Cerca:ann young

Anna funk damage is the grimiest side of Andrea Natale, a young producer from Livorno, Italy. EBM, post-punk, and electro fit perfectly in his mechanical rhythmics, highly pitched and bit wicked vocals transport you immediately in an immersive and mental soundscape. His projects have already been released on labels such as Mind Records, Tripalium Corp, Raw Culture and recently he has been featured on a compilation on Elena Colombi's Osare Editions. A truly eclectic artist and a fresh talented blessing to the scene. Distributed worldwide by Clone.

Gondwana Records announces 'Goodbyes' the debut album from Estonian pianist and composer, Hanakiv, a deeply beautiful, meditative piano album featuring special guest Alabaster dePlume

"This is an album about healing. It is about saying your goodbyes to everything that doesn't serve you anymore. Each of these songs has a little goodbye in it. So, these are very beautiful and necessary goodbyes".

Hanakiv is a young composer and musician from Estonia (now based in London) who creates meditative piano-based ambient music with elements from classical and electronic music. 'Goodbyes' is her debut recording and draws on influences as diverse as Tim Hecker, Björk "Vespertine", Kara-Lis Coverdale, Arvo Pärt, Erkki-Sven Tüür and Aphex Twin as well as her own cultural heritage. Music has an important part in Estonian culture, especially choir music and its traditions, but Hanakiv also draws on her love of nature – the beautiful Estonian seaside and forests - and on her time in Iceland. However, it was moving to London that gave her the freedom to make her own music: "London gave me the freedom and courage to really be who I am (as a person and musically)" and her heritage and her new home both offer inspiration to Goodbyes, as Hanakiv moves between these two opposite places, a bustling metropolis and a small country full of nature, drawing inspiration from both as she sculpts her own voice.

Hanakiv had an unconventional music education – she started studying music at a school for handbells when she was nine and was part of a handbell ensemble for eight years. Starting on piano at the same time she went on to study composition at high school, and later at the Estonian Academy of Music. Eventually switching to electroacoustic composition, she studied in Reykjavik, and did internships in Malmö, and again Reykjavik before moving to London. She grew up in a musical family and her grandmother was a piano teacher and choir conductor.

"I would always ask her to take me to her choir rehearsals. I remember sitting under the grand piano, listening to the choir and just being mesmerised by the sounds. She also teaches in a local music school in the south of Estonia with about ten pianos, and I'd spend a lot of time there as well. I believe this was the starting point for me to get to where I am now. The last two pieces on the album (Home II and Home I) are composed in this same music school, so it feels like a full circle.

An early influence was Regina Spektor "the first artist who made me really want to play piano" alongside dream pop and Sigur Rós' as well as Estonian contemporary composers such as Erkki-Sven Tüür and Arvo Pärt. Later her studies took her to Reykjavík: "There is this amazing record shop called 12 Tónar in Reykjavik where you can drink espressos and listen to all their vinyls. I spent quite a lot of time there. There is something about Icelandic music that really excited me (the mixture of contemporary electronic sounds with melancholy, emotionality). This is when I started getting more into electronic music, and experimenting outside of classical music". Following a year long break from studying and inspired by making an electroacoustic soundtrack for a friend's abstract video, she was inspired to complete a masters in electroacoustic composition, diving fully into the worlds of sound recording and mixing and focusing on surround sound and how to position and move sounds in space, eventually doing an internship with composer Kent Olofson in Malmö, who works with multi-speaker systems for theatre productions. "I learnt a lot from him and he introduced me to some of my favourite plugins I've used a lot on this album as well."

Hanakiv moved to London just as the pandemic hit and found herself trapped, in a big new city, without any network or family and so just concentrated on making music. "I stayed in my room with my basic equipment - keyboard, Korg minilogue, SM 58 and Rode nt1-a microphones, laptop and speakers. I was reading about mixing, and trying out different things and listening to a lot of music to get the sense of the mixes and production and finishing a commission piece for 5.1 multi speaker system at that time so I set up four speakers for quadrophonic surround sound in my room!". She also found her way back to piano - my instrument – and started practicing again, playing the pieces she used to play, but also just improvising, and this was the beginning of what would become her debut album, 'Goodbyes'.

"I started appreciating everything about music again (even melody!), and everything just came together naturally, and I arrived to a point where I finally found my voice, and I had something that I wanted to say and share. I composed "Meditation I" first and started with "Goodbye", and all the other pieces are derived from that. Without "Meditation I" there wouldn't be this album. If you listen closely, "Meditation I" starts where "Goodbye" ends; "Meditation II" is born from "Meditation I".

But it was meeting Fi Roberts, a sound engineer based at the legendary Strongrom Studios in Shoreditch, London in December 2020 that really brought the album into focus. The pair bonded over an interest in prepared piano and a similar approach to production ideas (a balance of not overdoing it, and letting the songs speak for themselves, but being open to explore) and Fi became a friend but also a confidant and eventually co-producer

"Fi has a big impact on this record but I don't know how to really explain that properly. Of course, this album is sonically stunning thanks to her amazing mixes and recording skills, but she also believed in this music so much and it created something very special - that's difficult to measure with words. She just works with heart, and I really appreciate that"

This then is 'Goodbyes', the first offering from a major new voice, who offers us a meditative work full of space and tranquillity but also life and friendship and meaning. And we are very proud to welcome her to the Gondwana family.

THE SUBWAYS remain one of the most exciting live bands on the current touring circuit, thrilling crowds with their explosive rock sound and wild stage performances.

Back in 2005, with an average age of just 18, Billy, Charlotte and Josh crashed onto the international music scene with their debut album ‘YOUNG FOR ETERNITY’, and their rock-club floor-filling single ‘ROCK & ROLL QUEEN’. The NME proclaimed them “The sexiest thing to sweep rock n roll off its feet in years!”. An appearance on American smash teen drama THE OC and in Guy Ritchie’s London Gangster flick ‘RocknRolla’ has helped make the track a Spotify Rock Playlist mainstay.

The band have released four albums to date. Their sophomore, ‘ALL OR NOTHING’ (2008), was recorded in LA with heavyweight producer Butch Vig and, is “Buoyed with emotional heft and supernova guitar riffs, wired around a maturing song craft” (MOJO). The tracks were written at a time when Billy was battling to save his voice following surgery to remove nodules from his vocal cords. ‘MONEY AND CELEBRITY’ followed in 2011, filled with “brilliantly anarchic punk-pop vignettes; each being a big musical finger that sticks it to financial greed, the mediocre mainstream and the fame fetishists” (ROCKSOUND) and included the Radio 1 A-listed single ‘WE DON’T NEED MONEY TO HAVE A GOOD TIME’. Their self-titled 4th album saw the emergence of singer and songwriter Billy Lunn as a producer, as he took control of engineering and mixing duties and is "On Par with the best things they have ever written... and finds the band energized, focused and battle-ready" Q Magazine.

The global pandemic, though cutting short their 40+ date international ‘Young For Eternity Anniversary Tour’, has kept Billy busy in his newly-established Hertfordshire studio, with Charlotte and Josh in their respective homes focused on remotely recording Album 5. Makeshift under-stair vocal booths were constructed, and the album is now ready for a summer, 2022 release alongside a full European Tour

In April 2021 the band signed to ‘Alcopop’ and released the politically-charged, Black-Lives-Matter-inspired single “Fight”, which they describe as “a letter in two parts: a gesture of solidarity with the Black community and communities of colour as they face their daily oppression at the hands of systemic racism, and a wake-up-call to the white community that such oppressions do in fact exist, and that we must acknowledge these oppressions and fight alongside marginalised communities as allies.”

Originally released in 1979 on Mistlur Records in Sweden, Nyanser is widely considered Thomas Almvqvist’s masterpiece.

It's almost unspeakably beautiful.

With his adventurous, virtuoso guitar technique to the fore, the album explores a unique path through world music, folk, jazz and acoustic experimentation, whilst retaining a very personal vision.

It’s aged very, very well indeed and is now rare and immensely sought-after, coveted for many years by collectors of all musical genres. This Be With re-issue, remastered from the original analogue tapes, shows off just why this deserves to be back in press.

The majority of the album is a solo exercise with Thomas playing Rhodes, flute, synthesizer and percussion as well as his idiosyncratic guitar on all tracks. Alongside Thomas in the studio were an array of young, experimental Swedish musicians in the nascent stages of their careers including the much lauded Swedish composer Ann-Sofi Söderqvist, vocalist Turid Lundqvist and perhaps the key contributor to the album, Hans Peter Andersson, whose alto, tenor and baritone saxophone contributions shift the album from into the realms of jazz, most notably on “Horisont” and “E.M.”

The whole ensemble comes together on the centrepiece of the album, the joyous aquatic harmony of “Coral Reef”, one we've been playing out for the past 5 years to dropped jaws. The album presents a very visual aesthetic, each track evoking images of landscapes and far-flung corners of the earth. Almvqvist himself considered the visual aspect of his sound very important, describing his approach as “picture music.”

