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Cindy is a band built around the singing and guitar playing of Karina Gill. She became a musician only recently, having sat on the sidelines while ex-partners and friends made their stabs at it. Gill describes a chance encounter with an abandoned Squire Strat left in the basement by a previous tenant, “mummified in electrical tape with the remnants of a burrito on the head stock”, that led her to begin carefully strumming her way through simple chords and making her own songs. After one interesting self-released LP, still finding their footing, the band made the masterful and buzzed-about Free Advice, which went from a limited cassette on local SF label Paisley Shirt to vinyl pressings on Tough Love (UK) and Mt St Mtn (USA).

Cindy’s third LP arrives in quick succession, the quietly devastating 1:2. Jesse Jackson on bass, Simon Phillips on drums and Aaron Diko on keyboards weave the perfectly thin web behind Gill’s slow Velvety strums and murmured melodies. The rhythm section brings the crude flow, while the keys add subtle and surreal counterpoint to the withering world Gill depicts in her lyrics. “Songs tie together seemingly disparate things by the logic of mood,” Gill tries to explain. This isn’t dream-pop sunshine bliss; half-closed black drapes hang on the window where the narrator stares into the middle distance. “Sometimes you say you’re feeling small/You plan all day for your own funeral”, she intones in Party Store. Gill has a way of halting her phrasing that makes it feel like her thoughts are gently tumbling into the abyss. It’s this unsettling quality mixed with the hazy atmosphere that makes Cindy’s new LP 100% addicting and the perfect antidote to comfort listening. Glenn Donaldson, 2021

In These Silent Days, the highly anticipated new studio album from six-time Grammy Award-winning singer, songwriter, performer, producer and New York Times Best Selling author Brandi Carlile, is out October 1. Ahead of the release, the album’s first single, “Right On Time,” featuring a music video directed by Courteney Cox launched on announcement
Inspired by the mining of her own history while writing this year’s #1 New York Times Best Selling memoir Broken Horses, In These Silent Days was conceived of while Carlile was quarantined at home with longtime collaborators and bandmates Tim and Phil Hanseroth. The ten songs chronicle acceptance, faith, loss and love and channel icons like David Bowie, Freddie Mercury, Elton John and Joni Mitchell—the latter two who, by some sort of cosmic alignment of the stars, have turned out to be close friends in addition to being her biggest heroes and inspirations.
In These Silent Days follows Carlile’s 2018 breakthrough GRAMMY Award-winning album, By The Way, I Forgive You, which Rolling Stone declared, “…an Adele-meets Joni Mitchell tour de force.” In the years since—in addition to collaborative projects with The Highwomen, Tanya Tucker, Soundgarden, Alicia Keys, Dolly Parton, Barry Gibb, Leslie Jordan, Brandy Clark and more—she has earned six Grammy Awards recognizing her work as a performer, songwriter and producer, was awarded Billboard’s Women In Music “Trailblazer Award,” CMT’s Next Women of Country “Impact Award” and received multiple recognitions from the Americana Music Association Honors & Awards including 2020’s Album of the Year (Highwomen), Group of the Year (The Highwomen) and Song of the Year (“Crowded Table”) and 2019’s Artist of the Year. Carlile was also once again nominated for Artist of the Year and Group of the Year (The Highwomen) at the 2021 ceremony.

"Future indie classics that reek of modern New York City Charm” – DIY Magazine
"Captures honest-to-god truths in a new light’ – The Line of Best Fit
“A nostalgia-tinged hit, filled with jangly guitars and contagious melodies” – Wonderland
‘WANDERKID’ is the sophomore album from New York’s next lo-fi legend, JW Francis, and will be released whilst its creator is in the middle of trekking 2000 miles along the Appalachian Trail in the US. The follow up to JW’s critically acclaimed debut album ‘We Share A Similar Joy’, ‘WANDERKID’ will be released on 3rd September by Sunday Best Recordings. “WANDERKID is an album about escape. It’s supposed to be a gut punch of a record about an anti-hero named WANDERKID who wants to get OUT: out of his living situation, out of his head, out of his life. This album is like looking out the car window with an urgent desire to be on the other side. It was finished during the most recent global pandemic, so hopefully folks find it relatable.”
JW is fast making a name for himself as one of the most exciting new artists around. Born in Oklahoma, JW landed in New York City at 19 to study Economics at Columbia University, but not before making stops, stays and stints in Vermont, aged 12 and Paris, aged 13. Whilst at Columbia, the troubadour started music blog Rare Candy and founded student-run recording studio CU Records. Musically, JW takes his lead from the greats of the Downtown scene - Patti Smith, The Velvet Underground, Television, Talking Heads, The Strokes, Yeah Yeah Yeahs - and is fast emerging at the forefront of the next generation.

FULL OF HELL return with their highly anticipated new album, Garden Of Burning Apparitions. The new album, a genre-bending blitzkrieg of hardcore, grind and death metal, sees the band expand upon the very elements that have propelled them to the forefront of extreme music over the last decade. Produced by Seth Manchester, Garden of Burning Apparitions also sees FULL OF HELL adding new dimensions to their warp-speed hellscape. Guitarist Spencer Hazard and bassist Sam DiGristine's monstrous riffs now have an added noise-rock influence, while drummer Dave Bland commands the rhythm section at blazing speeds.
Lyrically, Garden of Burning Apparitions sees vocalist Dylan Walker exploring (anti)religion, life's impermanence and the fear that comes with knowing death is inescapable. "Industrial Messiah Complex” grinds organized religion to a pulp in under 90 seconds, while Walker contemplates the commodification of spirituality seen in America’s vast network of garish mega-churches and how these practices are at odds with true spirituality. Meanwhile, “Reeking Tunnels” rides a strident noise rock riff down into the sewer. It’s a metaphor for the physical and mental space we become trapped in when we live in a perpetual state of fear and hate. Elsewhere, justifiable ochlophobia propels the guttural death metal blast of “Eroding Shell.” Lyrically, the song seeks to capture our fear of the violent, ignorant mob—a scene glimpsed far too often in this volatile era.
In the end, FULL OF HELL’s boundary smashing has paid off again. “I think it’s good that we tried not to pigeonhole ourselves early on,” Walker reflects. “Because now, 10 years in, we have the opportunity to make whatever record we want, within reason, and people will follow along.”

