Поиск:act one

Interior sounds from Madalyn in an album that flits between eerie ambience, environment, and hermetic logic. The music’s timing and sequencing feels distant, the elegant constructions conjured and organised semi-consciously, drawing the listener deeper into the dream and towards a zone where watch hands tick forward accurately and their perception of time unspools. Here each neatly tuned conversation and clockwork assemblage harmonises, spinning tantalisingly just out of range and understanding.

“Puzzle Music is the desire to create images out of diverse pieces of sound. To collect timbral colours in a gradient procession and connect them until they create reason. Principally not knowing how the image will turn out, or what the picture even is. It is the act of placing sound shapes next to one another in the hope that clarity will gradually be revealed.

When grouping the songs together I was thinking of them as mechanisms in a timepiece. I have something of an obsession with Swiss watchmaking, although I think this stems from a desire for creative mastery and the design of an energy source independent of electronic needs. Hopefully the songs all serve a purpose towards the end goal of the album... but also, the way the Oberheim Xpander pans sounds is in a very clear circular pattern, which makes me think of gears turning.”

In the vast musical archive that is Roman Flügel’s discography, Ro70 holds a special place. Written, performed and produced between January and July 1995, it is his debut album as a full-fledged solo artist. Enquired and inspired by a certain David Moufang from Heidelberg, who used to share a classroom with Jörn Elling Wuttke at the SAE Institute and revealed himself to be an Acid Jesus fan and also of the Roman IV 12“ project, it seemed like a good fit for his (and Jonas Grossmann’s) Source Records label.
In the days before file sharing that meant going back and forth with various DATs in his mom’s Volkswagen Polo Fox for actual listening sessions between Darmstadt and Heidelberg. The time was as special and idiosyncratic one as was the sound of Source Records and of course Ro 70 itself. While the rave-olution was ready to eat its kids with the commercial outlook of former underground phenomena looked bright and the scene’s prophecy seemed grim, enterprises like Source and artist like Roman Flügel were defying any competition out of those corners with their own means.
Listening back to the ten tracks of Ro 70, it proves them, their taste and artistic vision right. Probably still being put into the ambient, downtempo, electronica or chill out sections of most record shops, this music could have been made, relished and cherished anytime between 1995 and now. Made in Roman’s home studio in his parent’s house or in the Klangfabrik studio in Egelsbach, this was made for before or after the rave – or for people who din’t want to have to do anything with it at all. His signature is all over it. Well balanced soundscapes with an almost uncanny presence and clarity. Bittersweet symphonies that doesn’t seem to be in an inferior position to modern classical or electronic studies.
It is also a very personal testament to a time in the artists’s life that was ready to get caught in the maelstrom of the oscillating techno city called Frankfurt am Main and its halcyon days between the Delirium record shop, Sven Väth’s marathon sets, the early days of the label triumvirate Playhouse, Klang & Ongaku. In a musical journal without lyrics, those memories will have to stay pantomimic and private. All for the better, that we can at least still listen to them.

Chris Imler likes to play drums standing up. He‘s the dandy with the killer offbeat, or, as one major German newspaper once put it, the "Grand Seigneur of the Berlin Underground". He has been making his mark on countless Berlin musical affairs since long before the fall of the Wall, with The Golden Showers, Peaches, Oum Shatt, Driver &Driver, Die Türen, Jens Friebe, to name but a few. He has also been perfoming across Europe as a solo artist for the past decade.

In "Operation Schönheit" (German for "Operation Beauty"), he has recorded his most, well, beautiful album to date. But Benedikt Frey's warm production subverts its own beauty with a multitude of clanking and ingling synth sounds, making the work very much about the cosmetic surgery it performs on itself. It's all in the tradition of the more experimental and electronic side of post-punk in which Imler and his unique groove are rooted. It doesn't take insider knowledge of Berlin's post-punk underground to realise that that Imler groove consists of rhythm that sings, vocals that dance and a look that fits, as illustrated by "Disappoint Me", his latest video: https://youtu.be/YeVJ75ljjB8

Elsewhere - such as in "Movies" - the rhythm sings, less electronically reduced, into the acoustics of an old, high-ceilinged Berlin apartment; metal clatters, a zither trembles and Imler plays with the metronome. Sometimes he moves ahead of time, sometimes trails behind it. He always manages to be in his very own groove, which carries everything along. And this is precisely the essence of the Imler rhythm, which lends itself to being applied to the very rhythm of life: Stretch and compress your time and loop it according to your own groove! Optimise nothing but feel everything! And dance to it! Even when contemplating everyday information overload, as Imler's high-speed mumbling suggests in the hectic yet smooth opening track "Temperature".

But being the ultimate night owl he is, Imler manages to make even the odd bout of paranoia seem like a good thing: like some kind of krauty, groovy B-horror-soundtrack-inflected high-pressure environment, "Whip Me" is a cross between Conrad Schnitzler and Bauhaus. In the title track, whose lyrics were written together with Jens Friebe, he intones: "You want to be something greater / You break your leg / When it heals again / You break it again" and sounds like the most gleeful fatalist you can imagine. Because in his city, one can still lose oneself better than anywhere else - a night easily becomes a whole universe that can be traversed, marvelled at and played with, and one might find one's old self again only when hearing "church bells" and "small birds singing". At least that's how Imler illustrates it in "Emptiness full of stars", and it seems likely that those "stars" are the human companions of the Berlin night in question.

And so once again Imler becomes Berlin's most important cultural ambassador: that scene of the eternally, and somehow successfully, failing creatures of the night, once the envy of the international postmodern bohème, has, despite many claims to the contrary, not been completely "optimised away", and its attitude to life is perfectly summed up in Imler's groove. And, of course, his look. "Schau Hin" (German for "Look!"), he sings in the track of the same name, masterfully dubbed out with the help of Melbourne's Leo James.

Quite right! Look - and listen.

Yours, Johannes von Weizsäcker (The Chap)

Very limited new repress coming, note new price. It’s unusual for an act to hit its peak after four decades. Yet here it is. The band’s climb to become Britain’s most dazzling live band - shows are played at full energy without the breaks lesser combos need to breathe, drink or chatter – was unexpected, and public awakening to their humour, skill and brilliance demands revision of post-punk history. The Nightingales emerge as the industrious ant to their peers’ workshy grasshopper personae, appearing victoriously at the finish line to puzzled realisations that they’d ever even been in the race. The Nightingales have notoriously had a new label for each new album, a fact which might reasonably call for consumer caution, but they don’t fit in with anything like a scene, they speak their own musical language, and while they bust out slogans about being “slightly superior to others of their ilk” . . . the truth is, they have no ilk. Faust’s Hans-Joachim Irmler adds keyboards and The Lovely Eggs’ Holly Blackwell’s languid voice features on one song, but the album’s real shock is that the band has now gelled to an unspoken, nearly psychic interplay. Captain Beefheart, one of Robert Lloyd’s musical heroes, is best known for the difficult-but-classic Trout Mask Replica, and like that album, this one contains nary a ‘hit’, yet here every song sticks in the brain and grooves . . . outclassing Beefheart’s masterpiece with its effortless charm. John Peel noted, “Their performances will serve to confirm their excellence when we are far enough distanced from the 1980s to look at the period rationally and other, infinitely better known, bands stand revealed as charlatans". It’s doubtful he would have bothered with such a pre-emptive defence if he’d been able to witness the explosive growth of the band during their second incarnation. Perish The Thought will be promoted by a far-flung tour, from Scotland to Serbia, with some dates already sold out. Guest supports include Stewart Lee, The Wolfhounds and Near Jazz Experience. Several videos for songs from the album were made.

