Search:able

Up the mountains, deep in the forest, I found these plants that live on sound and water. They don’t need light and therefore are unlike any other plants on this planet. Their peek of activity is during the night, when they are covered with a thin, black layer of nocturnal light. Night lies on these plants like a thin membrane. Their roots absorb drops, waves of sound and its vibrational intonation. When humans eat this plant they fall asleep and start dreaming instantly.

In this dream they become these plants, who are unnamed, and are able to feel the pulsation of their — now own — roots. Many years ago, when language was more sounds than codes, these plants were everywhere to be found in the planetary landscape. Nobody knows yet why these plants are only to be found in the high mountain in its deep forest. It is said that once you enter this forest it will not be easy to find your way out. Like in a dream, you need to be guided by a strong wave of consciousness to find your way out and back to the ground.

“Challenge” was released in 1981 on Bootleg, a record label born inside a record store in Pavia with the same name. “Challenge” keeps the original and uncompromising punk attitude alive. 3 groups: No Suicide (from the Udine province), Mercenary God (from Gemona), No Submission (from Treviso), all sick children of the industrious, rich and Christian Democratic north-eastern part of Italy. I read about them in “New Fahrenheit” (a controversial article about local rivalries, common backgrounds and eventually separate roads.) but I don’t know their music. Something tells me that “Challenge” is the record I was looking for, perhaps because of its very powerful cover with no slogans, and a circled “A”. I send the money in a sealed envelope and wait. When the package arrives, I open it, I put the record on the turntable and let the needle go. The first listen is enough to realize that this is a crucial release, a real “challenge”.

The challenge is against an indifferent market. The instrument is a sound that is already changing skin. No Suicide, Mercenary God and No Submission have nothing to do with Great Complotto, they are the other face of the northeastern underground. Punk is their background, (read “hardcore” for No Suicide) but for all of them there is a progressive detachment from the original material, including a common attitude towards the caustic sound coming from the harshest side of British wave. A classic example of “work in progress” able to generate great songs like “The Degraded Men” by No Submission (the band that later evolved into Wax Heroes), one of the peaks of Italian post-punk. Mercenary God will give birth to The Sex, while No Suicide with their tight hypnotic hardcore will disbanded soon. It’s 1981 when the rain clouds on the “Challenge” front cover seem to remind us that the wind is going to change soon.

3 bands, 11 songs, an unearthed piece of history 43 years after its first release. Thanks to this reissue, “Challenge” is now back on track. A different disc, today as then. (Luca Frazzi)

1000 miles away from the beating musical hearts of Rio and São Paulo in the late ‘70s, the Brazilian city of Belém gave rise to a little-known record label called Erla - Estudio Rauland. Though not prolific in its output, the label made up for it in quality and experimental offerings, with several records on the label now becoming sought-after pieces among collectors. One such release is the sublime four-track psych, MPB, rock EP by singer-songwriter Jarbas Mariz.

They say never judge a book by its cover, though on this occasion you pretty much can. The wonderful tripped-out ‘70s artwork by Baby is a sure-fire indication of the music lying within. Though the EP was recorded in ‘77, it clearly gained inspiration from the psychedelic hippy idols of the previous decade and could easily have been a soundtrack to an acid trip scene in an obscure Brazilian movie.

Low-fi and quirky, there are moments of beauty and splendour but also hints of darkness; with a sublime balance of music and styles throughout. At points Jarbas will have you drifting through a folk flute daydream, the next moment a growling, psych-distorted guitar breaks and parts the calm. An ability to make those elements blend cohesively is where Jarbas’ true brilliance shines through.

Jarbas played, and still plays, with some of the key figures in Brazil's musical underground. Guilherme Coutinho (whose Guilherme Coutinho - E O Grupo Stalo album from ‘78 was also re-issued on Mr Bongo) features on electric piano for this release, with fans of his work being able to pick out his tones and playing style. Elsewhere, Jarbas also collaborated with the late great Lula Côrtes on the 'Bom Shankar Bolenath' album from 1988 and 'Rosa De Sange' from 1980. He was a member of the wonderful Cátia de França band and is a regular in the legendary Tom Zé group.