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A few months after the release of the legendary Strumming in 1974, Charlemagne gave a masterful and powerful 56 minutes performance in Antwerp in an exciting concert series. With the work and the precious help of M KHA and Lotte Beckwé, we were able to find this recording. We are pleased to offer you this unreleased performance on cassette and CD.

This release takes place in parallel with the magnificent M KHA exhibition which will begin on September 11, 2021.
Music by Charlemagne Palestine played on a Bösendorfer Imperial piano.

Contemporary and historical Porest recordings channelled from behind the somnambulistic event horizon. The now sound... The bleak oblique. The minimal and the maximal. Filmic chamber drones, meditative radio massage and forged spiritual violence bury pop ephemera into the swirling murk of de facto instrumental nihilism and orchestral context-free drama.
Side A: A harmful journey into sickness and despair. You get sick and die.
Side B: You are healed. You stand erect and live forever.
Layered field and radio recordings back electro-acoustic experiments via electric saz, strings, balypso, reeds & synths. Big drones, small ensembles and mood-anthems recorded by Porest and friends between 1995 and 2020 in West Oakland, Germany, Sumatra, Syria, Hanoi and London.

What started as an underground techno label in the early 90's, Juice Records typified the head in the clouds ambition of the techno generation by both sound and action. Anything was possible and similar minds would be reached through the vinyl medium. By the mid 90's, Juice Records established itself as a southern beacon to the techno and house music movement.

… but many people would have little knowledge of where the label sits in todays music sphere. Juice Records, wether by choice or default have remained free from the uber industry of dance music but continue to represent with our Adelaide based music activities.

What started as casual discussions about Antony's studio activities with label owner, Donato, soon progressed to talk of an album. A couple of years and many iterations would follow till the vision was clear. Juice 020 highlights the musical existence that Antony commits too. It goes beyond the drum machine and synthesiser sounds the label would be known for and embraces a wider spectrum with use of a Yamaha baby grand, Fender Rhodes, Washburn bass and Yamaha Electone E-75.

With a definitive genre hard to pin on the album, Juice 020 remains very much a traditional Juice Record. It is a clear example of what Adelaide happenings have been missed by the global industry while it plays with a techno formula that goes beyond our underground imaginings.

House anthem Slo Moshun “Bells Of NY” is one of the most iconic gems in the Network catalogue and gets a timely reissue.

The lovingly remastered 12” includes the epic nearly 9 minutes long “House To House Mix” which started the fuss in the first place, plus the much loved by DJs “Xen Mantra Beefy Bells Mix” which like fine wine seems to have matured with age.

It’s almost impossible to explain the hype that exploded when the first copies of this landed in 1993. Network pressed a limited run of the first copies on the Dansa label with
bogus New York producer credits in an attempt to create mystique.

The combination of that relentless uptempo house piano and the break where everythIng slows down underneath a hip hop sample hypnotic proved irresistible, and saturation radio plays from KISS in London turned the track into an instant anthem right away.

The the boss of a rival label boasted they had sourced the track and paid “a fortune” to licence it for UK release. He was making it up as a stampede by labels to locate and release the track began.

Network sensed an opportunity to create major mischief and create even more of a buzz. New York garage producer and Network ally Andrew Komis was enlisted and happily donned the bogus ID of a new kid on the block NYC producer to do phone interviews with UK dance music publications.

His pretend story that Bells Of NY was his homage to the UK House scene laced with Big Apple Hip-Hop was eagerly printed by the magazines.

They were left red faced when the truth emerged that former Nexus 21 and Altern 8 member Mark Archer and his new music making partner Danny Taurus had in fact come up with the gem in homely Staffordshire and not glamorous New York for Network.

All the PR spin in the World would not matter a not if the record didn’t live up to the hype.

Bells Of N.Y did and still does.
It gave Network a first chart hit on their six6 label and more importantly is an all time House Music Classic.

During the production of two singles (This being the first) unfortunately William Stuckey passed away, below are some words from my partner in the project Brian Sears regarding our work with him pm his LP.

Brian Sears - I'm not one that likes to write but I wanted to say a few things about William Stuckey. William Stuckey passed away last in August 2021 at age 73, and is an artist that I've been working with since last summer. He was a key fixture in the Little Rock music scene and most notably was one of the driving forces behind the legendary True Soul label. Lee Anthony, the owner of True Soul Records, once told me that William Stuckey was the most talented musician he had ever worked with, and if you know anything about that label or Lee Anthony, that's quite a compliment.


When I reached out to William last summer about re-releasing his material, he ignored my calls and messages. Fortunately, I was able to reach his son, Erreyon who was kind enough to listen to me. I've worked a lot of terrible sales gigs in my past and "getting to the point" is sometimes a hard thing to achieve, especially when you're trying to talk about the music business and music that's 50 years old. But the point was simple, his music matters and deserved to be preserved. This resonated with William and Erreyon and they gave Euan Fryer and myself a chance.There was a memorable handoff of the master tapes in a parking lot and from that point forward I knew William Stuckey trusted me. Trust is something he had to do a lot in his life due to the fact that he was visually impaired and I'm thankful he trusted us. As I wrote before, there was a long process of transferring the tapes, but it was successful, and the album has never sounded so good. William had incredible hearing and was able to pick out details most might not detect. He was gifted and that shined through his own playing and voice through copious recordings. Speaking with him after he finally heard the newly remastered album, the way he had intended for it to sound, is something I'll never forget. Moments like that are really the reason why I feel so compelled to work with older musicians that didn't get a fair shake the first time.

