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(ASMR) is a tingling sensation that usually begins on the scalp and moves down the back of the neck and upper spine. It signifies the subjective experience of "low-grade euphoria" characterized by "a combination of positive feelings and a distinct static-like tingling sensation on the skin." It is most commonly triggered by specific auditory or visual stimuli.

Throughout her much-lauded career as a DJ and producer, Ciel has worked hard to build community through events and DJ workshops in her home city of Toronto and on a larger scale with podcasts and projects meant to elevate women artists. The title of her latest EP, “All We Have Is Each Other,” reflects her history of mutual support, and in these times when so many of our connections seem broken by the pandemic, it offers a reminder that music still has the power to unite us.

Ciel has never been an artist who lets genres define or constrain her, so it seems only fitting that this release lands on Mister Saturday Night Records, a New York City label with a similar ethos. It’s in this refusal to restrict her sound to narrow definitions that something magical happens.

This 5-track EP spanning dance floor fillers and home listening pieces builds on a frame of tough footwork-paced kick drums, the skip and swing of 2-step garage, broken house, and slow, meditative beats. Woven throughout are hopeful melodies, dappled with sunlight tones and layered with organic percussion. The connective tissue is a deep feeling of joy and hopefulness in the power of music and collective humanity.

When the world goes up in flames, all we have is each other. Music connects us with like-minded communities that both shelter and empower us. With this emotive collection of diverse songs, Ciel reaches out a hand and invites us to be a part of something beautiful and authentic.

Anne's 7th Opus in 13 Years, Containing 6 Fantastic Covers and 6 of Her Own Songs, Recorded in One of the Most Prestigious Studios in Montreal with Her Original Blue Mind Team

Fresh from the success of her single "Killing Me Softly" from her previous album Keys to My Heart, Anne Bisson, singer-songwriter and jazz pianist, decided to perform and record more standards from the American jazz songbook, as well as new arrangements of classic songs that were so much a part of her teenage years.

Be My Lover, Anne's seventh album is, therefore, a savoury feast of original compositions and classic songs in her own bold new arrangements for acoustic trio. While still in the 'Smooth Jazz' genre, the presence of a Fender Rhodes, the legendary '70s keyboard, along with an electric bass, impart the album with quite a unique tone.

After over 18 months of musical experimentation and other creative endeavours, Anne once again brought together master drummer Paul Brochu (Gino Vanelli, Michel Legrand, UZEB) and proficient bassist Jean-Bertrand Carbou from France, for a series of informal sessions to explore the songs that were being considered for this seventh release.

These two musicians have been valuable collaborators for several years now. Paul has been featured on many of Anne's albums, notably Blue Mind, which made a huge splash when it appeared, with over 35,000 hard copies sold, while Jean-Bertrand's playing has also graced several of her albums.

Since 2009, the three have performed at several important venues, including Le Festival International de Jazz de Montréal, as well as other festivals in the United States and Mexico.

What holds them together is an evident complicity which is present from the very first notes. Their musical contributions are precise and deeply heart-felt. Their virtuoso playing greatly enhances these songs without turning them into mere technical exercises.

With precision playing, subtlety and attention to detail, as well as being recorded in impeccable High Definition, these songs will definitely please Anne's audiophile fans, while also appealing to a wider audience.



All About Ultimate High Quality CD (UHQCD)
Many years have passed since the birth of the Audio Compact Disc (CD) back in 1982. By use of High-Quality materials and a totally different manufacturing method, the definitive version of audiophile audio CD was born. Playable on any CD player, the Ultimate High Quality CD greatly surpasses all previous CDs before it!

The Ultimate High Quality CD (UHQCD):
UHQCD is a radical change to the CD manufacturing process itself. The conventional wisdom about CD manufacturing, which had remained largely unchanged across the world for over 30 years, has been exhaustively questioned. Through this effort, the ultimate in quality was attained - a level of quality that is certainly impossible to achieve with existing CD discs.

The Ultimate High Quality CD was developed through an effort to improve audio quality by simply upgrading the materials used in ordinary CDs to higher quality materials. For the substrate a high-transparency and high-fluidity polycarbonate (a type of plastic) of the type used for LCD panels was used, while for the reflective layer, low-cost, common aluminium was replaced with a unique and expensive alloy of high-reflectivity.

Differences in manufacturing methods:
Conventional CDs are produced using the technique of injection moulding to form "pits" of data on polycarbonate material. Metal plate on which "pits" representing audio source data are formed is used as a die. This is called the "stamper." Polycarbonate is melted at high temperature and poured into the die to duplicate the pit patterns on the stamper.

This method is efficient because it enables high-speed production, but it does not enable totally accurate or complete duplication of the pits on the stamper. As a melted plastic, polycarbonate is inevitably viscous, so it cannot penetrate completely into every land and groove of the tiny pits of the stamper.

The Ultimate High Quality CD photopolymer is used instead of polycarbonate to replicate the pits of the stamper. In their normal state, photopolymers are liquids, but one of their characteristic properties is that they harden when exposed to light of certain wavelengths. The advantage of this property, perfect replication of very finely detailed pits was achieved. Photopolymers in the liquid state are able to penetrate into the tiniest corners of pits on the stamper so that the pattern of the pits is reproduced to an extremely high level of accuracy. The Ultimate High Quality CD reproduces audio with greater precision and at a level that is impossible to achieve using conventional CD production technology!

The Earth is burning, covering all environments in ashes. Smoke comes to us from computers-from social networks accelerating the spread of burnt affects, damaging our ability to feel and respond to what the planet strives to express. We need to cool down. Thomas Köner's music can help change the pace of our perceptions: 1) In DAIKAN (2002) - a Japanese term meaning "the coldest" or "the coldest part of the year"-the ear stretches until touching the depth of time that persists in the ice; a sonic drama offers the slowness thanks to which the skin of perceptions can reconstitute themselves; icequakes awaken listeners to the frozen life without scaring them. 2) Banlieue du Vide, considered by many to be Thomas Köner's most iconic audiovisual work and best kept secret, has not been released previously. It is in the collection of a couple of art museums, e.g. the Centre Pompidou in Paris, and has been awarded the Golden Nica at Prix Ars Electronica in 2004, in the category Digital Musics. Banlieue du Vide is the result of months of time-lapse observations of empty streets in the Finnish Arctic Circle, shown in glacially slow slow-motion. Phase cancellation, on which all noise cancelling technology is based, here affects the perception of time, the sense of the flow of time extinguishing itself. At this stage the void is not yet empty, traces of past noise fill the listeners mind with their haunting presence. A remastered stereo version of the soundtrack is released as a special premiere as Bonus Track of the DAIKAN album. Listening to this album, an excess of heat turns into an empowering coldness-like the transient feeling of our terrestrial embodiment in the midst of entropy.