During 1978 to 1980, Fashion released one album and a handful of indie club hit singles mixing Punk & Reggae vibes. They toured the US extensively supporting The Police in 1979. Limited Edition of 800 copies 2LP set with printed inner bags. All tracks completely remastered. Contains every studio recording of the first lineup of Fashion including US singles. Includes unreleased tracks. Liner notes from lead singer & Guitarist Luke Sky. Fashion went through several line-up overhauls during its initial existence between 1978 and 1984. John Mulligan (synthesiser, bass) and Dik Davis' (drums) were constants, but the band's frontman changed with each of the band's three albums. Post-punk years: Fàshiön Music Fashion was formed originally as Fàshiön Music, in Birmingham, England, in 1978, and consisted of John Mulligan (bass, synthesizer), Dik Davis (drums), and Al James (vocals, guitar). James became known as Luke Sky, or simply Luke or Lûke (short for "Luke Skyscraper" - a reference to the Star Wars character Luke Skywalker and the fact that James was tall and thin), while John Mulligan was known simply as Mulligan and Dik Davis simply as Dïk (or "Dik Mamba" on their debut single). In 1978, they also founded their own Fàshiön Music label; from this point forward, the band was generally (though not completely consistently) identified as Fashion, as distinct from the name of their self-owned label. Fashion released their first two singles ("Steady Eddie Steady" and "Citinite") as independent issues on the UK in November 1978 and June 1979 respectively. The group was quickly picked up by I.R.S., who put out a third single in the US in September 1979, "The Innocent". Their sound was varied, playing punk, post-punk and indie repertoire, although Mulligan at that time also had a synthesizer which later characterized the future synthpop years of the band. Still signed to I.R.S., in 1979 they recorded and released their first album, Product Perfect. All three members were credited as having written the songs collectively. Between 1978 and 1980, Fashion played shows with performers such as Toyah Willcox, UB40, Hazel O'Connor, & Billy Idol, who later became well known. A then-recently formed Duran Duran opened their shows; they toured the UK with U2, both the UK and US with The Police, and opened for The B-52's on their first British tour. In March 1980, no longer associated with I.R.S., Fashion released their "Silver Blades" single, again on their own Fàshiön Music label. Later in 1980 they also released one more song, "Let Go", on a Birmingham bands compilation called Bouncing in the Red (EMI). In June 1980, after a last gig in London with U2, Luke James left the band, and later moved to the United States.

Cassandra Jenkins' An Overview on Phenomenal Nature emerged from the blue earlier this year. With pandemic unknowns and political upheaval leaving most at frayed ends, the New York-born musician’s assuring voice and expansive fresh take on songwriting created a much needed reflective space for listeners worldwide. As 2021 comes to a close, Jenkins revisits those flowing textures and refrains with (An Overview On) An Overview On Phenomenal Nature, a collection of previously unreleased sonic sketches, initial run-throughs, demos, and sound recordings from the cutting room floor that provided the scaffolding for what became one of this year’s most critically acclaimed albums.

When Jenkins visited Josh Kaufman’s studio this summer, they opened up their original sessions to uncover the ideas that were shed in the creative process. The new collection, (An Overview On) An Overview On Phenomenal Nature, isn’t merely a retrospective; it acts as a clear-eyed addendum as well as a compelling origin story, coming to life as a subconscious companion to the original album.

First takes of “New Bikini” and “Hailey” are born from opposite starting points; while “New Bikini” began as an airy alto meander, “Hailey”’s origins lie in an upbeat dance track. On “Crosshairs (Interlude),” Jenkins’ pitched vocal delivers a straight monotone, recasting the format as poetry with music highlighting her words, and “Ambiguous Norway (Instrumental)” lifts the ambient nature of the mournful song into glimmering waves. The demo version of “Michelangelo” contains alternate lyrics “I’m Michelangelo, a Teenage Mutant Ninja Turtle,” a lost contrast to the later verse where Jenkins’ likens herself to the sculptor. On “Hard Drive (Security Guard),” we join Jenkins as she listens to a passionate museum guard whose promised “overview” of the exhibit on view builds into a monologue of observations on art, politics, feminism and the human condition. This candid interaction evolved into the cornerstone and title of Jenkins’ album.

Before they decided to make an album together, Jenkins brought Kaufman a song called “American Spirits.”The dusky ballad takes us to the Texas plains via a voicemail from the payphone of a county jail (“Miss Cassandra”). Cassandra sings, “Time here burns through the sunsets / Like you and a pack of American Spirits” over warm instrumentation with a vocal delivery that reinforces Jenkins’ unwavering tenderness towards her subjects.

(An Overview On) An Overview On Phenomenal Nature bookends Cassandra Jenkins' musical output this year with nuance, coloring in the corners, and giving us another window into her ever-expanding world of chance encounters, experiences, and sonic textures. They glimmer like the sun’s changing patterns on the wall as a new day gets going.

This collection is drawn from throughout the 60's, though it does not
entirely fit the commonly held belief that Northern Soul records are all
ultra-rarities, because half of the tracks here actually were major hits in the US, and four of them were top twenty entries! Included among the twelve artists are people who maintained long careers, some who had great success as writers, and one who went on to have a major No 1 in the seventies. We finish with Charles Sheffield (aka Mad Dog or Prince Charles) and his 1961 gem It’s Your Voodoo Working. A well known track among some classic hits and some perhaps lesser known songs, which is the nature of this must-have collection.

* Strictly limited-edition 2x12” vinyl in full colour sleeve. Includes card to download full album in WAV format.
* ‘Strange Days’ the debut album from one of the standout Drum & Bass acts of recent years, due for release on the legendary V Recordings on 3rd December 2021.
* Features collaborations with Serum, Makoto, MC Fats, Lorna King, 2shy MC, Cleveland Watkiss, Blak, Riya, A Little Sound, Elipsa & T.R.A.C.
* With support already secured from the likes of Shy FX, Bryan Gee, Fabio & Grooverider, Rene LaVice, Hybrid Minds, Serum, Randall and with a growing international fanbase at their back, Paul T & Edward Oberon's new album 'Strange Days' is set to be one of 2021's defining drum & bass releases.
* Their recent run of singles, including two Beatport number ones and collaborations with vocal talents like Cleveland Watkiss, MC Fats, A Little Sound & Lorna Kings have given us a flavour of this monumental project. An eclectic array of influences from jazz to jump up have been filtered through the unique musical perspective of this duo to bring us something that we've never quite heard before.
* Drum & bass has the capacity to deliver, on the one hand, soulfully emotive musicality and, on the other, sheer rave-inflaming filth. Paul T & Edward Oberon, however, have consistently performed the alchemical magic of bringing together both the music and the mayhem without compromising either.
* But of course they have. Paul and Edward have years of experience creating music for some of the most prestigious labels in the scene and drawing from a myriad of influences. Individually, they have credits stretching back decades, and, as a combo, they've been dusting dances around the world since 2011.
* Having won an army of new-gen fans with anthems like 'Stomp', 'Look for the Light' and the absolutely huge scene smashing Serum-collab 'Moon in Your Eyes', these veteran artists have wasted no time in stepping things up to even greater heights as they gear up to drop their album.
* Balancing vibes and viciousness, 'Strange Days' lays out the definitive manifesto for Paul T & Edward Oberon's dirty soul sound. Operating as both a self-contained audio journey and a collection of rave-ready deejay weapons, this LP is a piece of work that demands your attention!

