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In a Hip Hop match-up as heavy as Freddy vs Jason was to horror cinema, Los Angeles emcee's Mykill Miers and Pawz One have announced a collaborative album titled "Double Homicide". The project is packed with multi-syllabic lyrical barrages and DJ cuts as gritty as the boom-bap backdrops for a journey through the dark underbelly of the city of angels.

Mykill Miers, the self-proclaimed "Hitchcock Of Hip Hop" has been a threat on the mic since the late 90's, coming up in the same circle as notables including Planet Asia, Dilated Peoples and Phil The Agony. Pawz One has been releasing music for the past decade has been repping hard for the real ish. Speaking on their initial link-up Pawz recalls "I had obviously known of Myk for a while from killing it on the "Wake Up Show" to all the work he dropped. I was circulating around shows in LA a few years back and we ended up on the same bill a few times. We exchanged contact and did a few songs and I felt like it was a combo people would like to hear more from."

Production on the album includes work from Default Beats, Big Bob, Phaisrok, DJ Ray Swift, Science and Mykill Miers himself. Turntablists including DJ Rhettmatic, DJ Merk1200, DJ Breeze, DJ Romes and DJ Fastcut lend their skills and emcees including Ruste Juxx, Mic Handz, Edo.G, El Da Sensei, King Magnetic and Buddah.

Eclectic Italian quartet Eugenia Post Meridiem are ready to reveal their sophomore full-length record, a rather magnificent musical masterpiece. The gloriously kaleidoscopic, dazzling celebration of sound ‘like i need tension’ is available everywhere now. Demonstrated over eight tracks, the all encompassing, musical odyssey, ‘like i need tension’ features initial single ‘willpower’; which burst across our radar with lashings of personality, and became the introduction to the now familiar Indie outfit. Next up was the punchy and fearless ‘around my neck’ and last but by no means least came the intriguing, alluring ‘whisper’, the calm before the sophomore album storm. Gifted with a further five previously unheard gems, listeners certainly have plenty to sink their teeth into. With focus track ‘crucial spring’ traversing the spectrums of shadow, the progressive and percussive ‘unchained will’, the slow voluminous ballad ‘ocean flows’ and the infectious, chaotic energy of ‘tiny perspectives’ and ‘mazes of gazes’. Oozing with iridescence, flavour and texture, there’s something to suit all manners of music fans. Completed over a span of two years plus a two week post-lockdown writing and recording stint, it was then that like i need tension truly came to life in a small converted barn near the village of Montaldo Bormida, in northern Italy. “It was a totally collaborative process... All the composing was done together, right there in the room.” and thus, like i need tension was born. “Tension is a powerful force. It drives things forwards, its friction producing interesting and unexpected results. Above all, it fuels creativity, inspiring and focusing in equal measure.” Such togetherness and chemistry as a band truly shines through across the eight track project. There’s a bold, fearless tenacity to experiment and to go against the tide as each track is filled with quality, curiosity and ingenuity. With purpose and intention studded throughout, like i need tension is as poetic and reflective as it is meditative and utterly transcendent. Placing its roots somewhere in the mystical universe of Hiatus Kaiyote, Christine and the Queens, PYJÆN and Tame Impala. Eugenia Post Meridiem’s sound holds an intrinsic synergy, refreshingly intangible, allowing space for the listener’s own interpretation and understanding. The depth they venture as a collective rewards those who journey beyond the initial passive listening. With technical structures, composition and developed time signatures just waiting to be unearthed, depicted and understood, Eugenia Post Meridiem offer a treasure trove for the adventurous and devoted musical palate yet still remain accessible and incredibly generous to all those who decide to listen. “And so it is that all eight tracks hang together beautifully, linked not by some overarching concept or narrative, but simply a band exploring their talent and the vast space afforded by an open-minded approach.”

Dylan Owen's breakout mixtape 'Keep Your Friends Close' is on vinyl for
the first time to celebrate its 10 year anniversary
It features remastered, reworked versions of his classic songs that his diehard
fans love. Dylan's listeners have tattooed his meaningful lyrics, shared heartfelt
messages with him about what these songs mean, and streamed this album over
4 million times on Spotify. The album is pressed on turquoise blue colored vinyl,
includes a download card that links to a free digital zine created by Dylan with the
help of his fans, and includes a pullout square poster sheet. Dylan has shared
stages with: Mac Miller, Logic, Watsky, Ceschi, Patrick Droney, The Doppelgangaz,
and has collaborated with Abhi the Nomad, Watsky, Skinny Atlas, Telli of
Ninjasonik, and more. His lyrical, raw honest songwriting style has been
compared in the press to alternative icons Conor Oberst and Elliott Smith.Pressed
on Turquoise Blue color vinyl.

Widely regarded as a modern day classic. First repress (in nearly twenty tears) of this highly sought after treasure. Limited edition vinyl with original, single sleeve, artwork.

Bitty McLean’s rebirth as a bona fide hit-making lovers rock singer, since his link up with Daddy Peckings’ sons Duke and Chris, has been particularly sweet, due in no small part to his superior talents in the vocal department, and his accomplishment in the studio, but also because he is a humble soul whose talent has often been overshadowed by the perception of him as something of a reggae lightweight, due to the commercial success he experienced back in the early nineties with It’s Raining. Bitty’s credentials far outstrip any of his detractors though, and with the release of the superb single Walk Away From Love, he’s proved beyond doubt his worth as an interpreter of classic songs and a gifted songwriter in his own right. Kicking off with the hit single which utilised the classic original 1967 Treasure Isle rhythm to Alton Ellis’ Rocksteady. All selections revive original Duke Reid rhythms created by Tommy McCook & The Supersonics including the beautiful Ranglin On Bond Street (Tell Me), Those Guys (Baby Tonight), Moonlight Lover (To Fall In Love), Inez (My Lovers Call), Queen Majesty (a wicked version of Bread’s Make It With You featuring some beautiful overdubs from Dean Fraser), I’ll Get Along Without You (I’ve Got Love), Lonely Street, and a cover of Smokey Robinson’s Cruisin’. An album to cherish for young and old alike.

Theo Parrish and Marcellus Pittman's collaborations run deep, from those seminal Essential Selections 12"s some 20 years ago through to the T.O.M Project with Omar S, the 3 Chairs super group and on and on. In the usual Sound Signature style, a new link-up between the two Detroit legends arrives with a minimum on fanfare, just a killer jam with all the grit and soul you'd hope for from this pair. The drum levels push and pull in the mix from red line pressure to back seat driving, while a mellow blur of soul sampling comes calling through the mist until the titular low end glues everything together. It's understated and casual brilliance, everything a Sound Signature club drop should be.