Meeting William Stuckey face to face earlier this summer was one of the highlights of my year. We laughed and hung out at his place where he had lived for the past 50 years. I told him his music was internationally known and the re-release was well received. He was humble and felt like a long lost friend that I hadn't seen in a long time. I'll never forget that. I told him I wanted to take some photos, and I'm so glad I did.We had a good time and it was a beautiful summer night and as I left his place his neighbours noticed me walking to my car and wanted to chat, so we talked briefly and it ultimately lead to one of them getting into their car and cranking "The First Time" on the stereo system in their driveway. I wasn't sure if Stuckey could hear it from his house, but part of me knew he probably could and hearing his song echo in the background as I drove off and thinking about Stuckey and the time we shared and his music being appreciated by so many, even in that moment, is a wonderful memory. I'd like to think he was smiling.His music and legacy will live on forever.
Rest in peace to a great one.

Highly anticipated debut from 2020 breakthrough artist, London-based musician and poet Arlo Parks.
“My album is a series of vignettes and intimate portraits surrounding my adolescence and the people that shaped it. It is rooted in storytelling and nostalgia
- I want it to feel both universal and hyper specific.” - Arlo Parks
This album news continues an outstanding year for Arlo, who was included on the BBC Sound Of 2020 poll and Radio 1 Brit List, as well as the Dazed 100 list,
and was named as an ambassador for mental health charity CALM.
Winner of the BBC Music Introducing Artist Of The Year 2020.
Includes the Radio 1 A-listed singles ‘Black Dog’ and ‘Hurt’.
First LP pressing is on 180g deep red vinyl with foldout poster and digital download code

Record Kicks proudly presents "Bird of Paradise", the first single taken from The Grease Traps much awaited debut album "Solid Ground" that hits the streets next November 05 on a limited edition 45 vinyl. With the heavy soul burner "More and More (and More)" on the B side, this 45 a must have for every deep funk and soul aficionados and djs. Watch out the 45 vinyl is limited to 500 copies worldwide.

Recorded between Kelly Finnigan' Transistor Sound in San Francisco and Fifty Filth Studio in Oakland and mixed by Orgone' producer Sergio Rios and Kevin O' Dea, Solid Ground is the long-awaited debut album by US very finest deep funk & soul outfit The Grease Traps. The album is set for worldwide release on November 5 on vinyl, CD and digital format. The band, based in Oakland, CA, is the latest addition to Milan-based Record Kicks roster. Active since 2002 and with a 45 released on well-respected funk/soul label, Colemine Records, now, after six years spent working on the album's recording and mixing, they are ready to present their first full-length release Solid Ground on Record Kicks, anticipated by the two killer funk singles "Bird of Paradise" and "More and More (and More)" on limited edition 45 vinyl.

Dark Star Safari is a musical entity comprised of Jan Bang, Erik Honoré, Eivind Aarset, Samuel Rohrer and John Derek Bishop. Their second fulllength offering Walk Through Lightly is the first to feature all five musicians together in the studio from the outset, making for a more organic refinement upon their already established methodology: gradually sculpting distinct songs out of collective improvisations, or using the raw material from initial recordings as the basis for more carefully articulated compositions. The final mix is one that invites few stylistic comparisons to other musical peers, and in fact few comparisons to existing genres. Though this second offering from the project is frosted over with a Scandinavian sense of spatiality and
melancholy, it’s best listened to without considering any origin points, geographic or otherwise: from the opening moments of “Walk Through Lightly,” listeners will feel as if teleported directly into the middle of an enigmatic film-in-progress.
The album opener immediately and successfully sets the table for what is to follow. The electronic and acoustic instrumentation is pensive, but not passive, with restrained scrapes and stridulations in the background combining with backwards-looped passages and perlescent or granulated sound effects to better emphasize the carefully arranged latticework of guitar, percussion, strings, and bass. In some places, such as on “Father’s Day” and “Measured Response,” the silences or breaths between passages are pronounced enough to be an instrument in their own right (and an elegant confirmation of the fact that silence is also a conveyor of information). This nuanced production, which wisely opts for intimacy instead of relying on overdone "instant atmosphere generators" like lengthy reverb, provides just enough tension to contrast with the sense of elevation provided by Bang’s vocal contributions: smoky, evanescent, and impressionistic recitations offering not snapshots of specific events, but rather complete emotional environments for the listener to hover through and explore.
Within these environments, the lyrical imagery focuses upon coming to grips with sudden transformations on both micro and macro levels (the opening “this was a perfect place / till we lost our way” from “Patria” or the foreboding “Poems that explore / Their silence / Crush their violence / Now their time ends” from “Measured Response.”) It focuses as well upon coming to thresholds or crossings, be they physical crossroads or internal states of mind, or both (see especially the striking turns of phrase from “Murmuration.”) With such things in mind, it’s only natural that there would be consideration of dreaming as well, and indeed four different titles on the LP make different reference to a dream or dream state, seemingly valuing dreams as part of the continuum of consciousness rather than something totally cut off from waking experience.
Given the sense of foreboding, anticipation, and even unease that these kinds of subjects often bring with them, the spare and un-hurried music is all the more intriguing, especially when the eponymous finale arrives and the percolating sound bed seems to hint at a coming resolution, but then leaves the listener with more questions than answers. By competently fusing a mature, economical approach to sincerely romantic lyrical themes, Walk Through Lightly is a rare accomplishment.

Back in 1993, Aston was the one half to the SUBURBAN BASE act 'Rap and Aston' as well as part of 'Engineers Without Fears' and earlier 'The Blapps Posse', he then went on to form the hugely successful group 'The Freestylers'. He produced for artists such as Rebel MC and created some of the Sub Base classics which include Vertigo, More Time, Jeopardy and is now back with a brand new release of old skool inspired bangers to launch a new era of Boogie Times Records.

First up Aston introduces Pirate Jams with the the stunning ‘U Know The Score’, from the very first old skool lead stab and catchy vocal you know that here is a tune from a master of their craft, with all the years of experience and success condensed into one tune to make the definitive early 90's vibe with and updated twist. This has instant classic and future anthem written all over it, fingers crossed we get out and about to hear this at raves across the summer.

Next up is '4EVR' alongside Quicklung, a bolder driving piece of old skool inspired genius, from the early days of rave almost an 89/90s Belgium import vibe to it for those that 'Know The Score' as the A side says!

