this processed voice feels closer to how I see myself than my normal voice, for better or worse…", he writes. Pop music is a fragile entity, making its kingpins vulnerable. Many emotions reveal a lot of the originator’s personality –this is something one has to be prepared for. On "Away", Jimmy Tamborello finds the perfect way of marrying his unique musical personality with both the demands and possibilities of pop music. Just listen to "Connect" and you’ll know what we’re talking about. A perfect, yet timeless album for less than perfect times.

Keplar re-issues the fourth album 'Chessa' by Dan Abrams' project Shuttle358 on vinyl for the first time. The double LP edition includes 3 previously unreleased tracks from the same recording sessions back in 2004, as well as an extended artwork with unseen photographs by Dan Abrams.

While undoubtedly associated with the microsound and 'clicks & cuts' movement around the turn of the millennium, on 'Chessa' Shuttle358 left behind the classical rhythmic patterns of the genre and shifted further towards warmer territories, meandering between modern digital minimalism and the soft tones of ambient music. Counter to his microsound synthesis approach on Frame (2000), Abrams created Chessa by writing software that manipulated samples from his unreleased songs, guitar pieces, and vintage japanese films sampled from video tape. In particular, a special granulating technique was written and performed at intentionally low sample rates that gave the uniquely fragile, yet dense sound to the album. Over fourteen tracks Abrams arranges slowly evolving sonic entities of unfading elegance. Strayed and hazy melodies pulse and cascade, elongated but brittle harmonies shimmer and disappear, echoing far-off in the rounded corners of the mind. The patient and detailed way Abrams combines the broken with the beautiful in creating organic collages of sound that retain the euphonic essence of a song, makes this piece of work so powerful and timeless, sounding just as relevant today, as it did 17 years ago.

Under modern scrutiny in Abrams latest studio, he refocused the original recordings to emphasize the elements most important to the original vision. The final mastering and vinyl preparation was done in collaboration with Stephan Mathieu, vinyl was cut by LUPO.

From the original press release in 2004 by Taylor Deupree:

Without a doubt Shuttle358 has become one of the most admired artists to emerge from modern electronic music’s sea of musicians. From the humble beginnings of a demo CD in 12k’s mailbox to 4 critically acclaimed CDs, Dan Abrams is, to some, the one credited for bringing a warmth and human touch back into what has often been considered a very cold, sterile genre. It began with 1999’s Optimal.lp (12k1005), a groundbreaking debut release that immediately defined the Shuttle358 sound; a hybridization of the then-emerging “microsound” genre with Eno’s true ambient explorations. In 2000 Abrams outdid himself with Frame (12k1011) by honing his sound design and exploring production techniques at rates that made his “now” quite brief and creating what was to become one of the most sought-after CDs in the 12k catalog.

Chessa is the third release from Abrams’ Shuttle358 moniker on 12k and he continues to do what he does best: attempt to move microsound away from the world of theory and towards absolute real life. Like his photographs, Chessa is music about, and to be listened to in, unexpected places. It is a narrative, a simple slice of life that plays out through the incidental photography of the cover artwork. To achieve this Abrams fuses irregular granular sound particles, like the movements of everyday life, with a deliberate melodic base that captures emotion and simplicity.

Having taken a break from music for a few years, South London’s ME REX began life in 2018 in the home of songwriter Myles McCabe experimenting with shouty, electronic bedroom pop. Armed with a slew of “surging gargantuan hooks” and themes of friendship, forgiveness, joy and dinosaurs, McCabe was quickly joined by longtime friends Kathryn Woods (guitar/vocals), Phoebe Cross (drums/vocals) and Rich Mandell (bass/keys/vocals). Now, graduated from producing songs at home to recording at Resident Studios in North London with Mandell behind the mixing desk: ME REX spent the latter half of 2020 bashing down the doors to the indie world with double EP ‘Triceratops/Stegosuarus’. Finding their penchant for constructing delicate threads of vocal layering to convey feelings of calm while building on luscious swathes of reverberated guitar and keys on single ‘Rites’, the band are not afraid to explore different musical concepts: shaping material that strays from traditional album and single structures that results in a sound that could easily find a home on the big screen as they do behind closed doors. Described as “making for both a potent and cathartic listen all round” by DIY magazine — as well as seeing praise from Stereogum, BBC 6Music, Radio X, Amazing Radio, For The Rabbits and Circuit Sweet — ME REX are back with a new and ambitious project ‘Megabear’, an album made up of 52 tracks that has no beginning or end but exists as a cyclical body of work.

Runnner’s Always Repeating yearns for a sense of place. The project of the now LA-based songwriter/multi-instrumentalist Noah Weinman, Runnner’s poignant reflections on the isolation and anxiety caused by a sense of rootlessness radiate with wit and charm. Self-produced and recorded wherever he called home at the time, Always Repeating documents this cycle of looking back and moving forward, of alienation changing to reconciliation.

For Weinman, Runnner is primarily a solo endeavor with an ever-expanding musical community of musicians collaborating on his albums and shows, which at times have been known to feature up to a 7-piece live band (he also has a burgeoning career as a

producer, notably working on Skullcrusher’s critically-acclaimed debut EP for Secretly Canadian). Weinman completed Always Repeating last fall in Western Massachusetts and Woodstock using a mobile studio set-up. He played the majority of the instruments himself, including guitar, bass, trumpet, banjo, piano and synth. The goal was to create the perfect balance of intimate and melancholy songwriting through the lens of hi-fi/lo-fi dynamics, inspired by his favorite artists like Bon Iver, the Microphones, and Julien Baker.