Producer and multi-instrumentalist Ben Marc, who's emerged as a key figure of London's cutting edge jazz scene, has just announced his debut full length, a follow up to last September's widely acclaimed Breathe Suite EP (heralded by NPR, Pitchfork, The Wire, The Guardian, and more)

Glass Effect is an assured and accomplished 13-track realization of a singular vision that unifies a multitudinous profusion of influences (free-jazz, broken beat, hip-hop, electronica and beyond) into a sublime whole, underscoring the evolution of his quest for a distinctive sound: lambent, low-key, and yet dizzyingly intricate.


It's a rare talent that can link Radiohead's Jonny Greenwood, Ethio-jazz pioneer Mulatu Astatke, Afrofuturists Sun Ra Arkestra, and grime legend Dizzee Rascal, but Marc has long blurred musical worlds and criss-crossed boundaries. One of the reasons that he started writing Glass Effect, says Marc, was going to nightclubs in Ibiza and experiencing the heady sun- dappled euphoria of a summery dancefloor, as well as the beat-driven production of artists like Four Tet, Bonobo, Machinedrum, DJ Shadow, and Madlib.

A double treat for those who love timeless Southern Soul flavoured with some of those good ol’ down home blues. Memphis born, and Minneapolis based, Willie Walker can comfortably be included in the pantheon of grittiest soul singers along with Wilson Pickett, Syl Johnson, Lou Rawls, James Carr, Eddie Floyd, Tyrone Davis and L.V. Johnson, to name but a few, but there has always been speculation about other Willie Walkers. The recordings on Eutor and Hi in the 70’s are not by the same Willie as those on Goldwax and Checker in the 60’s. He did, however, also record as Wee Willie Walker.
 
He was a member of The Rhythm Harmonizers, The Val-Dons, The Exciters, The Bound Band, Willie & The Bumblebees (although that Willie is actually Willie Murphy of The Val-Dons), and Canoise, spanning a long and varied career before hooking up with the Minneapolis based band The Butanes in 2004, with whom he made the next three albums. The first of these was mainly cover versions, but "Right Where I Belong" (2004) and "Memphisapolis" (2006) are notable for each providing the tracks that make up this latest Jai Alai release, a label that differs from sister label Soul4Real by featuring 21st century tracks previously CD only but now released on 7” vinyl for the first time. It also has to be noted that all the tracks on both these albums were written and produced by Curtis Obeda, who managed to track down Willie after so many years.
 
“I Feel It” will have been missed by most as it was on the CD "Right Where I Belong" which was released in 2004 on the most unlikely of UK imprints, the Wirral based One On One Records run by Colin Dilnot. The album is a lavish display of real instruments from a band that once backed John Lee Hooker and Little Johnny Taylor and the perfect setting for Willie’s powerful vocals. 
 
Just tipping five glorious minutes, "Cry, Cry, Cry" is a perfect example of why soul music is inextricably linked to the blues, and when the gospel styled chorus joins in towards the end, you realise that this could, maybe should, have carried on for just a little bit longer. Perhaps a fuller length version exists? Sadly, Willie died peacefully in his sleep in November 2019, but to complete his story check out the two albums on Blue Dot as Wee Willie Walker & The Anthony Paule Soul Orchestra. To quote the great Quinton Claunch…”Willie was one of the best to come out of Memphis in the 60’s”.
 
Steve Hobbs
(Solar Radio, Totally Wired Radio)

CoOp Presents is incredibly proud to present an all-new compilation album put together by Allysha Joy. This 14-track LP gives us a solid glimpse into the current wave of Antipodean bruk / broken beat artists.

Allysha explains "the connection began with a guest mix for CoOp Presents Worldwide FM radio show. I was asked to guest on the show, so pulled together some heavy unreleased and unmastered "Australian" broken sounds. I immediately called Horatio, Close Counters and Setwun, some of my nearest and dearest inspirations and collaborators to get them in the mix! Within 24 hours I had a brand new beat from Setwun called 'H.B.Y', I ran up some vocals on a Close Counters track and landed a wild jazz-bruk collaboration called 'Fly' from Horatio Luna and Nikodimos! We all felt really blessed to be linking in with some of the innovators of the sound we love!

Also in the mix, I played a track by Lanu a.k.a Lance Ferguson, one of "Australia's" funkiest songwriters and producers. Mike Gurrieri and Chris Gill over at Northside Records had already been scheming to set Lance and I up on a music date for weeks, which turned into writing 'Rewind' . Lanu, along with Ennio Styles, have been integral in the broken beat sound down here from the early 2000s and they connected Jonny Faith in to bring 'Southern Stepper'.

After linking in over the music and working on some collaborations, Alex Phountzi and IG Culture asked me to put together this compilation. The first person that came to mind was Sampology. A wild ride of shifting harmony and incredible vocals, Sam delivered 'Sunny', featuring Maia. Also of Middle Name Dance Band acclaim and a beaming light of creative energy, Kuzko created 'Immunity' for the comp — their debut solo release!

Also up in Meanjin, Special Feelings and Squidgenini were making their own style of jazzy house music and we absolutely knew that they would kill it on the broken beat tip. They sent through 'On Heat' and 'Prophecy' respectively, and inspired me to write and produce 'Listen'. A track about the struggle to be heard as female and non-binary artists. A hard-hitter mixed by co-collaborator Yelderbert of our new duo project, Totek.

As my brother and the one that first introduced me to Agent K, I knew we had to get Ziggy Zeitgeist up in the mix! He immediately sent over a bunch of tunes, and from alongside all of the 30/70 Collective demo drum loops and fresh Z.F.E.X sounds, we selected 'Bruk Samba' featuring Cody Curry, the CC Dance Orchestra.

I had managed to pull together a bunch of tunes for the compilation and after a studio session one afternoon I was walking down Sydney Road and bumped into Silent Jay, Alien and A.KID a.k.a. ACID SLOP at their new spot, the Mandarin Dreams HQ. We were just chatting and above Jay's head I spotted the New Sector Movements record, 'Download This'! To see that they'd just been spinning this record felt so serendipitous, so I had to ask them to be on it! Acid Slop sent me through a tune literally the next day, called 'Everything Falls Apart' and within the week we got 'Walk Away', from Lori and Silent Jay. It felt complete.

