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The second volume of music from the hit Fox TV show ‘Bob’s Burgers’. The Emmywinning, top-rated show was named one of the 60 Greatest TV Cartoons of All Time
by TV Guide.
In addition to the show’s cast, the album features high-profile guests including Adam
Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall,
Aparna Nancherla and Matt Berninger (of the National).
The ‘Bob’s Burgers’ audience is wide-ranging: strong performance with 15-25 year
olds, median viewing age of 37, 35 share among males 35-54 and a 16 share of
females in the same group.
Campaign will include promotion from the cast and show production team.
‘The Bob’s Burgers Music Album Vol. 2’ includes nearly every single musical morsel
from Seasons 7 through 9.
This 90-song smorgasbord will feature the Belcher family - Bob (H. Jon Benjamin),
Linda (John Roberts), Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen
Schaal) - as well as the show’s numerous recurring and special guests.
For fans of the show, enjoying the music of Bob’s Burgers on its own is both an
irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely
epic disco celebration ‘Hot Pants Rain Dance’, sing along with the musical theatre
gem ‘The Wedding Is My Warzone’, or do whatever you’re gonna do to ‘Sexy Little
Tiger’ but don’t miss ‘The Bob’s Burgers Music Album Vol. 2’.

In James McMurtry’s new effort, ‘The Horses and
the Hounds’, the acclaimed songwriter backs
personal narratives with effortless elegance
(‘Canola Fields’) and endless energy (‘If It Don’t
Bleed’).
This first collection in seven years spotlights a
seasoned tunesmith in peak form as he turns
toward reflection (‘Vaquero’) and revelation (closer
‘Blackberry Winter’). Familiar foundations guide
the journey. “There’s a definite Los Angeles vibe to
this record,” McMurtry says. “The ghost of Warren
Zevon seems to be stomping around among the
guitar tracks. Don’t know how he got in there. He
never signed on for work for hire.”
‘The Horses and the Hounds’ is a reunion of sorts.
McMurtry recorded the new album with legendary
producer Ross Hogarth (Ozzy Osbourne, John
Fogerty, Van Halen, Keb’ Mo’) at Jackson
Browne’s Groovemaster’s in Santa Monica,
California. Hogarth recorded McMurtry’s first two
albums - ‘Too Long in the Wasteland’ and
‘Candyland’ - and later mixed McMurtry’s first selfproduced album, ‘Saint Mary of the Woods’.
Another veteran of those three releases, guitarist
David Grissom (Joe Ely, John Mellencamp, Dixie
Chicks), returns with some of his finest work.

‘321?’ is the debut EP from MILYMA, released on foundation.fm’s freshly minted label foundation.fm Records.
MILYMA is the multi-instrumentalist and multi-linguistic musician, vocalist and producer with a bright year ahead of her.
Real name Milena Mayordomo, the rising star is based in the creative city of Basel in Switzerland and was born in Germany to Spanish parents. Her music explores the experimental fringes of pop that nods to hip-hop as well as classical, with her cascading arpeggios at the heart of her music making. Her world building capabilities with both music and visuals, place her amongst avant-pop creators like FKA Twigs and Smerz. Her intricate and intoxicating productions show us that MILYMA is already a master of her craft, bringing her thrilling EP ‘321?’ to the table, this Basel based artist is proving to be one of the most exciting acts to burst on the scene. After launching a new era for foundation.fm, both label and artist are sure to go from strength to strength.
This 4-track EP is printed on 140 gram 12” black vinyl, in 200gsm printed card sleeve.

Necronautical have always been about exploring the darkness. Their very name means ‘To explore death’. It’s fitting, then, that on their fourth album, Slain In The Spirit, the Manchester band are pushing both their sound and their concept to the outer limits. Since forming in 2010, Necronautical’s name has become well respected among the British black metal underground. Across three albums –2014’s Black Sea Misanthropy, 2016’s The Endurance At Night and 2019’s Candlelight Records debut Apotheosis –their sound has become one rich in its skill with the dark side of metal. Ambitious and grandiose in its symphonic touches, this velvet glove hides beneath it an aggressive iron fist. On Slain In The Spirit, this is truer than ever. Everything has been taken to a degree beyond where the band have trodden previously, with the symphonic elements swirling even more dizzyingly above a metallic attack that hits with an almost machine-like ferocity. So much so that the band have transcended black metal altogether. Available on CD, trans amber 2 LP vinyl and trans amyethyst 2LP.

Bjarki’s bbbbbb records welcomes its first-ever non-electronic project as Icelandic rock band Skrattar joins the label to unveil their thirteen-track album, ‘Hellraiser IV’.

Four-piece outfit Skrattar can be described as cigarette rock with an electronic vibe that makes your upper lip sweat. Having already developed a loyal fanbase in Iceland as a powerful live act with an energetic and provocative stage presence, the band now look further afield to global horizons as they reveal their latest album, ‘Hellraiser IV’.

With the release of ‘Hellraiser IV’, bbbbbb broadens its catalogue beyond dance and electronic music. While the label’s primary focus will remain electronic, several other genres will also feature - the connecting factor being that the music is Icelandic, experimental and fresh... the best that grassroots has to offer.

‘Good music should be heard, and this is my take on delivering probably the best music coming from Iceland at the moment. It’s an honest, wild love story of true friendship and creativity coming together in one album’ - Bjarki

‘Hellraiser IV’ contains thirteen tracks written over three years, with the oldest songs composed the year the band was founded, 2016. In 2019, when a good foundation for an LP had been laid as the band gained followers and honed its sound, they locked themselves in the studio until they completed the album. With many of the tracks composed in the dead of night, containing both lyrics written over a long period as well as improvisation, the final product is a record made by them from A to Z, in line with the band’s endearing DIY ethos.

‘Skrattar’ is Icelandic for a specific type of demon that you can’t control, but in Swedish, it means ‘to laugh’ - with laughter involved across many of the tracks on ‘Hellraiser IV’ as if to mock the dualism of seriousness. Their subject matter is chaos and anarchism - but their humour and satire are never far away. The music is an ode to the eternal void, while at the same time laughing in its face.

In addition, a remix album will be released digitally alongside Hellraiser IV, reimagined and reworked by a host of fellow musicians, producers, and artists. Among them, label regular Kuldaboli, bbbbbb boss Bjarki, DJ Flugvél og Geimskip, russian.girls, KGB and Anton Newcombe - the founder of The Brian Jonestown Massacre.

The debut album from LIMINA, the new project from film and game score composer Tyler Durham, comprises six pieces that, taken together, reflect on the ways in which inspiration eases into existence and, through collaboration among muse, body and technology, wrangles its way into being. Combining ideas drawn from ambient electronic music, contemporary classical, and new age, the album openly explores transitive passages and the very nature of the creative process. Crafted for single-sitting immersion with each of the six works building on musical ideas expressed in earlier movements and seamlessly flowing from one track to the next without interruption.