Following their critically acclaimed 2016 debut album, ‘Borderlands’, (nominated for ‘Best Album’ in DJ Mag’s annual awards), Conduct’s highly-anticipated second major work drops in 2017 via Blu Mar Ten Music.

‘Oma' is an immense LP, taking its sonic cues from 'Borderlands' while expanding them into far wilder territories. Organic clashes with electronic in a whirlpool of tribal head banging, fragile introspection and beautiful sonic architecture. Skittering rhythms, rock solid basses, angelic vocals and heartbreaking instrumentation are guaranteed to make 'Oma' one of the most notable drum & bass albums of 2017 and Conduct one of its prominent acts.

Striving to show the world what can be achieved at 170 beats per minute, Conduct’s palette is a dramatic juxtaposition between electronic and acoustic instrumentation, with a cinematic approach to composition influenced by the likes of Hans Zimmer and Jesper Kyd. While it’s common for drum & bass producers to concentrate on dance-floor impact, Conduct‘s primary focus is the evocation of an emotional response in the listener, creating a body of work that lasts far beyond the club.

First Word Records is very proud to welcome back Don Leisure, with a brand new 25-track album 'Shaboo Strikes Back'.

Five years have passed since the first 'Shaboo' album was released. A collection of beats and pieces that documented the road trip of Don's youth - hip hop music interspersed with Asian radio station jingles of old, dedicated to Bollywood actor, Nasser 'Shaboo' Bharwani - Don Leisure's late uncle.

This album was heralded as "the best album of its kind since J Dilla's 'Donuts'" and deemed "unmissable" by the folks at Piccadilly Records. It also had strong support from BBC 6 Music's Tom Ravenscroft ("very, very good this indeed"), Huey Morgan ("my beat of the week"), Worldwide FM's Lefto ("defo down with this"), Rob Da Bank ("this is wicked") and the likes of Mathieu Schreyer (KCRW, LA), Alex Ruder (KEXP, Seattle), Kid Fonque (5FM, South Africa), Om Unit, Jon1st, Mr Thing, Rob Luis (Tru Thoughts), Dom Servini (Wah Wah 45s), Tim Parker (NTS) and tons more from across the globe.

Don Leisure is a DJ and producer based in Cardiff, Wales, sometimes known as one half of Darkhouse Family, along with Earl Jeffers. He's been a prolific beat-maker for many years, releasing under a variety of monikers for labels such as Metalheadz, International Anthem, Fat City, Izwid, Earnest Endeavours and Group BraCil. His most recent release was a remix for Gruff Rhys, which was released on Rough Trade.

In 2020 he was nominated for the Welsh Music Prize for his 'Steel Zakusi' project, and has dropped several releases for First Word, including the acclaimed 2019 'Halal Cool J' album and various Darkhouse Family projects, including collabs with artists as diverse as Charlotte Church, Om'Mas Keith and Children of Zeus's Tyler Daley, additionally to remixes from DJ Spinna and label-mate, Kaidi Tatham. As a DJ he has provided mixes for BBC 6 Music, NTS, Rinse FM, Solid Steel and Boxout FM in India, as well as performing at The Jazz Cafe, Fabric and on Boiler Room.

'Shaboo Strikes Back' is a much-awaited sequel to the 2017 smash, and again features a modest 25 tracks. Psychedelic fuzzy samples and phat beats aplenty, Don Leisure once again takes us on a far-out trip across soundscapes. A real tapestry of flavours, from jazz to reggae, and from the soulful to the spiritual, this time round he's invited a few special guests to join him on his travels - most notably Welsh legend Gruff Rhys provides the vocals on 'Neon Drizzle (Hotel Shaboo)', whilst acclaimed multi-instrumentalist Angel Bat Dawid and Jazzman-signed harpist Amanda Whiting lend their talents to 'All Praises Due'. There is even a special cameo appearance from his young daughter, (aka Shaboo's great-niece!), Naima, on 'Naima's Dream'.

Once again, this is a journey into sound.

'Shaboo Strikes Back' is released on vinyl & digital by First Word Records, March 2022.

Dedicated to Nasser 'Shaboo' Bharwan
























x 24: Neon Drizzle (Hotel Shaboo) feat. Gruff Rhys

For RE:WARM 011 we present Bibbi ‘You Don’t Mind’. A four-track House infused dancefloor weapon. With hints of early 90s Euro House prime for those vintage Mediterranean sunset dance sessions after a few drinks under the parasol. All 4 tracks are sure-fire winners here. This is the only solo outing for Bibbi on vinyl with this release which is a real shame as she clearly had talent that somehow didn’t translate to capturing the interest of a wider audience.

The record was produced by ‘SUN’ Nkotsoe, formerly one half of Monwa & Sun and a popular solo act after his eponymous debut in 1990 and Looking For Love in 1991. He surely could have put his own name on this four-track e.p, given that the early house beats take centre stage. Recorded at the famous Shandel Studios, the home of many great South African popular acts of the time.

Originally released in 1992 on Diamond Music and officially licensed to RE:WARM records via Gallo Record Company.

Iiro Rantala plays the piano with “emotional magnetism and musical intelligence.”

He has a “virtuosic prowess as an improviser capable of enormous idiomatic and emotional range.” This praise from the American magazine Downbeat’s review of the Finnish pianist’s third studio-recorded solo album for ACT, ‘My Finnish Calendar’ (2019), sums up the astonishing variety which people who know his playing well might almost start to take for granted.

The citation for the 2016 JTI Jazz Prize in Trier also does well to define the way audiences take him to their heart: “Rantala can sweep listeners off their feet, he can be clown and magician, charmer and virtuoso, maverick and humorist.”

This is the emotional and stylistic versatility which Ranta-la brings to the live solo recital. It is a form he is drawn to strongly; there can be very few pianists who have explored the art of solo playing quite as intensively and consistently as Rantala. A typical recital will contain, among other things, pieces from his previous solo albums for ACT - ‘Lost Heroes’, ‘My Working Class Hero’ and ‘My Finnish Calendar’. As he explains, “I like the form of the solo recital because of the freedom and responsibility I have. Freedom comes from the fact of being alone on stage and responsibility from the fact that I can’t really rely on anything, except myself.”

‘Potsdam’, recorded live in concert at Nikolaisaal in Potsdam on 27 November 2021 is, however, the first time that one of Rantala’s many live solo recitals has been released as an album by ACT. It is a very fine exposition indeed of the contrast and the continuity of which he is capable, not just in the shape of the recital as a whole, but also within individual tunes. After a beautiful and welcoming ‘Twentytwentyone’, Rantala launches into ‘Time for Rag’, which sounds like the accompaniment for a madcap Buster Keaton film. The central section of John Lennon’s ‘Woman’ is quite clearly inspired by the driving R&B style of Richard Tee, a pianist whom Rantala particularly admires, but this leads masterfully into an ending which is at first wistful and calm, but then troubled by the Finn leaning into the piano and creating a dark and discomforting mood by plucking a low string.

