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Nothings Real, So Nothing’s Wrong is Kevin’s 10th full length record. His career began in the early 2000s with the band Miracle Of ’86. Along the way Kevin has amassed a loyal and rabid fan base. He has built an interesting career with the ability to play as a solo artist, his own band – The Goddam Band – and as a member of Bad Books alongside Manchester Orchestra, and as a touring member of The Front Bottoms and Brand New. In 2015 Kevin started his split 7” series – artists involved included Craig Finn, The Front Bottoms, Matthew Caws (Nada Surf), David Bazan, Meredith Graves and many others. This helped open up a new audience. Kevin has toured the world as a headliner and toured with a wide variety of artists including Manchester Orchestra, Frightened Rabbit, John K Samson, Julien Baker and Pinegrove to name a few. Also, Devine has appeared at numerous festivals including Lollapalooza, Bonnaroo, Ohana, Shaky Knees and many more. From Kevin: Nothing’s Real, So Nothing’s Wrong is a grown-up break-up record, for strugglers by a struggler. It’s a record about fatherhood written during a pandemic. It’s a kitchen-sink 10th album pivot, painstakingly brought to life by two career-long collaborators and their shared and split obsessions. Lyrically evocative, excavating and unflinching without irresponsibly printing your journals.

Nothings Real, So Nothing’s Wrong is Kevin’s 10th full length record. His career began in the early 2000s with the band Miracle Of ’86. Along the way Kevin has amassed a loyal and rabid fan base. He has built an interesting career with the ability to play as a solo artist, his own band – The Goddam Band – and as a member of Bad Books alongside Manchester Orchestra, and as a touring member of The Front Bottoms and Brand New. In 2015 Kevin started his split 7” series – artists involved included Craig Finn, The Front Bottoms, Matthew Caws (Nada Surf), David Bazan, Meredith Graves and many others. This helped open up a new audience. Kevin has toured the world as a headliner and toured with a wide variety of artists including Manchester Orchestra, Frightened Rabbit, John K Samson, Julien Baker and Pinegrove to name a few. Also, Devine has appeared at numerous festivals including Lollapalooza, Bonnaroo, Ohana, Shaky Knees and many more. From Kevin: Nothing’s Real, So Nothing’s Wrong is a grown-up break-up record, for strugglers by a struggler. It’s a record about fatherhood written during a pandemic. It’s a kitchen-sink 10th album pivot, painstakingly brought to life by two career-long collaborators and their shared and split obsessions. Lyrically evocative, excavating and unflinching without irresponsibly printing your journals.

Ruth B is releasing her sophomore album "Moments In Between" via Downtown Records. With the breakout success of her debut single “Lost Boy,” Ruth B. emerged as an immediately captivating artist who drifts between moody realism and a dreamworld of her own making. An occasional poet who created her own storybooks as a child, the Canadian- Ethiopian singer/songwriter/pianist infuses all her songs with a raw emotional honesty, even as she lets her imagination wander into fantastically charmed terrain. On her sophomore album Moments In Between, Ruth pushes that dynamic to a new level of boldness and sophistication, embracing her most beautifully strange impulses while delivering her most impactful work to date. As the daughter of immigrants from Ethiopia, Ruth grew up on music from her parents’ native country and later discovered the artists who would become formative influences on her songwriting, such as Stevie Wonder and Lauryn Hill. After taking up piano at the age of eight and singing her entire life, Ruth began writing songs in her late teens and soon came up with “Lost Boy.” Initially posted on Vine in 2015, the Peter Pan-inspired piano ballad quickly went viral, with listeners undeniably drawn to Ruth’s heart-on-sleeve storytelling. By the end of 2015, she’d released her gold-certified debut EP The Intro, which led to such triumphs as winning Breakthrough Artist of the Year at the 2017 Juno Awards. Made with producers like Joel Little (Lorde, Taylor Swift) and Mike Elizondo (Fiona Apple, Regina Spektor), her gold-certified full-length debut Safe Haven arrived in 2017 and earned her three Juno nominations, including Album of the Year and Artist of the Year. Executive-produced by Patrick Wimberly (Solange, Blood Orange, Ellie Goulding), Moments In Between finds Ruth also working with producers like Ido Zmishlany (Demi Lovato, Shawn Mendes), Justin Raisen (Angel Olsen, Santigold), Doug Schadt (Maggie Rogers, Ashe), and D’Mile (a five-time Grammy Award-winner known for his work with Khalid and Ty Dolla $ign). In a departure from the minimalist alt-pop of Safe Haven, the album unfolds in a more elaborate and kaleidoscopic sound, yet never overshadows the understated power of Ruth’s vocals or the pure vulnerability of her songwriting. “For me writing songs has always been therapeutic, and I hope that hearing my songs helps other people in the same way,” she says. “Whether they’re feeling lonely or heartbroken or happy, I want them to know that someone else understands what they’re going through.”

Very much at the forefront of the UK electronic scene, since 2001, Shelley Parker has innovated and thrilled with live performances, DJ sets, sound installations, and scores for contemporary dance.

Parker's recorded output is just a small part of her musical orbit. That said, a debut album 'Spurn Point' in 2014 and various singles, remixes and EPs for Hessle Audio, One Little Indie, Honest Jon's, Houndstooth, Structure Recordings and OOH-sounds have whet the appetite for more.

'Wisteria' lands on Hypercolour, and succinctly encapsulates Parker's layered and dense production aesthetic, as a myriad of concrete rhythms, breakbeat science, inner city ambience and industrial strength bass unfurl over eight uncompromising compositions.

‘Wisteria’ by Shelley Parker is available on 2LP/Digital from 25th March 2022 on Hypercolour.

Colorado-based RUMTUM (aka John Hastings), an acclaimed visual artist and up-and-coming producer returns to Bastard Jazz with his first full-length offering: "Isles In Indigo." Arriving after a slew of successful singles (many of which can be found on the album) and EPs, "Isles In Indigo" both stays true to his established sound, and expands on the artistic vision; a luscious combination of aquatic ambient, lo-fi hip-hop, and mellow, melodic electronic, the record traverses the depths of the ocean to the outer reaches of the cosmos.