While the pandemic paralyzed the entire world and prevented bands from touring, Latin America's biggest metal export SEPULTURA refused to sit back and act like an animal trapped in a cage. Like the flowers growing out of the deceased bird’s body depicted on the stunning colourful cover artwork by Eduardo Recife, the thrash metal pioneers from Belo Horizonte made good use of their unexpected free time to start a project that kept them busy throughout the entirety of 2020:

‘SepulQuarta’ was born at the very beginning of the pandemic when everything was halted”, guitarist Andreas Kisser remembers. “We had a new album out, but we couldn’t tour for it. Therefore, we created this recurring event where we could talk with our fans around the world, play our music and exchange ideas, it was a blast! »SepulQuarta« kept us alive and strong throughout one of the most difficult times in human history.”

“Doing Sepulquarta during this period allowed me to stay in contact with music. Playing my instrument was the only thing left to do in this pandemic,” adds drummer Eloy Casagrande, and indeed, music seemed to be a good way of coping with the never-ending lockdown and fear of loss and isolation that haunted people worldwide. Obviously, the Brazilian pioneers were not the only musicians feeling this way, so they started to connect with friends and colleagues worldwide and asked them to not only be part of their weekly podcast, but also join them in playing one of SEPULTURA’s classics tracks. From the safety of their homes, international stars like David Ellefson, Scott Ian, Danko Jones, Devin Townsend, Matt Heafy and many more recorded a SEPULTURA track together with the band, which have now been mixed and mastered by Conrado Ruther.

“We invited our amazingly talented friends to be a part of our project, either jamming with us or as a guest in the many Q&A’s we promoted,” Andreas explains. “We talked about our history, music, politics, sports, philosophy, depression and the environment among other things. We learned a lot with specialist guests and many of the great minds of today. Here you will find unique performances of SEPULTURA’s music from the many phases of our career, with amazing guest musicians that lent us their talent and energy to record these historical versions!”

Since its inception in 2019, Beartrax’s Melodize imprint has consistently pushed deep, musical house and techno with contributions from John Tejada, Fort Romeau, Carl Finlow, and many more standing alongside Beartrax’s original productions throughout the label’s back catalogue.

Leading the sixth release, ‘Phantom Night’ sees haunted atmospherics nestled amongst ethereal synth licks, before a cinematic violin takes centre stage. Johannes Albert’s remix peppers elements of the original with slick acid lines and punchy drums, re-imagining the dramatic violin for a fresh and highly entertaining take.

On the flip, the uplifting ‘Valor’ runs through a series of modulating basslines, glistening pads, and sizzling drums, topped off with a majestic cello performance throughout.

Rounding out the release, Lauer adds rubbery low end, floating keys, and hands-in-the air piano stabs to ‘Valor’ for a high-energy end to another stellar EP from Melodize.

It's not often that an album disavowed by its own author at the time of release goes on to become considered a modern classic. Yet that's exactly what happened with Chicago blues legend Howlin' Wolf's 1969 LP The Howlin' Wolf Album, a release that has since attained mythical status due to the controversy behind it. Released on Cadet Records, a subsidiary of legendary imprint Chess Records, The Howlin' Wolf Album was a radical experiment for a wellestablished artist: attempt to integrate electric instruments and psychedelic arrangements into his revered signature blues sound. The result was an album that Wolf himself initially disregarded on the nowinfamous cover, but one that has won a special place amongst dedicated music aficionados thanks to its unique mix of traditional blues and electric rock elements. Get On Down's reputation for high quality reissues continues with The Howlin' Wolf Album, which features a special Stoughton vinyl pressing with audio remastered from the original analog tapes for optimum sound quality and comes packaged in a paste-on style jacket featuring the album's famous original artwork. A1. Spoonful A2. Tail Dragger A3. Smokestack Lightning A4. Moanin' at Midnight A5. Built For Comfort B1. The Red Rooster B2. Evil B3. Down In The Bottom B4. Three Hundred Pounds Of Joy B5. Back Door Man

Limited edition LP - 180g virgin vinyl - deluxe gatefold sleeve
original artwork.
Produced by Creed Taylor, engineered by Rudy van Gelder, arrangements
by Eumir Deodato and featuring among others: Joe Farrell, Hubert Laws,
Ron Carter, Hermeto Pascoal, Airto Moreira, and Joao Palma.
Reissue of the 6th studio album by Brazilian jazz legend Antonio Carlos Jobim.
Released in 1970 on A&M Records, this instrumental Bossa Jazz masterpiece
was produced by Creed Taylor and engineered by Rudy Van Gelder. It features
the arrangements of Eumir Deodato (who also conducted the band) and includes a plethora of sidemen from the U.S. jazz scene, such as Joe Farrell, Hubert Laws and Ron Carter, as well as Brazilian stars like Hermeto Pascoal, Airto
Moreira and Joao Palma.

For number 90 in the Brazil45 series, we share a couple of lesser-known discoveries that have become recent favourites here at Bongo HQ. First up we head to the north of Brazil with funky Forr / boogie hybrid monster, ‘Vendedor De Mangaios’ by Josan. Originally released in 1981 on the album ‘Rio De Renova es’ on Copacabana Records. This addictive dancefloor gem is still relatively under the radar, but it has become a firm favourite at Bristol’s Worm Disco Club parties and amongst the DJ’s and collectors of Brazil’s underground dance music scene. Taken from the illustrious singer Bart Galeno’s self-titled 1977 album on Tapecar Records, ‘Vou Tirar Voc Daqui’ is an unusual one. Not easily pigeon-holed, he song sits somewhere between MPB / funk and rock, yet isn’t really any of them. Backed with a big orchestrated sound and tripped-out synths, the track has a truly unique feel. We hope you dig these finds. Another testament to the diversity and depth of Brazil’s rich musical heritage.

- Next installment in BRAZIL45 Series.
- Two lesser-known discoveries

With over 2.5 million album sales and over 2 billion streams under his belt, Kid Ink returns to his indie roots with this first independent release in nearly 10 years. Following the success of his previous independent album Up & Away, as well as two highly acclaimed releases for RCA, Ink returns with his fourth full-length release, Alive. The record’s lead single "Night & Day" is already a staple of radio and across social media platforms. The Los Angeles-based Kid Ink has brought his distinct style to the musical landscape since 2010, combining a contemporary aesthetic with an indie flair, and the spirit of the underground. Across multiple studio releases and innumerable mixtures he effortlessly dances the line between club bangers and more insular, emotive material. This deft penchant for smooth rhymes and seamless flow can be found across Kid Ink's many Billboard-charting singles, including top 20 hits "Show Me" with Chris Brown, and a noteworthy guest turn on Fifth Harmony's "Worth It". He has previously collaborated with the likes of Meek Mill, YG, DJ Mustard, Tyga, Wale, Fetty Wap, Lil Wayne, Usher, and Ty Dolla $ign, among many more.

Based on the book by the same name, Minamata follows war photographer Eugene Smith as he travels Japan documenting the devastating effect of mercury poisoning among coastal communities. His efforts to publicize the suffering caused by corporate malfeasance soon draw the attention of the world to Minamata, the city where the effects of the toxin are most pronounced.