'Transas Do Futuro' is a special record and one we are honoured to be reissuing.

Pressed to vinyl for the first time it's Wombo's shapeshifting and genre defying "Slab" and "Keesh Mountain" EPs. In a generation where pop has come to be defined as anything but, Wombo have spearheaded their own definitive sound that avoids genre classification but is impossible not to tap your foot along to. “Usually if the babies like it, we like it”, admits singer Sydney Chadwick, and it speaks to the band’s bass-driven song structures that pivot through a whirlwind of instrumentation at rapid speeds that they are still able to land on a winning formula that strikes the sweet spot between effervescent overload and razor sharp intention. In a careful balance where no one instrument overwhelms, Chadwick’s vocals are the cherry on top of a decadent dessert that explodes with personality and ingenuity.

"Slab / Keesh Mountain" by Wombo includes the following tracks: "Thread", "Ida Mae", "Dreamsickle" and more.

This version of the Album comes as a 1xLP in an Printed Inner Sleeve packaging.

The vinyl is pressed as a cloudy, clear disc.

"I'm super proud to be sharing my new EP 'Altitude' with you all via DEEP MEDi.Each track has its own personality and purpose within my DJ sets; pace, weight, even a breather and peak set business with 'Dem God'!I really feel like they're my favourite 4 releases so far!Such a special personal moment to be able to showcase my different styles of production for a label like DEEP MEDi. Hope you enjoy my label debut!"
(Cartridge 2024)

Very limited vinyl pressing, 500 copies, housed in a full colour sleeve & printed inner sleeve & download. CD in a 4 panel digipack with a 4 page lyric booklet. New Heavy Sounds are always on the lookout for new bands that are looking to push the boundaries of what is considered as inhabiting the ‘heavy’ or ‘metal’ spectrum’. Stuff that pricks up the ears, a bold new voice within a maelstrom of genres and sub-genres. We believe we have found such a band. New York-based GUHTS (pronounced ‘guts’) declare themselves to be an ‘avant-garde post-metal project, delivering larger than life sounds through, deeply emotional music’. We are thrilled to be able to deliver that statement in the form of their debut album ‘Regeneration’. By their own admission, GUHTS' musical style is influenced not only by iconic metal bands like Gojira, Cult of Luna, YOB and Deftones, but more unconventional acts like Bjork, Subrosa, Isis, Julie Christmas, and even PJ Harvey. It’s undoubtedly heavy, with a strong feminist streak, it’s cathartic and weighty, a formidable debut for such a new band. Founded in 2020 as a passion project by Scott Prater (Witchkiss), and Amber Burns (Witchkiss) and then Dan Shaneyfelt (Black Mountain Hunger), GUHTS became its members’ main focus following the release of their first EP 'Blood Feather' which itself received rave reviews from the likes of Decibel Magazine, Invisible Oranges, The Obelisk, Cvlt Nation, and more. Brian Clemens Sleaping Dreaming) & Daniel Martinez (Nefariant) joined GUHTS in 2022 and the band swiftly started booking tours and making plans to record 'Regeneration'. Since then GUHTS have been steadily making a name for themselves with their powerful live performances., sharing stages with the likes of Yob, Cave in, Marissa Nadler, plus appearances at the Maryland Doom Fest, Crucial Fest and Ohio Doomed and Stoned Fest. ‘Regeneration’ is set to cement their status as one of the coolest and most interesting bands on the scene. Of the album, vocalist Amber says. "Regeneration" symbolizes the power of self-renewal, often overlooked. Embracing it means shedding old layers and welcoming new beginnings. Without this, life stagnates and is “sustaining”. Through regeneration, change becomes empowering, allowing new facets to emerge. It's a courageous, transformative process, inspiring others to overcome fear and embrace change. The album embodies the human spirit's resilience and capacity for growth. Musically ‘Regeneration’ is a powerful and intense series of songs, topped off by some seriously powerhouse and expressive vocal performances. It’s slow-moving chords, moving like sheets through sludge. High guitar lines above, ranging from piercing and shimmering to nasty. Drums pound but not without groove. There are strings, pianos and synths widening the palette. Atmospheric sludge, Metalgaze, maybe, but there’s also that link to the New York Noise lineage from The Velvets and Sonic Youth, becoming a type of post-hardcore in the process, while gaining a connection to metal partly due to the sheer heaviness. A raft of creative experimentation that pushes beyond the realm of post-metal. And then of course, the very first thing that hits you is Amber Gardner's unbelievable, hypnotising vocals - as scary as a banshee while also intimate and persuasive. Amber means it for sure and almost dominates the proceedings. Her lyrics are eclectic, thoughtful. Immersed in women's narratives frombooks like "Women Who Run With the Wolves" or works like "On Our Best Behavior" by Elise Loehnen. Amber advocates stepping beyond comfort zones, believing it's transformative for individuals and vital for Earth's future. Hokey occult rock it is not. In short ‘Regeneration’ is a bold and startling debut, that will reward and enthral listeners the deeper they delve into its many layers.