There is a beautiful inevitability about the final two tunes on the album. The exuberance and brashness which inflect Bernstein’s ‘Candide’ overture right from the first fanfare are irresistible. Rantala follows this, by way of complete contrast, with ‘Somewhere’ from ‘West Side Story’. Potsdam was recorded the day after the passing of Stephen Sondheim. Rantala explains how deeply this affected
him: “Sondheim was magical. As a writer and composer. ‘West Side Story’ is one of the greatest achievements of mankind. And he was so young, when he wrote all those lines: ‘Say it loud and there’s music playing. Say it soft and it’s almost like praying, Maria’.

Donato Basile has spent his whole life fighting for the music scene in his country. Making music, running a record store DJing in legal and illegal parties. We can't deny that we are in front of one of the mainstays of the Italian scene.

When we thought I've seen it all we discovered him, after his EP on OAKS. The live act just blew our heads away on Intercell last winter. His music is a compendium of rave musics and cultures twisted elegantly, focused but not taking itself too serious. This 4th music bombs are the proof that not everything is invented.

We are proud to release DJ Plant Texture as A.662 first solo EP on his own series in KAOS.

Signed to Columbia Records, Maren Morris is one of the leading country music voices of her generation. The 4 x platinum selling 'The Bones' topped the US Billboard country songs chart for an incredible 19 weeks in 2020. She has since won multiple awards. This album is the follow up to 2019's critically acclaimed 'Girl'. This is an 11 song album available on standard LP and CD. Strong support at radio, with plays across R2, Absolute, Virgin and ILR specialist shows. Ads, features, interviews and reviews across all press. Online/social media activity. Poster campaign and database mailout.

2022 Catalog Vinyl Re-Pressings, mastered for VINYL by DAVE OTERO (Khemmis, Cephalic Carnage, Cattle Decapitation, Allegaeon and more). HUMANURE is the fourth full length release from Metal Blade Records' CATTLE DECAPITATION. The album features guests performances by Gabe Serbian, Justin Pearson and Robert Bray of The Locust. Many view HUMANURE as the turning point in CATTLE DECAPITATION's development from underground vegan and animals rights activists to grind / death metal hierarchy. HUMANURE undoubtedly set the tone for Cattle's subsequent rise, situating the band in 2022 as one of the top in the field.

Desiderii Marginis, Troum, Martin Bladh & Karolina Urbaniak and Anemone Tube, who have gathered to pay homage to the first four novels of British writer J.G. Ballard: »The Wind from Nowhere«, »The Drowned World«, »The Drought and The Crystal World«, which are often seen as disaster novels. Each of the four projects presents a very unique take on the chosen work, using the respective text as a starting point to offer sonic representations of and (further) perspectives on these books, using drones, field recordings, words and much more to create evocative and richly layered soundscapes.

Adorned by a painting of German artist Alex Tennigkeit depicting a sphinx-like hybrid creature, a phoenix rising from the ashes of our civilization, the double album also includes an in-depth essay by Michael Göttert (African Paper) on Ballard's works in which he argues that the novels can best be understood as texts of transformation, as well as texts by the sound artists.

The double album starts with Desiderii Marginis' track “The Wind From Nowhere”, on which field recordings and intense drones suck the listener into a stormy vortex. Troum interpret The Drowned World, and their two dynamic tracks illustrate both the changes happening to the (outer) landscape and the (inner) world of the protagonists. Martin Bladh & Karolina Urbaniak make use of sound and words on “The Poisoned Well”, their interpretation of The Drought, referring to Shakespeare, the Bible and scorched earth policy amongst other points of reference. The album closes with Anemone Tube's take on The Crystal World, using field recordings made in Japan’s Mount Fuji forest. “Sea Of Trees” aims to show a devolutionary process, in which man gains access to his actual spiritual home – a primordial wisdom, which lets him discover an internal non-dual space, allowing to ultimately becoming one with the earth as body-being consciousness – the ‘perfect dream’ landscape.

Suzanne Santo has never been afraid to blur the lines. A tireless creator, she's built her sound in the grey area between Americana, Southern-gothic soul, and forward-thinking rock & roll. It's a sound that nods to her past — a childhood spent in the Rust Belt; a decade logged as a member of the L.A.-based duo HoneyHoney; the acclaimed solo album, Ruby Red, that launched a new phase of her career in 2017; and the world tour that took her from Greece to Glastonbury as a member of Hozier's band — while still exploring new territory. With Yard Sale, Santo boldly moves forward, staking her claim once again as an Americana innovator. It's an album inspired by the past, written by an artist who's only interested in the here-and-now. And for Suzanne Santo, the here-and-now sounds pretty good. Yard Sale, her second release as a solo artist, finds Santo in transition. She began writing the album while touring the globe with Hozier — a gig that utilized her strengths not only as a vocalist and multi-instrumentalist, but as a road warrior, too. "We never stopped," she says of the year-long trek, which often found her pulling double-duty as Hozier's opening act and bandmate. "Looking back, I can recognize how much of a game-changer it was. It raised my musicianship to a new level. It truly reshaped my career." “Defiant” - American Songwriter “a bluesy ripper that gets its sizzle not just from her dynamic vocals but from a dirty, undulating guitar line from Gary Clark Jr” - Buzzbands “On “Fall For That,” she digs deep to sing about the push and pull between needing human connection and solitude, chaos and calm” - Buzzbands “bold storytelling and introspective reflection” - CMT “Catchy-as-hell” - Glide “she digs deep” - KCRW “Suzanne Santo is one of those musicians that come along every once in a blue moon.” - National Rock Review “Santo takes ownership and power back with crass and candor, introducing shameless, self aware dialogue that opens the door for conversation that leads to real healing.” - Paste "spunky" - Premier Guitar “Southern-gothic soul” - Rolling Stone Country “vivid musical portraits” - San Diego Union-Tribune

Emerging Liverpool based songwriter, producer and multi-instrum multi-instrumentalist Pixey burst onto the scene in September 2020 with her incredible single ‘Just Move’. The track was written, recorded and produced in Pixey’s bedroom in Liverpool - with additional production added by frequent Gorillaz and Jamie T collaborator James Dring in London.

Her debut EP 'Free To Live In Colour' followed to equal acclaim and resulting in Pixey amassing more that 150,000 150,000 monthly listeners and over 1.9Million streams on Spotify and saw her tipped in DORK HYPE LIST 2021, NME 100 and Sunday Times 'Breaking Act'.

Her latest single, the lead from EP 2, 'Sunshine State', has catapulted Pixey into being one of the most exciting emerging artists in the UK. It was Jack Saunders' Track Of The Wee Of The Week on Radio 1 and also featured on Radio 1's Best New Pop. Internationally Pixey has been picking up support support in Germany, Austria, Belgium and Switzerland. Pixey has also featured as the cover artist of
Spotify’s Indie Brandneu (GER), Indielandia (Mexico) and Peach (UK) editorial playlists of late.

A repress here of 2019's under the radar 'Box EP by The enigmatic British producer JS Zeiter, who executed more greyscale dub techno excursions of a typically high caliber on this one. After some spookily sensual ASMR action on intro 'The Code' he continues to build the suspense on the beatless Subarctic Soundscape of 'Darkness Falls' before dropping the power on the cavernous and glacial beats of 'On The Moor'. Flip over and take on more of the frozen seascape on the deeply hypnotic groove of "Empty" before one more emotional ambient outro in the form of 'Endgame'.