Grab yourself a piece of future history now whilst rather than hunting discogs two years from now lol

DIALOGUE was conceived as a series of musical letters written back and forth between Luke Slater, Anthony Child (aka Surgeon), KMRU, Lady Starlight, Speedy J and harpist Tom Moth (of Florence + the Machine) at the height of the pandemic between 2020 and early 2021. Using the common language of rhythmic ambient electronics, each DIALOGUE features three actors in a sonic conversation of longform improvisation between 15 and 25 minutes in length, with Luke Slater the common denominator. The results are a brooding, psychedelic exchange of melody, texture, bass, oscillation, key changes and volume swells, which organically merge into complete compositions. It’s music that both reflects and transcends the artists' common reality of isolation – a meditative, consciousness-expanding conversion of musical ideas born from necessity. Cosmic but not escapist. And very much of its time.

It’s one thing to take the drone rock of your debut album in an entirely new direction but quite another when the result is an ambitious 30 track three-part album.  

But that’s what London collective Moderate Rebels have done on their biggest project to date, the opus ‘If You See Something That Doesn’t Look Right’. Fearless in their refusal to be pigeonholed, they touch on everything from driving rhythmic repetition, discordant guitar fuzz and hazy psychedelia, to late 60s-indebted folk and lilting melodic hooks, via twinkling piano ballads, drum machine rigidity and playful synth pop.

‘If You See Something That Doesn’t Look Right’ will be released in three ten track parts in 2021.

The album touches on the progressive works of Phil Spector, Fripp & Eno and Syd Barrett, the transcendental pop of Spiritualized, St Etienne and Stereolab, and the wry humour of 80s Pet Shop Boys. But it comes stamped with the group’s own inimitable identity.

The Altered Hours have just announced details of their second full length album ‘Convertible’. The Irish group have just signed with Pizza Pizza Records and the 8 track album is set for release in May 2021. Following on from some successful headline tours across Europe supporting their debut album & some blistering EP’s along the way, the group found themselves looking for the next step in their ever- evolving journey. Having previously recorded in Anton Newcombe’s Berlin studio for their debut singles & ending up in the infamous Funkhaus studios to lay down what would become their debut album ‘In Heat Not Sorry ’, the band decided once again to



change the approach & take their new songs back to the privacy of their own studio space on the outskirts of Cork City. The new LP ‘Convertible’ is the result of countless late night/early morning sessions that took place over the past 2 years. Choosing to self produce and engineer this record was a conscious choice as the band felt an urge to take what they had learned on the road & in various studios previously, and condense all of this energy back into the boiling pot of their own rehearsal space.

The group have been a part of some exciting movements since the beginning and their path has been an organic one. They quickly became known in their hometown for taking over an ex-government building in the heart of Cork city, turning into a studio and creating a hub for the scene that surrounded them. The years that follow shine a light on the relentless energy of this group and unwavering love for playing shows anywhere & everywhere. Having been invited to perform at Liverpool Psych Fest numerous times, supporting the Brian Jonestown Massacre, selling out venues, churches & clubs, playing rip-roaring DIY shows in friends’ basements, getting joined by members of Spacemen 3 on stage and more recently, being invited by fellow Irish rockers Fontaines D.C to join them on their 2019 European tour playing sold out shows in venues like The Bataclan, Paris & Paradiso, Amsterdam. It’s been a wild ride for The Altered Hours so far & their music keeps evolving & growing as the experiences build. This is a group with the spirit of music deeply ingrained in them and a passion for making rock music something that you can believe in.

Their second full length album ‘Convertible’ is a window into the band’s idiosyncratic tendencies, a closer look into how their writing & sound continuously moves forwards while somehow remaining rooted in their own unique world all at once. The Altered Hours seem born to be an underground affair, something that they wear with pride and this album is a wonderful culmination of their DIY upbringing, their unfiltered rock ‘n’ roll spirit along with a confident stride into personal songwriting.

Keeping the faith and facing the future, Times Are Changing puts a full stop on pandemic talk for unstoppable indie-pop four-piece Lottery Winners, as the four-piece release the fizzing anthem into a newly optimistic world. The first single from their newly


announced, upcoming, second studio album, Something To Leave The House For, the band has penned the soundtrack to hugging old friends, the rebirth of live music and those summer festivals just around the around the corner.

For front man and songwriter, Thom Rylance, working through the darkness of Covid meant surviving Covid, tying the threads of an unravelling mental state into a new body of work now emerging as bright, arms-aloft bursts of positivity. His famed ‘note to self’, the emotive An Open Letter To Creatives and the band’s sensational, viral collaboration with Nickelback with the Rock Star Sea Shanty were just two moments of levity in a time dominated by the dark clouds forming overhead. Now he and the band are moving on and moving up.

“If something so bleak and harrowing can hit us all, totally out of the blue, and change our lives, then by definition that must mean that something beautiful can too.” says bassist and vocalist, Katie Lloyd (bass and vocals) as Lottery Winners start the next leg of their adventure with Times Are Changing, reflective, ready to party and no less ambitious than before.

Their mammoth, 14-track new album, Something To Leave The House For, follows their 2020, self-titled UK Album Chart Top 30 debut with a Fri 24 September 2021 release via Modern Sky UK, promises to document the tumultuous times and the path back from despair. In true Lottery Winners style, every truth and life lesson is dressed in glass-half-full, wildly optimistic, radio-friendly pop, hip-swinging beats and bittersweet tenderness.

Effortlessly hopscotching between vintage acid and 80s Rn’B, insouciant Francophone pop and twinkling electro house, Lou Hayter has delivered something at once utterly unique and defiantly timeless with her much anticipated debut solo LP, released on Skint Records. It has been a long time coming for London native Hayter, who first made her mark professionally as keyboardist for New Young Pony Club, one of THE bands at the epicentre of the white hot day-glo nu rave scene alongside the likes of the Klaxons and Test Icicles in 2006. But, to fully place her debut album in context, it is necessary to rewind a little bit – to the very beginning in fact, with Hayter growing up on a diet of Bowie, Prince, Human League and Jellybean-era Madonna while concomitantly learning classical piano from the age of five. The flames of this deliciously varied musical palette were further stoked by trips to record shops in Soho with her brother (Soul Jazz was a particular obsession), but it was while studying in Cambridge that the match was well and truly struck – she used her student grant to buy a set of Technics and started putting on club nights, before moving to London and working at Trevor Jackson’s seminal Output Recordings, placing Hayter smack bang in the middle of all the action, with disco punk fever hitting full force and bands like the Rapture and LCD Soundsystem first breaking out.