Lifted From Hubbard's Lauded 1979 Lp 'the Love Connection', This Sublime Piece Of Melodic, Deep, Soul/Jazz Will Have Ears And Minds Open With It's Instantly Recognisable Opening String Sequence.

Used To Devastating Effect On Pepe Bradock's All-time 1999 Deep-house Classic 'deep Burnt', Those Sweeping Strings Capture Us And Lead Us Into A Epic Journey With The Wondrous Vocal Stylings Of The Legendary Singer Al Jarreau.

This Is Prime Early Morning Music, Pushing All The Right Buttons & Spreading Light Wherever It Is Played, A Beautiful Beautiful Record Indeed! What Is Essentially An Extended And Rearranged Version Of Hubbard's 1967 Original, The '79 Version Of 'little Sunflower' Boasts A Sumptuous Arrangement & Production From The Mighty Claus Ogerman (Ben E King, Mel Torme, Bill Evans, Antonio Carlos Jobim & More).

A Truly Wondrous Piece Of Music, Reissued On A Single Side In It's Full 12" Length Of 9+ Minutes From The Source Archive Audio. Fully Legit, Licensed And Reissued With Love By Above Board Distribution And Columbia Records/Sony Bmg For Record Store Day, 2019.

Nirvana's third LP is a masterpiece of late UK sixties popsike turning into symphonic pop, but not having received proper promotion despite being equally good as, if not better than their previous releases, it also marked the end of the collaborations between Patrick Campbel-Lyons and Alex Spyropoulos back in 1969.



Nirvana presented it to Island boss Chris Blackwell under the title of Black Flower. Blackwell, however, decided to turn it down for release, but gave the masters to Campbell-Lyons and Spyropoulos so they could find a new label to release the album. That was to happen in the USA through Metromedia Records in 1969. At that time, the label's owner went through a scandal due to the payola days, which left Nirvana's third offering without any promotion - as a result of that, very few copies were pressed. There was also a UK release on PYE and it was even released by Metromedia in Japan. However, for years it remained as "the lost" Nirvana release, with the added fact that none of the released editions launched the album under its original title of Black Flower but under the rather cryptic Dedicated To Markos II (read why in the liner notes!).



Musically, this is Nirvana at their best. The tune that should have been the title track, Black Flower, is an incredible piece of symphonic psychedelia and probably the best produced Nirvana track ever. Campbell-Lyons and Spyropoulos were backed for the occasion by Spooky Tooth, who played on many tracks of the album, and big orchestral arrangements mesmerize the listener in one of the duo's darkest offerings. This song aside, the rest of the album was deemed as sounding too much like a French soundtrack by Island, which may do at some points –without that being a bad thing,– but there is a lot more to it, since Nirvana have not lost that popsike edge that characterised their sound in their two previous outings.



This is also a record that was widely acclaimed in the hip hop scene. And samplers of it have been used by several artists, most notably DJ Shadow used Love Suite in his 1996 debut album Endtroducing.



The Wah Wah edition has been remastered from the original tapes by Roger Prades @ Prades Mastering and comes with a bonus 7" EP and a four page colour insert with liner notes by Malcom Dome, plus a sheet with the lyrics of the songs. First ever official vinyl reissue since 1970 in a limited edition of 500 copies only!

2023 Repress

Hypnotic Beats and Melodies to put you in a Trance

Formed in 2015, gaining the reputation of
"The new Middle Eastern music pioneers"
72 shows a year, weddings and festivals
People from diverse ethnicities, Transcending musical borders
Come together on the dance floor

Representing the region of Israel and Palestine
Dabke music with Fresh mix of Dub, Gnawa and Trance
From the hills of Jerusalem, to the dunes of the Sahara
In a Bass heavy 4X4 drive

The music of the Blue Desert is based on the regional music styles
The repetitive hypnotic melodies, burning rhythms and endless virtuosity
takes the crowd into the deep dunes and oasis of the Blue Desert.




Bio:

Yossi Fine, Bass master producer, one of the most well known musicians and producers in the world today. Grammy nominated, Produced over 40 albums around the world, reaching 20 gold and multi-platinum albums. Yossi has produced, recorded and played with David Bowie, Lou Reed, Gil Evans Orchestra, Vieux Farka Toure and many more. Yossi plays bass and a special guitar he built, playing traditional songs and hits from the blue desert.

Ben Aylon is defined as a boarder-breaking drummer and percussionist, best known for his unique "New-African Drumming" style and cutting edge hybrid drumming techniques. Inspired by the deep Senegalese Wolof drumming, Ben creates explosive-burning rhythms with a sound of an entire tribe of drummers using African and modern drums. Ben Recorded and played with: Bombino, Doudou Ndiaye Rose, Awadi, Khaira Arby and many more.

Completing the band's sound is Sharon Mansur on Synth-Bass and Keyboards, the princess of the Middle-Eastern keyboards. Sharon is at the forefront of the emerging new Middle

WRWTFWW Records is very excited to present a new full-length collaborative project by Japanese ambient/environmental legend Takashi Kokubo (Ion Series) and Italian/Swiss trombonist Andrea Esperti (Esperti Project): Music for a Cosmic Garden.

Recorded during the heights of the pandemic and completed in February 2021, the majestic 8-track ethereal/botanical soundscape created by Kokubo and Esperti is available as a limited edition double LP, a digipack CD, as well as in digital format.

Takashi KOKUBO, environmental music figure, celebrated sound designer, and founder of Studio Ion, has released over 20 albums, including the genre-defining and highly sought-after Ion Series. He's also played a major role in the sonic identity of Japan, creating the country’s mobile phone earthquake alert sound, credit card payment validation jingles, and much more. In 2020, Takashi Kokubo received a Grammy nomination for his track "A Dream Sails Out to Sea, Scene 3" off Light in the Attic’s Kankyo Ongaku compilation. He is known for recording “sound scenes from nature” around the world using a binaural CyberPhonic microphone of his own invention and for his very unique brand of healing music.

Andrea ESPERTI is a Swiss trombonist and composer originally from Puglia (Italy). He plays in multiple genres (classical, pop, world, electro, jazz) with a globe-trotting approach: encounters with peers, rhythmic exchanges, and unplanned music projects; this is where lies the foundation of his work.

Music for a Cosmic Garden is an ode to celestial botanics, a contemporary and hallucinogenic take on the soothing ambient genre immortalized by artists such as Midori Takada and Satoshi Ashikawa, a beautiful pairing of synthesizers and the mighty trombone, taking you to a meditative galaxy far, far away, where other-worldly is just another word for cozy.