Nyanser is considered one of the earliest examples of a fusion of world music, jazz and folk traditions, certainly from a Scandinavian artist. Despite its impact on release being minimal outside of those aficionados tuned into such sounds, over the years the album has become something of a "lost" cult classic and a fine example of the experimentalism going on in Scandinavian music at the time. The English translation of nyanser - ‘shades’ - is a particularly apt description of the sounds contained within.

Thomas very sadly passed away in 2008 at the age of 55. We hope this reissue will go some way to bringing his unique output to a wider audience and secure the legacy he deserves as one of Sweden’s great guitarists and musical visionaries. It sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost whilst the beautiful artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every record collection.

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

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

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

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

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

Now coming out on vinyl BBE is pleased to announce the 12” release of The Lyman Woodard Organisation - 'Creative Musicians', featuring remixes by Waajeed and Henrik Schwarz. Originally released as a digital EP from the album 'Strata Records – The Sound of Detroit – Reimagined by Jazzanova', 'Creative Musicians' and its remixes now come to you on deep grooved vinyl. The vocalist for these sessions is Sean Haefeli, who originally hails from Indianapolis, and brings a relaxed urgency to his contributions, sounding like a young Gil Scott-Heron. Leveraging his 20 plus year friendship with legendary Detroit DJ/Producer extraordinaire, Waajeed, Amir enlists him for a special four-to-the-floor mix that not only keeps that organic vibe but also adds a unique contemporary Detroit flavour! Henrik Schwarz needs little introduction to fans of eclectic electronic sounds. For over thirty years, his amazing body of work has packed dancefloors worldwide. Henrik takes ‘Creative Musicians’ in a slightly different direction, retaining many of Jazzanova’s original elements while adding his signature sound to the mix, providing another dance floor scorcher! And just to give you proper context, we have included the cult-classic, much-loved original version of ‘Creative Musicians’ by the Lyman Woodard Organization. ‘Strata Records - The Sound of Detroit - Reimagined by Jazzanova’ is no ‘covers’ album, rather a brand-new celebration of the iconic imprint, as Jazzanova’s take on Lyman Woodard Organization’s musical manifesto ‘Creative Musicians’ makes clear from its Afrobeat-inspired horn arrangements, drum track, and syncopated tempo.

ZEHRA is proud to present the debut album ISTEHLAL by the MOHAMAD ZATARI TRIO, consisting of musicians from Syria, Iran & India. The trio merges traditional Middle Eastern sounds with contemporary vibes incl. interpretations of Hossein Alizadeh & Riad Al-Sunbati classics.

In a contemporary globalised world where music has lost its borders and is fighting a constant – yet particular – stream of Western commodification, the Mohamad Zatari Trio stands out as an original cultural artefact, aiming at transcending the boundaries between different music worlds.
Founded in 2019 the ensemble had its first public appearance in 2020 at the Outernational Virtual Festival. Comprising the performers Sara Eslami (Iran) on tar, Avadhut Kasinadhuni (India / Romania) on tabla and Mohamad Zatari (Syria) on oud.
Their debut ISTEHLAL plunges into its own aesthetics, politics and sound intricacies and represents the combined efforts of three musicians hailing from different, yet deeply rooted cultures. Over the course of eleven songs, the album transcends stylistic, ideologic and
geographic boundaries and reflects on the human condition in an interconnected and interrelated technological world. The repertoire includes not only original compositions in different stylistics
but also rearranged traditional pieces by influential composers Riad Al Sunbati (Egypt) and Hossein Alizadeh (Iran).
The Mohamad Zatari Trio introduces itself as a strong new voice within a new generation of young musicians that carry the musical heritage of great masters like Ravi Shankar, Nusrat Fateh Ali Khan or Zakir Hussain with a fresh and contemporary approach.

Mohamad Zatari is a composer and oud player from Aleppo, Syria, currently based in Bucharest, Romania. His artistic effort is devoted to deconstructing stereotypes and blending various musical genres. He has been taught traditional and regional music by Tarek Al-Sayed,
and has a Bachelor in classical composition at the National University of Music Bucharest (2021). His compositions were used for short films as well as educational courses. He performed in various ensembles and groups, in countries such as Syria, Romania, Hungary, Germany, Italy
and Austria.

Sara Eslami is an Iranian composer, tar and setar instrumentalist and improviser. She has a bachelor's in musical Performing at the Tehran University of Arts (2011).


Romanian/Indian Avadhut Kasinadhuni has a Master in Musical Performing / Violin at the National University of Music Bucharest (2022) and started studying tabla intermittently in India with Prof. Kamal Kant (2008) and Prof. Durjay Bhaumik (2017).

Credits:
Recorded by Alexandru Zaharencu at Avanpost media, Bucharest, Romania
on 29th & 30th January 2022
Mixed by Dirk Dresselhaus at ZONE, Berlin, Feb. 2022.
Mastering & lacquer cut by Anne Taegert at D&M.

Featuring a young George Benson, Willis Jackson and Ann Winley the Harlem Underground Band’s first album was released on Paul Winley’s respected label Winley Records in 1976 Legendary street funk record that’s highly sampled by hip-hop artists such as Eric B and Rakim, Genius, Medina Green, Smif-N-Wessun and of course Tone-Loc – listen to the track ‘Smokin' Cheeba-cheeba’ Reissued on 140g black vinyl with original artwork and printed inner sleeve

MEMORIAM needs no introduction ‐ they are living legends of Old School Death Metal. Not only because the former fields of activity of the Brits belonged and still belong to the pioneers of UK Death Metal, but because they managed to follow their master plan more than precisely. MEMORIAM has built up their own loyal fan base over the past
seven years and developed its own musical identity. It would certainly have been easy for them to just follow the old paths, but the true art of the band is that they never deny their origins, but gradually incorporate something new ‐ with every album a few new nuances and facets are added.

The sheer speed of their creative output shows how consistently MEMORIAM follow this path: Following the initial success of the HELLFIRE DEMOS trilogy, MEMORIAM signed with Nuclear Blast in 2016. The band went on to release FOR THE FALLEN (2017), THE SILENT VIGIL (2018) and REQUIEM FOR MANKIND (2019) ensuring within a very short time that MEMORIAM were firmly established among loyal Death Metal fans. This wassupported by dozens of concerts, which have taken the band from selected club shows to major festival appearances (e.g. Hellfest, Wacken, Summer Breeze, Graspop). Following the success of this initial trilogy, MEMORIAM switched to the young label Reaper Entertainment. The album TO THE END, the first of a new trilogy, was released in 2021. The second album of the trilogy, RISE TO POWER, will be released in early 2023.

RISE TO POWER will not only once again offer an atmospherically dense Dan Seagrave cover, the war theme stylized on it also runs through Karl Willetts’ lyrics: With 'Never Forget, Never Again (6 Million Dead)' about the Holocaust and the, unfortunately, more than current 'Total War' about the war in Ukraine, Karl is more political than ever. "I am
writing 'our burden and shame' instead of 'their' as I believe it is our collective responsibility to ensure that something like the Holocaust never happens again. I feel that it is my responsibility as a frontman and lyricist to write about the things that I feel are important," explains Karl. MEMORIAM transforms aggression and grief into
uncompromising Death Metal energy. Also musically the mentioned above development process continues.

While the opener still serves the essential Death Metal groove, MEMORIAM becomes more variable with each additional song and keeps adding new dynamics into their Old School Death Metal sound ‐ from brutal grooves ('Annihilation's Dawn') via doomy‐melodic parts like in 'I Am The Enemy' up to aggressive Nordic riffing like in 'Total War'. RISE TO POWER is an extremely varied album, as Karl confirms: "That's Scott's style, he comes from a different generation than Frank, Spike and me. He brings in influences from bands I haven't even heard of. It gives us the balance between old and new, and it works pretty well for us.” (Thomas Strater)

For nearly 60 years, John Cale has been reimagining how his music is made, sounds, and even works. MERCY, Cale’s first full album in a decade, moves through true dark-night-of-the-soul electronic torment toward vulnerable love songs and hopeful considerations for the future with the help of some of music’s most curious young minds. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; MERCY is the latest transfixing find of this unsatisfied mind.

John Cale announces MERCY, his first new album of original songs in a decade, out January 20th via Double Six / Domino. For nearly 60 years, or at least since he was a young Welshman who moved to New York and formed The Velvet Underground, Cale has been reinventing his music with dazzling and inspiring regularity. There was the bewitching chamber folk of Paris 1919 followed instantly by the gnarled rock of Fear, the provocative and spare song cycle Music for a New Society followed more than 30 years later by mighty and unabashed electronic updates. Once again, here is Cale, reimagining how his music is made, sounds, and even works. His engrossing 12-track MERCY moves through true dark-night-of-the-soul electronics toward vulnerable love songs and hopeful considerations for the future.