The score is composed by Ryuichi Sakamoto composer, electro-pop pioneer, buddy to David Bowie, and synthesizer legend. His work since the late 1970s has taken him from the top of the charts. Sakamoto’s music has consistently exuded a profound empathy. Whether leading Yellow Magic Orchestra’s cheeky pop, collaborating with cranial ambient artists, or, more recently, confronting his own mortality, Sakamoto’s music expresses in a few elegant gestures the haunting richness of life.

On July 13, 2006 the Drive-By Truckers set up
shop at Plan 9 Records in Richmond, VA. It was
the 25th Anniversary of the store. The band
performed to a packed house and played a
blistering set of fan-favourites, featuring the songs
‘18 Wheels of Love’, ‘Let There Be Rock’,
‘Goddamn Lonely Love’ and ‘Daddy’s Cup’.
The performance was also set up to benefit the
Bryan and Kathryn Harvey Family Memorial
Endowment. The foundation provides, among
other things, music scholarships in the Richmond
area. Lead vocalist and songwriter Patterson Hood
ended up writing the song ‘Two Daughters and A
Beautiful Wife’ about Bryan Harvey and his family.
The updated packaging includes original artwork
from acclaimed artist and long-time collaborator
Wes Freed.
Originally available as a very limited and long sold
out vinyl-only pressing. Now available on CD for
the very first time.

Ltd Black Vinyl Gatefold edition + 32 Page Booklet + Download Code

The LP contains original compositions by Ryuichi Sakamoto, Pascal Comelade, Laurie Spiegel, Lyra Pramuk, Chassol, Nicolas Godin and Pierre Rousseau, Pedro Vian and Pierre Bastien, Visible Cloaks, Kelman Duran, Raul Refree, Lucrecia Dalt, Lafawndah.

+ a booklet with writings by contemporary thinkers like Shumon Basar, François J. Bonnet, and pictures by, Araki, Juergen Teller, Elizaveta Porodina, Dani Pujalte, P Jack Davison, Zhong Lin, Alessandra Sanguinetti, Adrià Cañameras, Javier Tles among others. Lacquer cut by Josh Bonati & Mastered by Rashad Becker

'PRSNT' is a unique global artistic project combining the input of artists across the worlds of music, video and written word which acts as a statement on how we, as consumers, engage with music in the 21st century. Vital electronic musicians including Ryuichi Sakamoto, Lafawndah, Lyra Pramuk, Lucrecia Dalt and Visible Cloaks have each contributed tracks, which are approximately 32 seconds long.

The concept was devised by Created By Us and the Barcelona-based label Modern Obscure Music. They read a study which identified that the overwhelming volume of instantly accessible information online is shortening attention spans and altering how audiences engage with music digitally. Their curiosity about the state of online consumption developed further on discovering that around a third of all listeners using digital platforms skip to the next track, within the first 30 seconds of playing.

Each musician was given a fascinating challenge to create engaging compositions with real artistic merit, inside the confines of this shortened span. Akin to Brian Eno's famous Windows 95 start-up music, the time constraints are crucial, and the compositions are deceptively complex and more substantial than expectations of their nano nature would suggest.

'PRSNT' acts as a critique of flighty feed culture, but is simultaneously constructive, providing something which is either proposed solution, or "if you can't beat 'em join 'em" resignation. Every artist has interpreted the brief differently, resulting in an intriguing blueprint for the potential future of digital music. Could abbreviated micro compositions satisfy, inspire and nourish like their longer counterparts? They certainly take up much less of listeners' busy lives, which are often spent tackling ever-increasing workloads.

‘Anomie & Bonhomie’: Originally released in 1999 and only on CD, never released on
vinyl. Includes sleeve notes written by Green Gartside and David Gamson.
11 years after the release of previous album ‘Provision’, Scritti Politti erupted back into life
with 1999’s ‘Anomie & Bonhomie’. Recalibrated, re-evaluated, re-imagined and,
eventually, rewarded, ‘Anomie & Bonhomie’ is the heady results of this artistic rebirth.
Illuminated by the band’s stylish pure pop spotlight, collaborations with Mos Def, Lee
Majors and Wendy Melvoin give the record a neon-lit, nocturnal shimmer. Hip-hop
flourishes sit side-by-side with heart-hitting balladry, as truly touching melodies match
moments of uncompromising musical grit with their emotional impact.

Natalie Chami and Whitney Johnson perform as a duo under the
name Damiana.
Both artists have built their own catalogs as multi-instrumentalist improvisers
and composers in the Chicago experimental scene, exploring the intersections
between ambient, electro-acoustic improv, and more legible songcraft based
around their voices and their work with synths and electronics -- all filtered
through their backgrounds in classical performance and education.
Chami’s solo recordings under the TALsounds moniker have appeared on labels
such as NNA Tapes, and Ba Da Bing!, and her collaborative projects include
the trio Good Willsmith. Johnson has released a series of solo LPs as Matchess
on the label Trouble in Mind, and has contributed to recordings and live performances by Ryley Walker, Circuit Des Yeux, and Tortoise’s 20th anniversary
performances of TNT, among other artists.
After meeting in the early 2010s, Chami and Johnson embarked on multiple US
tours together, and their informal duo collaborations naturally crystallized over
time into the Damiana project The duo’s debut album Vines presents their first
recordings after years of live sets and home recording sessions.
The album strikes a balance between the realms of deliberate compositional
sculpting and free-form improvisation, as Damiana’s evolving sessions of looping synth phrases and harmonized vocal lines emphasize austere beauty and
meditation as much as spectral disorientation and instrumental complexity.
While the tracks on Vines create the illusion at any given moment of a standing
cloud, often colored by Johnson’s lush viola and Chami’s effect-manipulated
electronics, a zoomed out perspective of each session reveals an undulating
story arc with contrasting emotional resonances and constantly shifting timbral
focus.
Treading the line between transportive stasis and upward motion, the duo has
honed their sense of when to push forward with a new texture or melodic
flourish without disrupting the atmospheres that they meticulously build together. Packaging: LP Black vinyl. Artwork by Heather Gabel (from the band
HIDE). Manufactured at 8Merch in Poland.

Following on from their 'Junction EP' at the tail end of last year, My Nu Leng return to provide a selection of rave-tinged cuts that further cement their status as one of the leaders in the bass music scene. Following a packed-out summer tour diary, the 'Alter EP' consolidates elements from the duo's previous releases and influences into five tracks of low-end damage. Harking back to the pair's underground roots with inspirations from Techno, House and Breakbeat, opener 'Spaced' sets the tone.

Featuring their classic bass growls amongst hardcore pad stabs, an acid-esque synth line and raucous interjections from legendary drum & bass MC GQ, this one's designed to make you move. Takura returns to Maraki on 'Echoes', lending his distinctive vocals over a lethal distorted bassline and uncompromising 2-step beat. 'City Lights' provides momentary respite, a scintillating arpeggio motif over blissful chords and an enchanting vocal hook. My Nu Leng team up with DRS on 'Sinking Sand'. The Mancunian host leads the charge into a warping climax, showcasing his penmanship through relentless triplet flow. 'Signal' closes off the EP in sombre fashion, atmospheric synths and lamenting strings building into an emotive vocal and reflective bassline.