What I can say about TORRES is I think the music comes from a convicted place. Not convicted meaning a person is narrowly and foolishly committed to an ideal, or unshakably convinced of themselves, or a zealot, or stubborn. I mean dedicated, I mean: If TORRES' music gets weird, gets brainy, gets funny, gets defiant, provokes, deliberately scandalizes, employs the crass to undermine the austere, courts lofty philosophical truth-it's all done with the conviction of an artist with the (essential) belief in the worth of their task. I think you can hear it in the songs, someone reaching, leaning over the boundary between known and not, probing the almighty. After a decade and six studio albums and however many one-offs and tours and articles read and conversations had, the parts of this pursuit I've been able to observe are all marked by a dedication to creation that treats the act-ongoing-with as much preciousness as the evidence of the act that is left in a record. The modes of being are different: heartbroken, broke, furious (right- and unrighteously), awestruck by love, compelled by desire. sometimes resigned to death, sometimes fascinated by and reverent of the future. Sometimes viscerally present, other times suspended in heady awareness, poised on a fulcrum of observation and participation in the phenomenon that aliveness is. The tools are the same: instruments that growl and shriek and moan, a lyrical voice shouting, swooning, chuckling, snarling as the moment commands. TORRES' music-making is conducted in a melodic vocabulary unique to itself-methods, equipment, circumstances shifting around the impulse to affirm the self within the world, to make art that bears all these little artifacts of the divine and of the real and show it to people and know it is valuable. I think that's what Mackenzie's music does. And I think it's just incredibly good music to listen to. -Julien Baker TORRES is the pseudonym of Mackenzie Scott. She was born January 23, 1991, and lives in Brooklyn, New York, with her wife Jenna, stepson Silas, and puppy Sylvia. She has been releasing albums and performing as TORRES since 2013. What an enormous room is TORRES' sixth studio album (her third with Merge). It was recorded in September and October 2022 at Stadium Heights Sound in Durham, North Carolina. It was engineered by Ryan Pickett, produced by Mackenzie Scott and Sarah Jaffe, mixed by TJ Allen in Bristol, UK, and mastered by Heba Kadry in NYC. The album contains 10 songs. Mackenzie wrote all of them. Sarah played bass guitar, synths, drums, organ, and piano. Mackenzie sang vocals, played guitar, bass, synths, organ, piano, and programmed drums. Additional synth bass, tambourine, and shakers were played by TJ Allen.