On MERCY, Cale enlists some of music’s most curious young minds: Animal Collective, Sylvan Esso, Laurel Halo, Tei Shi, Actress. They’re only some of the astounding cast here, brilliant musicians who climb inside Cale’s consummate vision of the world and help him redecorate there. Cale turned 80 in March, and he’s watched as many peers have passed away, particularly during the last decade. MERCY is the continuation of a long career’s work with wonder. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; MERCY is the latest transfixing find of this unsatisfied mind.



The writings and recordings that shaped MERCY piled up for years, as Cale watched society totter at the brink of dystopia. Trump and Brexit, Covid and climate change, civil rights and right-wing extremism—Cale let the bad news of the day filter into his lines, whether that meant contemplating the sovereignty and legal status of sea ice melting near the poles or the unhinged arming of Americans. Lessons from a life (still being) richly lived floated to the fore, too, nodded to on the previously released “NIGHT CRAWLING.” If we’re always regretting our past, aren’t we conscripting ourselves to permanent disappointment?

During “STORY OF BLOOD,” after the piano prelude gives way to a frame-rattling beat and synthesizers that feel like sunshine splashed across a snowfield, the voices of Cale and Weyes Blood’s Natalie Mering slide past one another, two phantoms trying to find a partner amid the modern din. “Swing your soul,” they both sing in aspiration. In the final verse, Cale remembers this existence is not just about himself. “I’m going back to get them, my friends in the morning. Bring them with me into the light.” The accompanying video by Emmy-winning director Jethro Waters is a mix of disturbing and serene featuring both Cale and Weyes Blood. Its deep tones and religious images emphasize the track’s dark, spiritual mood.

Cale elaborates: “I’d been listening to Weyes Blood’s latest record and remembered Natalie’s puritanical vocals. I thought if I could get her to come and sing with me on the ‘Swing your soul’ section, and a few other harmonies, it would be beautiful. What I got from her was something else! Once I understood the versatility in her voice, it was as if I’d written the song with her in mind all along. Her range and fearless approach to tonality was an unexpected surprise. There’s even a little passage in there where she’s a dead-ringer for Nico.”

To celebrate the 10th anniversary of Cloud Nothings' seminal album, Attack On Memory, the band has announced a very special limited edition vinyl pressing. 3000 copies worldwide.

It’s housed in a foil jacket with all new colorized artwork, is pressed on Sky Blue vinyl, and includes two bonus flexi 7"s with two never-before-released tracks, "You Will Turn" and "Jambalaya" from the original sessions at Steve Albini's Electrical Audio.

In 2009, Cleveland’s Dylan Baldi began writing and recording lo-fi power-pop songs in his parents’ basement, dubbing the project Cloud Nothings. His music quickly started making the Internet rounds, and fans and critics alike took note of his pithy songcraft, infectiously catchy melodies, and youthful enthusiasm. Baldi soon released a string of 7”s, a split cassette, and an EP before putting out Turning On—a compilation spanning about a year’s worth of work—on Carpark in 2010. January 2011 saw the release of Cloud Nothings’ self- titled debut LP, which, put next to Turning On, found Baldi cleaning up his lo-fi aesthetic, pairing his tales of affinitive confusion with a more pristine aural clarity. In the interval since the release of Cloud Nothings, Baldi has toured widely and put a great deal of focus on his live show, a detail that heavily shapes the music of his follow-up album, Attack on Memory.

After playing the same sets nightly for months on end, Baldi saw the rigidity of his early work, and he wanted to create arrangements that would allow for more improvisation and variability when played on the road. To accomplish this desired malleability, the entire band decamped to Chicago—where the album was recorded with Steve Albini—and all lent a hand in the songwriting process. The product of these sessions is a record boasting features that, even at a glance, mark a sea change in the band’s sound: higher fidelity, a track clocking in at almost nine minutes, an instrumental, and an overall more plaintive air. The songs move along fluidly, and Baldi sounds assured as he brings his vocals up in the mix, allowing himself to hold out long notes and put some grain into his voice. Minor key melodies abound, drums emphatically contribute much more than mere timekeeping, and the guitar work is much more adventurous than that of previous releases.

For all of early Cloud Nothings’ fun and fervor, Baldi admits that it never sounded like most of the music he listens to. With Attack on Memory, he wanted to remedy this anomaly, and in setting out to do so, Baldi and co. created an album that showed vast growth for a very young band.

Highly anticipated sophomore release from saxophonist and composer Sisonke Xonti, winner of South Africa's 2020 Standard Bank Young Artist Award for Jazz. At the centre of the album, Xonti's four-part "Migration Suite" is his boldest work to date, exploring rural and urban identity and the perilous spiritual journey from homeland to the global village. Produced by Xonti and pianist Yonela Mnana and featuring photography by Mandisa Buthelezi, the album appears on As-Shams/The Sun as part of a roster of new artist releases on the cusp of the iconic South African jazz label's 50th anniversary.

Crystal Clear Vinyl Edition

With Coexist, The xx defied any perceived "difficult second album" pressures to create a record that cemented their status as a truly global breakout act. On the follow up to their acclaimed, era-defining debut, the London based trio of Romy Madly Croft, Oliver Sim and Jamie Smith (aka Jamie xx) continued to deal in compelling, sparse atmospherics but expanded their musical world, especially through producer Jamie"s growing electronic sound palette. Coexist surpassed expectations to become the best-selling vinyl record of 2012. Meanwhile, the band progressed from playing intimate venues to becoming an international must-see live act, curating their own festivals and collaborating with symphony orchestras. A final ambitious run of 25 shows at New York"s legendary Armory venue rounded off the album campaign, witnessed by fellow artists (such as Beyonce, Jay-Z and Madonna) and fans alike. To celebrate 10 years of Coexist, The xx will release a limited edition, crystal clear vinyl pressing of the record.

With ‘Coexist’, The xx defied any perceived ‘difficult second album’ pressures to create a record that cemented their status as a truly global breakout act.

 On the follow up to their acclaimed, era-defining debut, the London based trio of Romy Madly Croft, Oliver Sim and Jamie Smith (aka Jamie xx) continued to deal in compelling, sparse atmospherics but expanded their musical world, especially through producer Jamie’s growing electronic sound palette.

 ‘Coexist’ surpassed expectations to become the best-selling vinyl record of 2012. Meanwhile, the band progressed from playing intimate venues to becoming an international must-see live act, curating their own festivals and collaborating with symphony orchestras.

 A final ambitious run of 25 shows at New York’s legendary Armory venue rounded off the album campaign, witnessed by fellow artists (such as Beyonce, Jay-Z and Madonna) and fans alike.

 To celebrate 10 years of ‘Coexist’, The xx release a special edition crystal clear vinyl pressing of the album.

-European fall tour is sold out across all venues, with a U.S. tour set for 2023. Supported by fans and listeners of Thundercat, Silk Sonic, Jungle and Steely Dan. Album single, “Rolling Back” has been featured across multiple editorial playlists via major DSPs, including Spotify’s Soul ’n’ the City, Retro Pop, Stay Tuned!, Happy Stroll and Ready for the Day. Young Gun Silver Fox, the acclaimed indie duo from the UK with yacht-rock tendencies comprising of Andy Platts of Mamas Gun and Shawn Lee (vagabond award-winning video game composer) announce their highly anticipated fourth studio album Ticket to Shangri-La. The album showcases a band at the very top of their game, fine-tuning their potent brew of sun-kissed pop-soul, west coast AOR and natural groove with a skill for composition and production that sees them forging ahead down a musical highway blessed with blue skies and positive vibrations. For both participants, the chance to make a new record together is always a liberating experience, as Andy explains; “I always come back to Young Gun Silver Fox like taking a drive to the coast and I just smell the ocean and the air and it’s like ‘wicked I’m back here again’ and I can just kick back and enjoy it.” The chemistry and craftmanship on Ticket to Shangri-La means that Young Gun Silver Fox do exactly as the title suggests, transporting the listener to a magical, mythical world of sunshine and good vibes, a musical and spiritual ethos born from the minds of two gifted musicians that stand as the embodiment of all they do best, whilst providing the perfect invitation into their unique world.