The 10-track collection is composed of five re-recorded versions of songs that appeared on Runnner’s 2017 debut, Awash, and 2020’s One of One EP. Although the songs were written over the course of three years, all find Weinman grappling with the same thing: feelings of uncertainty about his life. Always Repeating ultimately tells the start of Weinman’s journey as Runnner, and his cyclical feelings of being connected and then disconnected from the world over and over again.

Jerry wrote and/or co-wrote 21 songs that Ricky recorded from 1961 to 1985, certainly the longest time of any composer from Ricky’s musical associations. Born in 1938, Jerry will turn 83 years old on November 19th, 2021 and is still active musically. He continues to compose and issue records that are enjoyed by his many fans.



Little doubt that Jerry’s biggest hit was “Travelin’ Man” that Ricky first recorded during the March, 1961 sessions at United Recording Association studio located on Sunset Blvd in Hollywood, CA. It was Ricky’s second number 1 hit on the Billboard Charts, with the flip-side being “Hello Mary Lou” penned by the great Gene Pitney.

It’s an important statistic to note that Ricky carried 11 double-side hits into Billboard’s Top 40. Certainly was not easy to have material strong enough to carry 22 songs into these chart achievements which was extremely impressive musically, then and now. The only other single rock n’ roll performer to eclipse that level of success, was Elvis Presley. And they were good friends.

One of the reasons for Ricky’s longevity in music was made possible by his abilities to reinvent himself during phases of time through many genres of music. He was an artist, a song-writer, a poet, and a real inspiration creatively, to countless musicians that stood on his shoulders and benefitted from Ricky’s musical experiences.

Jerry’s contribution was certainly a factor in that success that Ricky accomplished. Only five tracks composed by Jerry that Ricky recorded were never officially released from his session catalog. This includes what is believed to be released as the follow-up song to “Travelin’ Man” – a song called “Window on the World” recorded during the November, 1961 sessions at Master Recorders on Fairfax Ave in Hollywood, CA. A beautiful and stunning song that would have stood the test of time.

The songs chosen for this LP vinyl record provide a great example of Jerry’s contribution to Ricky’s success. The bonus track (Desire, by The Trophies) has Ricky singing back-up which was well-mixed into the background harmony

Baker wrote 22 songs that Ricky recorded from 1958 to 1976, more than any other composer that Ricky chose to use. I don’t believe that was by design but rather due to the quality of songs that Baker wrote from his own life’s experiences and state of mind, songs that ranged anywhere from mournful ballads, to popular contemporary styles, to genuine and authentic rockers.

The 12 tracks included on this record represent the entire range of these musical categories, including some of Baker’s finer compositions. But all of Baker’s songs were recorded with excellence by a great team of engineers, producers, and musicians. And when Ricky played them in concert, all were performed enthusiastically and interpreted in which they were intended to be.

All the songs that Baker composed for Ricky have fortunately been officially released. Excellent alternate versions of some of these songs have been posthumously released as well, with exception of a few that have been held back into Ricky’s vast and exceptional session catalog.

Before Baker passed away in 2005 at 72 years of age, he authored his autobiography. He wrote it mostly to recount his internal struggles with survival and continued quest for living a peaceful life. It’s entitled “A Piece of the Big-Time” and was published just before his passing. The memoir provides insight and perception into the songs that he composed for Ricky including the depth of the librettos that Baker endured and expressed. It also provides the visualization into his partnership and experiences with Ricky Nelson and his substantial musical network.

The main thing to appreciate is that Ricky and Baker were friends, establishing a degree of separation that was both mutually warm and respectful from the very beginning.

Most fans of hardcore Hip-Hop know and love Benny The Butcher and 38 Spesh's 2018 joint album Stabbed & Shot, yet many aren't aware that before that there was Cocaine Cowboys. The duo dropped this potent joint mixtape back in 2008. They split the project into two parts and added a couple hard-to-find bonus cuts for the vinyl release. Plus, new alternate art by the one and only Manuel "Cep" Concepcion only available on this second edition re-release. Cocaine Cowboys 1 features some early production from Spesh himself, Rick Hyde, and Beat Butcha, as well as some of Benny and Spesh's rarest freestyles. This is a must-have for TCF Music Group, Griselda Records, and BSF Records collectors.

From the many musical lives of artist Glenn Donaldson emerges The Reds, Pinks and Purples, a project that sifts out the purest elements of pop music and in the process chronicles the point of view of an assiduous San Francisco-based songwriter. The Reds, Pinks and Purples’ third album, called Uncommon Weather, is both an elusive portrait of San Francisco––during one of its fluctuations as an untenable place for musicians and artists––and also a self-portrait, however inverted, of a songwriter who has dispatched another treasured collection of timeless sounding DIY-pop songs.