WOLF JAW were born in the depths of the Black Country, UK. Home to greats such as Black Sabbath, Judas Priest and half of Led Zeppelin to name a few. These bands are heavy influences that have sparked The raging fuzz fueled, groove fired, Riff machine WOLF JAW Having toured with bands such as Crobot, Scorpion child, Jared James Nichols, Tyler Bryant and the Shakedown, Stone Broken among others, as well as festivals such as Download, Amplified, Steelhouse and Stone Free under their belt its given Wolf Jaw time to truly master their own unique twist on the power trio formula. 2019 brought a new album entitled 'The Heart won't listen' that is full of muscular riffs mixed with soulful vocals and pounding rhythm. Initially released in 2018, WOLF JAW are re-issuing their debut album ’Starting Gun’ with bonus tracks : "We're super excited to be re-releasing our debut album, 'Starting Gun' via Listenable records. This album was an amazing starting point for us and we still love playing these songs live. In fact we've added 2 live tracks to this version of the album, both were recorded at a live streamed show we did in the first UK lockdown of 2020. We have also recorded a cover of Judas Priests 'You've Got Another Thing Coming' which will be on the CD and available digitally. We're glad this record has got a new home and can't wait to get out there and play these songs live again! » Coming from the same area that gave birth to Black Sabbath, Judas Priest, Led Zeppelin, WOLF JAW display the similar class of a future great in English Metal/ heavy rock !. WOLF JAW were born in the depths of the Black Country, UK. Home to greats such as Black Sabbath, Judas Priest and half of Led Zeppelin to name a few. These bands are heavy influences that have sparked The raging fuzz fueled, groove fired, Riff machine WOLF JAW Having toured with bands such as Crobot, Scorpion child, Jared James Nichols, Tyler Bryant and the Shakedown, Stone Broken among others, as well as festivals such as Download, Amplified, Steelhouse and Stone Free under their belt its given Wolf Jaw time to truly master their own unique twist on the power trio formula. Kerrang! Magazine stated Wolf Jaw housed “riffs dirtier than a bucket of double-fried chicken !! ” .

The furious double LP "AL AZRAQAYN" documents KARKHANA (with members of KONSTRUKT, THE DWARFS OF EAST AGOUZA, LAND OF KUSH, PETER BRÖTZMANN CHICAGO TENTET, "A" TRIO) at their very best and intense: live on stage.

Consisting of seven of the most adventurous and innovative artists from the Middle Eastern experimental scene (and a veteran jazz percussionist from Chicago), KARKHANA are surely among the most unique and interesting ensembles around. When MAURICE LOUCA (THE DWARFS OF EAST AGOUZA), SAM SHALABI (LAND OF KUSH, THE DWARFS OF EAST AGOUZA), UMUT ÇAĞLAR (KONSTRUKT), MAZEN KERBAJ ("A" TRIO, JOHNNY KAFTA ANTI-VEGETARIAN ORCHESTRA), MICHAEL ZERANG (PETER BRÖTZMANN CHICAGO TENTET), SHARIF SEHNAOUI ("A" TRIO, ORCHESTRA OMAR) and TONY ELIEH (ORCHESTRA OMAR, JOHNNY KAFTA ANTI-VEGETARIAN ORCHESTRA ) come together to perform and / or record, the result is as diverse as their individual musical backgrounds. The septet's sound is neither retro nor avantgarde, not folklore nor jazz or rock – it's an astonishing blend of all these different styles and elements where seductive oriental melodies can intensify and turn into a psychedelic freak-out, fuelled by reeds, guitars and electronics, only to re-start again from quiet sounds till the ensemble seeks catharsis in a collective improv outburst! Defying simple categorization, and in lack of proper terms for the intense experience of KARKHANA's music (as well as the member's other projects mentioned before), someone labelled it "free Middle Eastern music".

And it's not surprising that these skilled musicians are at their best live on stage – as documented on this live recording from a furious, highly energetic concert at Bimhuis / Amsterdam!

CRESCENT was formed in 1998 by Ismaeel Attallah and Amr Mokhtar in Cairo, Egypt. It started as a Black Metal band influenced by the Swedish Black Metal scene. In 2014, the band released their full-length debut ‘Pyramid Slaves’, focusing on Ancient Egyptian history/mythology, which marked the band’s complete transformation towards Black/Death Metal infused with Egyptian elements. In the following years, CRESCENT was booked to major Metal festivals such as Wacken Open Air, Inferno Metal Festival, Fall of Summer festival among others . 2017 CRESCENT ’s much anticipated second full-length ‘The Order of Amenti’,a tribute to the Ancient Egyptian gods, showed more emphasis on the blackened death Metal epic soundscapes and thematic atmospheres while maintaining its primordial Egyptian Death Metal essence. CRESCENT’s new album 'Carving the Fires of Akhet' was mixed/mastered by Victor ‘Santura’ Bullok (Triptykon, Dark Fortress) at Woodshed studio. The artwork was done by Khaos Diktator (Thron) , which is a Baroque-style recreation of one of the most influential and ancient Egyptian relics. The album title acts as the thread that holds all tracks together. The Fires of Akhet represents the great divine will that was carved into humanity's history and future. A value that brought nations to their apex and brought others to their knees, and the cycle goes on. Lyrically, the album touches upon a primeval epic story that is full of struggle and blood. It also reflects drunkenness with divine power, and pure evil in its religious and historic form (and beyond). Finally, the album lays a dark path of philosophical and material decay. The themes will not only be represented by the sound, but also by artworks that relays the sub-themes. It manifests CRESCENT's growing identity and beyond any of its previous works, starting a new era for the band.

The focus for this TLM 7" is on SofaTalk from Italy, on the A side we have a superb track called Organica with main man Piero Paolinelli on Roland V-Drum, Arp Odyssey and Juno 106 with Marcus Horndt on Fender Rhodes and Edoardo Ruzzi on the Electric Bass. On the AA side Piero goes solo for Untold Stories, another superb track highlighting Piero's talents. Piero runs his own label Cognitiva Records and has had releases on deepArtSounds and ANMA Records amongst others, we are very proud to have him onboard for this release.

Obey Cobra features Kate Wood, Steve O Jones, Rory Coughlan-Allen, Gareth Day, Ian Coote and Rosemary Swan.

Over the past three years the band’s reputation as a formidable live force has grown following gigs with the likes of Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Bob Log III, Hey Colossus and Acid Mothers Temple amongst many more.

Their debut album Oblong is an exceedingly potent blend of ethereal psychedelica, doom and punk with adept flourishes of noise rock, electronics and improv.

Recorded at Foel Studios and Coach House Sessions the album has been specially remastered for vinyl release on Box Records by Sam Grant (Richard Dawson, Du Blonde, Hen Ogledd, Pigs Pigs Pigs Pigs Pigs Pigs Pigs).

The album is completed with songs Sunflowers, Dim Break, Behind The Wall Of Sleep and Wunsch which align the lysergic psychedelics of Velvet Underground with the bewitching magic of Chelsea Wolfe and the mythical atmospherics of SunnO))).