The way that this music just effortlessly and lyrically fell together, is a testament to the broken beat undercurrent that runs within the jazz and dance music scene down-under. 'They're Energised' connects a scene of deeply talented and inspired musicians, collectively shaping the new wave of uniquely "Australian" bruk and broken beat music!"

'They're Energised' is released mid-November 2022 on double vinyl and digital worldwide via CoOp Presents.

The origins of Cos date back to the second half of the sixties when Daniel Schell joined forces with Jean-Paul Musette, Pascale Son and Robert Pernet to form Classroom. When Classroom split, Daniel Schell and Pascale Son moved ahead and formed Cos together with Charles Loos, Alain Goutier and Bob Dartsch. They produced an experimental jazz rock sound linked to the influences above mentioned, but without being mere copycats since they always managed to keep to their own personality.



Babel was Cos' third long playing release, issued in 1978. It represented a new step in the band's evolution with the addition of new influences that ranged from musique dodécaphonique, minimalist droning, or even a hint of disco, without turning their backs to their earlier love for Canterbury sounds or more conventional jazz-rock. Dirk Bogaert, Francis Cahen and Marc Moulin all played in its sessions, making this a superb sample of what was going on through the Belgian music scene in those days.



The Wah Wah reissue comes housed in a beautiful reproduction of the original sleeve. Limited edition of 500 copies, licensed from and with the collaboration of Daniel Schell.

Red Vinyl

Introducing Time Is Now's newest recruit, a link up that felt inevitable. A Bristol native, Borai has had a firm foot in the city's bass scene since its inception, his steadfast dedication to rave culture helping to shape what it is today. When he's not curating his own Higher Level label, helping steer the Club Glow collective, or cutting dubplates for Dubstudio, he's exercising his passion for hardware, crafting vital DJ tools which span an impressive crosssection of the hardcore continuum. Naturally EP is a culmination of these endeavours, as well as his far-spanning influences.

We're transported out of Bristol and into late 80's Chicago - the golden era of garage house - via soulful vocals, nebulous melodies and saxophone whispers. It wouldn't be a Borai release, though, without some UK flavours. Rich atmospheric jungle track 'Phosphenes' brings things to a euphoric close, and reminds us of the producer's ambidexterity.

Experimental - Ambient - Tribal Ambient Mathias Delplanque was born in 1973 in Ouagadougou, Burkina Faso. He lives and works in Nantes and cultivates close links with the spheres of ambient, electronic, electro-acoustic and concrete music as well as dub and field recording. A rather elusive character, discreet but prolific, who can be found in the credits of dDamage or Ghislain Poirier's records as well as behind the mixing board for Charlélie Couture, when he doesn't have fun under the name of Lena releasing fabulous minimal dub albums on excellent labels such as Belgian Quatermass.Mathias Delplanque is also known for his ex- cursions as well as for his collaborations with various musicians using traditional instruments: the Korean E'Joung-Ju (geomungo player in the Keda duo), or the Nazairian François Robin (veuze, duduk and mizmar player).

Reissued double vinyl album of first part of THIS IMMORTAL COIL's Coil homage in gatefold sleeve with new artwork! "Brilliantly versatile tribute album to British-based avant garde and experimental group, Coil." More than a tribute to cult dark ambient band COIL, This Immortal Coil is a project of re-interpretations by Ici d'Ailleurs' artists and more: Yael Naim, Bonnie Prince Billy, Matt Elliott, Yann Tiersen, DAUU, Christine Ott, Chapelier Fou, Sylvain Chauveau, Deadverse. Mixed by OKTOPUS of DÄLEK. Peter Christopherson himself immediately put it up for sale on the Coil website at the time, cherrishing the work as "The Most extra-ordinary, beautiful and moving re-interpretations of Coil I have ever heard." "On November 13th 2004, John Balance passed away, He was, along with Peter Christopherson, the founding member of the group Coil. His brutal death marked the end of over twenty years of activism and musical genius. I have then decided to work on a project that would pay tribute to them. I didn't want another compilation that would pile up pieces, without any link. My wish was to transpose this unique musical mood to another one, more classical and more accessible to everyone. The whole idea was to pay tribute to the music for what was beyond it, just the way COIL underlined it: « Coil is more than music »I got my inspiration from the project This Mortal Coil, started in the eighties by the English label 4AD. Its label manager had then grouped some of its own artists together in order to play some standards of rock and pop music. Most of those who participated in this work hardly knew COIL. My purpose wasn't to go towards those artists who had a conscious connection with the music of the group, let alone musicians who claimed to be the heirs to this seminal work.

From a young age, La Perla, Callao-born guitarist Oswaldo "Mita" Barreto was a fan of Cuban artists like Celina y Reutilio and Los Compadres, whose records were a staple in the port city homes. He soon learned to distinguish the sound of the Cuban tres on these records (the chordophone from rural areas of Cuba). At the age of 18, he had already mastered the instrument, although he had never seen a Cuban musician play one live until that point. At the beginning of 1969 (according to the record company's archives), his fame led him to record his first 45 RPM singles for the MAG label, which were compiled in an LP by the end of the year entitled "Arecibo", after a song dedicated to the Puerto Rican city of the same name. For these recordings he was accompanied by a group of musician friends, all linked to the tropical music scene in Callao, Peru. The album opens with two Cuban guarachas from the 1950s: 'Mango mangüé' by El Gran Fellove, whose compositions were popularized across the Americas thanks to the voice of Celia Cruz and the Sonora Matancera; and 'El yoyo' by Antonio Sánchez Reyes, another international hit performed by Cortijo y su Combo. Both songs were recorded by Mita in May 1969.