Recommended track for maximum pleasure: "Gaia’s Love Theme".

repress, blue marbled limited version

The label imprint of the beloved Berlin based club Paloma delivers its eighth release, and it was created by none other than a vogueing encyclopedia of musical and club culture knowledge (plus a cherished Paloma resident DJ). The disco professor: Daniel Wang.
It is his first original production under his own name in many years, and you can easily tell that this is not a tool to join in with dancefloor conformity (after all, his first album was called Idealism for a reason). Daniel Wang had already evolved from innocently enthusiastic sampling to synth wizardry during the heyday of his legendary Balihu label, and while studying the masters, he became one himself.
DSDN is an ode to nocturnal Berlin and its party community, a city that never left the centre of international attention for its vital and influential scene. Daniel Wang is a part of it since twenty years, and he was influenced by what he experienced as much as he left his mark on many nights, both as a DJ, and as a producer.
Of course, this release follows the traditional structure of a Disco EP by using a main tune DSDN with complementing dubs and instrumentals. Four to be exact, because four is the magic number with this format. DSDN reflects the internationality of the clubs across town in English and German words and pays homage to all the districts, and it effortlessly manages to unite sounds of both 80s NYC and Italo disco, 90s NYC and Italo house, synthpop and rap before it became too successful, balearic vibes before they became a mere excuse, and then it just majestically unfolds into both a charming summer hit and a complex opus magnum, but all an aural sunbeam that blows a kiss to those who emerge from recent sensations in clubs, bars, parks, and streets. Alone or together, happy or sad, resolute or irresolute, tired or energized, or all at once.

Eddie Leader’s Northern PowerHOUSE imprint Hudd Traxx has, over its 17 year history, become synonymous as a home of quality underground sounds. As a label that has consistently kept the vibe alive through its unwavering insistence on quality over quantity, it has seen many masters of the craft feature on the Huddersfield-based label... Including Agnès, Chez Damier, Chris Carrier, Brett Johnson, JT Donaldson, Rick Wade and more.

As we kick-start ’23, Hudd Traxx announce an exciting new series of releases… Hudd Influence. A new run of vinyl offerings that see label boss Leader digging deep, licensing, remastering and pressing to vinyl a spicy selection of joints that have played their part, not only in his own musical journey, but also in influencing the foundation of the Hudd Traxx label.

Volume One brings us four choice cuts from House music royalty, kicking off with the Todd Terry’s 1992 classic ‘When You Hold Me’, taken from his debut ’The Unreleased Project’. Next up, the ‘Body N Soul’ Mix of ‘Get 2 U’ from long-time friend of the label, Jovonn, under his 1999 alias LYON. On the flip we’re treated to ’Touch Me’ (Dub Touch Me Mix), the ’94 production from Chicago’s Danell Dixon, alongside a huge Eddie Leader favourite in The Diggers 1996 jam, ‘Jazztaker’s Dub’.

Whether this is a first introduction or a reaffirmation of their greatness, Hudd Traxx are excited to provide a fresh platform for these true house classics.

Keep ‘em peeled for Vol. 2!

Started as a reggae band, Chequers were formed by the Matthias Brothers, John & Richard, in Aylesbury, Buckinghamshire in 1973. Inititally releasing in the early part of the 1970s (with their first single Rudi's In Love charting in the UK) their sound then developed to also incorporate Philly soul influences in the mid-70s, then releasing a rare but solid LP 'Check Us Out', in 1976. The group eventually evolved into a seven piece funk outfit in the late 70s, playing shows to larger and larger audiences and touring throughout the UK & Europe.

1980 saw the birth of the Matthias brothers' own small independent outlet for the group, Matthias Records. The press release of the new label's first single declared that their "roots in the reggae and soul music of the last mod era" were being brought up to date, now embracing "the music of today and tomorrow...". That 45 (the cheeky pop-punk meets ska cover version of Midnight Hour, backed with the uptempo instrumental funk of Move Up) didn't necessarily come good on that promise. 3 years would then pass until this 45 showcased the throughly-updated & stellar electro-boogie sound of Hard Times and it's equally strong b-side If You Want My Love.

Following this neither Matthias Records nor Chequers as a group ever released anything further - the record's scarcity (and hideously inflated prices on today's secondhand market) hint at low sales and potential distribution problems upon it's original release, perhaps leading to the label and the group calling it a day. Conjecture aside, there's really no denying this record slaps, and with discogs prices reaching beyond ridiculous levels there is only one option - get it before it's gone!

Tape

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

Next up on EYA's series Lonewolf is UK producer Nay. "Pattern of Thought" takes us on a hallucinatory excursion into deep minimal textures, acid-tingled beats, blissful grooves and dubby trips. A remarkable debut from an artist we'll be hearing a lot about in the future on a label capable of consistently delivering the fresh, cutting-edge sound of the underground.

Equipped with a cassette porta studio and a mic found in a recycling bin, Your Planet Is Next has put together an album of 10 tracks stripped down to their essentials. Half of the them were produced using a Yamaha CS-01 synthesizer and a Yamaha MR-10 drum machine — the perfect 1982 budget combo — while the other half were made solely with a Yamaha CS-10 synthesizer and a Boss DR-55 drum machine, both from the late 70s and budget options even in their heydays. As many times before throughout music history, pristine sound quality had to be sacrificed for pristine creativity... After all, ideas are what makes the world turn, not high fidelity!

Kai Rodriguez makes his debut outing on Hot Creations, delivering his two-track ‘The Thrill’ EP.

With his late-2021 Hottrax debut ‘Underground’, DJ/producer Kai Rodriguez gave the house scene a first glimpse of what’s to come with the 25-year-old UK talent’s breakthrough release remaining in heavy rotation for head honcho Jamie Jones across the Ibiza season and beyond. Having since featured on bubbling US imprint Revival New York, he steps things up a level as he reveals his first material of 2023 and his Hot Creations debut with ‘The Thrill’.

Lead track ‘The Thrill’ harnesses the iconic vocal known across the globe but switches things up, contrasting the vibrant tones with murky low-ends and metallic percussion for a no-nonsense cut main for main rooms, while ‘Sum’ Bout’ takes a drum-driven path as skippy hats and warped snippets ebb and flow amongst the mix for more peak time material.

Mastered by Tohru Kotetsu and pressed at RTI, this 45rpm LP will live up to and surpass your most demanding judgments. Misty is one of the most sought-after titles from the acclaimed Three Blind Mice catalog.

Touring with the Micky Curtis Band, Tsuyoshi Yamamoto had the chance to explore several international experiences that he would later use on his 1974 album, Misty, as he worked with this band in France, England, and Switzerland.

The Yamamoto Trio’s Misty is a Stoned Cold Killer! A1 Reference Material!!! Misty earned both the “Best Engineering” Award and Jazz Disc Award of Swing Journal in 1974. Recorded at Aoi Studio, Tokyo, on August 7, 1974. Tsuyoshi Yamamoto is highly musical and his expressions natural, neither overly technical nor serious, his performance is relaxed and melodious.