The breadth of genres and sounds Obey Cobra explore across the course of Oblong is breathtaking, every song projecting the enchanting assuredness of a unique and captivating band.

Hell Yeah's debut Buena Onda compilation proved hugely successful. It also kept people drenched in exotic dance floor sounds while the pandemic has kept everyone apart. Now the Berlin-based party is back and on a mission to redefine what Balearic means with a first-ever vinyl-only sampler featuring exclusive, unreleased tunes and remixes compiled by Marco Gallerani and Gallo from brothers around the world.

The a-side is all about new kids on the block: Australian cyborg disco don Kayroy appeared on the label in 2020 with his Imaginary Expeditions EP and now links with his friend Jaspar Robinson, a dreamer with his head amongst the stars. He provides the vocals which speak of an astronaut lost in space and aching for a missing loved one while sombre chords and downbeat bass make for a beautifully longing groove. It's a blue-eyed Balearic classic. The up-and-coming Italian Feel Fly of labels like Internasjonal then goes widescreen with his 'Esperanto.' The chords shimmer, the baseline percolates and the guitar riffs arc up to the heavens for some late-night intergalactic bliss.

The flip side features more mature and established artists: label regular Max Essa offers a remix of The Vendetta Suite 'Neon Secrets,' which has naive Eastern melodies and rueful 80s chords with a subtle new age feel that dumps you right on the beach at sundown. Last of all come Chris Coco and Micko Roche with true-school Balearic classic complete with cicada-like shakers, mellifluous Spanish guitar licks, flutes and soft, frothy, rolling beats that break like waves on a sun-kissed Mediterranean coastline.

Balearic Beats 2021 Sampler 1 offers something for every hour of the day, making this a perfectly functional 12" for the modern Balearic DJ.

Support by Prins Thomas, Calm, Chris Coco, Andy Wilson (Ibiza Sonica), Pete Gooding, Severino (Horse Meat disco), Will Nicol, Phil Cooper, Leo Mas, Mike Salta, Balearic For You, Jon Sa trinxa

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

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

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

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

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

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

Orange Vinyl

Vertigo is a 1958 American film noir psychological thriller film directed and produced by Alfred Hitchcock. The story was based on the 1954 novel D'entre les morts (From Among the Dead) by Boileau-Narcejac. The film was shot on location in San Francisco, California, and at Paramount Studios in Hollywood. It is the first film to use the dolly zoom, an in-camera effect that distorts perspective to create disorientation, to convey Scottie's acrophobia. As a result of its use in this film, the effect is often referred to as the Vertigo effect'. Vertigo received mixed reviews upon initial release, but is now often cited as a classic Hitchcock film and one of the defining works of his career.

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. A figure in British modern jazz for over half a century, Don Rendell was both active protagonist and key witness to the main developments in the music from its rise out of tiny clubs and back rooms on up to the most prestigious national stages. From his earliest performances in London’s West End and his work of the 50s and 60s — most not ably with the Don Rendell-Ian Carr Quintet — to the lower profile work of the 70s and 80s, his quite assurance and consistent performance marked him out as a highly respected figure among his peers. He is one of a handful of British artists to feature on Blue Note Records and appeared on some of the most distinctive and characterful British jazz albums by the likes of Michael Garrick, Stan Tracey, Amancio D’Silva, and Neil Ardley. Even though Rendell eschewed much of the free and electric fusion styles that came to the fore in the late 60s, in the main sticking to an acoustic sound with melody and rhythm at its heart, he similarly bridled at any notion that he was merely a ‘bopper’, a description he positively hated. In many ways, Space Walk was as much a valedictory as transitionary album for Rendell. It was his last for Denis Preston, the fabled producer behind Lansdowne Studios, described by Neil Ardley as a ‘rare Diaghilev like figure’ who steered many of the key figures of the British jazz scene into the studio when nobody else would record them. It was also Rendell’s final project for EMI Columbia and his last as a leader for a major record label. After Space Walk, Rendell would record for smaller, independent labels like Spotlite. But as much as the album is a farewell to one chapter, it also marked the way forward to the next..

Sonor Music Editions is continuing the dive into the glorious Sermi catalogue, a renomated Italian Library label that released, between late 60s and early 70s, some among the most sought-after and insane records of the whole Library/Soundtrack genre. This is the first ever reissue of another Italian Library grail from the catalogue - originally issued in 1972 on Gemelli label. Sandro Brugnolini's masterpiece "UTOPIA", originally pressed on a ridiculous run, and released on a beatiful tip-on sleeve reproducing painter Michel Seuphor's abstract art. The first official release after the recent maestro's passing, conceived with the great arrangements of Giorgio Carnini at the Hammond and piano, and the direction of maestro Franco Tamponi. A brilliant and inspired Jazz-Funk and Lounge Jazz session with just amazing sounds, driven by both dreamy and underground moods, Avant-garde Jazz refined orchestrations and gorgeous grooves.

You may know Rodrigo Amarante already. You may have heard "Tuyo," his theme tune to the Netflix drama Narcos, or the Little Joy album, recorded with Fab Moretti and Binki Shapiro, you might have noted his name among the credits on songs by Gal Costa, Norah Jones and Gilberto Gil; or perhaps you saw him play live with Brazilian samba big band Orquestra Imperial, or with Rio rockers Los Hermanos; you really should have heard his debut album, Cavalo, released in 2014. You may think you know Rodrigo Amarante already, but Drama, his second solo album, is going to introduce a whole new level of confusion to the mix.

Drama is purposefully caricatural, cinematic; "As biased as memory". It flows as an arch, playfully deceiving, like a tale. The ominous opening number gives you a hint that things might not be what they appear, and clues are hiding in plain sight. "Projection,

attachment, deception: that is Drama." The sunny upbeat start of "Maré", with a nearly childish opening melody, echoes something less naïf: "The tide will fetch what the ebb brings". The beat helps you move past. "Tango" sounds like falling in love on the dance floor, warm and tropical, it celebrates companionship, while perhaps pleading for it, yearning. "Tara," meanwhile, feels like something Astrud Gilberto might have sung at the height of bossa nova’s global popularity, with the twist of the big-band-era muted horns on the chorus, nearly self-deprecating, as if mocking such idealized infatuation.

Drama closes with the piano on "The End." To live is to fall. After all the emotional upheavals the singer has put his cast through, is this some kind of farewell to this mortal coil? "Everything Furthers." says Amarante. "Whispering, you get louder like that, people respond better to an invitation," and adds: "Staring at the absurd while remaining kind, being open to the gifts of confusion; that's why we create these tools that are stories and songs, to help us see each other."

Here is the the effortless work of a band entirely confident in their own craft - the consolidation of nearly three decades of peerless songwriting and almost telepathic musicianship amongst the band's three founder members: Norman Blake, Raymond McGinley and Gerard Love. Recorded with the band’s soundman David Henderson alongside regular drummer Francis Macdonald and keyboard player Dave McGowan in three distinctly different environments (initially at Vega in rural Provence, then at Raymond’s home in Glasgow before mixing at Clouds Hill in the industrial heart of Hamburg), it’s a record that embraces maturity and experience and hugs them close.