Svart Records unleashes a heady brew of nocturnal Post-Punk atmosphere and avant-garde Metal from Swedish Goth-tinged Doom Rock band Shaam Larein. The new album, “Sticka en kniv i världen” literally meaning: “stick a knife into the world”, is a ravishing, cut-throat statement of Shaam Larein’s heavy intent, that casts a new shadow of stunning darkness. Formed in 2018, Shaam Larein released their debut album “Sculpture” in 2020 to raptured underground praise, earning them an instant booking to the prestigious Roskilde Festival and planting them on the radar of cult artists such as Chelsea Wolfe. Now signed to Finland’s Svart Records, whose reputation has been forged on bringing new heavy rock artists such as Messa, Green Lung and Beastmilk from the underground into the limelight, Shaam Larein is soon to be hot on the tongues of the cult grapevine. Named after their auteur-like visionary singer Shaam Lerein, who was brought up on Russian classical art and the cinema of Tarkovsky, composes and visualizes their dark materials, cementing Sticka En Kniv I Världen” as an utterly unique take on bat-winged heavy rock. With a devout appreciation of the mystic powers inherent in heavy music, Shaam Larein will ignite memories of Swedish Metal artists such as In Solitude, who swayed towards the eclectic and gothic atmospheres Shaam’s music touches on in their later days. With artist friends from back home in Uppsala, Pelle Åhman making the Album cover and his brother Gottfrid Åhman, both of In Solitude fame, making four videos for Shaam Larein, the links weave closer, but it is to artists like Chelsea Wolfe, Ruth Rundle & Marissa Nadler that you can imagine fans drawing parallels and opening their heart to the enigmatic sound of “Sticka En Kniv I Världen”. Shaam describes her music as “a touch of aggression mixed with passion” and “Sticka En Kniv I Världen” for her is about finding the light through a sea of darkness “accepting the melancholy and seeing the beauty of what lies underneath our mysterious sound”. For a world of heavy rock hungry for a new wave of something dark and mysterious, Shaam Larein has it all in unparalleled dosage, just waiting to be discovered. “Sticka En Kniv I Världen” is released on December 9th by Svart Records.

Svart Records unleashes a heady brew of nocturnal Post-Punk atmosphere and avant-garde Metal from Swedish Goth-tinged Doom Rock band Shaam Larein. The new album, “Sticka en kniv i världen” literally meaning: “stick a knife into the world”, is a ravishing, cut-throat statement of Shaam Larein’s heavy intent, that casts a new shadow of stunning darkness. Formed in 2018, Shaam Larein released their debut album “Sculpture” in 2020 to raptured underground praise, earning them an instant booking to the prestigious Roskilde Festival and planting them on the radar of cult artists such as Chelsea Wolfe. Now signed to Finland’s Svart Records, whose reputation has been forged on bringing new heavy rock artists such as Messa, Green Lung and Beastmilk from the underground into the limelight, Shaam Larein is soon to be hot on the tongues of the cult grapevine. Named after their auteur-like visionary singer Shaam Lerein, who was brought up on Russian classical art and the cinema of Tarkovsky, composes and visualizes their dark materials, cementing Sticka En Kniv I Världen” as an utterly unique take on bat-winged heavy rock. With a devout appreciation of the mystic powers inherent in heavy music, Shaam Larein will ignite memories of Swedish Metal artists such as In Solitude, who swayed towards the eclectic and gothic atmospheres Shaam’s music touches on in their later days. With artist friends from back home in Uppsala, Pelle Åhman making the Album cover and his brother Gottfrid Åhman, both of In Solitude fame, making four videos for Shaam Larein, the links weave closer, but it is to artists like Chelsea Wolfe, Ruth Rundle & Marissa Nadler that you can imagine fans drawing parallels and opening their heart to the enigmatic sound of “Sticka En Kniv I Världen”. Shaam describes her music as “a touch of aggression mixed with passion” and “Sticka En Kniv I Världen” for her is about finding the light through a sea of darkness “accepting the melancholy and seeing the beauty of what lies underneath our mysterious sound”. For a world of heavy rock hungry for a new wave of something dark and mysterious, Shaam Larein has it all in unparalleled dosage, just waiting to be discovered. “Sticka En Kniv I Världen” is released on December 9th by Svart Records.

2022 Repress

Modern Obscure Music has been making links with the Far East since label boss Pedro Vian visited Japan and this is their first 12” release from a Japanese artist. Albino Sound is Hirotaka Umetani from Osaka and here he presents Black Lagoon. This is an exciting EP of experimental soundcapes and left of centre dancefloor escapades with an extra special remix from German producer DJ Normal 4. Black Lagoon opens the EP with live percussion and mysterious sounds and is followed by the mesmerising tones of Plum Valley. Transparent Colony is an open-armed ambient cut and the EP finishes with two versions on Dried Seeds. The original is an energetic mover and DJ Normal 4's Vibe Strike Remix is an eastern synth inspired mission.

No nonsense, no faking, no timewasters: the raw classic techno energy of Nuno dos Santos and Cosmic Force's Ultrastation project continues to tear holes in the space time continuum with their latest EP - 'Red Skies'. Hot on the heels of 'Stellar Logic' on Nuno's Something Happening Somewhere label earlier this year comes another uncompromising selection as the pair of Utrechtian veterans link up and tear down on Deeptrax offshoot label Tech UM. 'Sonorous' sets the pace with its outstanding sense of pounding, gritty momentum. The sound of 35 years of warehouses melting under sheer bass heat, it's a savage statement piece that's backed up by three more undiluted techno treats. 'Muladhara' realigns our chakras with its earthy stomp, hopeful arpeggio and relentless energy, 'Blood Flow' takes on a little more industrial charm as it rattles away, twisting and turning with a subtle sense of psychedelia while 'Lake Falls' brings the EP to a euphoric Detroitian finale that's characterised by shimmering synths and some epic dynamics.

“A rather gorgeous and engrossing collection, that borrows stealthily from a rich history of sound effect and soundtrack to build a tender poem to the night time.” - CLASH
“The plan was to make twenty 90-second tracks designed as TV themes,” says Arab Strap’s Aidan Moffat, of the initial thought behind his new instrumental album as Nyx Nótt “But it wasn't a satisfying listen, it was too gimmicky and silly.”
So instead, Moffat decided to stretch the idea out, plunge deeper, and expand the music into full tracks, “making some of them quite long and dramatic, with the odd swift turn here and there.” In fleshing these tracks out into more fully realised songs he began sourcing samples from professional TV and film music libraries. “The focus then turned to making a proper album out of these modern library sounds,” he says. “I decided to stick with the Themes From title and named the tracks after the sorts of shows they made me think of when I listened back.”
The result is a record that explores genre themes such as: ‘Thriller, ‘Porno’, ‘Caper’ and Swashbuckler’, and acts as an audio equivalent of channel hopping through a unique TV station programmed by Moffat. “I still wasn't sure about all this until I did the album cover, which brought it all together,” he says, of the artwork that places an old smashed TV unit front and centre with a woman perched on top. “It has echoes of old TV compilations but is pretty cheeky and slightly sexy in that old 70s compilation style. I wanted this one to look a bit more fun than the last one, as well as hopefully sound a bit more fun too.”
Aside from being a fun experience, it is also a stirring and immersive listen, one that allows the listener to imagine their own accompanying visual scenarios to each musical theme. The opening ‘Docudrama’ marries a gently creeping beat with strings that glide from tense to sweeping, while ‘Porno’ is all seedy smoky jazz that feels plucked right out of Travis Bickle’s late night trips to porn cinemas in Taxi Driver.
Touches of jazz pop up in other places too, on ‘Hardboiled’ this merges with subtle pulses and gargles of electronics that build to a rousing crescendo of horns and bleeps, and on ‘Caper’ there’s a vivacious full jazz band skip to the lively swinging rhythms. “There's a few more jazzy elements here,” Moffat says. “Although I'm not quite sure where that came from. Although, like everyone else, I've had plenty of time to be introspective recently, so I decided the next Nyx Nótt album should be more upbeat and encourage some occasional foot-tapping.”
However, what becomes apparent, the longer you spend in the world of Themes From, is how singular and unique the tone of each composition is. “Each track has its own individual feel,” says Moffat. “The idea was to sound like a different composer and band throughout.” It’s a stylistic leap that continues Nyx Nótt’s trajectory as one that shares no direct link to Moffat’s other projects. “I approach them in completely different ways and with a different purpose in mind,” says Moffat. “I don't think Nyx has ever heard of Arab Strap, and certainly doesn't own any of their albums.” It’s also a notable shift from the debut album under this moniker, and suitably given the theme, Moffat has created a visual comparison between these two sonic worlds. “If the first Nyx Nótt album was like looking out on dark prairies before dawn, this is more like a walk through a neon Soho after a few cocktails.”