2023 Repress

* Tales of the Inexpressible” was released on Twisted Records in 2001.

It was a much anticipated and well loved successor continuing in the pioneering spirit of the debut album and in this exceptional follow up they gave us plenty more multi-dimensional surprises and new sonic realities to explore and immerse ourselves in.
From the opening sounds on “Dorset Perception”, the first track featuring flamenco guitar and Latin percussion, we can tell we are in for some incredible planetary as well as interplanetary trips on this musical voyage as Si & Raj take us for a spin though their musical worlds, full of influences garnered on their travels to the 4 corners of the earth.

As the Star Shpongled Banner unfurls, the immeasurable beauty of the album is illustriously illustrated with blissful cascades of Indian Flute washing over the minds ear and achingly beautiful synths rippling with dimensional dub effects throughout. As the Shaman’s voice resonates through the digital dream, the Shaman’s drum begins to beat leading us to a vedic celtic crescendo.

By the time Room 23 emanates from the loudspeakers, Shpongle have confirmed their position as the true pioneers once again, shining a light on the deeper development of the Psybient and Psychill sound and unmistakably elevating the consciousness of the listener to previously unheard of heights by bringing the eddying currents of Raj’s magical flute lines and Simons mellifluous keyboard riffs and genius production style together in an extraordinary hallucinogenic mix.

The album holds 9 gems glistening in hyperspace, gems of unmistakable brilliance and radiant beauty in which every composition contains worlds within worlds, as explored by Raja and Simon on their epic voyages into the depths of musical exploration and recounted in these tales.

They have been the soundtrack to innumerable visionary voyages for the neuronaut cognoscenti, because of the multi layered sounds, shapeshifting focus and awe inspiring depths of the advanced Shpongle production techniques. Tales of the inexpressible is quite literally, beyond description and has been a part of creating so many beautiful moments that its absence from our lives is unimaginable. 

Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Peach Vinyl

Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Tape
Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Orlando Voorn is back on Heist after his 2022 ‘Heist mastercuts’ EP and comes in with a heavy dose of soulful machine funk. ‘Heist mastercuts part 2’ has the techno & house veteran showing his eclectic style with the vocal cut ‘Soundsystem’, Midwest inspired sample jam ‘High’ and his Boo Williams collaborative drum workout ‘909’.

On the first Heist mastercuts, Orlando dove deep into his archives and presented a collection of old and new tracks, showing us that his music has aged well and reminding us that he’s a producer still on the top of his game. He kept busy in 2022 with releases on our own label Transient Nature, Kompakt, a handful of Bandcamp only tracks, and a self-released album. Somehow, he found the time to work on his follow up ep on Heist and managed to completely blow us away with the music.

The EP kicks off with Soundsystem: a masterclass in simplicity. A steady and minimalistic groove guides you through the track, where silky vocals and woozy chords take you on a trip through Orlando’s sonic universe. Orlando moves into freak mode with a trippy lead and dubbed-out keys to add some playfulness to an already outstanding track.

‘High’ is Orlando’s take on what could easily be an old Andrés track. Here, he samples a female vocal (I get high, I get high, I get high), and cleverly adds his own vocals to add depth and originality to the track. The percussion on high grooves in an effortless way and underlines the feel of this track: It’s fun, cool and incredibly funky. There’s a bit of Dam Swindle sauce on the mix to make sure this track hits the right spot on any dancefloor.

On the flip, there’s ‘Day by day’: A classic Orlando Voorn cut with a live bassline, plenty of chopped samples and a Rhodes loop that could have come straight from a B-roll of a ‘First Choice’ recording session. The b-side ends with a collab with Orlando’s close friend Emil and legendary Chicago producer Boo Williams. The producers take a monologue from Boo Williams about working the 909 and deliver a drum workout -yes with the 909- that keeps on building energy, showing exactly what Boo is talking about.

The digital package also includes an instrumental mix of Soundsytem and an alternative mix to 909, just for good measure. This is the first artist release in our 10 years of Heist anniversary year and this EP perfectly encapsulates the Heist Sound: varied, deep, soulful, and banging.

Yours sincerely,
Maarten & Lars

With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.

BASSIST/COMPOSER PETROS KLAMPANIS LOOKS TO PAST AND FUTURE AS HE TRANSFORMS TRADITIONAL GREEK MUSIC WITH TORA COLLECTIVE

Unique instrumentation bridges Greek folkloric and modern jazz worlds, with Klampanis (bass, artistic direction), Areti Ketime (vocals), Thomas Konstantinou (oud, laouto), Giorgos Kotsinis (clarinet), Kristjan Randalu (piano), Ziv Ravitz (drums, electronics, co-production) and more.

Following up his acclaimed recent outings Rooftop Stories and Irrationalities, bassist and composer Petros Klampanis creates one of his most inventive musical settings to date with Tora Collective, his sixth album as a leader. For Klampanis, who grew up in Athens, Greece
surrounded by the confluence of Mediterranean and Balkan folk cultures, making music has always meant navigating cultural crossroads. With Tora Collective (“Tora”=“Now”) he puts traditional Greek music at the centre, even as he presents it from a bold new angle.

In addition to the two new originals “Disoriented” and “South By Southeast,” Klampanis and his compact hybrid jazz/Greek folk ensemble interpret popular Greek songs such as “Xehorismata,” “Sybethera,” “Hariklaki” and “Menexedes ke Zoumboulia.” These songs, Klampanis asserts, are “not just part of Greek cultural heritage or a fragment of the past, but also as part of the future: they live into the present, breathe into the ‘here and now,’ while constantly evolving in a dynamic state and in dialogue with contemporary music.”

“For me it’s a personal thing,” he says. “I want to reflect on what Greek music and culture offer the world. How can music from the Aegean to Epirus and from the Ionian Islands to Crete, meet and speak to the hearts and minds of musicians and audiences from different parts of the world, different traditions and backgrounds?”

To that end, Tora Collective draws on regional characteristics, as Klampanis explains: “Every region has a strong identity. In Epirus the clarinet is more prominent and the music has this slow, groovy, meditative vibe. The islands are lighter sounding, Macedonia is groovier, faster tempos and energetic dances. Music from Asia Minor or Istanbul is more sophisticated. Greeks often refer to Istanbul as ‘Poli,’ from Constantinopoli, so the songs from there are called ‘Politika.’”

There is magic in the clear and consistent voice of Areti Ketime throughout Tora Collective, as can also be said for the supremely voice-like articulation of Giorgos Kotsinis on clarinet. Ziv Ravitz, on drums and electronics, also plays a pivotal role as coproducer: “He added so much in the orchestration,” says Klampanis. “His knowledge of electronics, all these non-acoustic sounds and keyboards, treatments of the acoustic instruments, it’s all because of Ziv. He brought a new perspective on the whole thing.”