The hugely successful, Mercury-nominated New Young Pony Club followed shortly after, but it’s through her subsequent output that she started to distil and refine her idiosyncratic tastes. And certainly, you can hear hints of both the New Sins, the 80’s New Wave duo she formed with Nick Phillips, and Tomorrow’s World, the swooning Gallic pop act she fronts alongside Air’s JB Dunckel, in her remarkable debut. Full to bursting with evocative electro-soul love letters to her home town of London alongside addictive disco torch ballads, it’s like Kylie meeting Mr Fingers or, Jam & Lewis producing Jane Birkin – something beautiful and melancholic yet sharply modern and new. From the warm, woozy, lysergic harmonies of opener “Cherry on Top”, which sound like a beloved old cassette unravelling, to the fizzy, infectious “Cold Feet”, which calls to mind Lisa Lisa & Cult Jam at their most heartworn, taken in toto the album perfectly nails the essence of gorgeously nostalgic synth-pop with a twist; crisp, stylish and sophisticated music which heralds the next chapter of Lou Hayter quite nicely, actually. Her retro-futuristic results will give 2021 the pop fix it so desperately needs.

We are thrilled to announce the first release in 25 years on Suzanne Ciani's Atmospheric label, which focuses on her live electronic music. Improvisation on Four Sequences was performed live in quadraphonic on the Buchla 200e and the Animoog at Festival Antigel in Geneva, Switzerland on January 25th, 2020. This record is specially encoded to be played back in quadraphonic sound and is also stereo compatible.

ADSX / Hanoben jump da Berlino to Rimini sul train degli Acidio !!

Sina's Freun is all fidanzato fidanzato v 303 303 303. Luv ov my livvvvve.

Werner's Spiel acido bumbles, taglia and incolla. Boogie boogie.

Elvira's Katzenfisch inno elettronico Krautrock. Synth anthem !!

Infine, Mund. Punk slap. Basso. All join hands with...

ACEEIID !!

A three track 12” running at 45 rpm throughout.
Limited 300 copy run pressed to 180g (+/- 5%) virgin vinyl, clear outer bags, cover and label, deluxe antistatic sleeve.
Custom special marble vinyl.

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Pauline Oliveros and Guy Klucevsek's "Sounding / Way" was originally released on cassette in 1986 and has been out of print ever since. This LP was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing.

The Sounding / Way concept was simple. Each artist would write a piece for two accordions and then they would perform them together. Thus, side A contains Guy Klucevsek's Tremolo No. 6 performed by Guy Klucevsek and Pauline Oliveros. Side B contains Pauline's composition The Tuning Meditation, also performed by both Pauline and Guy.

This is the second release in an on-going effort between Important Records and the Pauline Oliveros Trust to maintain and promote the music, philosophy and legacy of Pauline Oliveros.

Guy Klucevsek is one of the world’s most versatile and highly-respected accordionists. He has performed and/or recorded with Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn.

Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others.

Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." John Cage

The Toolroom Family is happy to announce the release of KC Lights' brand new single 'Cold Light' that lands as the highly anticipated follow up to his global hit 'Girl’ which, in spite of the global shutdowns of clubs and festivals last year went on to be the ‘stay at home’ summer anthem for 2020.

‘Girl’ dominated the airwaves with BBC Radio 1 daytime playlist inclusions, KISS FM, Capital Dance, Sirius XM in the US and specialist playlists all over the world. It has now amassed over 5m streams on Spotify alone and still going strong.

As we move further into 2021, timed right on the back of some of his most recent stellar remixes for James Hype, Topic, Blinkie, Lost Kings and Nightlapse, KC Lights returns to lift our bleak spirits with the aptly named ‘Cold Light’.

He has collaborated with UK singer, songwriter Leo Stannard, who is being hailed as one of the most talented and exciting songwriter / vocalists to emerge in recent years, which is quite impressive during these times of quarantines and lockdowns. Most recently, Leo featured on CamelPhat’s track ‘Blackbirds’ which is featured on the Camels album, ‘Dark Matter.” He may also be recognized for his work with Maverick Sabre, Tom Odell, Rae Morris, Lewis Mokler and many more.

‘Cold Light’ is signature KC Lights with a stripped back groove and tribal drums complimented by Leo’s sublime vocal which takes the track to a whole new level! It’s feels like another anthem in making from this emerging star and with a club mix and a 6am remix, it really is the perfect tune to take us into the promise of lighter and warmer months ahead.

due.sound introduces the first catalog of the label releasing an EP by NDR including remixes from Neel and Antonio De Angelis.

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

Earnest Vocation is part of the new “Behind The Dykes” series where we unearth rare and sought-after albums from the Netherlands.
It’s the second and final studio album of the Dutch beat group Ro-D- Ys. The band started making music professionally in the late sixties and was well received within the Dutch psychedelic movement. Earnest Vocation was recorded with original singer Harry Rijnbergen.

Burning Injustice’, the second album by Torn Relics, forthcoming on the Berlin based label Instruments of Discipline, weaves mythical and futuristic elements of an unknown world. Haunting, visceral and diverse in production styles, the duo continues to pave their own musical territory. This album was written between 2017 – 2021, in which the music produced reflects the decay of the political and social landscape in the UK, from the Brexit divide to covid isolation. This music serves as antidote in these turbulent times. Torn Relics are an experimental electronic duo based in London, composed of Romek Boyer (AKA Rommek) & Aimée Mullen. The body of their work is a mixture of cyber-punk electronics with tribalistic violin, rhythms and tones. Their debut EP, The Poisoned Chalice, was released on Sacred Court in 2019 and included a remix from SNTS. Abolish The Dogma, the duos debut 8-track album was released in 2020 on Leyla records, which showcases the diversity of their production styles.