What I can say about TORRES is I think the music comes from a convicted place. Not convicted meaning a person is narrowly and foolishly committed to an ideal, or unshakably convinced of themselves, or a zealot, or stubborn. I mean dedicated, I mean: If TORRES' music gets weird, gets brainy, gets funny, gets defiant, provokes, deliberately scandalizes, employs the crass to undermine the austere, courts lofty philosophical truth-it's all done with the conviction of an artist with the (essential) belief in the worth of their task. I think you can hear it in the songs, someone reaching, leaning over the boundary between known and not, probing the almighty. After a decade and six studio albums and however many one-offs and tours and articles read and conversations had, the parts of this pursuit I've been able to observe are all marked by a dedication to creation that treats the act-ongoing-with as much preciousness as the evidence of the act that is left in a record. The modes of being are different: heartbroken, broke, furious (right- and unrighteously), awestruck by love, compelled by desire. sometimes resigned to death, sometimes fascinated by and reverent of the future. Sometimes viscerally present, other times suspended in heady awareness, poised on a fulcrum of observation and participation in the phenomenon that aliveness is. The tools are the same: instruments that growl and shriek and moan, a lyrical voice shouting, swooning, chuckling, snarling as the moment commands. TORRES' music-making is conducted in a melodic vocabulary unique to itself-methods, equipment, circumstances shifting around the impulse to affirm the self within the world, to make art that bears all these little artifacts of the divine and of the real and show it to people and know it is valuable. I think that's what Mackenzie's music does. And I think it's just incredibly good music to listen to. -Julien Baker TORRES is the pseudonym of Mackenzie Scott. She was born January 23, 1991, and lives in Brooklyn, New York, with her wife Jenna, stepson Silas, and puppy Sylvia. She has been releasing albums and performing as TORRES since 2013. What an enormous room is TORRES' sixth studio album (her third with Merge). It was recorded in September and October 2022 at Stadium Heights Sound in Durham, North Carolina. It was engineered by Ryan Pickett, produced by Mackenzie Scott and Sarah Jaffe, mixed by TJ Allen in Bristol, UK, and mastered by Heba Kadry in NYC. The album contains 10 songs. Mackenzie wrote all of them. Sarah played bass guitar, synths, drums, organ, and piano. Mackenzie sang vocals, played guitar, bass, synths, organ, piano, and programmed drums. Additional synth bass, tambourine, and shakers were played by TJ Allen.

Blue Raspberry is Katy Kirby"s follow up to her renowned debut album Cool Dry Place, which came out in February 2021. Singer/songwriter Katy Kirby introduced her warm, articulate vocals, perceptive lyrics, and playful adult-alternative style on her debut album as she toured tirelessly supporting bands like Waxahatchee, Andy Shauf, Julia Jacklin and Alex G. That record was a tried-and-true folk collection, perfectly displaying the chops of a young songwriter and emanating the warm feel of a band in a room; Blue Raspberry, made with the same band and producers (Logan Chung and Alberto Sewald) , hits the gas and enters completely new territory as we see Katy truly step into her own as a songwriting force. She fearlessly leans far into baroque piano pop on tracks like "Redemption Arc" and the title track "Blue Raspberry", and lyrically she explores themes of loss and queer love. Very few are able to capture the same emotional, theatrical magic of artists like Fiona Apple, Tom Waits and Joanna Newsom but Katy pulls it off on this record; standout "Drop Dead".

Jack White Acoustic Recordings 1998-2016 versammelt 26 akustische Songs aus Whites breit gefächerter musikalischer Karriere, darunter Solomaterial sowie Tracks von The White Stripes und The Raconteurs, inklusive Albumtracks, B-Seiten, Remixe, alternative Versionen und bisher unveröffentlichte Songs.

'Why Black Man Dey Suffer', aufgenommen 1971, wurde von Fela Kuti's damaligen Label EMI ursprünglich als zu kontrovers für eine Veröffentlichung angesehen. Geprägt von der amerikanischen Black-Power-Bewegung und einer neuen panafrikanischen Weltsicht, diente dieses Album Fela als musikalisches Vehikel, um die kolonialen Ungerechtigkeiten und die Korruption der herrschenden Eliten seiner Zeit aufzudecken und herauszufordern.