The string element in Tora Collective is also strong: in addition to Klampanis’ bass there is Thomas Konstantinou on oud and the traditional Greek laouto, as well as Kristjan Randalu (the pianist in Klampanis’ Irrationalities trio) providing an anchor and bringing Klampanis’ inventive arrangements into harmonic focus. Additional guests appear: Alexandros Arkadopoulos on clarinet for “Disoriented,” Laura Robles on percussion for “South by Southeast” and trumpeters Sebastian Studnitzky and Andreas Polyzogopoulos on “Milo Mou ke Mandarini” and “Hariklaki,” respectively. (“Milo Mou” is slated as a post-release bonus track.)

Using traditional Greek music to discover a common new voice, the project aims to build dialogue, spark creativity, cultivate respect for the past, pave a path forward, discover a new musical storytelling powerful enough to reach and touch audiences in many countries. This is an experiment that bridges worlds: the east and the west, the traditional and the modern, the nostalgic and the forward-looking, using the power of music and improvisation.

For the first time the work of Jacqueline Nova is available to the public in vinyl LP format. - Jacqueline Nova is one of the pioneers of Latin American electronic music and an essential figure of the Colombian avant-garde. - Jacqueline Nova (Ghent, Belgium, 1935 - Bogotá, Colombia, 1975), a representative figure of Colombian avant-garde music, developed important and radical work within the field of electronic and instrumental music, as well as in interdisciplinary forms. This album CREACION DE LA TIERRA - Ecos palpitantes de Jacqueline Nova: Música electroacústica e instrumental (1964-1974) CREATION OF THE EARTH - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974), under the curatorship and research of the Colombian composer Ana María Romano G., recovers Nova's most important electroacoustic works: Creación de la tierra Creation of the Earth (1972), Oposición-Fusión [Opposition-Fusion] (1968) and Resonancias 1 [Resonances 1] (1968-69), as well as the music for the film Camilo el cura guerrillero [Camilo the Guerrilla Priest] (1974), composed during her stay at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) , of the Torcuato Di Tella Institute, in Buenos Aires, as well as in the Study of Phonology of the University of Buenos Aires. The compilation also includes the instrumental works Omaggio a Catullus (1972-1974), Transiciones [Transitions] (1964-1965), and Asuimetrías [Asymmetries] (1967), in which she explores randomness, timbre possibilities or the encounter between acoustic and electronic media. - The interest in experimenting with the human voice, and interdisciplinary work involving visual arts, were some of the aspects that have defined Jacqueline Nova's work. Ana María Romano has written: "Nova lived in an environment hostile to change, to debate and discussion, hostile to her being an autonomous and lesbian woman. She undertook feats that make her a pioneer, even though she did not set out to be taken as one, but only as a result of the commitment, dedication and passion of a creator with her society. Jacqueline Nova died in Bogotá of bone cancer. Her tragic and early death not only cut short a career in full creative force, but also directly affected the development of electroacoustic music in the country. After her death there was a great silence -close to 15 years- in musical creation with electronic means. Nova challenged a conservative milieu and survived alone, working in a field thought to be exclusively masculine. But it was a woman who strengthened the use of technology in Colombian music. A risky bet that sadly represented a high cost: Nova was relegated during her lifetime, but her noises managed to shake and question the comfort zones of the Colombian musical establishment". - CREACION DE LA TIERRA - Ecos palpitantes de Jacqueline Nova: Música electroacústica e instrumental (1964-1974) [CREATION OF THE EARTH - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)] is published through Buh Records, on all digital platforms and in a double vinyl edition, limited to 300 copies. The album includes a booklet with extensive information written by Ana María Romano G. This publication was possible thanks to the Ibermúsicas fund.

First time on vinyl, expanded version of Japan-only CD album from 2006! Now a double LP with unreleased tracks on audiophile grade colored vinyl (Disc 1: Opaque Baby Blue, Disc 2: Opaque Brown) The Jungle Bros embraced of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz sample , on this reissue double LP Release on Colored Audiophile grade Vinyl , the I got U album is remastered and re-released with additional tracks .Michael Small (Mike Gee), Nathaniel Hall (Afrika Baby Bam), and Sammy Burwell (DJ Sammy B). Known as the pioneers of the fusion of jazz, hip-hop, and house music, they were the first hip-hop group to collaborate with a house-music producer. The trio released their debut album, Straight out the Jungle in July 1988. Their hip-house club hit single, "I'll House You" was added to the album in late-1988 reissues. Fostered by Kool DJ Red Alert, the Jungle Brothers success would pave the way for De La Soul, A Tribe Called Quest, and eventually the Native Tongues collective that they founded. Hip-Hop-House with a jazzy feel including "I Got U", a re-recorded "Sunshine" and four bonus tracks/versions. -- The Jungle Bros embrace of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz samples -- _John Bush, All Music

Inspired by the likes of old-school legends including Venom, Kreator, Sabbat JPN & Metallica, James McBain formed Hellripper in 2014, showcasing an electrifying brand of blackened thrash. Building on the already impressive foundations laid by their early EP & split releases, the first full-length album, Coagulating Darkness',
was released in 2017 to media acclaim, with the UK's Metal Hammer hailing Hellripper as Scotland's King of the arcane mosh & the band receiving notable attention throughout Europe & the US. This was followed by the Black Arts & Alchemy' EP, before an eventual deal was inked with Peaceville Records, resulting in the masterful The Affair Of The Poisons', further propelling the band to the forefront of the UK metal scene. Warlocks Grim & Withered Hags' - Hellripper's third studio album - establishes a new threshold of excellence & raises the bar further over The Affair Of The Poisons', with an opus standing at the crossroads between the sound that Hellripper has become known for & a whirlwind of different influences up until now yet to be explored, resulting in James McBain's most personal & diverse
work to date. With a greatly expanded scope to the tracks, incorporating more epic & melodic blackened anthems alongside the high- speed metal attack & blistering solos, Warlocks Grim & Withered Hags' marks a new highpoint for the band. Inspired by the landscapes & legends of the Scottish highlands, McBain explores the darker side of Scottish history & folklore - the title itself taken from a
line in the Robert Burns poem,Address to the Deil' - as well as including references to clan culture (including his own) throughout the album. For example, one of the tracks ( The Cursed Carrion Crown') is based on the legend of Sawney
Bean' & the Bean Clan (a spelling variation of McBain'') & tells the story of a family of cannibals that lived in a cave & committed various gruesome acts. As always, the writing & recording process was carried out by James McBain himself, with a few guests offering contributions in the form of additional vocals & instrumental
parts. With recording taking place between March 2021 & June 2022, the album was also mixed by McBain & mastered by Damian Herring at Subterranean Watchtower Studios. The suitably sinister & ominous artwork appears courtesy of Adam Burke. Hellripper will be embarking upon a series of shows in support of the album throughout 2023.