New offerings on the album include "Lost My Heart In Space" - an ethereal, downtempo cut - "Half Set Valley," which explores instrumental lo-fi replete with distant, chopped and edited spoken word samples, "Coastal Ruins" with nods to breakbeat, "Mystic Symbols," a trippy minimal track, and the album closer, "Commit Way," which journeys from washed-out ambient to spacey hip-hop. Of course the LP also includes many RUMTUM mainstay singles, including "Shade Fader," "Tropic Air," and "Borealis."

Electronic producer and instrumental enthusiast RUMTUM has a unique approach to crafting his melodic melodies. May it be his love for native spirits, mystic symbols or even sea life, sampling the natural world plays the biggest part in the dynamics of his writing. Ambient loops and saturated synth lines set the tone while the bass and drums do most of the story telling.

"Isles In Indigo" is a stunning freshman release from a budding artist on the rise. Stay tuned for the physical LP arriving March 2022, complete with an original art insert.

Conduct's focus is firmly on the juxtaposition between electronic and acoustic instrumentation, with a cinematic approach to composition influenced by the likes of Hans Zimmer and Jesper Kyd. Conduct strive to create an emotional response in the listener, aiming to create a timeless body of work.

A transcendental journey that takes in meditative musical mantras, sprawling tenor sax improvisation and mesmeric percussion, the new album byWork Money Death(the group that backed ATA artist Tony Burkill on his 2017 debut record of the same name) seeks to reinterpret the sound of artists such as Pharoah Sanders & Alice Coltrane over two tracks: the brooding tension of A-Side"Dusk"and the sanguine & uplifting"Dawn"on the B-Side.Titled "The Space In Which The Uncontrollable Unknown Resides Can Be The Place From Which Creation Arises", this new LP was conceived and recorded by Tony Burkill and Bassist Neil Innes during the spring/summer of 2020.

A stalwart of the Leeds music scene for the best part of 3 decades, Tony Burkill had maintained a low profile nationally, choosing to favour continued study and development on the instrument over attainment of success or recognition within the music industry. With his debut release on ATA in 2017 he impressed audiences with his powerful and gutsy approach to improvisation. Also featuring on the record are Drummer Sam Hobbs (The Electric Doctor M and Producer of Matthew Bourne's Moogmemory), Bassist Neil Innes (The Sorcerers, The Lewis Express), Pianist Adam Fairhall (Nat Birchall) and Percussionist Pete Williams (The Sorcerers, The Lewis Express).

Originally conceived as a large scale group performance of a single extended piece "The space in which the uncontrollable unknown resides, can be the place from which creation arises"was written by Tony and Neil through a series of extended improvisations similar to the extended meditation sessions that both musicians practice. These sessions enabled a state of flow through which Tony's compositional approach to improvisation yielded meaningful melodic fragments that would be returned to and developed in a way similar to someone returning to the mantra.

Synth enchantress Poly Chain returns to Dom Trojga for a smashing full EP release! Hailing from Kiev, she first made a name for herself during the years she spent in Warsaw, releasing her debut LP and becoming a fixture on Poland's underground scene. After returning to Ukraine, she spread her wings further, with exciting releases and regular international appearances only briefly thwarted by the pan-demic. Her long-anticipated EP for Dom Trojga is a treat in her signature style - filled to the brim with incessant, psychedelic arpeggios racing over raw and direct beats. The opener "Kie?" is an unfor-giving electro tune with a huge snare (we like) and tight, unsettling synthwork. "Visa" offers some much-needed hypnotic comfort, and on the flipside, "Acid Regular" hits the floor again with a serious groove, while "Visa Reprise" closes off in a deep, echo-laden fashion. The cover is a drawing by the inimitable Bartosz Zaskórski - an illustrator, sculptor and sound artist, whose uncanny, twisted bio-mechanical visions have been haunting us for years. Take a bite of Dom Trojga!

We are thrilled to have DEMUIR on Selections once again, after his appearance on last year's 'Movement EP' This time he has dropped 'The Persistence Of Hope EP' - and it's exactly what you'd expect from his stellar output. Starting off on the A side is the title track 'The Persistence Of Hope' - a super deep slice of house music with a spoken word repeating "The System" and "Hopeless" over 90's style keys - then at around 3 minutes the punchy bassline drops. Starting out on the flip we get down chi town style with 'Life Is Simple' Shuffling high hats over a spoken word with a killer bassline. Rounding up we have 'Unto Thee' - another prime example of that DEMUIR groove.

J. J. BARNES has given us a magnificent collection of Northern Soul 45s including: “Please Let Me In”, “Real Humdinger”, “Baby Please Come Back Home” and “Our Love Is In The Pocket”. But, perhaps the most beloved of all is the 1969 crossover masterpiece “Sweet Sherry” which, ironically, JJ never recorded on a single. It first appeared and became known to the scene on the Volt Records album ‘Rare Stamps Vol 1’.
JOHN GARY WILLIAMS cut this superb crossover classic in 1973 for his lone self-titled album. The single followed later that year and is reissued here almost fifty years on.

We finally made it: BEWITH100LP! And what better way for a re-issue label to celebrate such a landmark catalogue number than to give it to a record of new music. We couldn’t resist when the artist is Official Be With Family Member Kenny Dickenson and when the music is his lovely, lovely score to French-Vietnamese artist Mai Hua's 2020 documentary film “Les Rivières”. If you enjoy the more minimal, intimate piano of the likes of Nils Frahm or John Carroll Kirby’s solo work, you’re certain to fall for this beautiful album.

Taking six years to make, Mai’s film explores what happened when she brought her dying grandmother to France, pulling together four generations of women from the same family. Kenny’s score accompanies all the pretty things, sad things, dirty, beautiful, happy, broken and reborn moments of these women’s experiences.