Bristol's jazz daddies The Jazz Defenders drop their second album for Haggis Records (home of UK funk kings The Haggis Horns), in March 2022 and it's a real departure from their debut release "Scheming" (released in 2020). Whereas that album was a homage to the late 1950s/early 1960s classic jazz style known as hard bop, this release moves into new territory with hip-hop/jazz, cinema soundtrack flavours, Latin rhythms and soul-jazz all upfront in the mix. Three taster singles from the album released in mid/late 2021 and march 2022, "The Big Man/Love's Vestige, "Live Slow" (featuring US rapper Herbal T), and "Perfectly Imperfect" (feat Doc Brown) received great radio support from the likes of Craig Charles (BBC 6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (BBC Radio 2), Ashley Beedle (Worldwide FM), Colin Curtis (Worldwide FM) amongst many others, all loving the Jazz Defenders' musical fusion of retro meets modern.

The classic sound that has inspired the band this time is very much from the mid-late 1960s era and the merging of soul and funk beats with jazz solos/improvisation. Tracks like "Wagger Jaunt" and "Munch" nod to the piano and organ-led soul-jazz of artists like Ramsey Lewis, Herbie Hancock, Reuben Wilson, and Jimmy Smith. Meanwhile "Saudade" and "Love's Vestige" feature Brazilian bossa rhythms but with some added film soundtrack overtones. Speaking of movie soundtracks, "The Oracle'' is a pure homage to the classic cinematic compositions of maestros like John Barry(James Bond, The Ipcress File) or Lalo Schifrin (Mission Impossible, Bullitt) right down to the very impressive string arrangement, beautifully scored and orchestrated by band leader George Cooper.

A big departure from the previous album comes via the two hip-hop/jazz tracks, both of which feature guest MCs. "Live Slow" has US rapper Herbal T blessing the mic over an uptempo soul-jazz number whilst "Perfectly Imperfect" features London MC/actor Doc Brown rapping on a nice and slow 90's style head-nodding hip-hop groove. Both compositions show George Cooper's love for old-school boom-bap hip-hop (by the way, he also plays keys with renowned UK hip-hop big band Abstract Orchestra). For classic jazz lovers who dug the first album, there are two pure jazz tracks that join the dots between that debut release and this sophomore one - "Twilight" and "From The Ashes" - with plenty of vibrant solos for the discerning listener.

"King Phoenix" is a statement in itself from The Jazz Defenders. After 2 years of music being destroyed by the pandemic and many musicians inactive, the band has risen from the ashes with new vigour, energy and vision to try something new and not just repeat past musical glories. A band that sticks to the same script every release might just end up having a short shelf life but the Jazz Defenders are planning on being around for a long time.










j Live Slow (Album Version) feat. Herbal T

Lim. Gatefold Splattered 2 LP.Aus den nördlichsten Gefilden und tief verwurzelt in der schwedischen Szene, erhebt sich inmitten dieser ein bedrohlicher neuer Keim mit dem Namen NIGHT CROWNED. IMPIUS VIAM vereint ehemalige und gegenwärtige Mitglieder legendärer Acts wie Dark Funeral, Nightrage und Cipher System und ist wahrhaft eine Wiederbelebung der Klänge, die von den einflussreichsten Acts und Meisterwerken der skandinavischen 90er Szene herrühren. Zeigt "Unholy Path", die erste Singleauskopplung (06.12.2019) schon eindrucksvoll wohin die Reise gehen wird, ist dieses Album in seiner Gänze ein wahrhaft unheiliges Ritual, welches mit all seiner Wut, Melancholie und Zerstörung bereits als DAS Blackened Death Metal-Highlight des Jahres 2020 angesehen werden kann!

Lim. Gatefold Marbled 2 LP.Aus den nördlichsten Gefilden und tief verwurzelt in der schwedischen Szene, erhebt sich inmitten dieser ein bedrohlicher neuer Keim mit dem Namen NIGHT CROWNED. IMPIUS VIAM vereint ehemalige und gegenwärtige Mitglieder legendärer Acts wie Dark Funeral, Nightrage und Cipher System und ist wahrhaft eine Wiederbelebung der Klänge, die von den einflussreichsten Acts und Meisterwerken der skandinavischen 90er Szene herrühren. Zeigt "Unholy Path", die erste Singleauskopplung (06.12.2019) schon eindrucksvoll wohin die Reise gehen wird, ist dieses Album in seiner Gänze ein wahrhaft unheiliges Ritual, welches mit all seiner Wut, Melancholie und Zerstörung bereits als DAS Blackened Death Metal-Highlight des Jahres 2020 angesehen werden kann!

Jack Francis is a singer-songwriter from the deep south – of England - A troubadour straight out of Southampton, Jack is one of the exciting new breed of UK Americana acts that includes rising stars such as Jade Bird, Ferris & Sylvester and Yola.

The heartfelt songs on his self titled debut album are rooted in the finest musical traditions of America, while staying true to his own geographical heritage.Having previously been employed by a major label to write pop hits for other acts, Jack left to concentrate on his own songs - each single being championed by BBC Introducing.

Paganizer are one of the most active and present
bands of shredmaster Rogga Johansson. This
Swedish metal guitar hero is part of many projects,
such as Massacre, Stygian Dark, Heir Corpse
One, Warmagic, Revolting, Megascavenger,
Ribspreader, Putrevore, Blood Gut, Dead Sun,
Graveyard After Graveyard, Necrogod and most
recently To The Gallows.
 This compilation album isn’t a sum up of songs
from other albums. Rogga did some work on old
songs and recorded them again with a little twist,
especially for Doc Records. He also dug into his
vault to find some never-released songs, so it’s
much more than just a compilation.
 For fans of Dismember, (old) Entombed, Grave,
Necrophobic, Unleashed, Bloodbath.

Halloween has been and gone for another year, but darkwave-inflected hardcore punk never goes out of fashion, right? And frankly, who gives a solitary fuck if it does? Nag’s sinister second album is too busy being an ear-bleeding good time to care about shit like that. It’s too wrapped up asking questions like ‘is this real reality?’ - too caught up in pushing Bernard Sumner minimalism into furiously energetic bruisers and ever-darker corners. It’s the record you’ve been waiting for throughout 2021, whether you knew it or not. This RIPS. Formed in Atlanta, GA, Nag have already dropped an LP (last year’s ‘Dead Deer’, on Die Slaughterhaus) and a handful of 7”s - all must-haves - but they’ve never quite cut loose like this. Vocalist Brannon Greene pitches his delivery somewhere between a caustic holler and a dead-eyed sneer, taking the blank generation for a midnight drive and hurtling straight into a brick wall. Meanwhile, the band nab ideas from no-wave, the wilder ends of Goner Records’ almighty roster, and the best (and sometimes synthiest) aspects of gothed-out post-punk - the resulting concoction may be composed of familiar elements, but it feels like no one else other than Nag. A more hyperbolic and verbose hack than me might say this is the moment that signals the band have ‘arrived’, but not me. I’d just say this is a damn fine record - one of the very best things to have emerged from the wider punk rock mess in the last 12 months. Oh, and I’d add that if you don’t buy it, you may as well sever those things called ears, toss ‘em into the woods and let any of their redeeming qualities seep out into the soil, ‘cause that’s the only way you could continue to argue that they’re serving any useful purpose. But you know, that’s just me. You do you, friend. Actually, scratch that. Buy this record, you idiot.