Der Titelsong "Why Black Man Dey Suffer" ist eine Geschichtsstunde über die Unterdrückung des afrikanischen Menschen. Er beschreibt die Litanei des Missbrauchs, den Schwarze erlitten haben - von der Versklavung bis hin zur Auferlegung einer neuen Kultur durch ein fremdes Volk, das ihnen ihr Land wegnahm, sie bekämpfte und sie gegeneinander aufbrachte.

Der folgende Track, 'Ikoyi Mentality', bringt Felas Identifikation mit den unterdrückten Massen und seine Ablehnung der Lebensweise der herrschenden Klasse im Stadtteil Ikoyi in Lagos deutlich zum Ausdruck.

'Why Black Man Dey Suffer' ist Teil des von Chris Martin und Femi Kuti zusammengestellten Box Sets #5 und ist jetzt endlich auch einzeln erhältlich auf transparent gelbem Vinyl. Inkl. einer bedruckten Innenhülle.

'Why Black Man Dey Suffer', aufgenommen 1971, wurde von Fela Kuti's damaligen Label EMI ursprünglich als zu kontrovers für eine Veröffentlichung angesehen. Geprägt von der amerikanischen Black-Power-Bewegung und einer neuen panafrikanischen Weltsicht, diente dieses Album Fela als musikalisches Vehikel, um die kolonialen Ungerechtigkeiten und die Korruption der herrschenden Eliten seiner Zeit aufzudecken und herauszufordern.

Der Titelsong "Why Black Man Dey Suffer" ist eine Geschichtsstunde über die Unterdrückung des afrikanischen Menschen. Er beschreibt die Litanei des Missbrauchs, den Schwarze erlitten haben - von der Versklavung bis hin zur Auferlegung einer neuen Kultur durch ein fremdes Volk, das ihnen ihr Land wegnahm, sie bekämpfte und sie gegeneinander aufbrachte.

Der folgende Track, 'Ikoyi Mentality', bringt Felas Identifikation mit den unterdrückten Massen und seine Ablehnung der Lebensweise der herrschenden Klasse im Stadtteil Ikoyi in Lagos deutlich zum Ausdruck.

'Why Black Man Dey Suffer' ist Teil des von Chris Martin und Femi Kuti zusammengestellten Box Sets #5 und ist jetzt endlich auch einzeln erhältlich auf transparent gelbem Vinyl. Inkl. einer bedruckten Innenhülle.

Celebrated techno producer, sound artist and one half of ORKA, Jens L. Thomsen announces groundbreaking EP ÆÐR, landing 15th December via Kervið. ÆÐR (meaning ‘vein’ in English) is a uniquely atmospheric two-track EP, exploring modernity and post-war freedom through a Faroese lens. Commissioned for Eysturoyartunnil, a 12km subsea tunnel - the largest of its kind - in Jens’ native Faroe Islands, a structural marvel with striking art that has both a voice and aesthetic identity of its own. The EP currently lives as a live audio installation, broadcast around the clock on FM radio for anyone travelling through the tunnel. This is the first time a soundscape has been permanently installed and broadcast via this kind of technical solution allowing the sound to become part of the experience of the space itself. As one half of revered techno duo, ORKA, twice nominated for the Nordic Council Music Prize, who recently released their sixth album, All At Once, and an integral part of Yann Tiersen’s live band, Thomsen has already made a significant impact in electronic music. ÆÐR is an expansion of his work as a composer, which includes several site-specific soundscapes, including NORD which was commissioned by the Southbank Centre and installed across the entire fifth floor of the Royal Festival Hall in London.
On ÆÐR, Thomsen brings his talent for one-of-a-kind environmental sonic experiences to a wider audience. A paean to human endeavour and the developmental history of humanity, the tunnel is at once progressive and ancient: a liminal setting where late-modern and pre-modern longings somehow seem to rub off on each other. These intersecting ideas are translated into a striking soundscape of dark drones, creeping frequencies, bleeping ambience, groaning masses of sound, and pulsating echoes from the hidden world beneath us. The underworld that we somehow are able to move through temporarily in our car under the sea, giving the tunnel and the islands a voice of their own, while exploring the parallels between the tunnel and Faroese society today.
This uniquely immersive and compelling work, previously existing only as a transitory experience for users of the Eysturoyartunnil, is now available on vinyl for the first time to be considered and enjoyed in all its fascinating detail. A thought-provoking and groundbreaking piece from one of Europe’s most exceptional composers and sound artists today