Canto Ostinato is the new volume of classical minimalism from musician and producer Erik Hall. Written for four pianos in 1979 by Dutch composer Simeon ten Holt, the piece is freshly framed as an intimate, hour-long solo performance consisting of multitracked grand pianos, electric piano, and organ. Modern yet warm, ethereal yet tangible, Hall's Canto Ostinato expertly bridges a revered piece of meditative concert repertoire with a tactile and highly personal studio setting. Chicago-born and Michigan-based, Erik Hall is known as a multi-instrumental pillar for the groups NOMO, Wild Belle, and his own songwriting moniker In Tall Buildings. He has composed music for feature films, and as a producer/engineer he has shaped records for Natalie Bergman and Western Vinyl labelmates Lean Year. In a 2020 creative pivot, he chose to reinvent composer Steve Reich's monumental contemporary classical masterpiece Music for 18 Musicians as a solo undertaking, applying the piece's score to the familiar keyboards, guitars, and synthesizers in his studio. "At the time I think I was working through my identity as a musician and an artist," Hall explains, "and on a level there was some sort of exorcism of a long held pop spirit." The album was celebrated for being "freshly thrilling" and "legible in history but assertive of the moment" (Pitchfork) and "beguiling, meditational, and magical" (Electronic Sound). It won the 2021 Libera Award for Best Classical Record, and it quickly joined the canon of the piece's quintessential recordings. "There is a pseudo-meditational benefit to working on a longform piece that's built on repetition," Hall says. "Every stage- from internalizing the music, to executing the performance, to editing and mixing the record- requires deep and sustained presence of mind. I've always been drawn to a hallucinatory combination of harmony and repetition, and I found the entire process addictive." An apt second chapter, Canto Ostinato is inherently vast, and its score gives great creative license to the performer. Comprising 106 sections, complete freedom is given to repeat each one as many or as few times as desired. Additional leeway is given with regard to dynamics, articulation, and even instrumentation. On the heels of his previous, rather maximal arrangement, Hall chose to limit this album's palette to three foundational keyboards of his studio: a 1962 Hammond M-101 organ, a 1978 Rhodes Mark I electric piano, and his family-heirloom 1910 Steinway grand piano. "This particular piece brought the added challenge of rekindling my dexterity as a pianist, something I haven't maintained in earnest since I was a teenager," he admits. The ensuing five-note rhythmic motif- the piece's primary building block- is steady and workmanlike, forgoing virtuosic flare for depth, texture, and resonance, and eventually giving way to the stunning gratification of a gorgeously lyrical left turn. As with Music for 18 Musicians, Hall employed no loops nor quantization nor any programmed or sequenced instruments of any kind. Every part was performed live in a room and captured with microphones, one at a time, each informed by, and reacting to the last. In this way the record breathes with interplay and an organic humanity, complete with flaws, noise, and the faint sound of turning pages. The recording quality is nonetheless toneful and saturated, characteristic of Hall's production style and straying from the usual transparency of classical albums by using gear with tubes, transformers, and various stages of compression in the signal path. Always there is unmistakable realism and the feeling of being present in the room, sitting among the keys, hammers, and tines. Ten Holt said: "Time, patience and discipline are the prerequisites for making a genetic code productive." His landmark composition provides Hall once again with a wondrous space in which to reverently embody this sentiment and deftly convey the elegant beauty of this music.

Red Vinyl

Initial LP copies pressed on opaque red vinyl! As its name suggested, the intimate and sultry Cuntry Covers Vol. 1 was always going to have a follow-up. Led by the brooding vocals of Bria Salmena, Cuntry Covers Vol. 2 is every bit as potent as its predecessor whose noir-inflected alternative country-rock stood in sharp contrast to the singer's commanding delivery as leader of post-punk revivalists FRIGS. Debuting the project in 2021, the languid, reverb-drenched Cuntry Covers Vol. 1 saw her artfully collaborating with multi-instrumentalist Duncan Hay Jennings and reimagining a carefully picked collection of Americana anthems. Vol. 2 pushes the envelope further and harder. Encompassing feverish takes on tracks by Gillian Welch, Paula Cole, Mary Margaret O'Hara, Robert Lester Folsom, Glenn Campbell - by way of Nick Cave - and the late, great Loretta Lynn, Bria's deliciously dark approach shimmers through these six startling songs. Created during a break from Salmena and Jennings' work in Orville Peck's world-conquering backing band, Vol. 2 was recorded directly after Peck's second album and Bria's US tour supporting Wolf Alice. Embracing contrast, the sunny circumstances in which Vol. 1 was made were flipped on their head. Instead of a bucolic barn in the Canadian countryside, they recorded the new tracks in chilly Toronto, huddled together in their tiny makeshift home studio, with Jennings at the controls. They enlisted the help of local Toronto musicians Lucas Savatti (FRIGS), Simone Baril (US Girls, The Highest Order, Darlene Shrugg, Partner), Andrew Manktelow, and frequent collaborator Jaime Rae McCuaig. While Vol. 1 was Bria's attempt at subverting country music's conservative roots and primarily white and heterosexual agenda, here the emphasis was on experimentation. While Vol. 2 might be less personal, it's just as idiosyncratic, with half of the reversions staying true to the originals and others taken to a different universe entirely. Building on the tried-and-true/bold-and-new duality of Cuntry Covers' first offering, Vol. 2 delivers a deeper dive into the duo's brilliant alchemy of traditional and contemporary reinterpretations. The added experimental flourishes, from dizzying electronica and pulsing bass to sax-driven soul, take Bria's new EP into previously uncharted territory, signalling a thrilling new step in Bria's adventurous evolution.

Repressed on vinyl. Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Good Aderegechegn gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases.

Futurismo present their new anthology series: Altered Vision, beginning with SUBURBAN ANNIHILATION The California Hardcore Explosion / From The City To The Beach: 1978-1983.

This aggressive collection draws from California’s rich history of punk, more specifically hardcore: a new sound that eschewed melody for intensity, a sound that took punk harder and faster, a sound intrinsically American. Whilst hardcore was also burning over on the East Coast, it was in California that it had ignited and sprawled, a sonic punch in the face that raged socio-political disdain and total abandonment for commercialism, fuelled by a crumbling American Dream and the collapse of family values.

Suburban Annihilation takes you from the major cities, to the coastal towns, to the SoCal suburbs, showcasing some the most important bands of the West Coast. Blasting off with the Adolescents ‘I Hate Children’, it heads from the year zero of Middle Class’s ‘Out Of Vogue’ to the surf punk of Agent Orange’s ‘Bloodstains’, from the blues tinged outlaw of The Gun Club’s ‘She’s Like Heroin to Me’ to the classic anti-anthems: ‘Live Fast Die Young’ by the Circle Jerks, lifted from their seminal Group Sex album, and the hardcore staple ‘California ÜberAlles’ by the Dead Kennedys. Also present are so many other bands integral to the era: T.S.O.L, Wasted Youth, Germs, Social Distortion, Suicidal Tendencies, Negative Trend, Flipper and many more.