What started as a duo in 2017, merging a core of
sludge, stoner and audio effects, soon became a
trio, adding a third member to accomplish their
enthralling fusion of monolithic sounds with a
visual concept.
 Both musical and philosophical, Italian band
Pachiderma add a special and unique touch to the
heavy music world, while combining various movie
samples and vibrant effects, inspired by the dark
myths and reality of humanity yet driven by the
soul of heavy stoner rock and sludge metal.
 Pachiderma’s ‘Il Diavolo, La Peste, La Morte’ is a
concept album, divided in four acts, and was
inspired by the philosophy previously issued in
Bergman’s filmography. The album was recorded
in a ‘one shot’ weekend session by Andrea Lenoci
at Molotov Recordings.
 For fans of Bongripper, Electric Wizard, Sleep,
Weedeater, Dopethrone, Bongzilla, Acid King.
 LP pressed on yellow vinyl.

Steve Vai has continually challenged notions of traditional guitar playing
and composition – and on more than one occasion even reimagined the
very instrument itself."I don't sit around and say, 'Okay, what can I do now
that pushes the boundaries?," Vai explains about his approach to the
guitar
"What I do say to myself is, 'Okay, Vai – what are you going to do now that's going
to interest you, that's going to fascinate you, and that's different than anything
you've done before?"The answer to that question comes in the form of Vai's
newest and 10th solo album, 'Inviolate', a nine-song opus that does indeed push
the boundaries of instrumental guitar music – this time out, Vai quite literally
invented not just a new guitar, but also a new guitar-playing technique. The Hydra,
the elaborate three- necked steampunk- inspired guitar that Steve holds on the
album cover, is actually played on the song 'Teeth of the Hydra'. On the other hand
(no pun intended), Steve recorded and played the song 'Knappsack' with just his
left hand, after his right arm was in a sling following shoulder surgery.
At the same time, 'Inviolate' presents his most focused, streamlined and perhaps
invigorating music in years. The album features a host of esteemed musicians,
including Billy Sheehan, Vinnie Colaiuta and Terry Bozzio.
Classic Rock - Album Review Classic Rock - Soundtrack To My Life feature
Fireworks – 2-page interview Fireworks - Album Review The Guitar Mag - 8-10
page Interview Guitar Techniques - Album Review GT332 9th Feb Guitar
Techniques - Q&A 9th Feb GT332. Guitar Interactive - Front cover & substantial
feature Guitarist - Front cover/Guest Editor/8-10 page feature Guitarist - Album
Review HRH - Album Review HRH - interview Powerplay - Interview Prog - My Prog
Hero feature on John Petrucci Rock Candy - 8-Page Interview Feb/Mar iss Total
Guitar - Interview

International musicgroup SexJudas feat.Ricky returns to Optimo Music this Winter with a new album: Night Songs. The eight track LP draws inspiration from the night and features Malian percussionist Sidiki Camara,jazz clarinetist Andreas Røysum and noise rocker Linn Nystadnes. Making their own blend of disco, post punk and African music.

“It’s the return of Sex Judas feat.Ricky, this time as a six piece in fully fledged band mode. We’re here to take you on a journey through suburban psychedelia, forming our own brew of postpunk, disco and electronic, as well as traditional music from Mali. Night Songs is a meditation on the night time. The excess, the dreams, the highs and lows of night time activity.”-Sex Judas feat. Ricky.

“Black Cat In A Black Room” begins proceedings, taking the form of a psychedelic six-minute offering packed full of tribal drums and desert-like percussion. “A Man Without Purpose” comes next with its African-inspired vocal, before “Hab Mich Lieb” soon arrives. The six-minute cut is hypnotic, trippy and relaxing all in one, as is “Slow Down” feat. Linn Nystadnes. Taking on more of a funk-rock feel, there’s plenty of groove in the guitar-laced bassline, whilst in “Cold Clementine”, Sex Judas tells the sad tale of rave casualty over a dark and funky groove.

We’re taken down a spiritual path on The Light You Saw Was Not For Real, as Andreas Røysum’s clarinet solos sit underneath shamanic vocal offerings that open neatly into The Night Within The Night. Aslow-burning cut, riffs and hats serenade us before When You Wake Up Everything Will Be Fine brings proceedings to a close. Dream-like chords wrap us in a warm and glowing hue, with the harp-like sounds from Sidiki’s Ngoni, leaving us in a starry-eyed state to finish.

The calming nature of the album is a nod to the band’s influences: they were inspired by the great meditative records of the past, setting off on a musical trip that saw them record the whole release at legendary Norwegian studio Athletic Sound. This happened during lockdown and whilst the LP was never meant to be comment on the pandemic, there remains a brooding intensity to each track because of it. Sex Judas feat. Ricky originally began life as the solo project of Tore Gjedrem (from electronic duo Ost & Kjex), but has since grown into a steady six piece involving the talents of Sidiki Camara (djembe/ngoni/balafon), Ivar Winther (guitar/keys), Tracee Meyn (vocals), Tore Brevik (drums/percussion) and Kristian Edvardsen (bass). Centre stage is also illustrator and comic artist Sindre Goksøyr, this time portraying each character as they paddle their way into the sunset and uncharted territories.

Malian-born, Norwegian-based percussionist Sidiki Camara has played a pivotal role in promoting “Night Songs” to world music circles. Having lived in Norway since 2006, he has helped bring WestAfrican rhythms into the country’s wider jazz scene.

As a lifelong soul boy - poet, actor, presenter Craig Charles has been adding to his trunk of funk music since his youth, and now after almost 20 years hosting his world renowned BBC6 Music and Radio 2 shows, DJing at clubs and festivals around the globe his reputation as an ambassador for all things soulful & funky is indisputable. Craig was overwhelmed with the success of Volume 1 which hit the Official UK Album charts; "It's been a whole year (and what a weird year) since I unleashed Volume 1 on a music starved world. It clearly hit home with a funk hungry public as it got into the UK charts, nestled between film soundtracks and pop compilations, so I'd like to thank everyone for supporting - especially those who grabbed the double vinyl album - that was an instant sell out!" Volume 2 contains all the trademark features his fans have come to love -kicking off with The Allergies - and their 100% exclusive Trunk Of Funk remix of their bombastic Move On Baby.

New imprint and musical project from Benjamin Diamond (french iconic member of Stardust and voice of the hit "Music Sounds Better With You") & Ulysse Genet!

Two numbers referring to the year 1972.

And in two numbers, everything is said.

The project is simple and ambitious, it is the soundtrack of life passing by, of our lives, of theirs: those of two boys who became two men, both born the same year. 1972. And contrary to its commercial destination, the «TM» sometimes af fixed to these two letters appears here rather like a real mental tattoo, if not a purely aes thetic gesture, as if to tell us: these sounds, these feelings, these immaterial emotions, were deposited in the dark recesses of these two brains, these two minds, before passing through their bodies, passing through their fingers, then through the keyboards, the ins truments, to transform themselves, to turn into sounds, which, themselves, through the alchemy of creation, become music.