As ever, song-wise the Fanclub present a textbook representation of democracy in action, the record offering four each by Blake, Love and McGinley. From the almighty chime of opener I’m In Love through The First Sight’s ecstatic soul-search and the paean to unerring friendship With You, Here is a a collection of twelve songs about the only things that truly matter - life and love.


Teenage Fanclub will be touring the UK extensively throughout the Autumn, including two London shows – Islington Assembly Hall and Electric Ballroom – both of which sold out within days of going on sale. Glasgow's finest will also be making an exclusive appearance at this year's End Of The Road festival in early September.

“Montreal’s genre-defying post-rock combo BIG|BRAVE could very well be the most noteworthy recent heavy curiosity to come out of the city in recent years.” - NOISEY

“…combines elements of Björk, Neurosis and Sunn O))) into a cohesive whole; but this whole is an ever evolving and challenging sonic mass.
- THE QUIETUS

Minimalism and instinct, structure/freedom and meticulous timing form the cornerstones of their precise, rhythmical sound.
Lyrically, the album explores the weight of race and gender, endurance and navigating other people’s behaviours, observation and protest. The band further comment “this album involves what it means navigating the outside world in a racialized body and what it does to the psyche as a whole while finding individual worth within this reality.”
This time featuring the core trio Robin Wattie, Mathieu Ball and Tasy Hudson, for their most collaborative record they’ve made so far. The band elaborate “having cut our teeth in very different musical backgrounds respectively, our intuitions vary, which has an interesting effect on our individual approaches and ears.”
For this record, BIG | BRAVE once again made the trek down to Rhode Island to record with Seth Manchester at Machines with Magnets. They remark “we fully trust his instinct as an engineer and his creative output, getting to experiment with textures, concepts, layers, and with pretty much every single recorded sound, the process of making records with Seth is an absolute journey and pleasure.”
With the initial seeds planted in 2012, with no other goal than simply experimenting with the instruments in their possession, Robin Wattie and Mathieu Ball started writing subtle ambient/minimalistic folk songs together. When long time friend Louis Alexandre Beauregard joined on drums, the goal still remained to play as tranquil as possible. After an incident where Wattie’s acoustic guitar broke, and having borrowed a friend’s electric as a replacement, larger amps that Ball had in storage from previous bands started to get incorporated to the outfit. Now with amplitude as a compositional tool, BB never lost interest in the power of minimalism and fragility. It became clear that loud volume would become just as effective as the lowest possible ones and the juxtaposition of both would become something BB still uses as their main MO to this day.
After self-releasing Feral Verdure in 2014, the band had the opportunity to open for Thee Silver Mt Zion in Montreal QC. After which, Efrim Manuel Menuck found something meaningful in the members and the band and invited them to open on future shows with Mt Zion and with Godspeed! You Black Emperor.
In 2015, the band entered the studio with Menuck and recorded “Au De La”. With no home for the record, they decided to take a chance in writing to Southern Lord. As luck would have it, Greg Anderson happened upon their email among hundreds and responded. Since then, the band has had a home with Southern Lord Records. (Along with Au De La, Southern Lord has released Ardor in 2017, A Gaze Among Them in 2019 and VITAL in 2021).
After Beauregard’s departure in 2018, the band traveled down to Rhode Island with Loel Campbell on drums to make a first record with Seth Manchester at Machines with Magnets. After the album’s release, with Campbell unable to tour, Tasy Hudson joined the ranks and the band spent most of the year touring their 2019 album “A Gaze Among Them”.
In 2020, the core trio of Ball, Wattie and Hudson once again made the trek down to Machines with Magnets to record their 5th LP “VITAL”.
Since their inception, the band has had many honours and privileges of touring a number of times in North America and Europe with bands such as Sunn O))), MY DISCO, The Body, Thou, Primitive Man and Thee Silver Mt Zion.

Repress

Calibre's mighty wind has blown through the drum 'n' bass scene ever since his first tentative forays into production in 1998. As a trained musician and student of the genre, he quickly developed a unique sound that was warm, orchestral and hypnotic. Attracting the attention of tastemakers like Fabio, the Belfast-born producer and DJ was encouraged to work harder and faster on this liquid funk, resulting in what would become his signature sound. By the time his sophomore album, "Second Sun", came into orbit, Calibre was recognised as a shining star of the scene.

One of the few who had realised the potential of the album format, he crafted dubbed out house grooves, jazzier downtempo numbers, and introspective vocal-led tracks amongst the more trad tempos the largely dancefloor single-based genre was known for.

The album is awash with high points, from the anthemic "Drop It Down", to the more reflective MC tracks like "Timeout" and "Blink Of An Eye". Most producers would labour over such delicately balanced arrangements for weeks, but the fact that Calibre can knock such masterworks out in a matter of hours tells you how effortlessly and naturally his music comes to him.

"Working quickly gives me a unique and personal sound," says Calibre. "It also helps that I like to sample my own playing. Any type of instrument I could get my hands on, I'd record it live. Maybe quite badly, but I still did it. It helped create my own sound. If you can play an instrument, and you can play it with a little bit of passion and a little bit of love, it'll give you something back."

In the fourteen years that have passed (Second Sun dropped in October, 2005) Calibre has written more material than quite possibly anyone else in the scene, and this year shows no sign of him slowing up. Besides the usual wealth of remixes in the pipeline, and a forthcoming techno album on Craig Richards' label, a sixth Shelflife compilation of unreleased Calibre material will be dropping on his own Signature Records label. But for now, let's rewind the story, as the man himself takes us, track by track, through Second Sun.

Velvett Fogg are a psychedelic rock band hailing from Birmingham, England. Active during the late 1960’s, Velvett Fogg were one of the many new bands from the Birmingham underground scene trying to take pop and rock music to a higher level of creativity. They were given a record deal by Pye Records, through which they released their first and only studio album, the self-titled Velvett Fogg. The original package was accompanied by a quote from U.K. disc jockey John Peel, who commented that “there is a lot of good music on this record. Remember Velvett Fogg - you will hear the name again.” However, despite favourable reviews, the album didn’t become as commercially successful as expected and the band soon broke up. The album has since become a much sought after title.

Available now as a limited edition of 1000 individually numbered copies on purple coloured vinyl.

Thirty years after his disappearance, Miles Davis, both the man and his character, is still a subject for debate and controversy. And haven’t we heard that before with all artists? But when it comes to the importance of his contribution to music in the 20th century there is only unanimity.

Everyone says, sure, he was the greatest trumpeter. Other opinions are that he left the world of jazz behind him in 1965. It’s also said he was the catalyst of every decade from 1949 to 1989; that he revolutionised jazz, and brought it out of the ghetto; that he buried jazz; that he was the most important musician of his century... Each of those statements has its share of truth. Whichever way

you look at him, he remains a major figure in jazz and in 20th century music overall. Miles surpassed (or at least equalled) the importance of both Louis Armstrong and Duke Ellington for the simple reason that he addressed not only the jazz world but all worlds of music, and that he created (among other things) a fusion of the spheres people knew as jazz, blues, rock and pop, and spoke to every audience, either in turn or collectively.