The whole score is built around delicate, sparkling piano motifs. At times they’re joined by cello and complemented with ambient chords and other flourishes. It’s a very particular palette that Kenny and Mai established early on, as Kenny explains: “We had agreed on a particular sonic aesthetic early on in the process - to use specific and relatively minimal instrumentation, reflecting the intimacy of the picture. So piano and cello were quite prominent in instructing a sense of space and immediacy. Until I had to get the junkyard percussion out… ”

When it comes to describing the end results, Kenny’s happy to wear his influences on his sleeve:

“When the director and I sat down for the creative meetings early in the process, we watched ‘Wolf Children’, a Japanese animation film by Mamoru Hosoda. The amazing soundtrack by Masakatsu Takagi was a launching point for me and thereafter I leaned into more modern classical composers - Reich, Sakamoto, Glass as well as Jon Hassell’s Fourth World output. Richard Reed Parry’s ‘Music for Heart and Breath’ was a good early touchstone for me and Mark Hollis’ sparse, considered and deliberate approach was a constant presence. Also labels like Ghostly, ASIP and the ubiquitous Erased Tapes should probably get a nod here too…”

We’d even suggest there’s the occasional Yann Tiersen moment in there too.

Out of sheer necessity the collaboration between Kenny and Mai continued beyond this initial creative direction. With Kenny speaking neither French nor Vietnamese, Mai acted as translator, a process that naturally lead to discussing the film beyond just what was being said in the footage. Mai herself explains just how successful this relationship felt to her: “Music plays a very important role in all my work, particularly in Les Rivières. I cried every time Kenny sent me a new composition. I felt understood in a way that words cannot describe. It was absolutely magical and I am so happy if this music can make your soul vibrate too.”

Kenny composed much of the music in London, at the same time that Mai was shooting and editing. As the film took shape and the music also evolved, another challenge presented itself when Kenny relocated to Los Angeles part way through, resulting in Arnulf Lindners beautiful cello taking on new shapes- multi sampled, played and manipulated by Kenny into new compositions.

What Kenny has put together for the film score release is definitely a “soundtrack LP”, with the music arranged to work as a proper album in its own right that should be listened to from start to finish. Indeed the album also includes a new piece “Pour Marthe” that Kenny composed in memory of Mai’s grandmother who died after the film was finished.

Kenny’s personal highlight is also ours: “When I listen back to the album as a whole now, I never want part II of the Trilogy (Belles Larmes) to end. I have fond memories of recording it and I love how the dynamic of the piece gradually evolves from falling on the ‘1 and the 3’ to the ‘1 and the 2’. It’s so short and sweet, I keep wanting it to last for longer. But it’s kind of perfect as it is.”

Pretty much our sentiment for the album as a whole.

Running a record label means we often get asked advice about pressing a record. In this case the music was too good not to offer to release it ourselves. To Kenny, having the Les Rivières score on vinyl also feels like the final part of the project.

“It’s a beautiful thing to have it on vinyl. It’s quite an intimate soundtrack so there’s something really perfect about being able to listen to it on that format. When I was a kid, my Uncle Pat who used to work at Woolworths would visit and bring random records from their record department over to us. I can remember listening to “Theme From Exodus” by Ernest Gold. I had no idea what it was about but the imagery it conjured up when listening to that record was just mind blowing to me at that age. Soundtracks can have their own life on vinyl I think, and removed from their original context is this unique format for reinvention. So I’m excited that people who haven’t (and have for that matter) seen the film can have that experience.”

This might not be a re-issue, but the Les Rivières film score album has still been given the full Be With treatment. The vinyl has been mastered by Simon Francis (under Kenny’s ever-watchful eye/ear, of course), cut by Pete Norman and pressed at Record Industry. The sleeve follows the film’s poster and other promotional material, including Lucile Gomez’s almost magical illustration.

We’re under no illusions that many people reading this will have seen “Les Rivières”, but that doesn’t really matter when it comes to listening to the score. Just on its own, Kenny’s music still captures the robustness and the delicacy of lives lived.

“hi leaves” is the new full-length record from soft tissue, the duo of Glasgow-based artists Feronia Wennborg and Simon Weins. Following their self-titled debut for Penultimate Press in 2019, this collection examines microsound by way of extended amplification technique, bone conduction, domestic recordings, and digital feedback. Tracks like “plant pot” and “kettle” appear to disclose their source material, presenting wonderfully tactile environments of highly articulate sound. Wennborg and Weins prove themselves to be masterful arrangers of discrete, organic material, weaving together knotty and immersive compositions from these sharp, prickly sounds. Ultimately, soft tissue inhabits an intoxicating soundworld somewhere in between the patient abstractions of composerly EAI music, the haptic indulgences of ASMR, and the diffuse digital pastorals of the 90’s a-musik/Cologne scene.

Pyramid of Knowledge presents K.O.P. 32 “Broken Bridges”

Pyramid of knowledge is back on his own Beyond the Bridge imprint with a new project as K.O.P. 32.

Broken Bridges is a haunted listening trip, a crossover between hypnotic Italian deep techno and tribal frenchcore, bringing you in a dark hole of synthetic atmosphere, acid motifs and twisted drums.
Additional to the single tracks available digitally, the 6 track mixtape will accompany your car journey to the next warehouse or forest party.

Limited edition of 100.
The audio cassette is coming with Bandcamp download code.

This essential 1962 album showcases the modern jazz saxophone innovator performing alongside the colossus of jazz piano and composition. Only Coltrane could be this 'fiercely tender,' and there's no better forum for his sensitive side than the music of Ellington and Billy Strayhorn, who contributes the album's true gem, 'My Little Brown Book.' Ellington is wise enough to appreciate the nature of the session and is quite content to feed chords in service of the young master--proving the old master's open mind and good taste— most obviously on their now-classic 'In a Sentimental Mood'.

Proudly presenting RIP Swirl’s first full length “Blurry”!
A selection of 15 tracks: heady, outsider music with a soft spot for pop culture.
Influenced by bands like My bloody Valentine, Dinosaur Jr. and Boards Of Canada as well as 90s Skateboard Video Soundtracks, RIP Swirl unfolds his very own notion of a soundtrack to a modern suburbia, at times harsh, melancholic, dreamy and never defined by genre…
Guest appearances feature Andreya Casablanca, Catnapp, Clayjay and YdeGirl.