HIGHLIGHTS: Two head-nodding psych anthems from Peru mixing surf guitars with fuzz effects, fierce Latin percussion_ making them sound as if Hendrix and Santana would have joined a cumbia combo! Another exciting dig into the hidden musical treasures of late '60s Peru. DESCRIPTION: Los Sideral's were a Peruvian band founded in 1967. Their first recordings are heavily influenced by the surf intrumentals and tropical sounds, mastering the cumbia guitar like few others. At the edge of the new decade, psychedelic and funk ingredients were also incorporated. 'Dongoh' is the result of this musical journey, as if Hendrix and Santana would have joined a cumbia combo, mixing surf guitars with fuzz effects, fierce Latin percussion_ 'Vírgenes del Sol' is a surf-guitar driven dancefloor anthem that became their most popular song. Both recordings see now their reissue on a 7" vinyl for the first time. Another exciting dig into the hidden musical treasures of late '60s Peru.

Blue Vinyl

Park Hye Jin hat gestern ihr mit Spannung erwartetes Debütalbum, „Before I Die“, angekündigt, das am 10. September 2021 bei Ninja Tune erscheint. Das Album - komplett von der in Südkorea geborenen und nun in L.A. lebenden Produzentin, Rapperin, Sängerin und DJ geschrieben, produziert und performt - folgt auf die Veröffentlichung ihrer sehr erfolgreichen EP, „How Can I“ vom letzten Jahr, sowie auf eine Reihe von Kollaborationen mit Künstler*innen wie Clams Casino & Take A Daytrip („Y DON'T U“), Blood Orange („CALL ME“ Freestyle) und Nosaj Thing („CLOUDS“), sowie auf den Remix von Galcher Lustwerk für „Can You“.

Seit gestern Abend ist die Leadsingle und der Album-Opener, „Let’s Sing Let's Dance“ zu hören, ein wehmütiger Dance-Track, der Hye Jins mantraartigen Gesang über Klavierakkorde und wummernden Bässen platziert. Auf den anderen Tracks des Albums demonstriert sie eine deutlich erweiterte Klangpalette, in die sie eine Reihe von Einflüssen aus den Bereichen Elektronik, Hiphop und Downtempo einfließen lässt, um die bisher vollständigste Vision ihres Sounds zu präsentieren.

„Before I Die“ wird am 10. September 2021 auf Ninja Tune veröffentlicht, anschließend geht Hye Jin später in diesem Jahr auf Tour in Nordamerika, darunter eine Co-Headline-Show mit Shlohmo in New York, sowie Shows in Toronto, San Francisco, Miami und New Orleans.

Ihr Debütalbum folgt auf ein paar unglaubliche Jahre für die junge Künstlerin, in dem sie ihre gefeierte „How Can I“ EP auf Ninja Tune veröffentlichte. Eine Platte, die von Rolling Stone, Pitchfork („25 Most Anticipated Albums of the Summer“), FADER, i-D, Resident Advisor und vielen anderen hoch gelobt wurde und in zahlreichen „Best Of“-Listen 2020 von Billboard, The Guardian und anderen vertreten war. Auch in Deutschland fand die EP sensationellen Anklang, mit lobenden Artikeln und Beiträgen in u.a. Süddeutscher Zeitung, Rolling Stone Deutschland, im Missy Magazin, im Deutschlandfunk Kultur, im BR2, bei Radio Fritz oder im Musikexpress, die sie ebenfalls in ihre Liste der hoffnungsvollsten Newcomer*innen für 2021 aufnahmen.

Hye Jin wurde auch in die NME 100-Liste der „Essential emerging artists for 2021“ und in die „Generation V“-Serie des V Mag aufgenommen. Auch die britische GQ und Stereogum bezeichnen sie als „one to watch“. Die Lead-Single der EP, „Like This“, wurde auch im Soundtrack von FIFA 2021 verwendet und erhielt große Unterstützung von BBC Radio 1 und 6 Music, war #1 der „Top Electronic“ in den NACC-Charts (North American College and Community Radio) und in den „Top 200“ insgesamt, mit weiterer Unterstützung von KEXP, KCRW, SiriusXMU und mehr.

After several features and single releases UK's up & coming producer K, Le Maestro finally releases his highly anticipated debut album “WHIP MUSIC” via Jakarta Records.

Far Out Recordings presents the peerless and criminally undervalued Quartin catalogue, beginning with the reissue of Jose Mauro’s forgotten masterpiece Obnoxius. Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade’s first year, with Victor Assis Brasil Plays Antonio Carlos Jobim and the aforementioned Obnoxius. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.

Today, very little is known about Jose Mauro and as a result those searching for some kind of insight on the man behind the music must attempt to glean what they can from the music itself. One rumour claims he died in a car accident shortly before the album’s release, a fact that could have lent his brief musical career a touch of mythology were it not for how scant the details concerning any other aspects of his life are. The political turmoil from which the album emerged is significant also; recorded during an era of oppressive state censorship, the album, like all the Quartin catalogue, is the result of steadfast defiance in the face of a crushing military dictatorship. While many musicians of the era fled the country, preferring their prospects in the affluent, liberated USA, rebellious, young musicians like Mauro chose to stay and reflect their anger at the authorities through thinly veiled protest songs such as the stirring ‘Apocalipse’. Herein lies the basis for a more dramatic theory; that Mauro was in fact abducted by the military! Whatever the truth, the mystery remains unsolved, and all that remains is his bewitching music, all of which is composed by Mauro and Ana Maria Bahiana. Production on the record was cancelled after Mauro’s death and it was never sold commercially until its rerelease decades later. What appeal does Mauro’s music hold to today’s listeners, forty-something years removed from its conception? Simply put, there is very little else that sounds much like it all. Take the title track of ‘Obnoxius’. A wholly singular piece of music, blending string-drenched melancholia with orchestral pomp, sunny psychedelic strumming with propulsive percussion, topped off with Mauro’s yearning vocals. The result is indicative of Mauro’s unique blend of sounds from Latin Jazz and samba to psychedelic folk and baroque orchestration.