In 2021, nyMusikk's annual festival of sound, "Only Connect", commissioned an interpretation from I LIKE TO SLEEP of the first movement of Olivier Messiaen’s Turangalila symphony. A project which initially led to a 15-minute piece performed at the festival, with the trio re-writing the music of Messiaen, but also rewriting the music of their own. Messiaen as a reference and compositional tool may be heard in the album for those really listening for references. With “Sleeping Beauty” the trio also explore even heavier riffs than before, seasick grooves and tempi, and deeper ambient soundscapes. Through extensive improvisation, the effects and processing of the sounds are way more extreme than before, almost awakening the sleeping beauty. During the pandemic, the band also had to find new ways to write music without the presence of every member, introducing the vibe-samples from the old Mellotron sound gallery to the band. Quarantillity, one of the themes which appears several times throughout the album - almost used in a similar way as the flower theme in the Turangalila symphony - is a direct result of sitting alone in quarantine, playing the Mellotron while listening to vibraphone extraordinaire Bobby Hutcherson. This theme could also be seen as a continuation of the previous album tracks named Pause I & Pause II from “Bedmonster” (2017) and “Daymare” (2020). Like “Daymare”, “Sleeping Beauty” was recorded in Duper Studio in Bergen, co-produced with the band’s all-time favourite sound wizard Jørgen Træen. It is also mixed and mastered by Træen, making the music sound as brutal, intense and intimate as experiencing I LIKE TO SLEEP in a live setting. “Infernal, scrotum-shrivelling energy sorely missing in today's music” said Jazzwise about their previous album, mentioning King Crimson, Magma, Tony Williams Lifetime, electric Miles and 60s free energy jazz as possible references. But that’s only one side of the story, there are plenty of quieter moments at work here, and the dynamic range is wide. Nicolas and Øyvind first met in high school in Trondheim before they joined up with Amund in a youth big band. It soon became apparent that they shared the same musical background centered around 70s progressive rock, classical music, jazz and improvisation. Taking their name from a Thelonious Monk quote, I LIKE TO SLEEP was formed, first for fun, but soon with higher ambitions, winning the prestigious "Young Jazz Musicians of the Year" award in 2018. Still only in their early 20s and still studying jazz at NTNU in Trondheim, they are also active as composers, freelancers and in other projects and are among the most promising on Norwegian scene. Amund Storløkken Åse – vibraphone and Mellotron Nicolas Leirtrø - baritone guitar, bass-VI and Mellotron Øyvind Leite – drums Tracks

If, among the Afro-Peruvian music groups that have emerged in recent years, there is one that has dared to take the sound to new dimensions, it is Perkutao. Heirs to the best Afro-Peruvian tradition, they have been able to integrate Afro-Cuban elements and various contemporary popular styles, which they play with amazing with speed and precision. "Mis ancestros", is their debut album for Buh Records. Perkutao is an Afro-Peruvian percussion ensemble founded in 2005, directed by Percy Chinchilla, musician, percussionist, zapateador and teacher of young generations of percussionists. "Mis Ancestros" (My ancestors) is their first record under the production of Manongo Mujica and is the fourth title of the collection "Perspectivas de la Música Afroperuana" (Perspectives on Afro-Peruvian Music). Chinchilla shares the artistic direction of Perkutao with William Nicasio 'Makarito', another outstanding percussionist. Both grew up in the famous Callejón del Buque, in the district of La Victoria, a spot preferred by bohemians and known by local music partying -jaranas criollas. Both were also formed in Perú Negro, an emblematic Afro-Peruvian ensemble, and both carry in their blood the cult of percussion and Afro tradition. Chinchilla comes from a family of Afro-Peruvian musicians including Caitro Soto and Ronaldo Campos. And Makarito is the son of Macario Nicasio and grandson of El Niño, legendary Cuban percussionist in charge of introducing congas and bongo to Afro-Peruvian rhythms. Perkutao arose precisely from the merging of these traditions, Afro-Peruvian, Afro-Cuban and Caribbean music, and have become one of the most sought-after percussion ensembles due to the intensity of their sound and their powerful performances that include stage movements and surprising acrobatic skills. In addition to Chinchilla and Makarito, the ensemble is completed by Edu Campos, Andree Liendo and Víctor Sánchez Pitín. "I follow in the footsteps of my ancestors, to the beat of the cajita, the quijada and the cajón, to the rhythm of a zamacueca, a festejo and a good landó". This is an excerpt of the lyrics of "Poema", the opening track of the album, the rhythmic base accompanies Chinchilla's voice and then increases in a crescendo that announces the paths to be explored by Perkutao. "Azañero Colorao", "Trucutum Kiti Pa" and "Cancha con Sabor", composed based on minor percussion (cajita, quijada), zapateo and cajón, respectively, are compositions that serve as an introduction, a tribute to the essential instruments of the Afro-Peruvian tradition. The last one in particular already defines Perkutao's style: a trepidant and orgiastic rhythm, hypnotic and hard hitting, Dionysian and cathartic. With "Madre Africa" and "Al Tayta Bukense", for djembes and congas, respectively, we find Perkutao retaking the Afro-Cuban heritage embedded to the Afro-Peruvian sounds, abakuá and festejo. "Lloraré", a version of a famous Cuban song, mirror the ensemble's fascination with Caribbean music (salsa is another genre cultivated by its members). "Mis ancestros" is an album about a tradition, but it is also a renewal. Perkutao opens a new direction for Afro-Peruvian music, its sound is an evocation and the here and now, it is deep-rooted but freely flowing percussion. Perkutao are Percy Chinchilla, William Nicasio "Makarito", Edu Campos, Andree Liendo y Víctor Sánchez Pitín. Produced by Manongo Mujica y Daniel Mujica. Recorded and mixed by Juan José Salazar at La Encía del Leopardo Estudio, Chorrillos, Lima, Perú. Mastered by Mario Breuer en Sensei Mastering, Córdoba, Argentina. Cover and Design by Yerko Zlatar.

Following their debut Glastonbury Festival performance, Broadside Hacks in collaboration with British Underground today announce the UK premiere of The Broadside Hack; a new documentary telling the story of the young vanguard of UK artists sharing radical interpretations, proto-feminist narratives and queer histories through the lens of British traditional folk song. An accompanying live album of the songs performed in the film will also be released in December on LP and digitally. Having enjoyed its US premiere at SXSW in March, The Broadside Hack is a short music documentary produced by British Underground, created with the aid of a grant from Arts Council England and PRS Foundation. Directed by Crispin Parry and filmed by The Northern Cowboys, It explores the influence of traditional folk songs on a new generation of musicians, filmed just as the UK was emerging from the dark days of the pandemic. The documentary was made in collaboration with music collective Broadside Hacks and features influential artists and groups from the new folk scene, including Rough Trade signees caroline, former Goat Girl bassist Naima Bock, whose acclaimed album Giant Palm was released on Sub Pop earlier this year, Shovel Dance Collective, Thyrsis, Broadside Hacks and Boss Morris. Discovering a fresh vitality in the tunes and new histories in the stories they tell, the film includes conversations, dances and intimate performances filmed at Peter Gabriel’s Real World Studios in Box, Wiltshire between 17th and 19th August 2021. The live concert and screening of The Broadside Hack arguably marks the close of the first chapter in the story of the UK’s new folk scene; a story in which Broadside Hacks has been central. Initially formed as a folk night, the pandemic forced it to change its shape, morphing into a collective of young, like-minded musicians who met to play folk music in South London. “An adventurous exploration of traditional music by the young and folk curious” - The Times // “All your favourite players in one Sunday League team” - Loud And Quiet // "The band play old folk songs, those so old their authors have been lost in time, and inject in them such life, depth and emotion that it's extremely affecting" - The Quietus // Side 1 A1 Boss Morris - Up The Hill A2 Interview Shovel Dance Collective - ‘A Collective Authoring of History’ A3 Shovel Dance Collective - The Bold Fisherman / My Husband Has No Courage In Him A4 [Interview] Thyrsis - ‘Collaboration Across Space and Time’ A5 Thyrsis - Single Sailor A6 [Interview] Naima Bock (Broadside Hacks) - ‘Retracing Beginnings’ A7 Broadside Hacks - Gently Johnny. Side 2 B1 Shovel Dance Collective - Merrily Kissed the Quaker B2 [Interview] Shovel Dance Collective - ‘Queering Folk Songs of the Past’ B3 Thyrsis - Godstow Bridge B4 [Interview] Naima Bock (Broadside Hacks) - ‘The Broadside Hacks Folk Club’ B5 Broadside Hacks - Rain and Snow B6 Boss Morris - Young Collins

"I was 27 when this album came out, LA was a whole different animal. I was going back and forth from NY to LA, touring a lot and trying to make progress for me and my close friends and family.

Oct 1 2002 seems like it was yesterday... The day we released the album, I got a call from Nas, completely caught me off guard. He complemented me on the writing of “Release Date” the first track on the album. Those are some of the moments I think of when I reminisce about dropping this project. It was such a turning point in my life, I was coming off of a huge push with “Restless” and the follow up had to be a smash, at the same time I was still finding my standing as a man, a young father, and an artist. It was always my dream to work with the people I’ve now been able to work with and I can listen to this album and remember exactly where I was and who I was with, it’s like time travel.

Fast forward 20 years later and I am thrilled to be able to share this body of work with you and more generations to come.

Thank you for rockin' with me for all this time.
Enjoy the 20th Anniversary Edition of MAN VS MACHINE,

From its dramatic intro, "Release Date," to the thundering West Coast march "Enemies," Xzibit's fourth and mythical album, Man vs. Machine produced by no less than Dr Dre, spent a total of 19 weeks on the "Billboard" 200 chart and was certified gold only a month after its release with over 500,000 copies sold.