How The Reds, Pinks and Purples arrived here is a story with many roots, the most consequential of which is perhaps the musical aftermath of his earlier band, The Art Museums, whose brief tenure in the late ’00s coincided with an explosive period of the Bay Area rock scene and was followed by a hermetic musical period of Donaldson’s. Disenchanted with the dissolution of his band, Donaldson averted the DIY-pop sound with an instrumental, conceptual project called FWY! but meanwhile started a habitual songwriting practice, sharing nascent songs with friends in an email exchange. In 2013–2014, The Reds, Pinks and Purples took shape as the moniker for Glenn’s most direct expressions in the DIY-pop mode, enabled by this new disciplined output. By then, San Francisco was already a changed place. The tragic loss of his former bandmate in Art Museums was another source of discontinuity and rupture. You can hear in The Reds, Pinks and Purples’ earliest songs this grappling with life, anxiety, and atrophying subcultures. For an artist with an overriding interest in the aesthetic principles of discrete musical genres, this turn toward his immediate world for subject matter was a major shift, setting The Reds, Pinks and Purples apart from Donaldson’s other musical ventures.

Preceding the release of Uncommon Weather was the Reds, Pinks and Purples’ 2nd album, one of the record buying joys of 2020, You Might Be Happy Someday, and, earlier, their first proper full length Anxiety Art, a title that might nod to the classic Television Personalities song “Anxiety Block.” Donaldson’s music continuously reckons with the influence of Dan Treacy, whose own forays into drum-machines, echo, and reverb in the early 1990s is an important reference point for The Reds, Pinks and Purples’ musical template. Paul Weller, Robert Smith, and Sarah Records also come to mind. But, as important, Donaldson sees his projects as visual expressions too, often blurring the lines of records and physical art objects. They could just as well be “art multiples” as well as records. The pattern for Reds, Pinks and Purples’ records is to document San Francisco’s Inner Richmond district in photographs: the muted, pastel colours and unpeopled compositions unfold in a series of images that read like counter-melodies to Donaldson’s distinctive voice, a vocal tone that always complements the colours.

Self-recorded and mostly self-performed, Uncommon Weather features pinnacle versions of songs Donaldson has honed since the beginning of the project. The album arrives with grateful timing, quick on the heels of You Might Be Happy Someday, and alleviating, for a brief window at least, whatever it is that keeps us coming back to this elemental music. Donaldson imagines his listeners are just like himself: fascinated and addicted to the spiritual power of uncomplicated pop classics. Anthony Atlas

RECORD STORE DAY 2021 TITLE!!!
Negative approach - Tied down demo - complete session (green vinyl)
Vinyl re-issue - long out of print now available once again on limited collector's green vinyl!!

“They were one of those bands that were a prequel to what the future was becoming. Feminism, human rights, animal rights, environmental
protection, gender issues... Spitboy was singing about these issues
30 fucking years ago.
I’m so grateful to have witnessed it.” - Billie Joe Armstrong “Spitboy are one of the most
important punk bands to have ever existed. To me, an angry 20-year-old in London, discovering them felt like the first time I truly identified with a band’s politics and agenda.
One of my all-time favourite albums (then and now) was Penis Envy by Crass. No lyrics
had ever touched me the way this album had--until Spitboy entered my life. My people. My radical feminists. My punk scene. Where I have lived and belonged for over 30
years.” -Vique Simba

Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016 (Important Records).

The double album captures the April 22, 2014 premiere of Hennix’s composition by by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”

As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:

“Rag Infinity/Rag Cosmosis presents fragments of ‘raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”

As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

Clear Vinyl

Freddy Fresh is a legend. Period. From a plethora of 12“es on labels like Nu Groove, Drop Bass Network, Forced Nostalgia, Spaziotempo, Lone Romantic or Toolbox Killers to albums on 90s scene mainstays like Harthouse, Anodyne or Eye Q to countless releases on his own imprints like Howlin Records, Analog Records USA and Electric Music Foundation. From remixes for the likes of GusGus, Heaven 17, Kitachi, Steve Stoll, Frankie Bones and many more to hitting the UK Top 40 with the massive BigBeat smasher „Badder Badder Schwing“
produced alongside Fatboy Slim. The man has done it all. Nearly.
And therefore Intrauterin Recordings is proud to present the first ever Drum'n'Bass release in the more than 30 year spanning career of the one and only Freddy Fresh!
With „333“ Freddy Fresh is going down a twisted, hard stepping and yet positive alley of what the man himself refers to as Modular Drum'n'Bass that is unmistakably cooked up live and direct in his Minneapolis-based studio. Expect a whirlwind of swirls, swooshes, bleeps and FX alongside raw junglistic beats and the most positive Synth bass motif you've heard in a long while.
Yet the singles' main dancefloor smash is to be found on the flip side. „Watch It Go Roun Roun“ is a raw classic, a heavy original JumpUp banger driven by a killer vocal performance by Mike Gates a.k.a. Mikey Dredd. Likely better known to many for his Techno productions on labels like Kanzleramt, Creation Rebel or Howlin Records rather than for his MC skills this is the very first time Mikey Dredd's secret love for taking up the microphone as a proper Jungle / Drum'n'Bass MC is officially recognized and revealed on wax as a late tribute to and
honoration of a large scale talent which passed away way too soon in 2019. Lighter crew!
Initial pressing will be limited to 225 copies on 7“ whitelabel vinyl. Hand-stamped with stickered cover.


b B1: Watch It Go Roun Roun featuring Mikey Dredd

Originally released on New Jersey Drive, Vol. 1 (Original Motion Picture Soundtrack). The album found a great deal of success, making it to #22 on the Billboard Top 200 and #3 on the Top R&B and Hip Hop Chart, and spawned the certified gold single "Can't You See" which launched the career of popular 90's girl group Total.
On June 6, 1995 the soundtrack was certified gold by the RIAA.
After having made their recording debut on Biggie’s tracks "Juicy" and "One More Chance", The Notorious B.I.G. returned the favor with an intro rap verse to the song.
The flip side includes the Keith Murray featured, “Bad Boy Remix”.