MILK GREY VINYL

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound _ a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues _ felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around" _ and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: "Original in every sense _ unknown, unheard and unbelievably good." In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents' cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like "Fifty" and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run _ the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lust- werk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favor- ite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can't let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express lone- liness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you."

Five years after "Mort d'un Pourri" (Death of a Corrupt Man) Philippe Sarde finds Alain Delon for this adaptation of a violent thriller by Jean-Patrick Manchette. If "Le Choc" (The Shock) offers a rather watered down vision of the original novel, the composer chooses to give a boost. Sarde explains : “My position was this : to inject singularity into this somewhat smooth story. I get some really good soloists together for an unconventional score balanced between rock, jazz fusion and romanticism. I wanted it to be energetic with a modern drive. To me, "Le Choc" is a direct extension of the great blends in "César et Rosalie" or "Coup de Torchon (Clean Slate)". A jazz-rock rhythm section, musicians from Weather Report with the London Symphony Orchestra, and the great Wayne Shorter. I

asked him if he could play his soprano with a timbre like a bombard, an unexpected transposing of a folk instrument onto a jazz horn..." To director Robin Davis, this magnificent score will be a real lifeline : "With his music, Philippe told a story alongside mine, he brought "Le Choc" back to what it might have and should have been. And I love the invisible link with Lautner. After Stan Getz and "Mort d'un Pourri", we’re still with Delon & Sarde but this time the saxophonist is a black American, Wayne Shorter."

Pressed for the first time from a high definition transfer of the recording tapes, this new album has been mastered without any compression, respecting all the dynamics of the recording produced at Abbey Road.

Alga Marghen presents the last chapter from the Feedback Works documentation series, a brand-new LP including "In Memoriam-Ostinato" and "Danse des Dakinis", two previous unreleased tracks by Eliane Radigue. Among the works of fixed duration from the feedback period, "In Memoriam-Ostinato" is the link between "Jouet Electronique" (ALGA 029LP) and "Opus 17" (ALGA 045LP), and allows you to understand the evolution of her approach. "In Memoriam-Ostinato" is a game of mirroring symbols which glide into a non-measured, bent and elastic, temporality. Eliane Radigue's working method and her aesthetic direction are evident in this work from 1969: her very own unique temporal space of sonic experiences. Even though it bears the same name as the third part of "Adnos III", "Danse des Dakinis" is a peculiar work in Eliane's oeuvre. Conceived in a short time, with all kind of tapes from the composer's past work, it fluently shows a kaleidoscopic vision of Radigue's sensibility for sound. In 1998 she put together a curious self-portrait in sound. There is a feedback ostinato conceived around 1969 and which refers to "In Memoriam-Ostinato" and "Opus 17". All through "Danse des Dakinis" you plunge into the sound of a creek recorded at Mills College campus that brings you back to the field-recordings from the beginning of the 1960s, made on the coasts of the Mediterranean Sea. Such elements construct "Elemental1" (ALGA 029LP) as well. There are also some discreet interventions on the ARP 2500 synthesizer. It is indeed a peculiar work, which doesn't have the same features of her other compositions, especially at that time of her compositional path. There is an explanation for the composer producing this kind of sound material in 1998, and not limited to the sound waves of the ARP synthesizer. Invited to a workshop at Mills College in 1998, Eliane Radigue could not load herself down with her bulky instrument on such a trip. So, she left with just a few tapes taken from her own collection, drawn from different periods, and composed "Danse des Dakinis" with those old elements. There is tension in this composition, a certain wildness, an unpredictability of elements, those which are recognized as fundamental elements, which give structure to the universe. "Dance des Dakinis" is an intimate and wild symphony, alive and unpredictable, which is to be the next-to-last gesture of the composer before completely stopping her work with electronics.

16 track compilation of 1980s classics.
Formed in Scotland in 1979, APB were a post-punk trio blending edgy
guitars with funk and new wave sounds
The band had many early 80s alternative radio and rock dance club hits including
‘Shoot You Down’, ‘Rainy Day’ and ‘Palace Filled With Love’.
New York-based Link Records originally issued ‘Something To Believe In’ in 1985,
and the ten- song title was perceived at the time to be APB's debut album
although it was actually a compilation drawn from the band's previous eight
independent singles. The band's 1981 debut single ‘Chain Reaction’ is now added
as a bonus track to the vinyl release, while that song and an additional five tracks
will appear on the expanded edition CD. ‘Danceability’ will appear in its original
mix on the vinyl LP, while the CD will feature the song in its extended ‘Danceability
Parts 1 & 2’ form.
"When I bought the second APB single, 'Shoot You Down'. I was blown away by
the pure energy and sparse funk groove that drove the record." said Matt Pinfield,
former host of MTV's 120 Minutes. "Over the course of the next few years, I saw
the band live about 15 times. They would always pack clubs in New York, New
Jersey, and Long Island -- anywhere they received airplay." In 2018's Beastie Boy
Book, band member Adam "Ad-Rock" Horowitz referred to ‘Shoot You Down’ as a
"punk dance-floor classic."
In 2022, APB remains an active touring band, which includes original members
Slater, Roberts and Cheyne. Over the decades, APB's sparse, rhythmic sound has
influenced everyone from the Red Hot Chili Peppers to Franz Ferdinand. A new
generation is primed to make their acquaintance.