The legendary album that features a heavyweight cast of featurings with the likes of Snoop Dogg, Eminem, M.O.P, Nate Dogg, DJ Premier and Dr Dre himself is now available for the first time since its original release, to celebrate its 20th anniversary!

















[q] D3. My Life, My World [Bonus Track]
[r] D4. What a Mess [Bonus Track]
[s] D5. (Hit U) Where It Hurts [Bonus Track]

LP including booklet with extended liner notes. Channeling wild seventies Impulse vibes, even resonating the guts of early Art Ensemble of Chicago and the tempering spirit of Max Roach's 'We Insist' era: BRAHJA is soul searching their spirit on 'Watermelancholia'.

Devin Brahja Waldman is a New York saxophonist, drummer, synthesizer player and composer who leads the group BRAHJA. Waldman has accompanied his aunt, poet Anne Waldman, since the age of ten. Waldman is a co-founding member of Radical Reversal, Diva of Deva Loka, and Notable Deaths. He has performed with Patti Smith, William Parker, Nadah El Shazly, Malcolm Mooney, Thurston Moore, Godspeed! You Black Emperor, Charles Hayward, Luke Stewart and Yoshiko Chuma. Waldman is also a member of NYC's Heroes Are Gang Leaders (led by poet Thomas Sayers Ellis and saxophonist James Brandon Lewis), of Sam Shalabi's Land of Kush, and of the Norwegian hardcore group MoE.

As a youngster, Waldman was taken under the wing of avant-garde giant Paul Bley. Along with Anne Waldman and cousin Ambrose Bye, Waldman is a co-producer for Fast Speaking Music -a NYC poetry and music label which has released recordings with Amiri Baraka, Meredith Monk, William Parker, Laurie Anderson, Eileen Myles, CAConrad, Fred Moten, Daniel Carter, Clark Coolidge, Thurston Moore, Joanne Kyger and many others.

Ancient to the future 2.0

Watermelancholia is about the law of Karma:
a law so obvious that it often goes unspecified and ignored.
Neglecting this law invites a world of chaos.
It's been articulated in endless ways.
Some have called it Cosmic Law or Natural Law.
Others translate it as Do No Harm.

(liner notes excerpt)

The moment the first bass note of Luke Stewart kicks in on 'Watermelancholia', followed by the swelling drum roll of Malick Koly and the lush leading voice of Janice Lowe you feel Devin Brahja will take you on a deep mind-blowing spiritual journey.


Channeling wild seventies Impulse vibes on 'O.P.K' or, could we say, even resonating the guts of early Art Ensemble of Chicago and the tempering spirit of Max Roach's 'We Insist' era: BRAHJA is soul searching their spirit on 'Watermelancholia'.


A poetic stream of consciousness, backboned by top-notch musicians, transcending the cosmic universe, trying to find answers and musically connecting.


Watermelancholia is a meditation on healing the inner schism between the sense of self - the ego - and the inner being. It is about bringing the ego to justice; putting it on trial, as it were.

In 1997, after a lengthy hiatus, Echo & The Bunnymen returned to the fore with 'Evergreen', revealing the brighter side of the band, and standing up with any of their earlier work.The self-produced album was recorded at The Doghouse in Henley-On-Thames with additional strings, horns and vocal arrangements recorded at Abbey Road.

The album saw the band rightfully return to the UK album charts at #8, with 3 singles ('Nothing Lasts Forever', 'I Want to Be There When You Come' and 'Don't Let It Get You Down') entering the UK top 50. 'Nothing Lasts Forever' (with backing vocals and tambourine by Liam Gallagher) has grown to become one of the band's most enduring and well-loved songs - a UK Top 10 and a fan favourite to this day.

To celebrate its 25 year anniversary, London Records releases 'Evergreen' on vinyl for the very first time, with a limited first pressing in solid white vinyl. There is also a new remastered and expanded 2 CD edition, taking in studio b-sides, live and acoustic sessions and previously unreleased versions across 33 tracks.

Matte, textured lift-off lid box containing a remastered reissue of the Harvest album, a 7" single with outtakes, a 1971 unreleased BBC concert on LP & DVD, a DVD of the film Harvest Time, a 48-page hardbound book, a fold-out band poster, and a numbered lithograph. Harvest is housed in a Stoughton tip-on jacket which has a matte texture on the outside and a high-gloss finish on the inside. The left side pocket includes a replica of the original fold-out lyric sheet. BBC In Concert is housed in a matte Stoughton tip-on jacket. Harvest Outtakes is a small hole 7" issued in a shrink wrapped matte picture sleeve with top opening. Harvest Time DVD is housed in a printed card sleeve and comes with a two-sided insert. BBC In Concert DVD is housed in a printed card sleeve. 50th anniversary deluxe edition Original album (remastered) Three Harvest outtakes on 7" single (two unreleased versions) 1971 unreleased BBC concert on LP & DVD Harvest Time: 2-hour unreleased film from 1971 on DVD 48-page harbound book Numbered lithograph Poster

Black Truffle is pleased to announce Uri Katzenstein’s Audio Works, produced in collaboration with Holon’s Centre for Digital Art. Spanning sculptural installation, performance, video art, and many other media, Katzenstein’s absurdist, poetic, and often hilarious work made extensive use of sound and music. This, however, is the first release dedicated to the artist’s audio work, collecting 28 tracks produced between the early 1980s and 2017. Compiled from dozens of hours of recordings left uncatalogued (and in some instances unheard) at the artist’s death in 2018, these four sides are a treasure trove, offering a captivating glimpse into a uniquely uninhibited creative practice. Predominantly recorded alone, with some contributions from regular collaborators such as Ohad Fishof on the later pieces, many of these tracks stem from Katzenstein’s time living in New York in the 1980s. Feeding on the cross-pollination of post-punk energy, radical art practice, and new media possibilities that characterised the New York scene at this time, many of Katzenstein’s recordings squeeze multilayered vocal experimentation into synth-based miniatures with a distinctively pop twist, their forms ruptured with anarchic bursts of free-form electronics, sounds from self-built instruments, and field-recorded snatches of the outside world. Katzenstein’s electronic production calls up touchstones of skewed 80s art pop like Laurie Anderson, Ambitious Lovers, and Scritti Politti, but imbued with DIY directness and economy of means. The arrangements of synths, percussion, and noise elements are invigoratingly raw and, at times, almost austerely minimal. On ‘Intermission’, thick distorted chords accompany a wandering portamento melody, inhabiting the wayward carnival space of Roedelius’ most unhinged efforts. Many of the tracks centre on Katzenstein’s multi-tracked vocal performances, often moving between multiple languages, (most commonly English, German, French, and Hebrew). A bewildering range of vocal approaches are present on these pieces, from sweet wordless harmonies to hammed-up growls and monastic recitations. On ‘Skin O. Daayba – Complex Habits no. 3’, improvised resonance singing against a backdrop of echoing electronics and radio snatches. ‘Half Monk Half Herring’ layers multi-lingual syllabic fragments, crossing sound poetry techniques with melodic invention in a way rarely heard outside of Caetano Veloso’s Araçá Azul. On ‘Attempt to Raise Hell’, Katzenstein’s distorted voice spits out streams of alliterative nonsense (‘the hemlock of Henry, he was a hermit…purple pumpkin pulsates to pops’), while on the hilarious ‘Eric’, Katzenstein appears to instruct a small boy simultaneously in basic French and German conversation. On ‘Chicken’, vocal harmonies accompany the pecking and clucking of the titular fowl. Moving from bent, outsider synth pop to snatches of Jo Jones-esque automated instrumental clang and absurdist linguistic experiments, these are far more than footnotes to an artist’s gallery works. Accompanied by extensive, beautifully written liner notes by Roee Rosen and the little information that exists on the individual tracks, Katzenstein’s Audio Works inhabits an outer fringe of DIY pop and sonic experiment reminiscent of Pascal Comelade or Die Welttraumforscher, where accessible forms convey radical interrogations of song, word, and sound.

Recorded at CBS Studios in San Francisco in 1976, before they were
signed to the legendary Beserkley Records, The CBS Tapes captures the
Rubinoos as the scrappy, bratty kids they were
It also shows the huge talent and energy of a young band near the beginning of
their career, who believed they were unstoppable. This never before released
recording is the perfect way to kick off the band's 50th anniversary celebration.
Songs performed include Jonathan Richman's "Government Center," "The Pepsi
Generation," commercial jingle, and several Rubinoos originals. This is the black
vinyl standard edition.