Following up to their acclaimed "Hold" EP from last year, German duo Alma reemerge on Definition with their new transmission, "Mother". Through four cuts dropping anchor down the most remote nooks of our dance-friendly galaxy, Alma move the cursor from proper floor-focused 4x4 grooves to kosmische-informed pop excursions with dextrous style and seamless elegance. Crafting their own blend of emotionally whelming club music, it's material primed for extended use whether you are sitting on some high-rise, towering rooftops at sunrise or enjoying a freeze-dried cocktail on Alpha Centauri. Presented in both original version and remix form courtesy of label head Definition himself, title-track "Mother" is the epitome of a slo-burner, rolling at low speed but gaining tension, weight and impactfulness as it runs. Circuits sizzling and piano stabs blazing, Alma dish out a compelling sample of their cross-dimensional wares, sure to take any dancefloor in the zone without further ado. Definition's Remix revamp trades the original's steady swing for a further syncopated, newbeat-infected swagger, laying further emphasis on the synth leads and lashing drumwork as poetic, bleached-out pads keep painting the sky all shades of pastel. A more Italo-inflected affair at first, the tear-jerking "Lost In The Stars" has us gliding in a parallel universe of its own, where epic-sized synth combers and muscular bass onslaughts avalanche over brittle lines of soft-tongued vocals. As concretely submerging as it is designed to trigger off deep emotional response from the ravers, this one is tailored to weave instant communion between the jockey and his audience. Flinging in the breaks and cross-cutting delays, Kiel outfit Avidus shift the angle of approach towards harder, faster EBM firepower, binding their rowdy, FX-soaked chords with the chorus to create a wholly distinct dancing and listening experience.

Singing actors and actresses do not always cut a good figure on the silver screen; play-acting singers, however, are all the better when they draw attention to themselves with great vocals. As did Lena Horne in the days of the black-and-white film, who, with her sultry, versatile voice, was constantly employed by Hollywood. Although she occasionally ventured into the world of jazz, and made music with Teddy Wilson and Benny Carter, she never forayed into the wide world of improvisation. Her musical home was in the American Songbook, which she approached with a natural and entertaining manner. A good example of this is the first number here – the Cole Porter classic "I Concentrate On You", which swings along to the perfectly recorded big-band sound of the Marty Paich Orchestra. A surprise element is the extensive palette of vocal sound-colouring with which the diva enhances her voice to achieve the drama of a Shirley Bassey or the dusky depths of a Dinah Washington. Each and every number on this Grammy-worthy album has been thought out in great detail and guarantees sophisticated entertainment, and a hint of West Coast jazz is perceptible when Jack Sheldon treats us to the sound of his warm and dark trumpet solos.

Recorded in 1997 in Vienna as part of a workshop named "Greguar" which took place at the University of applied Arts in Vienna, and was produced by the Institute of contemporary Art Vienna. Official re-release!

Following their 2015-debut-album, ‘Womandile’,
which gained the Italian power four-piece much
praise from both fans and critics alike, Jena went
through many ups and downs, from frenetically
acclaimed live appearances to personal issues
and line-up changes.
 2021 has seen them rise from the ashes and their
new album, entitled ‘Graboid’, not only marks a
rebirth of their sound but also their awaited return
to the heavy music scene, stronger than ever.
 The new sound of the band is evident, reflecting a
strong bond of a new line-up: powerful, decisive
and never trivial. Influenced by old school ‘fast and
dirty’ hard rock and heavy metal, especially the
Southern US 90s metal scene that includes the
likes of Down, Crowbar, Corrosion Of Conformity
and Pantera, Jena combine the heaviness of
razor-sharp metal riffage and vibrant sludge
grooves; an addictive dose of heavy stoner and
blues plus the powerful voice of frontman Guido
Richini.
 For fans of High On Fire, Black Label Society,
Overkill, Corrosion Of Conformity, GBH, Crowbar,
Orange Goblin, Pantera, Kyuss, Down, Motorhead.
 LP pressed on red vinyl.

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

Fiat Lux is the debut album by Tarta Relena, a Barcelona-based project featuring Marta Torrella and Helena Ros. The group approaches the oral traditions of the Mediterranean from a contemporary perspective using a unique combination of ancient vocal melodies and subtle electronic textures.

Tarta Relena’s inspiration for Fiat Lux comes from historical characters, such as the Virgin Mary and Hildegard of Bingen, and timeless verses that deal with the cyclic nature of the human experience: “E suïcidi i el cant” (1) is an adaptation of a traditional poem by Pashtun women in Afghanistan; “Esta montanya d’enfrente” (3) is a traditional Sephardic song; “Safo” (9) is based on the love poems by Sappho of Lesbos.
Singing in Catalan, Spanish, Greek, Latin, English, and even Sephardi, the language of Hispanic jews, Tarta Relena explore a complex array of Latin cultures through the simplicity of voice. They draw from vocal techniques that range from flamenco to jazz, introducing elements of electronic music to redefine the melodies.
In January 2019, Tarta Relena released their first EP, Ora Pro Nobis: eight a cappella songs with minimal electronics. In April 2020, they released their second EP, Intercede Pro Nobis: a five-song dialogue between voice and electronics.
Fiat Lux expands on past experimentations, moving away from organic harmonies to embrace digital textures and distortions. The musical production of Juan Luis Batalla and Òscar Garrobé is remnant of Holly Herndon or Eartheater.
Tarta Relena have perhaps been best described by Pitchfork in their review of Pack Pro Nobis: “Tarta Relena is a celebration of musical exchange. At a time of rising nationalisms across Europe, Tarta Relena’s songs are a testament both to the porousness of borders and the ideas that unite disparate cultures, running beneath the centuries like a pedal tone”.

When we first heard from recent Kompakt signing Emma Kollmorgen, with 2021’s “You Are The”, she was hymning the complexity of romance: “Love is scary as fuck!”, she said. On her debut EP, “1243”, she’s built on that intensity and offered up a five-track suite of night-vision electronic pop, bristling with a stealthy sensuality. It’s a cinematic collection, building from the brooding “Escape”, through the drifting, tactile pulses of “Taciturn”, the gritty, bustling noises that run underneath the smoke-signal torch-song of “All The Wild Animals”, and the closing, tear-stained melancholy of “Home”. “You Are The” reappears here as well, settling in perfectly amongst new friends.