Though the music was designed to repel, this historical document has been lovingly designed to remind us that this genre created some of the most immediate and acutely-realised music ever produced. Making this collection of choice cuts essential for long-time fans of hardcore and punk, just as those new and inquisitive about one of the most angry and pissed off genres to have given birth in America.

This 2xLP comes in a choice of limited edition coloured vinyl, it has a tracklist co-curated by Henry Rollins, it contains liner notes by Lisa Fancher of Frontier, a bio by award winning author Benjamin Myers, and contains a booklet featuring an array of images by the legendary punk photographer Edward Colver.

Across 2LPs comes a unique collection of authentic 70s nostalgia.
Blissful and relaxing, compiled together onto vinyl is the warm sound of 32 of the decade’s finest works of easy listening pop.
Find classic lounge tracks from The Manhattan Transfer, Neil Diamond and Demis Roussos alongside Dionne Warwick, Commodores, Billy Joel and many more.

IDK says of USEE4YOURSELF, his second album and the sequel to his 2019 debut Is He Real?. The project sees Jay reflect upon how the lack of love in his home growing up has affected his views on relationships, women, and lastly, religion—tying back to the theological themes of Is He Real?.
US4Y features more ambitious production than IDK’s past releases, showcasing how he could be viewed as a producer before a rapper—which he himself has touched upon in tweets. It also boasts an impressive feature list of twelve other artists ranging from Slick Rick to Young Thug to MF DOOM to T-Pain. Furthermore, US4Y includes uncredited spoken appearances from DMX, Mike Tyson and others

Jens Brands has created a large number of installations, musical performances and Interactive Media works. He uses the concepts of parallel activities rather then ideas of fusion. The pieces presented on this recording focus on sonic events related to electronic music (such as intense volumes and dynamics, white noise, square or sine waves) but stay entirely acoustic.

On a live performance of »Ratchets«, the sounds are generated with the idea of a physical, sculptural, yet invisible presence. It might happen that the body of a person moving around in the audience has more impact on the sound then the variations produced by instruments themselves.

"I was always interested in the idea of making acoustic music that has the quality of electronic music," muses Dortmund based musician and visual artist Jens Brand. "Electronic music is fantastic, but I don't like speakers very much."

Take his performance entitled »Motors And Styrofoam«. Pieces of glistening white styrofoam fitted with small motors hang from the ceiling above the audience's heads, squatting balefully in mid-air like lopsided clouds. Acting as a resonator, the styrofoam amplifies the whirr of the motors, which builds up into a loud, persistent drone overlaid with overtones.

Equally uncompromising is »Ratchets«, which deploys a number of football rattles, those small wooden devices originally used by hunters. The ratchets are set in motion by motors whose speed and direction are controlled by a computer: they click busily away, producing a dense, enveloping sound reminiscent of heavy rainfall. In performance, the sound of the ratchets is spellbinding in its rawness and intensity, attaining impressive volumes as it interacts with the features of the space.

Pure Adult are a Brooklyn-based experimental rock duo formed
by Jeremy Snyder and Bianca Abarca. At the centre of their
music is the far-left political ethos and DIY attitude the pair
share.
Having grown up in the unusually sheltered environment of a
church-turned-cult, Snyder has always found himself drawn to
the harsh, dissonant music that was off-limits during his
formative years. In 2017, he and contemporary dancer and
visual artist Bianca Abarca formed Pure Adult, who released
their debut EP, ‘Pure Adult I’, in 2019. Now they are set to
release their debut album, ‘II’, on FatCat Records.
After leaving the church in 2007, Jeremy began studying
religion, philosophy and politics whilst working as a sound
engineer. “I ended up touring with some small pop rock bands,
while my studies brought me through an array of beliefs and a
far-left political worldview. While I’ve identified as a communist
for almost 20 years now, I didn’t fully give up on religious belief
until around 2010. A fundamental element to our belief system
was this sort of unverifiable feeling that must be something and,
because I’ve experienced that feeling, virtually nothing can
make me deny it. And it’s comforting, in a world of quantifiable
uncertainty, a guise of certainty,” he says.
In more recent years, Jeremy has become the engineer of
choice to internationally acclaimed acts such as Mdou Moctar
and IDLES, both of whom are big fans of Pure Adult. IDLES
lead singer Joe Talbot says of the band’s forthcoming album:
“Pungent chaos that serves no pomp, instead it throws around
dark innuendo like a rag doll to the cadence of fury and fucking.
The best album I’ve heard in ages. The best band you haven’t
seen. Go dig, it’s beautiful at its worst.”
As well as the release of their debut album at the start of 2023,
Pure Adult are also preparing to release a collaborative EP with
Gustaf, Thank and Heavy Lungs in the Spring. They will support
Gilla Band on tour in the US early next year.
“Blown-out, hyperactive, aggressive, and danceable rock
informed by punk and post-punk.” - Brooklyn Vegan
“A furious piece of work” - Steve Lamacq, 6 Music

2023 Repress

Shpongle came to light 20 years ago, emerging from the burgeoning Trance music scene. Simon Posford aka Hallucinogen and Raja Ram aka The Infinity Project were already leading lights on the pioneering new sonic realms of Trance music.

The Shpongle sound was formed out of the desire to share another side of the psychedelic spectrum of music and in doing so established themselves as important innovators and arguably, inventors of genres we now know as PsyChill, Psybient, Psydub or Psybreaks.

Are you Shpongled? contains 7 tracks of epic audio adventure. Each one taking the listener on a journey, with sensurround sounds emerging from the caves of tribal reality. Across the globe, both seasoned aficionados and new sonic surfers alike take delight in the original worlds of sound explored by these visionary pioneers on their debut album which still takes pride of place in many collections.

The Shpongle sound planted sonic seeds in fertile imaginations across the world and over the past 2 decades their fanbase has grown exponentially, creating an unforgettable impression on the minds ear of all who listen. With a full live band to compliment their studio origins, Shpongle have been headlining large scale concerts and festivals across the globe, most notably two sell out shows at The Roundhouse London in 2009 and more recently their legendary performance at Red Rocks in Colorado where Shpongle performed to a sell out crowd of 1000. They have also completed numerous tours of the USA with stateside crowds showing huge love for the band and establishing a loyal following. 