Watford born indie rock goddess Connie Constance announces
her new album, ‘Miss Power’, a bold collection of songs imbued
with high voltage drums, snarling guitar riffs, and anthemic feminist
rage.
 On ‘Miss Power’, Connie takes us on a joyride through dramatic,
passionate and empowering scenes with hooks aplenty and lyrics
that excitedly unpick heartbreak, Connie’s strained relationship
with her father and her struggles with mental health.
 Connie’s titular and much acclaimed first single from her new
album, ‘Miss Power’ earned itself a spot on the BBC Radio 1 C list,
as well as being named Hottest Record by Radio 1’s Clara Amfo,
with plays from Jack Saunders, Ricky, Melvin and Charlie and Vick
and Jordan.
 The album announcement comes alongside the release of a new
single, ‘Till the World’s Awake’, a life affirming indie dance track
that twinkles with bright, layered guitars atop driving basslines and
powerful drums. Connie Constance’s dynamic yet delicate vocals
swell to a thrilling, cathartic chorus: “When we are young and
when we get older / I want to feel like loving, feel like loving you.”
Connie’s venture into the world as her authentic self is palpable.
 “A strikingly effective combination of disparate strains of British
pop: the quasi spoken verses bristle with the barked beauty of
Paul Weller; the cathartic chorus reaches Florence worthy heights”
- The Guardian
 “Brand new music from the brilliant Connie Constance. She’s real
fun, I rinsed ‘Kids Like Us’ on this show, and I love this one. Just
instantly catchy and empowering. empowering.” - Clara Amfo
 “She is one of the most exciting artists around at the moment. I
saw her live and just knew she was going to be special” - Arielle
Free
 “This indie pop banger ‘Miss Power’ is an instant confidence
booster” - The Fader

Gondwana Records announces Horizons the debut album from Jasmine Myra, produced by Matthew Halsall, it's an elevating debut record of understated beauty

Jasmine Myra is a Leeds-based saxophonist, composer and band leader Her original instrumental music has a euphoric and uplifting sound, influenced by artists as diverse as Kenny Wheeler, Bonobo and Olafur Arnalds and like Mammal Hands and Hania Rani her music has a special, emotive quality that draws the listener into her world. Matthew Halsall first heard Myra's music in 2019 shortly before the pandemic hit, signing her to Gondwana Records and producing her beautiful debut album, Horizons.

"I was immediately drawn to Jasmine's music. I could hear jazz, electronica in her music but with a deep, honest, emotional quality. I was really impressed with her skills as a composer and bandleader, that she is open and intelligent enough to bring all those influences together, to make something fresh and original. We were also delighted to work with a young artist from the North of England. London is often seen as the place to be, but cities like Manchester and Leeds are full of creative musicians too, and that sense of local community is at the heart of our values as a label."

Myra came-up through the bustling, creative Leeds music scene and her music draws on the sense of community that permeates life in the city and which is notable for a strong DIY ethos in its musical community. She attended Leeds Conservatoire and played with the Leeds based Abstract Orchestra, a jazz big-band, led by tutor Rob Mitchell that explores the synergy between jazz and hip-hop found in the recordings of Madlib, MF Doom of J Dilla. Indeed, Myra cites MF Doom and Soweto Kinch as early influences on her own music. It was in her last year at the conservatoire that Myra started to consider leading her own group and started to really think about what her own music might sound like and her first band featured guitarist Ben Haskins and drummer George Hall who both feature on Horizons and her band draws heavily on the Leeds community featuring rising stars such as pianist Jasper Green and harpist Alice Roberts.

Myra also mentions local legend, Dave Walker, who owns an instrument repair shop called 'All Brass and Woodwind' which is right next to the music college. She worked there while studying and he introduced her to a lot of local musicians. Walker also has his own line of saxophones (played by Shabaka Hutchins, Pete Wareham and Nubya Garcia), and gifted Myra the saxophone she plays on Horizons. It was Walker who encouraged Myra to apply for Jazz North Introduces, a scheme that supports emerging jazz artists in the North of England and Myra credits her winning a place, in 2018,with helping her grow in confidence.

" It gave me the opportunity to start gigging outside of Leeds, which I was very keen to do. I was quite surprised by people's reaction to the project and the support I was being shown, which helped me gain a lot of confidence. It became clear to me very quickly that being a solo artist was what I wanted to do and it was also apparent to me that mine was one of the only female-led instrumental bands on the Leeds scene, which encouraged me even more, as I wanted my project to inspire younger female musicians".

Horizons was produced by Matthew Halsall and mixed by Portico Quartet collaborator Greg Freeman, and much of the music was written during lockdown. It was a hard time for a lot of people, and initially Myra struggled mentally, deprived of shows and the connections of making music with her band and friends, but she also realised what she wanted as an artist and the result is heard on Horizons.

"I realised that my aim was to start writing music that made people feel happy and uplifted. Writing is one of my biggest passions, but I also love performing. Playing live and seeing the audience connect with my music and have a positive experience brings me so much joy".

This sense of elevation is at the heart of Horizons, together with the feeling of a journey, of reaching new ground. Prologue and Horizons were originally composed as one piece as they encapsulate Myra's own personal development as she worked on the album - taking the listener on a journey, especially Prologue; and then Horizons is that moment of release when you've reached the end goal. 1000 Miles takes inspiration from the music of Shabaka and the Ancestors. Whereas Words Left Unspoken was written after Myra's grandmother unexpectedly passed away in June, and due to Covid restrictions she was unable to visit her before she passed and say how much she loved her. Morningtide is a nod to Kenny Wheeler, particularly the track Opening from Sweet Time Suite on Music for Large and Small Ensembles but Myra also puts her own spin on it as she also does with Promise, another track influenced by Wheeler. Awakening has a calm and euphoric quality and represents that sense of problems lifting, or of reaching the other side, and New Beginnings finishes the album with a positive vibe and a sense of moving forward from darkness

This then is Horizons. A soulful, emotional and up-lifting debut from a major new voice. A snapshot of a young artist at the beginning of her journey - drawing on jazz and electronica influences to create something fresh and new. But also a celebration of her home town Leeds, and a record built on a sense of support and community before looking out to wider Horizons.

Jamie Cullum on BBC Radio 2 "...That's Jasmine Myra and 'New Beginnings', wonderful to hear new music from a new artists i've not heard before, a great new artist!"

Tom Ravenscroft on BBC 6 Music "Leeds-based saxophonist, composer and band leader Jasmine Myra. 'New Beginnings' on Gondwana Records. Compositions drawing influence by Kenny Wheeler, Bonobo, Ólafur Arnalds. Produced by Matthew Halsall"

To celebrate the 10th anniversary of Recital, we present Autumn Fair: A group LP comprised of 44 guest players (full list below), curated and edited together by Sean McCann.

Autumn Fair aptly embodies the feeling of Recital as a record label; the infusion of abstract sound art and sentimental beauty – performed by both younger and older generations of artists.

Oren Ambarchi - guitar, Ed Atkins - paper shredder, Jason Bannon - family, Derek Baron - keyboard, Karla Borecky - upright piano, Andrew Chalk - guitar, crys cole - birds, Loren Connors - guitar, Philip Corner - grand piano, Maxwell August Croy - whistle, Sarah Davachi - electronics, Aaron Dilloway - SFX, Delphine Dora - voice, Giovanni Fontana - voice, Scott Foust - trumpet, Peter Friel - impression, Malcolm Green - camera, Judith Hamann - cello / voice, Mark Harwood - speech, Forest Juziuk - voice, Johnny Kay - tapping, Kajsa Lindgren - hydrophone, Rob Magill - guitar, Lia Mazzari - whip, Molly McCann - flute, Sean McCann - editing / voice, Nour Mobarak - voice sampler, Azikiwe Mohammed - interview, Charlie Morrow - MIDI piano, Kiera Mulhern - SFX, Zachary Paul - violin, claire rousay - SFX, Michel Samson - violin, Troy Schafer - strings, Eric Schmid - tone generator, Ben Schumacher - SFX, Tom James Scott - keyboard / SFX, Asha Sheshadri - reading, Patrick Shiroishi - winds, Sydney Spann - voice, Matthew Sullivan - instruments, Flora Sullivan-Kelly - percussion, Connor Tomaka - SFX / synth, Alex Twomey - upright piano.

I won't go into too much detail on the album itself, but after many twists and turns, the album concludes with “Recital Program,” an intense track that manically collages two-second excerpts from every Recital album to date.

I extend a sincere ‘thank you’ for all the incredible support for Recital over the past decade.

Ltd. LP Edition of 350 copies on 175gram black vinyl, gold foil printing, incl. program notes, comes with printed ticket, mechanically numbered.

We Are The Ocean's third album 'Maybe Today, Maybe Tomorrow', pressed on vinyl for the first time in celebration of the 10th anniversary of it's original release.

Features the singles 'Young Heart', 'Machine', and 'TheRoad'. Available in this cream pressing variant, limited to just 500 worldwide.