It’s a completely assured first EP from an artist who’s been slowly and steadily building her own sonic world. From her early days, when she busied herself by learning guitar and joining bands, Kollmorgen always had a vision of doing something “more independent”, to allow her to find her own sound and write her own songs. A brief creative alliance with the Berlin DJ duo Dole & Kom led to some recordings and live performances. All the while, Kollmorgen was carefully shaping her production and sound designing skills with Ableton Live, and exploring distinctive musical terrain in collaboration with co-producer and multi-instrumentalist Paul Seidel (The Ocean Collective, Fern, Nightmarer). She joined the Kompakt family after a recommendation by Patrice Baumel, who also remixed her debut single with typical flair.

On “1243”, though, Kollmorgen fully inhabits her songs, gifting each of them with a sweet, subtle sway, her vocal and lyrical openheartedness balancing the bluer hues of her production. Each song is confident and poised, Kollmorgen relying on cross-thatched patterns of texture as a web to support her melodies: “I like patterns,” she says, “they give me something to hold onto, something stable in an unstable world.” The songs feel as though they’re grappling with moments of revelation and experience in Kollmorgen’s world, which makes sense, given her approach to music: “I never had a diary,” she reflects, “so writing songs is my way of expressing and dealing with life.” On 1243, you’ll catch some glimpses of life lived, made sonorous through songs beautifully sung.

Als wir das erste Mal von Emma Kollmorgen hörten, nachdem sie sich KOMPAKT angeschlossen hatte, besang sie mit "You Are The" (2021) die Komplexität von Romantik: "Liebe ist verdammt beängstigend!". Auf ihrer Debüt-EP "1243" baut sie auf dieser Intensität auf und präsentiert uns eine fünf Tracks umfassende Suite von elektronischem Pop mit ausgeprägtem Nachtsicht-Faktor, die vor verborgener Sinnlichkeit nur so strotzt. Ein geradezu cineastischer Spannungsbogen, der sich vom grüblerischen "Escape" über die treibenden, taktilen Impulse von "Taciturn", die düsteren, umtriebigen Geräusche, die den Rauchzeichen sendenden torch song "All The Wild Animals" untermalen, und die abschließende, tränenreiche Melancholie von "Home" aufbaut. Auch "You Are The" taucht hier wieder auf und fügt sich perfekt in die neue Gesellschaft ein.

Eine überzeugende erste EP von einer Künstlerin, die sich langsam und stetig ihre eigene Klangwelt aufgebaut hat. Seit ihren Anfängen, als sie Gitarre lernte und in Bands spielte, hatte Kollmorgen immer die Vision, etwas "Unabhängiges" zu machen, um ihren eigenen Sound zu finden und ihre eigenen Songs zu schreiben. Eine kurze kreative Allianz mit dem Berliner DJ-Duo Dole & Kom führte zu einigen Aufnahmen und Live-Auftritten. Währenddessen feilte Kollmorgen an ihren Produktions- und Sounddesign-Skills und erkundete gemeinsam mit dem Co-Produzenten und Multi-Instrumentalisten Paul Seidel (The Ocean Collective, Fern, Nightmarer) ihr eigenes musikalisches Terrain. Zur KOMPAKT Label-Familie kam sie auf Empfehlung von Patrice Baumel, der auch ihre Debütsingle remixte.

Auf "1243" lebt Kollmorgen ihre Songs voll und ganz aus und verleiht jedem von ihnen einen süßen, subtilen Twist, der ihre stimmliche und textliche Offenheit mit den melancholischen Tönen der Musik in Balance hält. Voller Selbstbewusstsein und Ausgeglichenheit verlässt sie sich auf durcheinander laufende Texturen und Pattern, die ihre Melodik unterstützen: "Ich mag Pattern", sagt sie, "sie geben mir etwas, woran ich mich festhalten kann, etwas Stabiles in einer instabilen Welt."

Die Songs fühlen sich an, als würden sie sich mit realen Momenten der Offenbarung und mit Erfahrungen aus Kollmorgens Lebenswelt auseinandersetzen, was angesichts ihrer Herangehensweise an Musik durchaus Sinn ergibt: "Ich hatte nie ein Tagebuch", erzählt sie, "also ist das Schreiben von Songs meine Art, mich auszudrücken und mit dem Leben umzugehen." Auf "1243" gibt sie uns einige Einblicke in dieses gelebte Leben, das durch wunderschön gesungene Lieder zum Klingen gebracht wird.

2001’s »Anima« was the third album released by Sasu Ripatti under his Vladislav Delay moniker and marked a turning point in the stylistic development of the prolific producer. Clocking in at roughly 62 minutes, the single piece draws on dub aesthetics while working with Musique concrète-like methods through the liberal use of samples to create a dreamlike logic. Muffled voices, lush chords, subtle rhythms and indefinable sound events are not so much integrated into a composition with a predetermined outcome but rather engage with each other freely in a constant sonic flow, forming constellations in one moment before moving on to connect with other elements in the next one. »Anima« marked the first time Ripatti was using a DAW in his working process, creating a piece constantly in motion that subtly evolves over time. This vinyl reissue on the German Keplar label follows up on the 20th anniversary edition of 2000’s »Multila« and will be complemented by a ten-minute long version of the original piece, previously only available on the CD version released by the artist on his own Huume label in 2008.

After the release of his »Ele« and »Entain« albums in 1999 and 2000, respectively, Ripatti took the 1998 independent movie »Hurlyburly« as a conceptual starting point to experiment with different gear and production methods. »Until then I had worked with an old MSQ-700 MIDI sequencer and an Ensonic EPS16 sampler/sequencer that had one or two MB of sampling memory and mixed the music live on a Mackie, which was very limiting arrangement-wise,« says Ripatti. Loading a slightly shortened version of the film into his DAW however allowed him to play along to it with the DrumKAT MIDI controller, triggering and playing all the sounds that can be heard on »Anima« while also contributing synths, bass and other sounds during repeated playthroughs before mixing a total of six stereo tracks together. »This way, after I had edited out most of the few parts that had music in them, I was in the movie; almost like an extra character playing music,« explains Ripatti. »This was certainly the most organic way in which I have ever made music, and I have never again approached another record like this.«

While »Anima« sounded like an unusual Vladislav Delay record at the time of its release, it also prefigured many of the developments Ripatti would go through in the course of his long career. Combining visceral immediacy with a sense of abstraction, it is far more than a mere missing link in his discography but rather a conceptually and musically outstanding piece of work that remains as engaging as it was 21 years ago.