guccihighwaters is the artistic persona of 21 year -old artist/producer Morgan Murphy. Since his debut single in 2017, Murphy has exploded in the cloud rap community and his music has been streamed over 200 Million times. His new album, joke's on you, is his debut for Epitaph Records and will be his first available on vinyl. guccihighwaters is the keystone to the label's dedication to this sound that we feel is the future of Alternative music. Spending his formative years growing up in rural Ireland, Murphy was shy and when his family returned to their native New York, that shy 15 year-old turned to bedroom production and starting making his own beats. He began to indulge his musical vision by exploring community on the internet, finding a place to belong that he had not found prior. As a singer, Murphy was a bit of an outsider to the Soundcloud rap world he'd begun to orbit. "I was grouped in because of the time and place and platform," he says. His use of original piano with a classic touch and his angelic singing gave him an original voice with?in the scene's crowded world. Even if he wanted to blend in, he didn't know how. With Jokes On You, he says, "basically my goal was to make it sound like me." Some members of that community, like Powfu and nothing,nowhere, feature on the album, adding their voices to Murphy's signature sound. guccihighwaters is a top digital artist in the Indie Pop/Cloud Rap space, releasing his music on vinyl for the first time. Album features include lo-fi sensation powfu, top emo-rapper Convolk and popular alt-hip-hop artist nothing, nowhere. For Fans of powfu, Lil Peep, nothing, nowhere and Lund.

Contains new specially prepared liner notes by Penguin Guide To Jazz’s writer Brian Morton and by Paris’ prestigious Jazz Magazine.
6 bonus tracks (Green Vinyl) “The question of whether Etta James became a pop singer, a jazz singer, or a blues singer needn’t detain you long. She was all of those, as At Last bears out, and more besides. James touched on gospel, doo-wop and rhythm’n’blues
with equal facility. “Dance With Me, Henry” was a hit, but renamed “The Wallflower” and covered by Georgia Gibbs. Because James had a composition credit, it made her some money, but she didn’t like to be bested. She made sure that the next time it would be her name on the label.“ Penguin Guide to Jazz “At Last!, her debut LP, made for the celebrated Chicago label Chess, certainly is one of her most memorable. It’s impossible to not be moved by the power of her voice, beginning with the opening notes of “Anything to Say You’re Mine”.
Every phrase, every word is attacked with an energy that commands respect. But beware, this young woman (she was only 22 at the time) could also take on the sweetest forms of a melancholy ballad, such as “Stormy Weather”, and manage to achieve tenderness. At Last! is one of the key soul music albums of the early 1960’s.” Jazz Magazine ETTA JAMES, lead vocals; The Riley Hampton Orchestra. Arranged and conducted by Riley Hampton. Recorded in Chicago, Illinois, 1960 and 1961. Original sessions produced by Phil and Leonard Chess.

Three years ago Danish guitar player and highly acclaimed session musician Jacob Gurevitsch made his solo debut with 'Lovers In Paris', a sweetly melancholic single which conquered sunsets worldwide and earned a place in many quality compilations and has over 10 million views on Youtube. Roll forward to 2018 and this stunning track now heads up the Danish guitarist's first vinyl album, on Kenneth Bager's renowned Music For Dreams label. The original album of 'Lovers In Paris' album entered the iTunes chart at #1 position in Denmark and was (back then) being hailed as one of the Records of the Year by the Balearic Community. And the success story continues. With over 2 million monthly streams Jacob Gurevitsch is a name to watch.

This vinyl debut album 'An Introduction' consists of selected works from the 'Lovers In Paris album, a few from his 'Cinematica' Ep and some from his forthcoming album 'In Search Of Lost Time.'

One could say A kind of Greatest Hits.!

10 melodic and beautiful originals.

'Mexican Margarita' is a truly impressive piece of guitar work with superb bongos and bass - already an essential tune for any Balearic collector - and the recently released single 'Spanish Inquisition' a current DJ Harvey fave, shows his technical and compositional ante into the world of Flamenco. 'Mapa De Soledad' and 'Poesia Del Mar' both gorgeous and moving Mediterranean-flavoured ballads full of emotional keyboards, soulful strings and accordions. The indelible upbeat of 'Motive Loco' and elegiac cinematic 'In Search Of Lost Time' remains memorable long after listening and this hits the nail on the head.

Jacob Gurevitsch the guitar player and composer has a unique sensibility to write themes and melodies that transcend time and sound like divine interventions.

Jazz Montez is a music collective from Frankfurt, Germany dedicated to spreading the gospel of jazz throughout the universe. To them, jazz does not describe a particular style of music but an attitude, mindset and an approach to art and life that can manifest itself in a variety of ways. For their first vinyl release, they invited seven of the most talented and ambitious young groups from all over Germany to Frankfurt to record a track in the renowned studio Lotte Lindenberg. Despite the band's various influences, ranging from classic jazz, afrobeat and funk to hip hop, electronic music and rock, "Jazz Montez Presents Vol. I", mixed in its entirety by Drum&Bass legend Kabuki, works as a cohesive album. Pressed on high quality 180g vinyl, the record comes packaged in a beautiful and eco-friendly bagasse gatefold cover, designed by artist Clara Sipf. It features a 20 page booklet that includes a comic on the making of the album, texts by and information on the participating musicians, an interview with the sound engineers and an essay on the contemporary relevance of jazz. May this record inspire us to go through life guided by a spirit of open-mindedness and collaboration so that we may create a better, healthier and more beautiful world.