The latest, greatest contender for Manchester’s music throne, Aitch cements his position as one of the most exciting young British rappers with the announcement of his hotly-anticipated debut album, Close To Home. A love letter to the city which shaped him, revealing a well of hidden depths to surprise, delight, and charm his ever-growing legion of fans. preceded by the release of his evocative new single, ‘1989’ built on the irresistible hook from The Stone Roses’ iconic single ‘Fools Gold’, ‘1989’ . The debut album, comprised of 16 tracks, combines a mature and reflective side with the charisma and cocksure swagger he has become known for. Aitch recently anointed as a Forbes Magazine ‘30 Under 30’ name to watch, has recruited an excitingly diverse roster of collaborations for the record. Features the track "My G" with Ed Sheeran.

After a crush at the Brussels World Fair in 1900, King Leopold II decided, for his own personal pleasure, to have the Japanese Tower and Japanese Gardens built. In order to create this little relocated Asian paradise, he had the wood, sculptures, paintings, ornaments, trees, workers, and their know-how imported. For a few years, he invited his entourage to enjoy it during large banquets and private receptions. He then had the idea of transforming the Japanese Tower into a luxury restaurant, but he died. This magnificent place remains closed to the public except during an annual opening.

"A Story of a Global Disease" is a short tale about artificial paradises of globalization, a melancholic walk through the exotic relics of free trade, where whim, appropriation, and appearances take precedence over otherness. Here, geishas eat chips, Europeans confuse Tokyo and Beijing, and tribal ceremonies begin with samples and drumkits.

These tracks have been initially recorded for the “ON THE GO” Beursschouwburg’s project in Oct. 2020. It has been originally and properly released on shiny pinky tape by the fantastic Bamboo Shows imprint and includes an unreleased track (Walk With Your Romance).

Naomie Klaus is a young artist from Marseille based in Brussels. In love with performance, constantly flirting with cinema and acting, Naomie seems to conceive her music as a big playground, a free zone of mischief in which she likes to experiment and interpret different identities, different characters. The result is funambulistic, a hybrid and synthetic form of a thousand influences that we can't really characterize: 90' Techno, loud Trip-hop, languid Pop, nonchalant Post-punk, dracular mass... Naomie Klaus doesn't know on which foot to dance and invites us to join a zone of in-between, has fun to plunge us in her strange tales for adults, where the princesses we meet are armed, hysterical, nymphos and badly dressed.

Following a B.F.E proposal to release on a limited vinyl edition, Teenage Menopause from France & Moli Del Tro from Brussels joined the project. Rude66 remastered these gems and Harrisson made the artwork.

Today Chicago-based percussionist, composer and producer Makaya McCraven announces the details of his new album In These Times, which is set for release on September 23rd via International Anthem / Nonesuch / XL Recordings. The first offering from the new album is a song tiled "Seventh String," which encapsulates the various musical dimensions present on McCraven's new album, a career-defining body of work that is a remarkable new peak for the already-soaring McCraven. In These Times is a collection of polytemporal compositions inspired as much by broader cultural struggles as McCraven's personal experience as a product of a multinational, working class musician community. It's the recording that he's been trying to create for 7+ years, as it's been consistently in process in the background while he's put forth a prolific run of releases including: In The Moment (2015), Highly Rare (2017), Where We Come From (2018), Universal Beings (2018), We're New Again (2020), Universal Beings E&F Sides (2020), and Deciphering the Message (2021). With contributions from over a dozen musicians and creative partners from his tight-knit circle of collaborators - including Jeff Parker, Junius Paul, Brandee Younger, Joel Ross, and Marquis Hill - the music was recorded in five different studios and four live performance spaces while McCraven engaged in extensive post-production work at home. Featuring orchestral, large ensemble arrangements interwoven with the signature "organic beat music" sound that's become his signature, the album is an evolution and a milestone for McCraven, the producer. But moreover, it's the strongest and clearest statement we've yet to hear from McCraven, the composer. Profiled in the New York Times, Vice, Pitchfork, Rolling Stone, the Guardian, and NPR, among other publications, Makaya and the music he makes today is what Passion of Weiss explains, "is part of a necessary conversation about the next evolution of the Black improvised music known colloquially as 'jazz.' He's found the threads connecting the past with the present, and is either wrapping them with new colors and textures, or he's plucking them gleefully like the strings of a grand instrument." McCraven, who has been aptly called a "cultural synthesizer" and "beat scientist," has a unique gift for collapsing space, destroying borders and blending past, present, and future into poly-textural arrangements of post-genre, jazz-rooted 21st century folk music. In These Times encompasses his artistic ethos, his experiences, identity and lineage, while pushing his music to new heights.

Isokratisses (Greek for "women who sing the "iso" or "drone") is a vocal ensemble comprised of eight women who carry the ancient tradition of polyphonic songs from Epirus: a region in northern Greece and southern Albania. Born and reared in the Greek speaking villages around Deropoli and Politsani in Albania, the women of Isokratisses have sung these songs since childhood. The group ranges in age from 19 to 56 with some sisters in the group as well as an aunt. They were nurtured by this archaic music, listening and singing it with their family and friends. The songs were passed down from generation to generation. The group started its artistic activity in 2015, after the singer Anna Katsi took the initiative to encourage the younger members to perform regularly. The communal nature of polyphonic singing is a way of revitalizing an art that has declined in recent years and to reassert the primacy of female voices in the southern Balkans. Singing these songs builds an invisible bridge that connects the present with the past, the memories of childhood travel with the immediacy of daily life. On Oct 14, 2022, Third Man Records will release a full album of these solo polyphonic songs, with Grammy-winning producer Christopher King. "It is social music, woven into the fabric of poor, marginalized, and disenfranchised communities. Many of the songs are variations of mirologia (songs of fate, songs of morning) that used to be sung throughout the southern Balkans but have largely disappeared on an informal cultural level except for Epirus. Structurally, the songs are pentatonic (five notes with no semitones) and are composed of three or four distinct melodic voices that weave together in an organic yet unexpected way. The remaining members of the group provide the iso or “drone” that is the low tonic note of the melody." - Chris King.

We are proud to present the official 40-year anniversary issue of Imagination's debut album Shake It. Remastered from original tapes, this deluxe edition is a double vinyl LP with gatefold sleeve, featuring a newly available lyric insert.

Shake It covers a diverse spectrum of styles and sounds, all combining to a unique soulful amalgam that ranges from sunshine AOR funk ("Mornin' Lights") and leftfield disco ("Strawberry Wine") to psychy, epic, downtempo, vocoder grooves ("Can't Stand Without You") and more. Originally released in 1980, it fast became one of Germany's most collectible privately-pressed LPs.

Shake It was the creation of young thoroughbreds working hard on becoming professional musicians, trying to take their next big step in the music business. Starting out as a pure jazz-rock combo in the mid '70s (as we hear on the recently released lost studio tapes, I'm Always Right (The WDR Tapes 1977)) Imagination left behind their instrumental roots, incorporating new musical trends and styles.

Uwe Ziss, their saxophonist and flutist, became one of two lead singers in Imagination. He would be joined by the younger Roger Mork, a student of original guitarist Willi Hövelmann, around 1979. Roger's voice would best be heard on the aforementioned "Mornin' Lights", one of the various standout tracks on Shake It. However, there is much more that this album offers.

There are brilliant soulful soft rock ballads like "Clouds Flee Before The Wind" and "Waitin for your Call" or the catchy "California" song that switches from a dreamy Westcoast sound (as the title implies) to danceable rhythm & blues with equal ease. Last but not least, we have unearthed three unissued bonus cuts. On one, the demo take of "Clouds Flee Before The Wind", we hear, for the first time ever, the original refrain of this song, which, for some strange reason, was taken out from the final mix on Shake It.

When all eight original songs were recorded and mastered in June, at the well-equipped West Aix-La-Chapelle studio, the stage was set for Imagination's long-desired career push. They'd initially press about 2500 copies of Shake It selling it mainly, locally, directly to their hometown fanbase in Düsseldorf. Meanwhile, their manager would attempt to arrange a record deal with a music label. Unfortunately, this became more difficult than expected. Negotiations with a smaller publishing company were made by Imagination, and Shake It was repressed on Nash Records in 1981 without their consent, under the false promises of a nationwide promotional tour which would never come to fruition. At the same time, the group would face a UK band under the same name achieving mainstream success, making it difficult (not to say entirely impossible) to perform as "Imagination". Though the band would remain active after Shake It, they'd split shortly after Nash's duplicitous reissue hit store shelves.

Luckily, through time, Shake It itself has remained worthwhile, creatively, for those who stumbled upon it and financially, too, becoming quite the sought after gem in record collecting circles. This deluxe anniversary double vinyl issue makes the LP available once again at a far more reasonable price, featuring the original, illustrious, eye-catching, Roy Lichtenstein-influenced banana art, as well as previously unavailable press pictures and more.