LEMON YELLOW VINYL

As mui zyu, Hong Kong British artist Eva Liu navigates the tricky territory of ever-changing identity, merging fantasy and folklore to create a stage for self-acceptance and deliverance. On her debut full-length Rotten Bun for an Eggless Century, Liu utilizes chopped-up sound- scapes, delicate industrial ambience and sweet pop melodies to introduce a character--a guide--who can be stretched across worlds to offer the catharsis of patience, perseverance and understanding. This isn't a character formed from a desire to escape or flee the real world, but rather a way to submerge even deeper into ourselves. Rotten Bun for an Eggless Century is a reflection of everyone, and everything, that made us who we are. On her 2021 a wonderful thing vomits, Liu was praised for her seamless integration of darkened, often ominous instrumentation and pillowy-soft vocals. As the front person of UK indie-rock trio Dama Scout, Liu effortlessly navigates a disorientating genre-bending sonic landscape with a playful, gentle dexterity. Now, with the help of Dama Scout bandmate Luciano Rossi as co-producer, Liu's first solo full-length builds upon these previous worlds to form a blossoming, more upbeat patchwork of lo-fi percussion, poignant lyricism and oddly alluring arrangements. The writing process of Rotten Bun for an Eggless Century prompted Liu to explore more of her Hong Kong heritage, allowing a space for acceptance and celebration. "I am Chinese and I am owning it," she explains. "Before, I would resent it. I tried doing things that would make me like less Chinese somehow." As the album began to take shape, Liu read the traditional Chinese folklore writings of Pu Songling and joined local East and Southeast Asian groups. It opened a portal into a new self, where Liu could blend her love of video games and film scores with traditional Chinese instruments.

2023 Repress

Originally given a digital-only, Bandcamp-only release back in the summer of 2016 RVDE's '90s Hammer' has become a sleeper hit, slowly but surely growing through word of mouth, YouTube plays and DJ support. Now Perc Trax has licensed it from its original home T/W/B, added two brand new remixes and given it the vinyl release it always deserved as the label's final release of 2019.

It all starts with the original mix, a whirlwind of heavy kicks, triplet synths and gangster shout-outs. Heavy music isn't often as hook laden as this and you can see why Perc has been a huge fan of the track since its original release.
Next up Perc Trax welcome's Slovakian legend DJ Boss to the label for the first time. Boss is already a hero to many Perc Trax artists including Sawf and Perc and as usual he doesn't disappoint with a sub-heavy rolling 4/4 mix.

Flip it over and up steps Perc for the second of the new remixes.
The Perc Trax boss pulls no punches as he adds gun shots and his trademark slicing snares to an explosive arrangement that has been a highlight of his sets around the world since summer.

Finally Anthro's excellent remix from the original T/W/B release completes this four track 12". The noisiest and grimiest of all the mixes on show here, it rounds off one of Perc Trax's most solid pieces of vinyl in a long time.

Debut album by Ani Zinc, member of the Spanish experimental duo Diseño Corbusier and co-founder of the iconic record label Auxilio de Cientos. - First time reissue of this much sought-after record on the highly collectable Spanish experimental label Auxilio de Cientos. Formed in 1981, NEO ZELANDA was the way of expression of a woman, Ani Zinc, who since then began to experiment with vocal music, manipulated tapes or sound collages. As a child, radio had been her only contact with music. She received her first shock listening to 'Remember Love', the repetitive song by Yoko Ono. She later found out about Llorenç Barber, Spanish experimental music pioneer. After recording a single ("Paso Hambre") and several cassettes ("Radio-Sabotage", "Ese Lenguaje"), which helped her to gain international recognition, and the inclusion of her work in various contemporary cultural centers (Juan March Foundation, among others), her first LP saw the light of day in 1986 on her own label, Auxilio de Cientos (also home to Diseño Corbusier, pioneer Belgian EBM/Industrial band The Klinik, and the amazing compilations "Pas De Deux" and "Terra Incognita"). "Mix Zelanea" brings together part of her experimental work with voices and sound effects ('Si Esto Es Amor' or 'Il Drama'), together with new compositions, in which she is accompanied by some friends and welcomes the use of conventional instruments such as drum machines, keyboards, etc, resulting a richer and more diverse outcome ('Alemana Mix', 'Extenso Mundo Brillante', etc).

1997, the label Ici d'ailleurs was taking off and preparing to publish Yann Tiersen's " The Lighthouse", the third album which was going to be the one of his general recognition. In order to promote him, we decided to release a small off-the-shelf compilation intended for people working in the music industry, with tracks from the three albums and two tracks not included on any of his albums, one, "avant qu'ils arrivent", from the Ici d'ailleurs compilation, and the other, "la vie rêvée", created for the soundtrack of "La vie rêvée des anges." With the catalogue number IDA 000, "Avant la chute" had remained in the hands of a limited number of people. To celebrate the 25th anniversary of the label, we wanted to show with this brief compilation the extent of Yann Tiersen's talent, which today with the album " Kerber" still demonstrates his insatiable creativity, which is constantly evolving. The perfect moment it seems to us to release it in vinyl and in digital and to make it available to the numerous fans of Yann Tiersen. This limited edition 6-Track EP is available on transparent blue vinyl 12"!

At the beginning of the eighties reggae music became increasingly in tune with what was happening in Kingston’s dance halls… probably more so than at any time since the sound system operators had started to make their own shuffle and boogie recordings in the late fifties. The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real, raw roots of the music. Brash, confident, young record producers who were totally in tune with the youth audience stepped forward and seized the moment…

Oswald ‘Ossie’ Thomas began his apprenticeship in the music business at the age of
fourteen and served his time as a record salesman for Bunny ‘Striker’ Lee and Winston ‘Niney The Observer’ Holness before moving on to Miss Sonia Pottinger’s Tip Top Records.

“I ended up working in three record stores on Orange Street from 1976 to 1981… Yeah man! Me deh ‘pon me bicycle till I buy my motorcycle! Them days records were coming out left, right and centre… every day!” Ossie Thomas.

It was during his time with Miss Pottinger that Ossie began to produce records for
himself and in 1979 Ossie and Phillip Morgan began the Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue. Phillip initially inspired Ossie to start the label and soon Triston Palma, Phillip Frazer and “a youth named Gary Robertson” joined in although Gary later left for Canada.

The Soul Syndicate rehearsed in the Delamere Avenue area and Tony Chin gave Ossie a cut of a rhythm that he used for Triston Palma’s ‘A Class Girl’… the label’s inaugural release. The record was a sizeable success and paved the way for hit after hit after hit on Black Solidarity. Ossie worked with just about everybody who was anybody during this critical period of the music’s development including vocalists Robert Ffrench, Little John, Sugar Minott, Frankie Paul and most notably Triston Palma.

For this release we have compiled some of the version sides to those releases. Dub still being an integral part of the Reggae Sound System Sound. So sit back and listen to what Black Solidarity, one of the most important and often overlooked labels were bringing to the dance, dubwise, back in those heady 1980’s times.

With grateful thanks to: Paul Coote, Nick Hodgson & Hasse Huss