There was a dinner at the White House during which a perfectly respectable lady, married to a politician no doubt, asked Miles what he did for a living. With some annoyance Miles replied, “Well I’ve changed music five or six times, so I guess that’s what I’ve done ... now tell me what have you done of any importance, other than be white? [...] You tell me what your claim to fame is.” The provocative tone in Miles’ words lifted the veil over his refusal to be hassled, his revulsion against America’s treatment of Black people, and Miles’ awareness of his own importance in the world of music. Even when speaking, Miles maintained the art of synthesis.

In the beginning – this was 1944 – there was a concert in St Louis, Missouri where Miles heard Charlie Parker and Dizzy Gillespie for the first time. “Man, that shit was terrible, I mean Dizzy Gillespie, Charlie ‘Yardbird' Parker, Buddy Anderson, Gene Ammons, Lucky Thompson and Art Blakey, all together in one band [...] that shit was all up in my body and that’s what I wanted to hear [...] and me up there playing with them.1” Miles was 18, he’d been playing trumpet for years and now he knew that this was what he wanted to play, and nothing else: to play with Bird! A year later he’d turned 19 and he was in New York, where he learned it all, up there alongside Bird and Dizzy.

Krystian Zimerman, Sir Simon Rattle, and Ludwig van Beethoven: three exceptional musicians and five great piano concertos are brought together for a landmark recording. This release is among the biggest highlights to conclude the Beethoven anniversary celebrations. Over 30 years ago, in 1989, Krystian Zimerman and Leonard Bernstein recorded Beethoven’s Piano Concertos Nos. 3, 4 and 5. They were united in their total dedication to music – in mind, heart and soul – resulting in an exceptional recording. Sadly, Bernstein died before the cycle was recorded in completion. Zimerman went on to conduct the remaining Concertos Nos. 1 and 2 from the keyboard in 1991. “The impression Bernstein’s approach to music made on me was very clear,” Zimerman says. “He gave me the courage and confidence to be daring with my interpretations, trying out musical ideas that were completely new.”

Saxophonist and composer Julian Siegel's fourth release on Whirlwind and his most ambitious musical feat to date, sees him assemble the Julian Siegel Jazz Orchestra. Following the acclaimed quartet release 'Vista' and the influential co-led Partisans album 'Nit de Nit', Siegel solidifies his reputation as one of Europe's most celebrated artists working across jazz and improvised music. Siegel has appeared as a member of some of the great large ensembles - he lists Hermeto Pascoal, Mike Gibbs, Kenny Wheeler, Django Bates and NDR Bigband amongst extensive performing credits. Now, the instrumentalist turns leader: 'Tales from the Jacquard 'is Siegel's first record at the helm of a large ensemble.

Riding the razor’s edge between rigorous experimentation, innovation, and tradition, London based, Italian composer, cellist, and electronic performer, Sandro Mussida, joins the Die Schachtel family with Rueben, his 3rd solo LP.

Active since the early 2000s, Sandro Mussida worked extensively with Mark Fell, Curl Collective, Lorenzo Senni, Oren Ambarchi, and Alessandra Novaga, among others, as well as a founding member of the interdisciplinary artists' group TQS Collective, before releasing his solo debut, Ventuno Costellazioni Invisibili, on Metrica in 2017, followed by Eeeooosss, released by Soave in 2019. Rueben, like its predecessor, deploys a microtonal vocabulary within a three-instrument sound palette and builds upon Mussida’s long-standing investigations of active listening, augmented by a developing practice that challenges aural perceptions of historical, non-equal-tempered tuning systems.

The 3rd instalment of Die Schachtel’s Decay Music series - launched to highlight inspired contemporary experimental efforts in the ambient, ethereal, and emotively abstract music - Rueben was recorded during 2018 in the church of St.Giusto in Volterra, Italy. Deeply inspired by Italian Renaissance paintings encountered by Mussida during the work’s composition, and conceived at the intersection of acoustic and electronic aural fields, in careful response to the space itself, the sounds of electric guitar, bass clarinet and cello - treated as minuscule sound atoms, rapidly projected to form structures of evolving densities - harmoniously enter into dialogue, forming a multi-layered, contemplative sonic landscape, within the interwoven complexity of their own reflections.

Central to Mussida’s work is the role of the performer, the experience of sound in a given space, and the relation of those sounds to memory and observation. Across the length of Rueben, bound to the work’s inspiration in the visual realm, the interplay between the senses blurs, presenting the act of listening as a mirror for the experience and legacies of seeing. In Mussida’s hands, sound emerges as a trace or memory suspended in a non-linear conception of time, where imprint, movement, and event, as they relate to place and happening, are perceived by the ear, recalling the Russian theologian Pavel ​Florenskij​’s idea of ‘reverse time’, that likens temporal condition activated by experiences with art as similar to that of dreams.

Vast in scope and intricate detail, the 9 discrete compositions that form ​Rueben​ unfold in a series of interconnected, shimmering landscapes of tone and texture, each, through the interplay of their elements, configuring a radically dense rendering of minimalist, ambient music that challenge the perceived boundaries of those historical definitions. The identity of individual sound sources fades against their collective whole, sculpting an inward-looking aural image of the church of St.Giusto, that echoes the radiance of the paintings that lay at the heart of the album’s inspiration.

An inspired and radically forward-thinking realization of electro-acoustic music, Mussida pushes toward innumerable possible futures of experimental practice, imbued with ghosts and histories of the past. Rueben is issued Die Schachtel on vinyl in a one-time edition of 250 copies, pressed to 180g marble vinyl and housed in a pro-printed inner sleeve and jacket, featuring an original Sumi-e painting by Japanese artist and avant rock drummer Akihide Monna (Bo Ningen), contained in a silk-screen PVC sleeve.

DJ Sotofett and LNS have teamed up with Tresor Records for Sputters. The double-vinyl album with 15 cuts spans a hybrid of warped electro and psychedelic hypnosis, all the while remaining fixed in an unmistakable dance release. Recorded between 2017 – 2020, and bookmarked throughout by intros and interludes dug out from archival material, it's a deconstructed yet classic compound of techno-sonics.

LNS from Calgary, Canada, is rooted in braindance, electro and acid. Releasing 12inches on both her self-titled imprint LNS and Sotofett’s Wania - LNS, whilst in the studio, has often pointed out “the lacking blend of dub and electro in dance music”.
DJ Sotofett, hailing from Moss, Norway, is among a myriad of things commonly known for the extended work of his Sex Tags Mania and Wania labels, without forgetting his afro, dub and jazz releases on Honest Jon's London.
Together both artists give space to a guest appearance by E-GZR, a fellow Wania artist, to open the Sputters journey. The sinus bending drum stutter of K.O. by E-GZR collisions flanging basses and chronic-inducing synth pads to blueprint the technoid atmosphere to come. LNS & DJ Sotofett take control with El Dubbing, evoking an effect-heavy demeanour, typical of the Sex Tags Mania soundworld that DJ Sotofett is responsible for, this time rubbing up against solid electrified rhythms. The hypnotic moods carry over to Dúnn Dubbing's deep delays, freely running over a surprisingly minimal skeleton retaining a solid direction. Crafting a warmly emotive end of Side-A with sparse rhythms to perfection.
A meaner turn introduces Side-B. Hints of electro are scattered everywhere, fat basslines, ricocheting drums and synths that mourn and drift in and out of harmony. Vitri-Oil exposes a tumbling sound design, fog-lit chords of material fragility and nosedives - with an alive mix that wallows and grows in equal measures. The side closes with Shim, a classic drift between house and techno releasing sensual euphoria with the albums first big surprise – grand strings.