Dauw welcome Spanish based artist Jason Kolàr to the label with his new work Loops & Pieces (2017-2020). It’s a prelude to his new full-length album coming in October 2021 through Dauw.

Three years after Stroom TV released his debut album Modified Perspectives, Kolàr now offers a documentation of sounds he has been working on in the period 2017-2020. According to Kolàr, this tape is full of vaporous drafts transforming into solid forms with the help of time and distance. Compared to his previous work, the music on Loops & Pieces is much more stripped down and minimal, yet the dreamy character remains.

Repress! Seventh album by Minneapolis hip hop heroes Atmosphere. Producer Ant and lyricist / rapper Slug have been making music together as Atmosphere for over 20 years and have managed to continually tweak and strive to perfect their formula, while neither straying too far off their path, nor resorting to playing it safe and that holds true on the new set. Fishing Blues is a collection of songs that both define and redefine the Atmosphere sound and features 18 new tracks written and produced by Atmosphere with appearances from DOOM, Aesop Rock, Kool Keith, The Grouch, deM atlaS, and more.

Red Vinyl

This recording comprises some of the earliest Nitzer Ebb material ever, Basic Pain Procedure was a cassette-only release, until 2012 when Pylon Records released it on vinyl. This recording was primarily a tool to attract attention from record labels, but was also available for purchase at the time. It was recorded in Essex countryside in 1983, a year after the band played their first ever show at the Chelmsford, YMCA and was virtually the extent of their then live set.

In the past years, the multi-instrumentalist, composer, producer and music enthusiast Jeff Özdemir had been focusing on organising the Live-Mixtape series in Berlin, inviting numerous artists to join him on stage for every single event. However, the year 2020 put an end to this for all the painfully obvious and obviously painful reasons. Undeterred, he instead put together the third instalment of the »Jeff Özdemir & Friends« series, working with singers, musicians and groups such as Knarf Rellöm & DJ Patex, F.S. Blumm, Joanna Gemma Auguri, Elke Brauweiler and Elmer Kussiac for an 18-track … Now, is this a compilation or an artist album? Well, why just either this or that when it can just be both at once? This is »Jeff Özdemir & Friends Vol. 3« after all, emphasis on »&«.

Released on Karaoke Kalk like its two predecessors from the years 2015 and 2017, respectively, »Jeff Özdemir & Friends Vol. 3« sees the man behind Kreuzberg’s 33rpm record store and the 33rpm Records label showcase his qualities as a people remixer, songwriter and versatile musician. He put together a collection of groovy tunes picking up on funk and afrobeat rhythms, introspective ballads, a musically channeled punk attitude, shoegaze sentiments, spoken word passages, drones, glockenspiel sounds, seriously fun experimentation and much more. Just like on the cover artwork - courtesy of Marion Eichmann, Özdemir’s favourite visual artist - everything here seems to discreetly exist for itself while being tightly connected to everything else at same time.

While artists like Ertan Doğancı, Désolé Léo, eng°n, F.S. Blumm and Zap have been long-term collaborators of Özdemir and were featured on previous instalments of the »Jeff Özdemir & Friends« series, new faces and forces also enter the mix. The melancholic »Love Letters« for example marks the first (though hopefully not last) collaboration with singer Joanna Gemm Auguri, while Knarf Rellöm & DJ Patex’s appearance has been dreamt of collectively but hasn’t been fully realised until now.

Whether it’s Désolé Léo’s French crooner soul, the lo-fi synth pop song »Bored« featuring former Commercial Breakup singer Elke Brauweiler or the many different sounds and styles presented under the name Jeff Özdemir: no decision is ever made between either that or this musical direction, but all are being joyfully enjoyed together. Thus, throughout its 70 minutes, the stylistic diversity of »Jeff Özdemir & Friends Vol. 3« does not once border on randomness. Instead, these sometimes very different songs are marked by a shared atmosphere - a direct result of these very different musicians approaching their studio time together less as a chance to make music but more of a chance to carefully listen to and interact with each other.

Just like you’d expect it from someone deeply connected with the local music community who also happens to run a record store, Özdemir is also the kind of person who’ll hand you the worn copy of a record he has just fished out from the bargain bin because he knows about its potential to change your life. The contributions by Vackrow (»Kleistpark«), Gebrüder Teichmann’s old band BeigeGT (»Disco«), and Otto von Bismarck (»Zu viele Erinnerungen«, produced by The Whitest Boy Alive’s Daniel Nentwig) do not even feature Özdemir, but are simply musical pearls that were (almost) lost in the shuffle of music history and unearthed for this very special occasion. That’s just what friends do, don’t they?

Joan is a 3 times Grammy Nominated Singer/Songwriter. Consequences, Joan Armatrading’s new album, is one of her most intimate and direct albums yet and one that wears its conscience and its heart on its sleeve. Released via BMG on June 18th, and her 22nd studio album to date, it ably illustrates the fact that Joan Armatrading never likes to repeat herself. It is a very different follow up to 2018’s Top 30 hit album Not Too Far Away. Consequences comes in CD, vinyl and digital format and comprises 10 tracks in total, all written, performed and produced by Joan.