Today, Obnoxius retains its strange, otherworldly appeal – A firm favourite amongst a small circle of deep diggers including Madlib, Gilles Peterson, Floating Points. Jose Mauro’s mournful and melancholic vocals create a dark, brooding atmosphere that stands in contrast to the usual joyfulness and high-spirited rhythm of the more prominent Brazilian music of the era. Despite this air of foreboding, Mauro’s confident baritones, chord patterns and sumptuous arrangements have the ability to induce in the listener an almost trance-like state of ecstasy. Mauro’s long hidden masterpiece, a complex and uniquely stunning work is being offered the chance to be heard by the wider audience it has always deserved. A second Jose Mauro release, A Viagem Des Horas, compiling more incredible tracks unreleased in Mauro’s lifetime, will follow, alongside other unreleased jewels from the Quartin catalogue, from the likes of Piri and Victor Assis Brasil…

Spectra! represents a lone, anomaly release by illusive producer and recording artist J. Walker of Perth, Western Australia. Recorded and produced in 2016, Spectra! comprises a collection of 12 instrumental works composed in response to an imagined brief investigating the refined shades and pigments of colour.
Whilst stylistically somewhat comparable to library music recordings from Europe released throughout the 1980’s, Walker’s compositions never step too closely toward facsimile. Instead, they maintain a unique sense of identity, one closer akin to a born-too-late contemporary interpretation of the sentimentality and lost moods that allowed library music it’s point of difference and charm in the first place. Unlike many modern artists who flirt with the past, Walker isn’t concerned with carbon copying the sound palate and tape hiss of yesterday. In these works, antecedent emotional and harmonic bodies are given new life and form by means of modern studio hardware, musical equipment and compositional techniques. Recommended for fans of the Coloursound Library and Joël Vaandroogenbroeck.

Masters within the evolution of ambient and experimental music over the past forty years, Michal Turtle and Suso Saiz come together for the first time for ‘Static Journeys’, a full-length collaborative album. Unfolding over six diverse tracks, Turtle and Saiz imagine the memories, journeys and textures of half-a-dozen cities borne only of their imagination. Developed closely alongside Swiss agency and label PLANISPHERE, the music was premiered in it’s completed form during a performance installation for ON at Kunstmuseum Basel, a transdisciplinary event designed that featured live visuals from Ezra Miller and more.

While both wildly prolific, the music of both Turtle and Saiz was previously the domain of specialist collectors and obsessive record enthusiasts. Since 2015, a series of reissues on labels such as Music From Memory and reinterpretations of Turtle’s music on Planisphere have brought the back-catalogue of these artists to a much wider audience, and to each other. Far from nostalgic and fundamentally curious as expected, ‘Static Journeys’ captures these innovators transferring their unique chemistry into an ambient tete-a-tete rich in detail.

‘Static Journeys’ was recorded throughout 2019 over two individual recording sessions, each lasting a number of days. The first took place in Turtle’s infamous ‘living room’ studio, his cosy and domestic atmosphere providing the initial foundation for the pair’s long-form improvisations; Saiz focused on synthesis and modulation, Turtle providing hypnotic, looping percussion. Later, in a studio in Madrid, the roles became less defined. Saiz’s textures, musical time standing still began to kindly interweave with Turtle’s offbeat melodies.

The results of these meetings are blissful and adventurous. Following the welcoming undulations of opening track Buonovintra Beckons, ‘Missing Papotl’ dives into soaring, new-age percussion underscored by wistful melancholy. ‘ Returning to Brendelton’ unfolds as analogue tropicalia, static indistinguishable from tropical birdsong. ‘Hattalcuia Awaits’ is bound by mystery and anticipation, whereas ‘Leaving Okovozi’ presents a quietly spectacular exercise in minimalism, led by yearning bass and whistling chimes. Finally, ‘Caravan to Inek’ allow for a dense, hopeful finale, incorporating electronic guitar and the afterglow of new connections forged.

Blissful, diverse and occasionally sublime, ‘Static Journeys’ combines experimentation and creative trust to deliver a timeless musical meeting.

Stepping up with an astounding collection of first-class sonics, Fred V’s
highly anticipated debut solo album, ‘Radiate’ is on the horizon for the
summer of 2021, on Hospital Records.
Consisting of 15 tracks that feature exciting collaborations with Millbrook, Zara
Kershaw, Vonn , Lottie Jones and SAYAH. Fred V’s first-ever standalone longplayer is everything you’d hope for and more, built from an infusion of electronic
influences from the past, present and future.
Expect an up-close and intimate insight into the Exeter-based multi-instrumentalist, as he continues to carve out his unique musical identity through ethereal
soundscapes and melancholic climates.
With his debut album marking a fresh chapter in his career as a solo artist, Fred
V’s journey so far has been a remarkable one. From his decade-long collaborative project alongside Grafix which saw many world tours, live shows and three
studio albums.
Since embarking on his individual venture Fred V has put out a string of successful releases which have drawn support from airwave tastemakers Annie
Mac, Ren LaVice, MistaJam, Charlie Tee and more.
Diving deep into the exploration of his own sound, expect to find Fred V playing at Hospitality Bristol BBQ in August, Hospitality Weekend In The Woods and
Sundown Festival in September.

The Bright Lights of America is the seventh album released by American punk rock band Anti-Flag. Released in 2008, the album marked a change in the band’s sound: although still very much punk, the album is their first to feature a string section and child choirs. Two singles were released from the album: both the title track and “The Modern Rome Burning”. Other popular songs from this album are “Good And Ready”, “Spit In The Face” and “Vices”. Produced by Tony Visconti, Anti-Flag sounds fiery and angry as ever on this album.

From the depths of an ancient dark underworld, Nigh/T\mare has conjured a powerful offering of burning emotions that light the fires of one's demons and invite the beginning of an epic journey through the unknown. Via Threnes Records from Switzerland, this offering is on point with their consistent releasing of top quality industrial/experimental techno. Entitled "Katharsis", this artistically crafted set of tracks in the form a debut album twists and turns its way over tribal rhythms with dynamic feels and beating drums that break down anything standing in the way. A powerful offering from the depths of the soul.