The meeting of Alieu and Randomized Coffee gives light to this new project, in which the Roman duo tackles a production that skillfully links Mediterranean influence to ancestral Africa in a patchwork woven of typical African ethnic elements to those of house and electronica in a "groovy" body that enhances the classical side of the African country in a modern musical mood and rhythm.

The story tells about the day before an arranged marriage ceremony.

Masanneh is a handsome and well-known man in his village of the Mandinka Tribe, born and raised in the village of Kudang, near the river that flows through the entire country; the Gambia. Many in the village believe him to be charismatic and generous, others believe him to be a venal materialist devoted to money. Masanneh decides to consult Cherno Jallow, a wise Marabout, to figure out how to deal with his future. He therefore moves westward to the village of Bondali, in Foni, where before practicing his work as a skilled trader he talks to Landing Sawo, the district chief, from there he hears the sound of a Kora played by Jali, while across the road he sees a beautiful woman Mariama Gomez passing by.

Both LPs pressed 45RPM in gatefold jacket+ white paper sleeves + LP3 insert for full album download. Yellow vinyl is for Indies only. It might be too soon to declare In Prism the best Polvo record ever…but it might be okay by the time you’re done reading this. ...Only at this point in life would Polvo be so assured, so casually stormy and intensely calm, graceful and free with their power without setting aside anything that made them the rock artists they were during their first, unblemished run. There is not a thing on In Prism that they aren’t doing better than before: the sidewinder guitars and the mighty roar and the moody atmospheres and the psychedelic explosiveness; the writing, the singing, the words you can understand, the ones you can’t. Polvo spent 1990–98 giving voice to a chorus of discrete rock & roll ideas that really hadn’t been heard before. And while there was nothing wrong before, it’s now so much more right—perhaps because after ten years none of the peripheral stuff matters anymore. Now is for Polvo, and Polvo is for now. In Prism is the best Polvo record even before you get to the majestic “A Link in the Chain,” serene and tempestuous like few other things you’ll hear. The album was recorded with Brian Paulson and Polvo has never sounded better. Don’t you agree? Mike Wolf, NYC (2009). Side A 1. Right the Relation 2. D.C. Trails Side B 3. Beggar’s Bowl 4. City Birds Side C 5. Lucía 6. Dream Residue/Work Side D 7. The Pedlar 8. A Link in the Chain

"Brazilian multi-instrumentalist Pascoal's magical 1976 album casts a spell over the listener from the first beat to the last"
Echoes ⭐⭐

"Viajando Com O Som is a wonderful
buried treasure from a better time."
Songlines ⭐⭐

It's a richly satisfying discovery; a snapshot of a master at his peak.
Record Collector ⭐⭐

"...One hell of a magic carpet ride."
FACT Magazine

"You may ask yourself what that was that you just heard. Then you'll want to hear it again."
Jazz Times

Recorded in just two days in 1976, at Rogério Duprat's Vice Versa Studios, São Paulo, Viajando Com O Som featured Zé Eduardo Nazario (drums), Zeca Assumpção (bass) and Lelo Nazario (electric piano), as well as saxophonists Mauro Senise, Raul Mascarenhas and Nivaldo Ornelas, guitarist Toninho Horta and vocalist Aleuda Chaves.

Not released until over 40 years later, now Viajando Com O Som is back again for a short time only, on limited edition green vinyl! Pre-order at the link below, Begins shipping 20th May 2022.

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

In 1977, LAFMS released Blorp Esette, one of several compilations tracking the collective's growth and wild-eyed experimentation. Ace Farren Ford, an early LAFMS recruit from the Poo-Bah circle, produced the album and solicited cover artwork by Don Van Vliet (Captain Beefheart). Ford appears in various configurations alongside members of Smegma, Le Forte Four and "unknown artist" (as the credit for more than one piece reads). The Residents, showing their affinity with LAFMS, contributed "Whoopy Snorp" for their first non-Ralph Records release. Blorp Esette shows the artists grasping for new, non-idiomatic voicings and collaborative modes, anticipating LAFMS affiliates and offshoots such as Airway, Human Hands and Monitor. A second volume would come out in 1980, featuring Ford's punk band The Child Molesters. If you're looking for the missing link between mid-'70s art practice and outsider music, then look no further.

This first-time vinyl reissue is limited to 500 numbered copies. Comes with inserts.

Bristolian power-improv duo Run Logan Run continue their link-up with Worm Discs and producer Riaan Vosloo on Nature Will Take Care Of You – a monumental slab of contemporary energy music that draws on the heavy soul of David Axelrod and the fiery commitment of Archie Shepp. Working with an expanded line-up that includes singer Annie Gardiner (daughter of the late guitarist Ricky Gardiner, who played and collaborated with Iggy Pop and David Bowie) plus a string quartet and a brass section, saxophonist Andrew Neil Hayes and drummer Matt Brown have once again steered Run Logan Run in a dramatic new direction. Churning, future-forwards and emotionally tuned in, Nature Will Take Care Of You reaches out towards propulsive rock and psychedelic soul, while keeping one foot in the radical jazz-not-jazz of Bristol’s ever fertile improv scene.

The core of Run Logan Run’s sound is the dynamic conjunction of Matt Brown’s agile and powerful drums with Andrew Hayes’ looping, pedal-treated sax motifs. No matter how the duo augment and enhance their music, the kernel of their art has always been the spiralling energies generated by this essential musical relationship. Explorations of repetition, dissolution and dervish-like disorientation remain a central part of their project, with Brown weaving a tight rhythmic armature for Hayes’ unshackled journeys into sound. But though they began within Bristol’s improvised music scene, their vision has been increasingly structured and expansive, and the arrival of producer and bassist Riaan Vosloo (Nostalgia 77) for 2021’s For a Brief Moment We Could Smell The Flowers allowed to them move outwards to explore pulsing, cinematic synth-scapes. Vosloo is behind the boards again on Nature Will Take Care of You – and the duo’s vision has broadened a step further.

Especial Specials and Chillmountain Recordings present the 2nd EP in the Enjoy Your Self EP, diving deeper into the Osaka based labels music to showcase their roster in detail.

The EP starts with label head, Ground's mesmerising Beatdown meets Trance inducing Utau Narukoyuri. A slow burning, late night trip out for deep parties or 'afters'.