TOWNES VAN ZANDT STUDIO SESSIONS FROM 1974 AVAILABLE ON VINYL FOR THE FIRST TIME EVER In 1974, Townes Van Zandt recorded what would have been his seventh album, ‘Seven Come Eleven’. Business issues prevented its release until the recordings surfaced two decades later as ‘The Nashville Sessions’. To commemorate the 50th anniversary of the beginning of Van Zandt’s turbulent musical career and launch of a major catalogue reissue programme, Charly has restored and re-mastered ‘The Nashville Sessions’ to present a stunning document of the folk-blues master at his absolute peak. “These are songs that tap into the timeless myth of the American troubadour, a place where wandering souls tramp the byways of their homeland...” Restored and mastered to vinyl from the original tapes provided by producer and manager Kevin Eggers. Full colour LP sleeve with original Milton Glaser portrait cover. Fully illustrated inner with detailed sleeve notes by Uncut magazine journalist Rob Hughes. Part of Charly’s 50th anniversary programme celebrating the start of Van Zandt’s career. All original Poppy and Tomato albums which Townes Van Zandt recorded at the peak of his career will be newly re- mastered, restored and lavishly repackaged and available on CD & limited edition 180g heavyweight vinyl. The death of Townes Van Zandt in 1997 at age 52 robbed the world of a troubled genius as well as one of America’s finest songwriters. His reputation and popularity has grown greater by the year inspiring books, a documentary and renewed interest from the media, passionately loyal fans and contemporaries such as Willie Nelson, Merle Haggard and Emmylou Harris who have covered his songs to the upper-reaches of the American charts. “From Neil Young and Willie Nelson, Bono and Bob Dylan (who reportedly once said that Townes was “in some ways the better writer”) to Tindersticks and Mudhoney, songwriters and musicians speak of Townes with reverence.” MOJO MAGAZINE “He was the best songwriter and most riveting solo performer I’ve ever seen.” STEVE EARLE “An effortless masterclass in emotionally effecting Americana”.

Clear Vinyl

Anlässlich des 30-jährigen Jubiläums der Single "When You Gonna Learn?" veröffentlichen Jamiroquai das Album "Emergency On Planet Earth" neu und feiern damit das 30-jährige Bestehen einer der bahnbrechendsten und wegweisendsten britischen Bands der letzten Zeit. Nach der Wiederveröffentlichung der 25. Jubiläumsausgabe von "Travelling Without Moving" - dem meistverkauften Funk-Album aller Zeiten - feiert Jamiroquais Debütalbum "Emergency On Planet Earth" in diesem Jahr sein 30-jähriges Bestehen und wird als transparentes/klares Doppel-Vinyl mit Gatefold-Cover und bedruckten Innenhüllen mit Linernotes von Jay Kay aus den Jahren 2013 und 2017 neu aufgelegt.Pour marquer les 30 ans de la sortie du single "When You Gonna Learn ?", Jamiroquai réédite "Emergency On Planet Earth" qui marque le début de la célébration du 30ème anniversaire de l'un des groupes britanniques les plus révolutionnaires et pionniers de ces derniers temps. Après la réédition en janvier de l'édition du 25e anniversaire de " Travelling Without Moving " - l'album de funk le plus vendu de tous les temps - le premier album de Jamiroquai, " Emergency On Planet Earth ", fête cette année son 30e anniversaire et est réédité en double vinyle transparent/clair avec une couverture gatefold et des pochettes intérieures imprimées contenant des notes de Jay Kay de 2013 et 2017.

Anlässlich des 30-jährigen Jubiläums der Single "When You Gonna Learn?" veröffentlichen Jamiroquai das Album "Emergency On Planet Earth" neu und feiern damit das 30-jährige Bestehen einer der bahnbrechendsten und wegweisendsten britischen Bands der letzten Zeit. Nach der Wiederveröffentlichung der 25. Jubiläumsausgabe von "Travelling Without Moving" - dem meistverkauften Funk-Album aller Zeiten - feiert Jamiroquais Debütalbum "Emergency On Planet Earth" in diesem Jahr sein 30-jähriges Bestehen und wird als transparentes/klares Doppel-Vinyl mit Gatefold-Cover und bedruckten Innenhüllen mit Linernotes von Jay Kay aus den Jahren 2013 und 2017 neu aufgelegt.Pour marquer les 30 ans de la sortie du single "When You Gonna Learn ?", Jamiroquai réédite "Emergency On Planet Earth" qui marque le début de la célébration du 30ème anniversaire de l'un des groupes britanniques les plus révolutionnaires et pionniers de ces derniers temps. Après la réédition en janvier de l'édition du 25e anniversaire de " Travelling Without Moving " - l'album de funk le plus vendu de tous les temps - le premier album de Jamiroquai, " Emergency On Planet Earth ", fête cette année son 30e anniversaire et est réédité en double vinyle transparent/clair avec une couverture gatefold et des pochettes intérieures imprimées contenant des notes de Jay Kay de 2013 et 2017.

“If you can imagine a late 1960s folk-rock approach allied to a doomy atmosphere with added touches of lo-fi psychedelia, then you’re getting close to the timbre of Finland’s Hexvessel. There are clearly nods towards King Crimson, Black Sabbath, the Beatles, HP Lovecraft and The Doors, but what the band have managed to do is create something that belongs specifically to them.” – Malcolm Dome, Prog Magazine Hexvessel’s fan-favorite album from 2012, No Holier Temple, gets a luxury 10-year anniversary reissue via Svart Records! No Holier Temple was Psychedelic Forest Folk band Hexvessel’s second full-length album, released to critical acclaim, cult status and some of their biggest sales figures to date. The Finnish “mushroom-devouring pixies” follow up to 2011’s critically acclaimed debut album, Dawnbearer, was described by Roadburn Festival as “a passionate, urgent and gorgeously strange musical spell.” Hexvessel’s break-through album No Holier Temple reached new heights for the band with two Emma Gala (Finnish Grammy Awards) nominations. No Holier Tample also won two Femma awards, which is the Alternative Finnish Grammy Awards. Hexvessel played the prestigious Roadburn Festival in The Netherlands for the first time that year in the church venue of Het Patronaat. The festival sold out in 7 minutes. No Holier Temple also landed in the Main Finnish Charts at #20 and in Alternative charts at #7. No Holier Temple fuses the acoustic 70s folk vibe of its predecessor into a more psychedelic, electric, doom-folk sound with Manzarek-like keys, screeching rhythmic Velvet Underground violins, Miles Davis trumpets and hypnotic freakouts. Weaving the uncanny songs together are the narrative vocals of Mat McNerney, who on this album has matured into the bastard child of Burke Shelley, young Jon Anderson and Paul Simon. Inspired by the progressive, spaced-out haze of bands like Amon Düül II, Van Der Graaf Generator and Ultimate Spinach, whose song “Your Head Is Reeling” they cover with religious abandon. Their sound now expands outward from their eerie, signature, ritual-esque intros into a genre-twisting cauldron of otherworldly rock and the late-night, dreamy spoken-word of artists such as Jim Morrison (An American Prayer) and Ken Nordine.

In March 2021 Dvne released their seminal second album Etemen Ænka which was hailed by fans and press alike around the globe. Eager to bring the new album to the stages, the band was setback by the pandemic as so many other bands. However thanks to their relentless work, Dvne managed to play two successful European tours with their label mates in Déluge and UK shooting stars Bossk. Even though the world is slowly getting back to normal, touring is still a difficult undertaking. So, for the first anniversary of Etemen Ænka the band decided to set up a digital live stream of 4 songs to finally bring the new songs to life to fans around the globe in a safe way. The outstanding live performance was recorded in their hometown Edinburgh together with the help of producer Graeme Young, who already produced Etemen Ænka. For the first time ever, the band performed the new songs live with special guest Lissa Robertson on violin and vocals.

- Released in 2014, Dorian Concept's 'Joined Ends' was a stunningly original electronic album. Made by a young man with virtuosic musical ability and amazing vision, it married true musicianship and writing to a thrilling electronic palette. Now Ninja Tune are proud to present a set of remixes of songs from 'Joined Ends', from a collection of musicians who can - like Dorian - count themselves in the electronic vanguard. Reflecting Dorian's own work, the mixes cover both the experimental (Tim Hecker, Bibio) and the dancefloor (Nathan Fake, Kuedo).

Criminal, The Soft Moon's fourth studio album, is a confessional work. Through the stark lens of shame and guilt that has followed Luis Vasquez since a violent childhood growing up within the humming ambient sprawl of '80s Mojave Desert, here he documents the gut-wrenching sound of going to war with himself. Criminal marks a striking and important chapter in his self-exploration, both artistically and emotionally. As a young musician living in Oakland, Vasquez began to try and process the narrative of his difficult upbringing veiled through musical exploration. Working with producer Maurizio Baggio at La Distilleria in Bassano Del Grappa, Italy, Criminal sees Vasquez further explore putting his lyrics at the forefront and letting his raw emotions flow. Sacred Bones is now repressing this favourably received record in a bunch of new colors in celebration of the label's 15th year anniversary.