"Impure" is a powerful opener, like an army banging its drums and marching towards the fight, this track sets the stage from the drama to come. Like a speeding train through dystopia the injection of adrenaline comes in the form of "Self Immolation" which makes the heart beat with the force of a 100 pounding drums. Tribal percussion keeps banging its way through "Anti Balaka" before slowing into a deep melancholic track by the name of "Unarmed". Slowly building out of the calm "Unavoidable Unveiling" creates tension with droning notes and broken industrial percussion laying the soundscapes. "Doomed to Struggle" Feat. Prophan is a dramatic pushing and pulling of the hard hitting sounds and ritualistic chanting before diving into the galvanic rhythms of "The Summoning" Feat. LAIR. "The Path of Moans" brings the mood to a sombre place where the whispers from the demons below can be heard alongside the chiming of distant bells. Pact Infernal's remix of "Impure" demands attention as it offers chaos into the fold along with viciously delicious synths. Torn Relics remix of "The Summoning" builds into an onslaught of relentless percussion and deep howls from the underworld which leave you with chills running down your spine. A fitting ending to an impressive array of dynamic tracks, this is an experience never to be forgotten.

Originally from Philadelphia, invited to New York by Miles Davis, playing at Antibes in 1960 with Charles Mingus and Eric Dolphy, here is trumpeter Ted Curson in 1971... in Paris. With him, a legendary trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums). A new transatlantic alliance in the service of jazz of all kinds: classic, modal, fusion and even free... Pop Wine is – between Coltrane and Miles with a nod to roots in the club the Caveau de la Huchette – an explosive cocktail but which leaves no stains!

In 1960, trumpeter Ted Curson played with Charles Mingus and Eric Dolphy on stage at the Antibes jazz festival. Eleven years later he was in Paris to record one of the gems of his discography, with a hard-hitting French trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums).

Arvanitas was also someone who had travelled widely. Originally from Marseille, he had accompanied visiting American musicians in Paris before moving to the States. It was when he came back that the charismatic trio was created with Samson and Saudrais and who recorded, in 1970 on Futura, the unforgettable In Concert and then, the following year, Pop Wine with Ted Curson.

Pop Wine: don’t be fooled into thinking you are going to hear jazz musicians trying to play pop after uncorking too many bottles. For, although the album occasionally tends toward fusion, it is first and foremost a wonderful jazz recording; and a recording with enough fizz to make your head spin!

There are five tracks in total: Quartier Latin reminds us a little of Olé Coltrane (Curson, like the saxophonist, is originally from Philadelphia), Flip Top where the trumpet and piano play out a chase scene through the streets of Paris, Pop Wine where funk and cool jazz meet on the barricades of black and white, L.S.D. Takes A Holiday which breaks out in a style close to free jazz, and finally Lonely One, with the impression that ends this unclassifiable album. Unclassifiable, unless we decide to elevate Pop Wine to the rank of a great vintage.

It was once said that listening to ‘Antiphonals’ was, “like listening to a
progressive rock album except it’s just the keyboard parts.” As the
second full-length LP on Late Music, Davachi offers here a slow and
sedate solo affair composed with the various horns and woodwinds of
the mellotron alongside organs, pianos, harpsichord and more quiet
delights.
CD in 4 panel gatefold lancing pack.
LP in standard 3mm spine printed sleeve, poly-lined inner bag and
digital download card.
As a composer and performer of both acoustic and electronic music,
Sarah Davachi’s work is concerned with the close intricacies of
intimate aural space, utilizing extended durations and simple
harmonic structures that emphasize subtle variations in texture,
overtone complexity, psychoacoustic phenomena and temperament
and intonation.
Similarly informed by minimalist tenets of the 1960s and 1970s,
baroque leanings toward slow-moving chordal suspensions and
experimental production practices of the recording studio
environment, in her sound is manifest an experience that lessens
apprehension of consonance and dissonance in likeness of the
familiar and the distant.
Davachi has toured extensively across the globe and has shared the
stage and collaborated with artists such as Grouper, William Basinski,
Ariel Kalma, the Bozzini Quartet, the London Contemporary
Orchestra, Oren Ambarchi, Donald Buchla, Suzanne Ciani, the BBC
Scottish Symphony Orchestra, Jessica Moss, Áine O'Dwyer,
Alessandro Cortini, James McVinnie, Ian William Craig, Kara-lis
Coverdale, Aaron Dilloway, Robert Aiki Aubrey Lowe, Ellen Arkbro,
Loren Connors and filmmaker Paul Clipson.
Between 2007 and 2017, Davachi had the unique opportunity to work
for the National Music Centre in Canada as an interpreter and content
developer of their collection of acoustic and electronic keyboard
instruments. In 2020, she established her own label, Late Music.

Edu Lobo has to be considered one of the great mysteries of MPB. Already in the early hours of Bossa Nova, he has mainly worked for the renewal and development of the Brazilian Bossa Nova post. Edu Lobo remains a character in the shadows, discreet but effective. Known as a writer "complex and sophisticated", he is part of the circle of composers "melodist" like Tom Jobim, Marcos Valle and Francis Hime. On this 1981 album the duo with Anton Jobim works perfectly, offering classical repertoire played in sobriety. The complicity between the two composers is sincere and it is quite fascinating to see that they interchanged easily their seats.

The longstanding DJ comes through with a brand new album for the modern times, keeping the tradition alive through a stacked tracklist of heavy hitters. With an extension of the popular posse cut, “Rolling 25 Deep,” DJ Kay Slay ups the ante with an 18 minute anthem, “Rolling 50 Deep,” featuring the likes of Benny The Butcher, Bun B, Styles P, Ghostface Killah, Raekwon and more. He further adds to his track record of pairing together artists for hit records with cuts from Ghostface Killah & Busta Rhymes, Conway the Machine & Sheek Louch, and Juicy J & Jim Jones.