RECORD STORE DAY 2021 TITLE!!!
Larry Coryell at the Village Gate is a live album by the “Godfather of Fusion”
This album was recorded on January 21st and 22nd, 1971 at the Village Gate in New York City. It includes
his famous track “Beyond These Chilling Winds”, plus a cover version of a song by Jack Bruce with whom
Coryell toured 3 years before
Double Blue Split Colour Vinyl
ONE TIME PRESSING COLLECTOR'S EDITION - STRICTLY LIMITED TO ONLY 2,500 COPIES
WORLWIDE!

The Codex Necro is the first studio album by British extreme metal band and Metal Blade Records recording artist Anaal Nathrakh. It was originally released on 22 November 2001, and is now available again as 2021 Vinyl pressings and CD.

This very special reissue celebrates the 21st anniversary of the release of Argentinian Juana Molina’s breakthrough album ‘Segundo’ in 2000.
It has been remastered from the original tapes, and augmented with a rich 32-page booklet recounting the eventful start of Juana’s musical career, and containing numerous notes, anecdotes, original drawings and previously unreleased pictures.
Contributors to the booklet include Bruce Springsteen’s producer Ron Aniello, Domino Recording’s Laurence Bell and David Byrne who, when he discovered the album, immediately invited Juana to open for him on his 2003 US tour.
‘Segundo’ started Juana Molina’s international trajectory as a musician. After dropping a highly-successful career as a TV comedian, she turned to music making. Regretting signing with a major company, who got her to record an over-produced debut album, she resolved to find her own direction in music.
The result was ‘Segundo’ that took 4 years to make involving sessions in Argentina and the USA.
Segundo’ finally came out on a small label in Argentina in 2000, found its way to Japan where it spectacularly took off, and was eventually picked up by the Domino label in 2003. Its reception set Juana Molina on course for performing around the globe, garnering a large, devoted fan base, and going on to record five more extraordinary studio albums.

- Available for the First Time on Vinyl - Deluxe Old Style Tip-On Gatefold Packaging with 180 Gram - "Yellow Raincoat with Blood Red Splatter" Colored Vinyl - Insert with Liner Notes and Original 1976 Recording Session photography // Waxwork Records is thrilled to present the debut release of ALICE, SWEET ALICE Original Motion Picture Soundtrack by Stephen Lawrence. Alice, Sweet Alice is a 1976 American Slasher-Horror film directed by Alfred Sole and starring Brooke Shields in her film debut. Set in 1961 New Jersey, the film focuses on a troubled adolescent girl who becomes the suspect in the brutal murder of her younger sister at her first communion, as well as in a series of unsolved stabbings that follow. In the years since its release, Alice, Sweet Alice has gained a cult following and is considered a contemporary classic of the slasher sub-genre in critical circles. It has also been the focus of scholarship in the areas of horror film studies, particularly regarding its depictions of Roman Catholicism, child emotional neglect, and the disintegration of the American nuclear family. The film's chilling score was composed by Stephen Lawrence. Lawrence is an American composer that has scored more than 300 songs and musical cues for Sesame Street, resulting in three Emmy Awards for Outstanding Achievement in Music Direction and Composition. The music of Alice, Sweet Alice features heavy usage of dissonant strings, repetitive keys, church organ, and motifs that segue from eerily mischievous and playful to dread-inducing and utterly haunting. Available for the very first time in any format, the complete soundtrack to Alice, Sweet Alice comes available on 180 gram "Yellow Rain Coat with Blood Red Splatter", deluxe packaging with new artwork by Steven Reeves, old-style tip-on gatefold jackets, a heavyweight insert, exclusive composer liner notes, and original recording session photography.

[o] 15. Teach Me [Bonus Track]
[p] 16. Before The Accident [Bonus Track]
[q] 17. S.O.S. [Bonus Track]
[r] 18. Dutch Boy [Bonus Track]
[s] 19. Stupid [Bonus Track]
[t] 20. Dance Tunes For The Undergods [Bonus Track]
[u] 21. Photogenia [Bonus Track]
[v] 22. Cha Cha Cha [Bonus Track]
[w] 23. Back In The Street [Bonus Track]

Swiss heavy metal coven BURNING WITCHES and Nuclear Blast Records proudly present “The Witch Of The North”, the group’s much anticipated, fourth studio album set for worldwide release on May 28th, 2021. Following 2020’s “Dance Of The Devil”, which charted in Germany at #22, and the quickly sold-out “Circle Of Five EP”, vocalist Laura, guitarists Romana and Larissa, bassist Jeanine and drummer Lala notably up the ante on “The Witch Of The North”, their most dynamic, intricate and powerful album thus far. Perfectly mixed and mastered by V.O. Pulver and produced by German thrash titan Schmier (Destruction), BURNING WITCHES stick to their irrefutable 80’s influences (Judas Priest, Iron Maiden, Dio, Accept, Warlock, WASP etc.) and inject an irresistible energy and refreshing vibe, topping it off with classic art by Claudio Bergamin (who illustrated Priest’s triumphant “Firepower”). From the epic title-track to the album’s most catchy anthem ‘We Stand As One’ over to the ballad ‘Lady Of The Woods’ and speedy riff attacks like ‘Thrall’, ‘Flight Of The Valkyries’, and ‘Nine Worlds’, “The Witch Of The North” marks a new highlight in the band’s career, with vocalist Laura brilliantly shifting from aggressive to seductive with ease. No matter if you have followed the band since its humble beginnings in 2015 or just recently fell for their charms, BURNING WITCHES are doubtlessly one of the most sensational bands in heavy metal right now.