All tracks composed and recorded by Vladislav Delay.
Originally released on Mille Plateaux in 2001.
Remaster and cut by Kassian Troyer @ D&M.
Art direction and design by Marc Hohmann.
Text by Kristoffer Cornils.

Blue States, aka Andy Dragazis, returns with his sixth album, titled
‘World Contact Day’, released via Memphis Industries and named
after the day each year on which UFO society International Flying
Saucer Bureau tries to contact alien lifeforms.
 ‘World Contact Day’ arrives six years after the previous Blue States
album, written and recorded partly at Dragazis’ Lightwell Recordings
studio in Hackney and featuring a combination of instrumental
soundscapes and vocal songs that draw from influences as diverse
as world as Morricone, Vangelis, Beak, Broadcast and the
Carpenters.
 Songs on the new record feature guest vocals from the likes of
Giampaolo Speziale and Federica Caiozzo of the Italian band
Malihini, English folk-musician Rachael Dadd and Miami-based
Allison May-Brice (The 18th Day Of May, Lake Ruth).
 Written under the backdrop of claustrophobic uncertainty and grief,
Dragazis wanted to make an album of expansive escapism whilst
also grounding musically in a more live approach than previous
albums.
 ‘World Contact Day’ opens with ‘Plain Sight’, the first of the Rachael
Dadd-featuring songs, thematically about escape and setting
Rachael’s Sandy Denny-a-like vocals to a baroque pop backing. It’s
followed by an instrumental ode to the humble wire in a world of
wireless connectivity (“I trust wires and I understand them,” says
Dragazis). The second Rachael Dadd track is ‘Tides Confusion’, a
song about how waves of grief can come like tides, grounded on a
pulsating electronic loop that evolves into live drums, horns and
backing vocals representing the rising water. Next up is ‘Warning
Signs’, featuring Giampaolo and Federica of Malihini, a track about
looking after yourself because if you don’t, how can you look after
anyone else?
 Two brilliant songs with Allison-May Brice light up side two of ‘World
Contact Day’, the urgent, sparkling electronic pop of ‘Alarms’ and the
epic, velvety torch song album closer ‘Science or Fiction?’, about the
paleoanthropological fraudster Charles Dawson and the Piltdown
Man hoax.
 LP pressed on cream vinyl.

Forming at a Bristol club night in 2019 with a collective
appreciation for all things shoegaze, DAMEFRISØR bring bags
of driving rhythms and swirling guitars. They are Kazhi Jahfar
(vocals), Nyle Dowd (drums), Garin Curtis (guitar), Jamie Brown
(guitar) and Sam Nobbs (synth).
 Taking the typical band route, they spent their time in garages
finding a sound, until they outgrew that space and headed to
the studio. With only a handful of shows under their belts the
band enlisted Bristol producer Dom Mitchsion (Spectres, LICE,
Heavy Lungs) to record their first singles ‘Huile’ plus ‘And You
Know’.
 Taking influence from their admiration for Kevin Shield’s wall-ofsound and the dark undertones of post-punk, ‘Huile’ gave an
indication of what was to come from the band. Following a few
months later with ‘And You Know’, which gained plaudits from
So Young Magazine, DIY, Hard of Hearing and more. The track
became a key part of the energetic, captivating live set; one that
would see them invited to perform with the likes of Talk Show,
ALASKALASKA and Bull.
 Just as the band were gaining the momentum, fans and praise,
the world came to a grinding halt. Cancelled shows and
postponed studio time allowed the band to take a step back and
look for a fresh direction. With the addition of a synth in the mix
the band took on a more progressive sound, experimenting
more with their tones and techniques.
 In February the band finally got back to the basement studio of
The Louisiana with producer Will Carkeet (Robbie & Mona, Pet
Shimmers) to record their new singles. They are now proud to
present their debut 7” single, ‘Do You Think I’m Special?’,
released via Permanent Creeps Records.
 “The track is beautifully textured, drenched in trembling reverb
but basking in a bright, almost optimistic tone - as if finding a
sense of finality in the cacophonous noise washing over them.”
- So Young Magazine

Mattiel, the Atlanta based group made up of Mattiel Brown and Jonah Swilley, announce
the release of their third album, ‘Georgia Gothic’, on Heavenly Recordings. ‘Georgia
Gothic’, a magic third in Mattiel’s run of full-length albums, was shaped in the quiet
seclusion of a woodland cabin in the north of the Atlanta duo’s mother-state; “Some
faraway place that just Jonah and I could go where there would be no distractions,
nothing else going on, and we could turn everything off and only focus on writing songs,”
reflects Brown.
 Where 2017’s self-titled debut and its 2019 follow-up Satis Factory were written with what
Swilley refers to as a “hands-off” approach - he arranging the music and Brown the lyrics
and vocals, the two working largely separately - the making of ‘Georgia Gothic’ was, for
the first time, a truly collaborative undertaking. “This was the first time we made a point to
just be together and work out ideas in the same room. That was the initial intention... it
was about learning what each other wanted to accomplish on a sonic level, and then just
trying different things out,” Swilley continues. “Everything happened backwards. Normally,
you’d have friends that make a band... with us, we started making music from the jump,
and then became homies.”
 Cultivated by time spent together on the road touring the first two albums, it is this
newfound sense of intimacy between Mattiel’s members that enabled the writing of
‘Georgia Gothic’ not as two separate musicians, but rather as one creative entity. The
album remained within the four walls of Brown and Swilley’s private world for much of its
evolution - with recording taking place in a simple studio set up by the pair in the
borrowed room of a dialysis centre, Swilley in the producer’s seat - until, nearing
completion, it was transferred into the trusted hands of the Grammy award-winning John
Congleton (whose extensive list of credits includes artists as diverse as Angel Olsen, Earl
Sweatshirt, Erykah Badu and Sleater Kinney) for mixing.
 Not only does the affinity between its creators translate into an electric synergy between
‘Georgia Gothic’s words and music - the brine-shock of Brown’s taut lyricism cut against
the bourbon-smoothness of Swilley’s instrumentation - but here too are the palpable
spoils of experimentation, each party trustful enough of the other to trial and error their
practices into new geometries. Swilley puts this wide palate, in part, down to the place
they call home. “I definitely feel like being from Georgia allows us to have a certain way of
approaching music.” Brown chimes in: “We haven’t really highlighted where we’re from in
the past two records, even though those were also written in Georgia. There’s so much
great art and great music that’s come from Georgia, from all different types of genres and
all over the state - but take R.E.M. and OutKast: there’s this weirdness that I can’t really
put my finger on.” Swilley concurs: “It’s the same with the B-52s, the Black Lips... it
doesn’t feel like L.A., it doesn’t feel like New York, it feels like another planet. We’re not
really in a ‘scene’ here in the same way. You have to make your own sound, create your
own identity.”
 And it is precisely the forging of Mattiel’s distinct musical identity that ‘Georgia Gothic’
signals; its members guiding each other ever-homewards not just in a geographical or
sonic sense, but spiritually, too.
 Initial LP pressing on Red Hot coloured 140g vinyl with digital download code. (Once this
format has sold out, a black 140g vinyl edition with digital download - HVNLP202 - will be
made available.)