Next, Especial 'favourite' Akio Nagase appears for the first time in the series with the heavy, tribal percussives of Arauma (Kobato Dub). The original link between the Chillmountain and Especial, Akio's name is on the rise and here the heavyweight dub basslines and ethereal, new age flute is perfect for late night dark room, psychedelic adventures.

The label's collaborative approach shines as Equador duo Josefina Gandara and Juan Diego Illescas are welcomed. Members of electronic cumbia project, Categal, his backgrounds in film and sound composition, sound design and visual media, highlights Illescas' mastery of the conscious sounds of the pueblos, working with Ground's dub minimalism, all elevated with the awe and lanquitidy of Gandara's natural vocals.

To end Akira Arasawa returns, here with Kun and Franky-Ch, and a meandering Balearic journey of hazy beats, guitar, Hoomii (Mongolian) throat singing, found sound, bird song and folkloric strings, beautifully together for the perfect come down.

When British Airways got privatized and listed on the London Stock Exchange, somewhere in Canada the first Starbucks outside of the US opened, and the Walt Disney Company signed an agreement with the French Prime Minister to construct Disneyland Paris. In the sky above southern Argentina, Equatorial Guinea, Cameroon, Sudan, Ethiopia, Djibouti, northern Somalia, and the Atlantic Ocean a hybrid solar eclipse materialized for 7.57 seconds, whilst Margaret Thatcher performed for 45-minutes on Soviet television. Some days later, The Simpsons cartoon first appears as a series of shorts on The Tracey Ullman Show, Diego Maradona wins his first Italian soccer championship with Napoli, and Eighteen-year-old West German pilot Mathias Rust lands a private plane on Red Square in Moscow. In the mists of the world's first conference on artificial life at the Los Alamos National Laboratory, the first Kentucky Fried Chicken restaurant in Mainland China opens in Beijing, and Prozac gets approved for use as an antidepressant in the United States. Much give way for the future, down there in 1987, the year that marks the title of Benedikt Frey’s freshest mini album, out into the world on R.i.O., the label he runs with some pals in the North of Berlin. It’s a dubby melancholic conqueror, wistfully, repetitive, drilling, absorbing, spooking. It makes you dream. Not particular of the year 1987. But it’s all there: The Red Square, the untouched land of the Val d'Europe, Diego on fuego. Six dark-ish tracks in trance, melancholic dub, downbeat heaven, journey music depths, all full of light and yet so dark. Futuristic dramas linked to a speculative past. In our dreams all might look different. The eclipse may last 27- minutes. You meet Neuromancer cyberpunks and blade running Ghost dogs, all taught to hack by Phrack. Cristal clear melodies, sampled voices, and veiled basslines, analogue scopes, and digital ropes, longing for a past that storm into the future. A time where deep listening widens the acoustics into infinity, while neon glows charm the light smog. Benedikt Frey been down there. Or maybe not. His latest music tells stories from the bygone, vested with the forthcoming. Come in and look out. There is nothing to see, yet so much to hear.

Heralding the release of Memoirs of Hi-Tech Jazz, the forthcoming album by Detroit-born-and-based artist, Waajeed, the 12” features further examinations of the track’s motifs by the vaunted Detroit collective, Underground Resistance, Zambian producer SHE Spells Doom, and a special reimagining by Waajeed himself featuring live drums.

Alongside the LP version the three remixes further explore the links between Techno and Jazz, styles both founded on African traditions that make commentary on the present but are always oriented to potential hereafter.

On the People Mover Remix, Waajeed enlists the talents of Zo!, Tall Black Guy, Michele Manzo, and more to explore one extreme of the track’s musical heritage. Syncopated drums, driven by a full and bright snare drum, firmly place this version in the sphere of contemporary Jazz emanating from Detroit and cities across the US.

Coming from an album inspired by revolutionary efforts against oppression in Detroit and in Black locales around the world it is entirely fitting that Underground Resistance should provide their take on Motor City Madness. UR’s Mike Banks follows the lead of the original’s melange of genres. By thickening the bassline, peppering the mix with extra brass from the Mad Brass Horn Section, and adding strings courtesy of Six Mile Strings, UR further explore the dynamic intersection of music, history, and geography.

SHE Spells Doom closes the remix package with his second release on Tresor after his contribution to 2021’s Tresor30 compilation. The Zambian artist trims Motor City Madness down to the bones of the brass section and infuses them with a gqom beat, simultaneously referring to Jazz and Techno’s deepest roots in Africa, as well as suggesting where they might be headed in the future.

PUBLISHED: 6TH OCTOBER 2022

Wenn ,Black Stabat Mater" das Album ist, mit dem sich das HEDVIG MOLLESTAD TRIO auf neues Terrain wagt, dann ist ,Evil In Oslo" die Zusammenfassung der früheren Jahre, obwohl es tatsächlich auch eine klare Verbindung zwischen beiden Alben gibt. Während die neun Performances hier von den ersten drei Studioalben stammen, sind die meisten längere Workouts, die HEDVIG als selbstbewusste und talentierte Gitarristin zeigen. Aufgenommen in den Osloer Clubs ,John Dee" und ,Buckley's" ist ,Evil In Oslo" ein kraftvolles Livealbum, das sich auf ein hohes Level an musikalischem Können stützt und eine perfekte Balance zwischen Freiheit und Disziplin eingeht. Diese qualitativ hochwertigen Aufnahmen fangen sowohl die pure Energie als auch die kleinsten Details auf ganz großartige Art und Weise ein. Mit Linernotes von Richard Williams. ENG Reissued! If "Black Stabat Master" can be seen as moving into new terrains, then "Evil In Oslo" can serve as a summing up of the previous years, although there is also a clear link between the albums. While the nine live performances presented here all come from their first three studio albums, most are lenghty workouts again showing Hedvig as a very confident and accomplished solo guitarist. Recorded at Oslo clubs John Dee and Buckley's, "Evil In Oslo" is simply a kick ass live album (never thought we'd ever use that expression, but there you go), with a very high level of musicianship and a perfect balance between freedom and discipline. The hi-res recordings capture both the energy level and all the details in a marvellous way! Liner notes by Richard Williams.

Super deep n’ rolling ambient junglist mutations from hyped cloakroom attendent Florian T M Zeisig and mysterious XPQ? operator PVAS, uniting under the NUG moniker for a highly atmospheric session beamed directly from that short-lived, elusive sweetspot in the mid 90’s when Omni Trio and DJ Crystl collided with Mo Wax’s Some Scientific Abstract Type Shit! and Gescom’s Disengage, all red lights dappling thru a dense fog of smoke.