“LNS wanted to sell her TR-606, while my reply was for us to make a track with the 606 sounding so fresh that she'd never even think about selling it again” Sotofett states. Side-C proves the artists to be some of the most singular producers around with album centrepiece The 606. Clocking in over 10 minutes, it kicks off as a driving techno banger, chugging bass and big chords. Midway through everything falls away, and out of the void enter scattered drums and improv piano lines emerge, while twisted dubs lead us back in an enduringly warm groove.

Side-D sets the clock back to the original electroid foundation of the album, casting fires with alien vibrations. Synchronic Bass Blort is a hard-hitting electro track, steaming sonics and thrills, its melodic hook diving in subterranean motions. On Sputtering the duo raspily beams into outer space, with fizzy motives that disfigure and dazzle while the harmonies of the closing track is for yourself to experience.
DJ Sotofett and LNS deliver an album inhabiting a world full of sci-fi sonics and fierce groove. Their sound is free and live, simultaneously wondrous and sharp.

Following the 70s Peruvian cumbia compilation by Ranil last year, Analog Africa returns to Latin America to highlight the work of one of Perú’s undisputed masters of the electric guitar: Manzanita. This 13th release in the Limited Dance Edition Series includes 14 mostly instrumental compositions of electrifying Peruvian cumbia and guaracha. Manzanita's unique guitar lines rest on confident foundations that shifts gears effortlessly. Limited Edition LP in Gatefold Cover pressed on 180g high quality virgin vinyl

"I was in Lima, hanging out with collector-extraordinaire Victor Zela, who had spent the previous few years pouring his passion for Peruvian Cumbia into the blog „la cumbia de mis viejos“, a trove of incredible music. But after the birth of his first child, his priorities shifted and he decided to part with some of his rarest LPs. I was one of the lucky few given an early chance to examine his treasures, and when I picked up the album Manzaneando com Manzanita, Victor said: “Take it! its one of the best LPs ever recorded in Perú … easily in the top five”. That was all the encouragement I needed … two years later many of the songs from that masterpiece have made it onto Manzanita y su Conjunto, a compilation of electrifying Cumbia sides from Manzanita’s golden era.

Berardo Hernández – better known as Manzanita – first surfaced during the psychedelic Cumbia craze. At the head of the scene were the magnificent Los Destellos, whose leader, Enrique Delgado, was such a six-string wizard that other guitarists found it impossible to escape his shadow. But when Manzanita arrived, his electric criollo style sent shockwaves through Lima’s music scene and posed a serious threat to Delgado’s dominance as king of the Peruvian guitar.

Manzanita had come to Lima from the coastal city of Trujillo, five hundred miles up the coast – a place where Spanish, African and indigenous populations had been living and making music together for centuries – and came of age at a time when the first wave of psychedelic rock from the US and UK was starting to sweep the airwaves. But the sounds of Cream and Hendrix disappeared from the radio just as quickly in 1968 when Juan Velasco seized control of the country in a military coup. The new regime, which favoured local traditions over cultural ‘imports’ from the north, was a blessing in disguise for the Peruvian music scene.

Record labels flourished as new bands, raised on a hybrid diet of electric guitars and Cuban rhythms, rushed in to fill the vacuum created by the lack of imported rock. A new genre, known as Peruvian cumbia, was born and Manzanita quickly became one of its most original voices.

Starting in 1969, Manzanita y su Conjunto released a steady stream of singles that used Cuban guaracha rhythms as the foundation for dazzling electric guitar lines. After countless 45s and several years on the touring circuit, the band signed to Virrey, an important Peruvian label, and recorded two LPs acknowledged as masterpieces among aficionados of tropical music. Most of the songs on Analog Africa’s new compilation Manzanita y su Conjunto are drawn from those legendary sessions of 1973 and 74.

Although he scored a few more hits in the later 70s, his dissatisfaction with the music industry caused him to withdraw from the scene for several years; and when he finally retired for good, the golden age of Peruvian cumbia was a distant memory. But when Manzanita was at the top of his game he had few equals. Victor Zela was right: this is some of the best music ever recorded in Perú."

Snapped Ankles return to the forest, but it's not as they left it. Trees planted in neat rows. A well-ordered monoculture with access roads and heavy machinery. The smell of greenwashed money in the air. There's no sign of the ancient woodland they emerged from on debut album, Come Play The Trees. And it's far cry from the gentrified East London they found themselves hawking on Stunning Luxury. All is not well in the face of progress. Welcome to the Forest Of Your Problems. Even among the famously close-knit woodwose community there are factions forming. Meet The Business Imp, The Cornucopian, The Nemophile and The Protester. Each with their own motivations and belief systems. Their own sense of injustice: contradictions, anxieties and guilt. There are woodwose who have risen to the top in the boom and bust world of real estate and hedge funds. Grab what you can before the next crash. Others find euphoria in the absolute conviction that wealth and technology will see us through this. There are those with their recycling in order, who are well-versed in the prospect of imminent ecological and economic collapse, burying themselves in vegan cookery and extensive international holiday itineraries. And there's an increasing number angry at the state of the world, ready to take to the streets and the trees in an attempt to force real change. Forest Of Your Problems runs the gamut of modern woodwose emotions. In this neat human approximation of the forest, it's an increasingly knotted affair. Despite all of this, Snapped Ankles haven't lost their innate ability to make you want to move your feet - their Teutonic forest rhythms are still shot through with post-punk lightning. Whether they're exploring those opportunities which might arise when a Nigerian prince emails out of the blue on 'The Evidence', or referencing the crooked woodwose attempting to go straight on 'Rhythm Is Our Business', this is music to lose your inhibitions to. The moments of pure elation on 'Shifting Basslines Of The Cornucopians' are worth the admission price alone - "It's a great time to be alive!" ...apparently. Snapped Ankles outsider status has always allowed them to hold a mirror up to society. Now the boundaries are not so clear. In the four years since Come Play The Trees was released, their cult has flourished. Previous album Stunning Luxury saw the band invited to play the BBC 6 Music Festival and a KEXP session on the back of a sold-out UK tour which culminated with two nights at Village Underground in London. As those who have witnessed the shamanic ritual of their live shows will attest, they are a truly unique, communal experience. Forest Of Your Problems will see the woodwose bring their ancient forest rhythms and high-wire, multi-media live act to ever bigger stages - including Camden's iconic Roundhouse in October.