'Memory Box' - the new album by Rodney Cromwell - fuses a European synthpop sensibility with a world of magical realism. It was inspired as much by the literature of Alice in Wonderland, Franz Kafka and Anna Kavan, as by its musical influences of artists such as Kraftwerk, Neu!, The Cure, Silver Apples, Oppenheimer Analysis and Polyrock. The sonic pallet of 'Memory Box' is rich, colourful, often surprising and utterly unique. Since the release of his debut 'Age of Anxiety' album in 2015, Rodney Cromwell has been featured by the likes of NME, Electronic Sound Magazine, Huffington Post, Paste, BBC6 Music and national RNE3 in Spain for whom he recorded a live session. 'Age of Anxiety' was included in a wealth of Best of Lists, not least that of Electronic Sound. He has appeared on compilations alongside Cavern of Anti-Matter, John Foxx, Devo, OMD, Katy Perry and many more. Rodney Cromwell is the project of Adam Cresswell. The first band he founded was SALOON, who were John Peel darlings, who recorded three Peel Sessions and the Festive 50 number 1 of 2002. They released three acclaimed albums on Track & Field (UK) and Darla Records (US) and played with a host of alternative acts including Stereolab, Electrelane, Quickspace, Laika, Of Montreal & Movietone. He followed Saloon with ARTHUR & MARTHA the acclaimed tweetronica duo that released the sole album 'Navigation' before vanishing. In addition to performing as Rodney Cromwell, he runs the Happy Robots record label. The Rodney Cromwell live set is a joyful mixed-media extravaganza, incorporating analogue synths, video visuals and live instrumentation, interjected by Rodney's 'offbeat wit'. His debut festival appearance at Indietracks in 2015 was described as 'like a spiritual experience". He has shared stages with acts including Pram, Marsheaux, Death & Vanilla, Rowetta and Steve Davis. His sole performance in 2020 was as part of Damo Suzuki's backing band. He will be promoting the album with a series of live-dates in 2022. Cromwell's recent singles 'Memory Box' and 'Get Me To Prague' received play on BBC 6 Music as well as national play in Spain, Finland and Japan. 'Memory Box' featured in the Official Festive 50 on Dandelion Radio. To coincide with the album we have early confirmed reviews with Electronic Sound Magazine and interviews with ElectricityClub, Pennyback Music and You haven't heard this music vodcast.

Scott Walker, PJ Harvey, Coil, Matmos, Autechre & Pan Daijing. 180g LP with inner, 12”x24”poster + DL card. The Debut Full-Length By Montréal Producer Kee Avil, The Project Led By Avant/Improv Guitarist Vicky Mettler, Also Known As A Member Of Sam Shalabi’s Land Of Kush And As Co-Founder Of Concrete Sound Montréal. Advance Single “See, My Shadow” Premiered By Mary Ann Hobbs On BBC6 And Picked Up By Music & Riots, Backseat Mafia, Aural Aggravation, Etc In Dec 2021. Kee Avil, a project led by Montréal producer and guitarist Vicky Mettler: a singular expression of fractured dream logic concretized in chiselled postpunk guitar, sinuous low-end electronics, a panoply of organic and digital samples creating alternately twitchy and propulsive rhythm, and the anxious intimacy of her finely wrought lyricism and vocals. Bound by an outstanding production sensibility throughout, Crease unfolds one oblique earworm hook after another, with compositional innovation anchored to an inscrutable and compelling voice across 10 songs of tremendous and imaginative sonic detail. Kee Avil brings a contemporary electroacoustic sensibility to bear on traditions and conventions of pop, postpunk, electronic and sound-art songwriting, where touchstones range from Scott Walker and Coil to Fiona Apple, (early) PJ Harvey and (later) Juana Molina to Eartheater, Pan Daijing and Smerz; or Grouper produced by Autechre. Her unconventional alloys also conjure the guitar-inflected deconstructions of Gastr del Sol and the crystalline micro-worlds of Bjork, Matmos and Rashad Becker. Crease is one of those debut records that excites a wide range of peerless references precisely because it's so compelling in its own idiosyncratic authority, originality and execution. Each song on Crease is its own sculpture, meticulously assembled to resemble disassembly: “each of these worlds was built without consideration for the other; it felt impossible to me, once I would enter the atmosphere of a song, to try to start another until that idea was finished.” The album nonetheless unfolds in impressive holistic integration through a palette of textures and techniques deployed in recurring but continually refracted ways. Alongside her superb austere guitar work stitched into electro-industrial, dark-ambient and minimal-techno soundworlds, it’s her voice and lyrics confidential, hermetic, implacable that provide the galvanizing, always captivating through-line. Her more compositional, exacting, (de)constructed musical identity was first unveiled with the self-titled Kee Avil EP (Black Bough Records) and further honed by pre-pandemic tours sharing stages with Pere Ubu, Marc Ribot and Bill Orcut among others. Woodshedding since then, Crease presents a quantum leap in Kee Avil's exploration of studio-based experimentation, arrangement and production, signaling the arrival of a brilliantly genre-melding, refined and assiduous new voice in avant-garde songcraft.