And this music is the soundtrack to these two lives: Benjamin Cohen. Ulysse Genet. And these two lives which at one point crossed, met. And from this crossing was born 72. From these two experiences, from these memories, from the memories of the two artists, music is revealed. Four tracks for the moment, instrumental, mixing the reminiscences of hip hop, the echoes of the ‘ambient’ created by Brian Eno, the techno vo lutes of Detroit, and more particularly those of Carl Craig. Without forgetting the roots of what has been called the French Touch... this unique musical adventure revealing France abroad in a singular way, in which Benjamin Cohen has actively participated.

Reissue of George Duke's classic 1976 jazz-funk-fusion album 'Liberate Fantasies'

This 1976 album, the last one of the MPS fusion series, continues George Duke's tendency to couple his fusion world with accessible R&B songs. Once again, he shows a discernible vocal development. In "Tryin' And Cryin" the Californian together with rock singer Napoleon Brock overlays multiple vocal tracks.
On "Seeing You" Duke lays on a glaze of soulful tenderness, whereas "What The…" is 30 seconds of frivolous funning around. "Back to Where We Never Left" is a witty gem in which Duke bundles his pool of synthesizers into a united groove, whereas "I C'n Hear That" shows off synth and marimba tonal colors in dialogue, with the bass riffing on the bottom.

The album flows into the final bend carrying along the sonorous richness of Brazil. "After the Love" plays with the languorous erotic colours of the tropics, whereas all the band members are allowed to shine on the epic circa ten minute title track with its hot samba flair: the rhythm section with "Ndugu", Al Johnson, and Airto Moreira's percussion arsenal, Daryl Stuermer with his rock interludes on guitar, and Duke himself with inspired virtuosity on all sorts of synths and
keyboards.

“Boot licking, piss drinking, finger frigging, tit tweaking, love biting, arse licking, shit stabbing, motherfucking, spunk loving, ball busting, cock sucking, fist fucking, lip smacking, thirst quenching, cool living, ever giving…”

There’s no fairer introduction to ‘Fist’, Joshua James’ latest contribution to Phantasy, than to advise one simply to prepare themselves. Sampling iconic performance artist, club promoter and designer Leigh Bowery, James connects the expert dancefloor pressure he exacts each weekend as one of London’s best-loved club residents with the unapologetic, defiant legacy of a personal hero. None other than Peaches then takes up the remix mantle for ‘Fist’, intertwining the provocations of two radical performers and connecting three generations of underground queer culture in one sonic menage-a-trois, perhaps the straight-up rudest club record in recent memory.

On the original production, James shifts his sound in a heavier direction still since last summer’s euphoric Amber Rush, which was remixed by labelmate and friend Daniel Avery. A bouncing industrial tilt underscores the heavy-duty production, as Bowery, originally recording alongside Richard Torry in their band Minty, espouses a catalogue of sexual acts - some specialist, all sensational - as James pushes dancers further down into the belly of some revolting rave beast.

A multi-faceted match to Bowery themselves, Peaches continues a decades-long journey dedicated to genre and gender deconstruction with her wild and playful take on ‘Fist’. Dripping in cybernetic club juice, Peaches wraps herself around Bowery’s own teaches on the mic, easily matching his demands as she careens towards a system-rattling techno conclusion.

Franz Ferdinand announce ‘Hits To The Head’, a 20-track greatest
hits collection showcasing the world-conquering success of the
band’s career to date.
 Released on Domino, ‘Hits To The Head’ also features two brandnew tracks - ‘Billy Goodbye’ and ‘Curious’, produced by Alex
Kapranos, Julian Corrie and Stuart Price (Dua Lipa, Madonna, Pet
Shop Boys).
 Armed with an astute sense of what constitutes the ‘classic pop song’
(famously proclaiming that they write music “to make girls dance to”),
the music of Franz Ferdinand continues to resonate globally and over
the course of nearly two decades they’ve become, commercially and
critically, one of the biggest UK bands in the world, selling over 10
million albums, 1.2 billion streams to date, 14 Platinum albums,
winning Brit, Ivor Novello and Mercury Prize awards, Grammy
nominations and selling six million tickets for their incendiary live
show worldwide.
 Deluxe CD in hardback book-style sleeve with 48-page case-bound
booklet with liner notes by JD Beauvallet plus lyrics.
 CD in standard jewel case with clear tray and 24-page booklet with
liners by JD Beauvallet.
 2LP into black poly-lined inner sleeves plus 16-page booklet with
liners by JD Beauvallet and digital download card.

Rapper and producer duo ​Verbz & ​Mr Slipz announce their latest album ‘Radio Waves’ ​due out ​13th November 2020​. Released on the acclaimed Hip-Hop label ​High Focus Records​, the 22-track project sits perfectly between present-day greatness and unrivalled nostalgia welcoming us into their unique rap landscape. The cover, designed by ​Matt Littler​, captures the essence of the album perfectly.

Born and raised in Croydon, rapper ​Verbz has proven himself time after time with his innovative rhyming style and distinct flow. The creative partnership wouldn’t be complete without Brighton based producer Mr Slipz who marries ​Verbz’ form with his laid back jazzy sound as well as unmistakable attention to detail. The pair started making music together in 2017 when they released their debut collaboration ‘Lessons Of Adolescence’. This was followed by extensive tours and studio sessions where their musical alliance was cemented and their bond has been untouchable ever since.

Kicking off the album with humour and personality, '​2202 FM​’ is a full-bodied track which sees ​Verbz spit tales of admiration for his city whilst at the same time striving to escape. With London on the brain,

‘Summer In The Bits’ ​is an introspective analysis of a summer's day in the capital full of tense trials and tribulations. Moving throughout the album, ​‘Kno The Status’ welcomes three potent guest verses from Alex Holy​, ​Datkid & ​Upfront ​paired with an unrivaled ​arrangement and instrumentation magnifying Mr Slipz’ craft. Once again his incomparable production delivers on ​‘Weekend Blues’ ​which see’s ​Verbz regretfully address craving more from his weekend to then be greeted by numbness on a Monday morning. ​High Focus linchpin Fliptrix delivers some captivating combinations on ​‘My Wonders’ ​honing n on the current state of the world from his point of view. Up next is one of the lead singles

‘The Feeling’, which is a refreshing and rare representation of the classic Boom Bap sound. Before signing out, ​Verbz’ ​impressive storytelling shines through on ​‘In My Mind’ offering insight into his artistry as he allows access to his inner thoughts via vivid storytelling lyrics. Sandwiched amongst the project are evocative radio skits placed to perfection, offering angles of comedy including a mini-interview acting as the final pieces to the puzzle.

This record is the culmination of two years of hard work packed with skill and finesse, as we have all come to expect. With their unrivalled chemistry, the dynamic duo have proven themselves to be some the most exciting artists on the scene, and '​Radio Waves' is going to cement their position at the top of the ranks.

Calibro 35, the legendary crime funk combo sampled by Dr.Dre and Jay-Z, announce the reissue of "Traitors", their iconic fourth album, on Crystal Red vinyl and digital deluxe edition with bonus tracks.