Rinsed out under the timeless influence of “bong & sterni” - who sound like a legendary Berlin ambient duo, but are just weed and beer - Zeisig and PVAS collide in midair for a stereo-swirled recollection taking us back to 1995 - that Autechre radio show on Kiss FM, peak Mo Wax, Kodwo Eshun’s ‘club trax’ column, just before everything went fully tasteful. Throwing links to more contemporary refractions found on various J. Albert workouts as much as Skee Mask’s most vapourised breaks, the NUG sound keeps toes and heads off the ‘floor with a rugged but lush suite of rave suspension systems making critical use of negative space and recoiling dub dynamics.

One for the early hours of the club, ‘Not Many People Here yet’ gives acres of room to bounce off the walls, while the ruder ‘Filthy Club’ sounds like the backroom heard from ceramic tiled bogs, and you’re already healthily zonked for the zombie float of ‘Is Under The Blanket.’ The radiant pads and swingeing breaks of ‘Morpheus’ dial up Skee Mask’s most pendulous rave visions, and ‘Napping Under God’ rolls out on 9 minutes of webbed breakbeat for the locked-in steppers, with Florian’s ambient texturing fully coming into effect on the blurry-eyed flex of ‘Lite.’

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

Wenn ,Black Stabat Mater" das Album ist, mit dem sich das HEDVIG MOLLESTAD TRIO auf neues Terrain wagt, dann ist ,Evil In Oslo" die Zusammenfassung der früheren Jahre, obwohl es tatsächlich auch eine klare Verbindung zwischen beiden Alben gibt. Während die neun Performances hier von den ersten drei Studioalben stammen, sind die meisten längere Workouts, die HEDVIG als selbstbewusste und talentierte Gitarristin zeigen. Aufgenommen in den Osloer Clubs ,John Dee" und ,Buckley's" ist ,Evil In Oslo" ein kraftvolles Livealbum, das sich auf ein hohes Level an musikalischem Können stützt und eine perfekte Balance zwischen Freiheit und Disziplin eingeht. Diese qualitativ hochwertigen Aufnahmen fangen sowohl die pure Energie als auch die kleinsten Details auf ganz großartige Art und Weise ein. Mit Linernotes von Richard Williams. ENG Reissued! If "Black Stabat Master" can be seen as moving into new terrains, then "Evil In Oslo" can serve as a summing up of the previous years, although there is also a clear link between the albums. While the nine live performances presented here all come from their first three studio albums, most are lenghty workouts again showing Hedvig as a very confident and accomplished solo guitarist. Recorded at Oslo clubs John Dee and Buckley's, "Evil In Oslo" is simply a kick ass live album (never thought we'd ever use that expression, but there you go), with a very high level of musicianship and a perfect balance between freedom and discipline. The hi-res recordings capture both the energy level and all the details in a marvellous way! Liner notes by Richard Williams.

HDIGH (acronym for How Did I Get Here) by Dave East x Mike & Keys is now available on vinyl format. The album was produced entirely by frequent East collaborators Mike & Keys and features Method Man, Musiq Soulchild, Anthony Hamilton, Benny The Butcher, Trae Tha Truth and Steven Young. On HDIGH, Mike & Keys bring their “A-Game”, incorporating heavy boom bap and smooth melodic instrumentation into their production throughout the album, providing the perfect backdrop for East to spit his patented braggadocios bars. HDIGH is the first project to come from the East Harlem rapper since he linked up with Harry Fraud in 2021 for HOFFA, and has East reflecting on his upbringing and rise in the music industry.

HDIGH is available in your choice of a blue and pink splatter or black vinyl pressing

HDIGH (acronym for How Did I Get Here) by Dave East x Mike & Keys is now available on vinyl format. The album was produced entirely by frequent East collaborators Mike & Keys and features Method Man, Musiq Soulchild, Anthony Hamilton, Benny The Butcher, Trae Tha Truth and Steven Young. On HDIGH, Mike & Keys bring their “A-Game”, incorporating heavy boom bap and smooth melodic instrumentation into their production throughout the album, providing the perfect backdrop for East to spit his patented braggadocios bars. HDIGH is the first project to come from the East Harlem rapper since he linked up with Harry Fraud in 2021 for HOFFA, and has East reflecting on his upbringing and rise in the music industry.

HDIGH is available in your choice of a blue and pink splatter or black vinyl pressing

Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. 'Wütrio' is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers. 'Wütrio', the band, originally formed in the Bavarian city of Würzburg and went through line-up changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast. The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey. From his time as one half of production duo 'A Forest Mighty Black', Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation 'Soulgliding' and co-productions with DJ Kon on the 'Kon and the Gang' album from 2016. It is worth noting that it is Rainer himself who gave the name 'Soulgliding' to a genre of certain paced and soulful groove of music that now bears that name. His selection of the 'Wütrio' album to kick off a highly collectable series of re-issues is an inspired choice.

Nearly 30 years into an already impressive career – which includes 8 studio albums, tours with Descendents, blink-182, Bon Jovi, Linkin Park, Snoop Dogg, Bad Religion, and more, and over 365 shows on the Vans Warped Tour – Less Than Jake has never been a band to rest on its laurels. Today the ska punk veterans have shown the best is yet to come with the release of their first new song in 3 years, “Lie To Me,” and announcement of their new album Silver Linings, out December 11 th via Pure Noise Records. Fans can watch the music video for “Lie To Me” and pre-order the album now at https://smarturl.it/LTJ . “We made a new record! Our first full length with our new drummer, Matt Yonker, and it sounds amazing,” shares vocalist/guitarist Chris Demakes. “More vocal hooks than a tackle box, horns galore and that bombastic and upbeat energy that we’re known for. We didn’t try to reinvent the wheel with this one, it’s still undeniably Less Than Jake. Just a bit punchier and in your face. We can’t wait for our fans to hear it!” On how it feels to still be writing music together after so many years, vocalist/bassist Roger Lima shares: “It's still so freaking exciting!! After decades of working on songs together, we still love it, and with our new drummer Matt Yonker, we feel reignited and refueled. Personally, I feel that this is the first step of a new era for the band. While the music feels undeniably Less Than Jake, the flow of the tracks and the attitude of the horns and lyrics have a freshness to them and I look forward to sharing these songs with our amazing fans.” Less Than Jake has no plans of slowing down any time soon as they prepare for the release of their 9 th studio album, Silver Linings, out December 11 th via Pure Noise Records.