The concept of naught (Ø) has challenged Salvatore Mercatante throughout his musical career, specifically, trying to understand how the idea of ‘nothing’ fits into the realm of sound, and at the same time, exist in a world of influence at every turn. In the absence of everything, are we able to create something truly free?
As a lifelong New York-based musician, Mercatante’s influences and productions run a wide spectrum. Just as happy producing 80s-inspired horror soundtracks as he is refining acute drum patterns over and over again, Salvatore is the first to ask himself, where next? When a musician’s output can be influenced today by so much, and there is no self-defined or perceived artistic goal in mind, how do you start from a place of nothingness, again and again?
This approach has born many minimal and experimental albums of note in the past, but with Ø, Salvatore ended up with an almost controlled maximalist approach. Beginning with open spaces and allowing sonic textures to live and evolve past where you may expect, Ø allows the space between notes to become equally as important as the notes themselves. Walls of noise, soaring soundtracks, dense techno, glittering IDM, and minimal glitch, sit side-by-side to present an all-encompassing palette of sonic possibility.
Often, even without any intent, what can be born from nothing will somehow transpire back into something more recognizable. It’s human nature after all. A subtle fingerprint, as a sequence, melody, pattern, or drum kick. Whether Salvatore intended for this record to represent his defining sound or not, only time will tell.
Mastered by Giuseppe Tillieci @Enisslab, Rome, Italy.
Artwork by Brandon Locher
Written and produced by Salvatore Mercatante

Immerse yourself in the musical universe of ONE PIECE MOVIES - BEST SELECTION! Enjoy over 70 minutes of music from the One Piece films for the first time on vinyl, taking you on a journey through the adventures of the famous Straw Hat crew.

Fully licensed.

Luffy, a mischievous boy, dreams of becoming the king of the pirates by finding the "One Piece", a fabulous and mysterious treasure. But, inadvertently, Luffy one day swallowed a "magical devil fruit" that turned him into a rubber man. Since then, he is able to contort his elastic body in all directions, but he has lost the ability to swim, the height for a pirate! Over the course of ever more incredible adventures and chance encounters, Luffy will gradually compose his crew and multiply friendships with the peoples he discovers, while facing formidable enemies.

Kohei Tanaka worked on the composition and arrangement of this album.

Delasi, the Koforidua-based producer, singer and rapper has released his new single ‘Amplifier’ featuring Nii Noi Nortey.

Prophetic, spiritual and frenetic, ‘Amplifier’ is Delasi’s testimony in musical form. A manifestation of Delasi emerging triumphant after many years in limbo as he searched for a long-awaited breakthrough in the music industry.

Produced by Delasi himself alongside Morgan Greenstreet, ‘Amplifier’ is underpinned by the texture of coastal rhythms indigenous to Accra and tightly ornamented with bustling drum breaks, electronic synth lines and jazz sensibilities.

Veteran Ghanaian multi-instrumentalist and sound designer Nii Noi Nortey appears on the track to deliver an explosive and rhythmically intense saxophone performance throughout as it tastefully builds to an emphatic crescendo.

Self-described as a prayer, the track’s maximalist and percussive instrumentation is cleverly juxtaposed with minimal lyrics where Delasi’s faint vocal repeats a series of repeated phrases like evoking the mood and semblance of a meditative chant and religious experience. Harkening to the work of afrofuturistic jazz musicians like Sun Ra and Pharaoh Sanders.