Record Kicks proudly presents the reissue of CALIBRO 35's fourth legendary long-time sold out album "Traditori Di Tutti" (Traitors) on March 04thon limited edition crystal red vinyl and digital "deluxe" edition with bonus tracks.The publication is part of "The Record Kicks Trilogy" that follows the reissue of the first three albums of the band, released in 2020. This time, Milan label Record Kicks will repress on wax of three different colours and on digital deluxe edition, the fourth, fifth and sixth legendary studio albums of the Italian cinematic-funk cult band. The digital deluxe edition of"Traditori Di Tutti" includes 2 bonus tracks: a crime funk cover of "Get Carter", originally released as a b-side of the "Butcher's Bride" 45 vinyl, and the unreleased funky stormer "Milan, Michigan".

"Traditori Di Tutti" is the fourth album by Milan's combo, inspired by noir masterpiece novel "Betrayers"published by the father of Italian noir, award-winning crime fiction author Giorgio Scerbanenco. The album contains only band's original recordings, from floor-shaking first single "Giulia Mon Amour" to groovy "The Butcher's Bride", from deep funky "Filthy Bastards" to the dancefloor jazz madness of "Mescalina 6". The five-piece pays homage to "I Maestri" such as Morricone, Micalizzi and Bacalov with 12 tracks full of funky beats, heavy guitars, groovy bass lines and fuzzy organs.

There's one thing that Italians do better than others: funky soundtracks. Quentin Tarantino knows best: soundtracks from Italian movies of the '60s and the '70s are the THING! "Calibro 35 does with music what Tarantino does with films". They borrow what they love and they make it their own. With Rolling Stone magazine words "Calibro 35 are the most fascinating, "retro-maniac" and genuine thing that happened to Italy".

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their fourteen-year career, they were sampled by Dr. Dre on his Compton album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

After a quarter century of nearly nonstop activity, dystopian Detroit synth-punk institution ADULT. have perfected a strain of stylistic cohesion in the album format, "but for this we wanted something that's falling apart." Becoming Undone, the 9th official full-length by cofounders Nicola Kuperus and Adam Lee Miller, explicitly succeeds in this aim, simultaneously rejecting and reflecting the planetary discord that inspired it. Begun in the latter half of 2020 against a backdrop of unprecedented flux and seismic isolation, the duo kickstarted their muse by sourcing fresh additions to the rig: a vocal loop pedal for Kuperus and Roland percussion pads for Miller. Reconnecting with legacy influences like the politicized industrial percussion of Test Department and the queasy miscreant synthetics of TG's 20 Jazz Funk Greats sparked a series of fruitfully frenetic sessions, centered on themes of impermanence and dissonance. Miller's rationale is blunt: "We weren't interested in melody or harmony since we didn't see the world having that." From the tense technoid blitz of "Undoing / Undone" to the twitchy EBM of "Fools (We Are_)" and "I Am Nothing," the sides bristle with strident acidic revolt and black leather sequential circuits, unhinged and unforgiving. Elsewhere, slower tempos of purgatorial unraveling ("Normative Sludge," "She's Nice Looking") showcase a breadth of vocal FX, Kuperus sounding alternately indignant and possessed, decrying the crimes, fears, and failings of a deluded world. Throughout, the band's chemistry crackles with revulsion and strobe-lit dissent, equal parts exorcism and denunciation. "Humans have always been pretty terrible," Kuperus explains. "But every year the compromises of culture just accelerate." Becoming Undone is also freighted with a more personal pain, as Kuperus' father passed away during the height of the pandemic, just before the album took root. As his hospice caretakers, she and Miller faced the banality of finality, surrounded by objects drained of meaning, "the joy of having a body, but also the drudgery of having one." The record's bewitching closing track, "Teeth Out Pt. II" - which happens to be the first ADULT. song in the group's history without drums - speaks to this sense of doomed corporeal mass and the looming, lightless unknown that binds us all. A seasick haze swells and subsides in slow, low waves, flickering with ring modulation, above which Kuperus sings in a dazed, brooding, transcendent state, as if having finally glimpsed beyond the pale: "Some day / some day I will be silent and free / of this relentless gravity."

Some Crate-digging Compilations Are Often The Result Of Someone Hand-picking Their Choice Favourites From Another Country's Musical History, Perhaps Unaware Or Uninvolved With Its Cultural Lineage In The Process. On Soundway's Latest Release - A Treasure Trove Of Synth Jams, Pop, Samba Boogie, Balearic And Electro From 1980 & '90s Brazil - The Tracks Are Picked By Millos Kaiser, One Half Of The Brazilian Duo Selvagem, Who Are At The Helm Of Throwing Some Of The Country's Best Dance Parties. It's A Rare Compilation That Offers Brazilian Music Actually Picked By A Brazilian.
Whilst Names Such As Ricardo Bomba, Villa Box, Fogo Baiano, Electric Boogies And Batista Junior May Not Be Household Names, They Tell An Untold, Yet Rich And Important Part Of Musical History In Brazil. The Release Also Covers A Decade That Has Been Intentionally Forgotten And Brushed Aside By Many In The Country.
Onda De Amor Is A Release That Is Loaded With Smooth Grooves, Bubbling Bass, Glistening Synthesisers, Funk Strutting Guitar Lines And Sheen Of Production That Undeniably Marks It Of Its Time. For Kaiser This Compilation Is About Reintroducing Music During A Period Of Reappraisal, Catching A New Wave And Hoping Contemporary Listeners Will Ride It With Him. the Idea Is To Do Justice To These Songs. Songs That Combine All The Right Ingredients That Should Have Put Them On
Radio Playlists When I Was Growing Up Or At Least In The Cases Of More Adventurous Djs'.
Millos Kaiser Is A Dj, Digger, Vinyl Junkie/dealer Born In Rio De
Janeiro And Living In São Paulo For The Past 8 Years. He Launched The Dance Party/club Night Selvagem With Partner Trepanado In 2010, Bringing Thousands Of Dancers One Sunday A Month To A Public Square In The Heart Of São Paulo.

**LTD BLACK AND RED MARBLE**

As humans, we are aware of our inner beast and should therefore be able to control it. We understand our hard-wired primal urges and why they exist in an evolutional sense. We understand the relationship between mind and body. Highly evolved and intelligent, we should be able to recognize these genetic hangovers and control them as a means to act positively and move forward as a compassion-ate species. Unfortunately, this is not the case. Recent global events have proven this. The human race is consuming itself.

World Eater, the new album by Benjamin John Power's Blanck Mass project, is a reaction to this. There is an underlying violence and anger throughout the record, even though some of these tracks are the closest Power has ever come to writing, in his words, actual love songs.'

Maybe subconsciously this was some kind of countermeasure to restore some personal balance,' Power explains.

On World Eater, Power further perfects the propulsive, engrossing electronic music he has created throughout his impressive decade-plus career, both under the Blanck Mass moniker and as one-half of Fuck Buttons, as he elaborates upon the sound of 2015's brilliant double album Dumb Flesh. As massive as the sonic world of the new record often feels, its greatest achievement is in its maximization of a limited set of tools, a restriction intentionally set by Power himself.

As an exercise in better understanding myself musically, I found myself using an increasingly restricted palette during the World Eater creative process. Evoking these intense emotions using minimal components really put me outside of my comfort zone and was unlike the process I am used to. Feeling exposed shone a new light on this particular snapshot. I feel enriched for doing so.'

(A) 1. John Doe's Carnival of Error
(B) 2. Rhesus Negative
(C) 3. Please
(D) 4. The Rat
(E) 5. Silent Treatment
(F) 6. Minnesota / Eas Fors / Naked
(G) 7. Hive Mind