Orange and black. Fire and ebony. Fury and pride. Wearing its signature colors proudly and raising its exclamation point high, Impulse! Records was the go-to label for music that harnessed the searching and political stand-taking of the Sixties. Launched in 1961, Impulse grew to become an inherent part of the era’s velocity as well as its volume, pulling jazz into the age of Black Power, Afrocentricity, and Spiritual Expansion. In its balance of tradition and transition, it bridged the golden age of jazz, that brief window from the late Fifties to the Seventies when players representing every jazz era were alive and active—from Louis Armstrong to Albert Ayler, from the legends of lore to a new generation of energy players. Impulse treated all its musicians as innovators, revolutionaries even—from swing and bebop, to free and Afrofuturist. The performances on Impulse Records: Music, Message and the Moment draw their staying power from a wide embrace of styles and sounds, as well as a tight focus on a historic moment when the promise of change was in the air and the message of racial harmony was in the music. Today that music has lost none of its relevance: the promise still deferred, the message still on time.

Olafur Arnalds' highly anticipated second full-length album '...and they have escaped the weight of darkness', continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate classical arrangements. The sense of an organic crossover recording is reinforced by the involvement of co-producer Bar?i J?hannsson of eccentric pop/rock/electronica-formation Bang Gang. Bar?i has successfully coloured the brittle minimalism of previous releases through the addition of an array of new instruments.

Those expecting a mere continuation of the minimal melancholia of his previous albums are therefore in for a surprise, as the record may be the most uplifting and richly orchestrated work of his career: "The album has a very clear theme", Arnalds relates, "which is that there is always light after darkness. To me, it has a more positive note than my previous works." When ?lafur saw how the opening scene of a Hungarian indie film metaphorically described a solar eclipse, he instantly connected it to the concept, naming the album after a key line of the film's introductory monologue. Staying true to this positive note, '...and they have escaped the weight of darkness' will herald another intense year for ?lafur Arnalds, with the album being accompanied by a world tour, starting in China in March 2010.

Born in the suburban Icelandic town of Mosfellsb?r, a few kilometres outside of Reykjav?k, the 23-year old composer has always enjoyed pushing boundaries with both his studio work and his live-shows. His new opus is set to again challenge his fan base, which is still growing rapidly. Over the past eighteen months Arnalds has advanced from a former support-act for Sigur R?s to an internationally respected artists in his own right. He was privileged to be invited to write the 'Dyad 1909' score for award-winning choreographer Wayne McGregor, aired on BBC Four and on ITV1's South Bank Show. 'Found Songs', a collection of pieces each written, recorded and released in a single day via the Erased Tapes label website, as well as the video for 'Lj?si?' have since managed to generate half a million downloads and video views.

In many ways, the new record is clearly inspired and informed by these events. Several of the pieces were, in fact, written on and off throughout his tour and benefit directly from the intensity of the live situation and the emotional roller-coaster-ride of life on the road: "The first half of 'Gleypa okkur' was written in a sound check in Munich, for example", Arnalds relates, "while the second part was scored in Braunschweig, Germany." On the other hand it is the result of meticulous studio work, of refining compositions in close co operation with compatriot Bar?i Johannsson, known for his eccentric personality and unique electro-acoustic sound: "I definitely wanted to do something a bit different this time, something more. Working with a producer was a part of that." The enthusiasm translates to arrangements displaying a new sense of sonic diversity.

?lafur Arnalds has created an even more open and spacious sound and taken his distinct style to a new level. Compared to his previous works, '...and they have escaped the weight of darkness' makes use of diverse instrumentation ? drums, guitars, voice, Rhodes, a selection of subtle synthesisers, alongside Arnalds' trademark piano as well as Tony Levin on bass. Traditional terminologies become void on his latest offering, which blends contrasting elements into an original, entirely organic new language and a sensitive ballet of the mind.

Arnalds fusion of 21st century electronics and classical vocabulary thereby continues to decisively unwrap the sealed-off world of classical music.

Duke Ellington once said that there are 2 kinds of music: the good one and the bad one. With the compilation series “Shaolin Soul” we are always certain to be on the right side of the line since its 1st episode released in 1998 and which compiled two dozens of tracks sampled by RZA and the Wu-Tang Clan. Following a second episode in 2001 and a third one in 2014, the famous curator Uncle O is back to celebrate the 20th anniversary of the Shaolin Soul series with a fourth episode compiling 22 tracks among the rarest and finest treats of soul music, because “everybody’s talking about the good ol’ days !”.

Legendary drummer, Mick Fleetwood enlisted an all-star cast for a one-of-a-kind concert honouring the early years of Fleetwood Mac and its founder, Peter Green which was held on 25th February 2020 at the London, Palladium. The bill included Billy Gibbons, David Gilmour, Pete Townshend, John Mayall, Christine McVie, Zak Starkey, Steven Tyler, Bill Wyman, Noel Gallagher, Pete Townshend, Neil Finn, Kirk Hammett and Jeremy Spencer. Legendary producer Glyn Johns joined as the executive sound producer and the house band featured Fleetwood himself along with Andy Fairweather Low, Dave Bronze, Rick Vito, Jonny Lang and Ricky Peterson.