Speaking on the track’s meaning, Delasi said: “‘Amplifier’ is my prayer and like with other songs of mine it can scare me because I write things and then it’ll manifest in exact detail. The song is basically outlining how hard I’ve worked and how I need an amplifier to have my desires fulfilled. It's like a mantra and that’s why it's not so lyrical”.

‘Amplifier’ marks Delasi’s first release as a lead artist since his 2015 self-released project ‘#thoughtjourney’ which garnered support and praise from Rolling Stone, BBC6 Music, Worldwide FM, KCRW, Afropop Worldwide, Deutschlandfunk Kultur, NRK and legendary French DJ/Producer Laurent Garnier. Additionally parlaying into touring and festival gigs across Nairobi, Berlin, Morocco, Denmark and Sweden.

Delasi is an artist that has been quietly prolific for over a decade. Honing his musicianship exploring sonic possibilities with Ableton and Teenage Engineering. Eventually entrenching himself in the Ghanaian rap scene via collaborations with Hammer of The Last Two, Reggie Rockstone and Yaw P with whom he would release a joint project ‘Imperfections: The Break Up Vol 1’ in 2013.

He was musically raised on a diet heavily influenced by his father who exposed him to the sounds of Marvin Gaye, Bob Marley & The Wailers, Bobby McFerrin, Jim Reeves and Billy Ocean alongside the soundtracks for movies like Doctor Zhivago, The Sound of Music and La Bamba. Delasi’s own tastes would be heavily informed by linchpins of US Hip-Hop like Wu-Tang Clan, Nas, Onyx and M.O.P in addition to alternative R&B artists Frank Ocean and James Blake.

After many years of operating as a proudly independent and self-contained artist, Delasi has now partnered with Gilles Peterson’s Brownswood Recordings. One of the world’s leading indie labels, famed for their instrumental role in breaking the likes of KOKOROKO, Yussef Dayes, Swindle, Joe-Armon Jones, Shabaka And The Ancestors, Zara McFarlane and Ghostpoet.

With Delasi now being granted resources to give his music the grand and worthy footing, he is now on the cusp of the artistic breakthrough that was long out of reach. Speaking further on how the deal with Brownswood inspired the new single, Delasi said:

“The music I’ve created this go round is so strong that I can’t handle it all by myself. Though I had a lot of fun doing it all by myself with ‘#thoughtjourney’, this time around I needed it to be with a home who could properly amplify it.”

2023 repress of the OTOROKU re-issue of the legendary English free improvisation LP 'The Topography of The Lungs' by Evan Parker, Derek Bailey and Han Bennink. This was Evan Parker’s first recording as a "leader" and was the first release on Incus, the label Parker founded with guitarist Derek Bailey and drummer Tony Oxley. This re-issue has been produced from an original vinyl pressing from Evan's archives - carefully transcribed and restored by Andreas LUPO Lubich at Calyx in Berlin and features the original liner notes from Parker along with updated notes penned in 2014. "To talk further of the music we play is difficult. It’s criteria for success exist, but are elusive and indefinable beyond the intuitive level. We operate without rules (pre-composed material) or well-defined code of behaviour (fixed tempi, tonalities, serial structures etc.), and yet are able to distinguish success from failure." - From Evan Parker’s original liner notes (1970). This pressing of The Topography of The Lungs comes in a limited edition of 500 copies.

The stars and their reflection on the sea still inspire Pellegrino and his live band Zodyaco. Their second LP 'Morphè' released on Early Sounds Recordings, is an ode to Naples as seen from Vesuvius. The ensemble that follows him through this musical journey has been enriched with new members for the continuous development of the label's distinctive Mediterranean sound; this marks a further step into the evolution of their Neapolitan melodic disco from the slopes of Vesuvius.
The sound and aesthetic metamorphosis of this second release, which gives the title to the LP the greek word "Morphé" is inspired by the conflicting scenarios of the Neapolitan metropolis; always caught up between the never ending and frenetic flow of its narrow alleys and the soothing relief of the sea, with the night as the backdrop that is not able to light it up its inner depths.