Fleetwood, who curated the list of artists performing, said: “The concert is a celebration of those early blues days where we all began, and it’s important to recognize the profound impact Peter and the early Fleetwood Mac had on the world of music. Peter was my greatest mentor and it gives me such joy to pay tribute to his incredible talent. I am honoured to be sharing the stage with some of the many artists Peter has inspired over the years and who share my great respect for this remarkable musician. ‘Then Play On’...”

Legendary drummer, Mick Fleetwood enlisted an all-star cast for a one-of-a-kind concert honouring the early years of Fleetwood Mac and its founder, Peter Green which was held on 25th February 2020 at the London, Palladium. The bill included Billy Gibbons, David Gilmour, Pete Townshend, John Mayall, Christine McVie, Zak Starkey, Steven Tyler, Bill Wyman, Noel Gallagher, Pete Townshend, Neil Finn, Kirk Hammett and Jeremy Spencer. Legendary producer Glyn Johns joined as the executive sound producer and the house band featured Fleetwood himself along with Andy Fairweather Low, Dave Bronze, Rick Vito, Jonny Lang and Ricky Peterson.

Fleetwood, who curated the list of artists performing, said: “The concert is a celebration of those early blues days where we all began, and it’s important to recognize the profound impact Peter and the early Fleetwood Mac had on the world of music. Peter was my greatest mentor and it gives me such joy to pay tribute to his incredible talent. I am honoured to be sharing the stage with some of the many artists Peter has inspired over the years and who share my great respect for this remarkable musician. ‘Then Play On’...”

“This is the time. And this is the record of the time.”

Laurie Anderson’s 1982 debut album, Big Science, will return to vinyl for the first time in 30 years with a new red vinyl edition on Nonesuch Records. The release includes the re-mastered original album first released on CD for the 25thanniversary in 2007.

In the early 1980s, Laurie Anderson was already respected as a conceptual artist and composer, adept at employing gear both high-tech and homemade in her often violin-based pieces, and she was a familiar figure in the cross-pollinating, Lower Manhattan music-visual art-performance circles from which Philip Glass and David Byrne also emerged. While working on her now-legendary seven-hour performance art/theater piece United States, Part I–IV, she cut the spare ‘O Superman (For Massenet)’, an electronic-age update of 19th century French operatic composer Jules Massenet’s aria ‘O Souverain’, for the tiny New York City indie label 110 Records. In the UK, DJ John Peel picked up a copy of this very limited-edition 33⅓ RPM 7” and spun the eight-minute-plus track on BBC Radio 1. The exposure resulted in an unlikely #2 hit, lots of attention in the press, and a worldwide deal with Warner Bros. Records.

’Cause when love is gone, there's always justice.
And when justice is gone, there's always force.
And when force is gone, there's always Mom. Hi Mom!

At the time of its original release, the NME wrote of Big Science, ‘There’s a dream-like, subconscious quality about her songs which helps them work at deeper, secret levels of the psyche.’ With instrumentation ranging from tape loops to found sounds to bag pipes, Big Science anticipated the tech-savvy beats, anything-goes instrumentation and sample-based nature of much contemporary electronic and dance music. On the album’s 25th anniversary, Uncut noted, ‘The broader themes of alienation and disconnection still resonate, while Anderson’s use of loops and traditional/synthesized instrumentation is prescient.’

“In the ’70s I travelled a lot,” Anderson recounts. “I worked on a tobacco farm in Kentucky, hitchhiked to the North Pole, lived in a yurt in Chiapas, and worked on a media commune. I had my own romantic vision of the road. My plan was to make a portrait of the country. Big Science, the first part of the puzzle, eventually became part two of United States I–IV (Transportation, Politics, Money, Love). My goal was to be not just the narrator but also the outsider, the stranger. Although I wasfascinated by the United States, this portrait was also about how the country looked from a distance. I was performing a lot in Europe, where American culture was simultaneously booed and cheered. But the portrait was also a picture of a culture inventing a digital world and learning to live in it. Big Science was about technology, size, industrialization,shifting attitudes toward authority, and individuality. It was sometimes alarmist, picturing the country as a burning building, a plane crash. Alongside the techno was the apocalyptic. The absurd. The everyday. It was also a series of short stories about odd characters – hatcheck clerks and pilots, preachers, drifters and strangers. There was something about Massenet’s aria ‘O Souverain’ – which inspired ‘O Superman’ – that almost stopped my heart. The pauses, the melody. “O souverain, ô juge, ô père” (O Lord, o judge, o father). A prayer about empire, ambition, and loss.”

Laurie Anderson is one of America's most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for over 40 years. Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.

The Pianist is a 2002 biographical drama film, directed by Roman Polanski. It is based on the autobiographical book The Pianist, a World War II memoir by the Polish-Jewish pianist and composer Władysław Szpilman. The film was a co-production between France, the United Kingdom, Germany, and Poland.

The Pianist was met with significant critical praise and received multiple awards and nominations. It was awarded the Palme d’Or at the 2002
Cannes Film Festival. At the 75th Academy Awards, The Pianist won Oscars for Best Director (Polanski), Best Adapted Screenplay (Ronald Harwood), and Best Actor (Adam Brody), and was also nominated for four other awards, including the Academy Award for Best Picture. It also won the BAFTA Award for Best Film and BAFTA Award for Best Direction in
2003 and seven French Césars including Best Picture, Best Director, and
Best Actor for Brody.