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Dancefloor Damage all the way. The new Soul Notes VA 12'' has been building anticipation all around.

Since it includes 4 of the most in demand names from the rough house scenes at the moment, this one is not to be missed. Labelowner Kastil pulled out the big guns and got soul notes usual Fulbert on one record with himself and the ever so amazing Malin Genie who has been making waves through the whole of europe with his thumping sound. Fulbert, Kastil and Malin delivered 3 excellent productions that will perfectly fit into one peaktime set.

This is music for the dancefloor and nothing else. Bass bin wrecking club slicers for true house heads.

Last but not least, the excentric Jefferson Belmondo makes an appearance With a disco'ish anthem called Booty Groove. The title kind off reveals where he's coming from as Jefferson might be unknown for most, on the streets of Miami he is a bonafide legend. After spending most of his life in shady motels and as a DJ in extravagantnightclubs, Jefferson finally took out his old DAT tapes and got this track to Kastil through a mutual friend.

All and all, Many Shades of Soul Notes Vol.1 is a peaktime record that is above all meant for clubplay.

This fine package includes a 180GR 12'' and a designed sleeve. This 6th installment in the Soul Notes series will be available from
March 4th through all respected retailers.

Available for the first time on vinyl, celebrated blues, R&B and Americana vocal powerhouse blazes an exhilarating roots music trail, with many of the songs reflecting the spirit of our turbulent times
Produced by Will Kimbrough, it features guest performances and/or songwriting by Kimbrough, Jason Isbell, Christone "Kingfish" Ingram, Jerry Douglas, Sam Bush, Orphan Brigade, Steve Cropper, Duane Eddy and Shawn Mullins.

Nominated for 2022 Grammy for Best Contemporary Blues Album.Winner of Blues Music Award for Contemporary Blues Album Of The Year.

Legendary American musician Ry Cooder played together with the world's greatest artists, such as John Lee Hooker, The Rolling Stones, Van Morrison, Neil Young, and Eric Clapton. Cooder is known for his slide guitar work, and was ranked eighth on Rolling Stone magazine's 2003 list of “The 100 Greatest Guitarists of All Time”.

Chicken Skin Music was his fifth studio album. The title serves as a direct, simple description of the album's emotional appeal. For this record, Cooder decided to ignore traditional boundaries and instigated lasting cross-cultural communication through music, which was unusual for 1976. Chicken Skin Music blends gospel, folk, blues and Hawaiian with the help of his backing band (Jim Keltner, Milt Holland, Chris Ethridge, and George Bohannon) and two eminent Hawaiian musicians, Gabby Pahinui and Atta Isaacs. In addition, to throw in some Mexican styles, Ry Cooder is assisted by Norteño musician Flaco Jimenez.

Chicken Skin Music is available on black vinyl and includes an insert.

“Coffee & Clouds” EP is the latest release from Sam Hutton and Al
Wreaves AKA South-London soul duo fika, collaborating with songwriter, vocalist and artist Bambie.

Co- produced by Berlin- based producer Fabich, the EP features previous singles “How Can I Love? (When I Can’t Get Away From You)” and “Love Like Mine” which have seen the duo garner support from the likes of Jack Saunders (BBC Radio 1), Jamz Supernova (BBC Radio 1Xtra), Jess Iszatt (BBC London Introducing), Nabihah Iqbal, El Train, Rob Da Bank (Worldwide FM), Stereofox, Mystic Sons and
IGGY Magazine. Stemming from a two-day session between fika and Bambie, the “Coffee & Clouds” EP was co-produced by Berlin-based producer Fabich. The EP expertly balances nuanced musicality with generously open song writing. fika’s ever-growing community of collaborators and irresistible releases has seen them perform at the legendary Ronnie Scott’sand garner support from BBC presenters
Phil Taggart (BBC Radio 1), Jess Iszatt and Abbie Mac (BBC Radio Kent) and from the wider radio community including Jyoty (Rinse FM) and El Train (Soho Radio).

At the end of 2021, they will be appearing at The Jazz Café alongside BBC Radio 1’s Victoria Jane, Raquel Martins, Ruby Francisand Kara Marni. The duo have also seen press and online support from the likes of TRENCH, Indie Shuffle, Notion, Acid Stag, Beautiful Buzz, Somewhere Soul and Discobelle. A project born out of collaborative joy and mutual admiration; the “Coffee & Clouds” EP is set to further
cement fika’s place as a one- to- watch in the realms of Neo- Soul, Hip Hop and Contemporary RnB.

Back in print, now on clear vinyl! Tingling tartness of jingle perfection! In addition to being a pioneer of early electronic music, Raymond Scott generated hymns to hunger, odes to pudding and pilsner, and crafted carols for countless other products, elevating the form of advertisement to an art

If Zappa had written music for commercials, it's not hard to think his approach would have been similar! Pressed on clear vinyl at Third Man Pressing and containing varied styles in both instrumentation and vocalization plus previously unavailable electronic works! Products may contain soy, wheat, dairy, or Mel Tormé.

“Out of Our Hands” brings together Alvin Lucier and Jordan Dykstra who, through the hands of Ordinary Affects, have created debut recordings of two new compositions.

These companion pieces have similar orbits as they were not only both composed in Middletown, CT (where Alvin and Jordan lived for a number of years), but are about Middletown, at least from a starting point. Alvin’s piece — a homage to the location of the house in which he recorded “I am sitting in a room” back in 1969 — continues his study into slow-moving glissandi and carefully crafted beating patters by interweaving three string players within a minor third (voiced by two vibraphonists). The result is entrancing, almost psychedelic, and opens space where one didn’t expect. Like much of his previous work, it is conceptual and process-based; once the wheels get turning they go on and on, giving the listener time to approach the piece, sit with it, and then move back inward.

On the other hand, Dykstra’s piece “32 Middle Tones” (a pun on his Middletown street address and the harmonic microtonality utilized in the composition) is a very textural work. His piece asks the cellist to sustain pitches for extended durations — at times quietly singing in close proximity to the stopped pitch coming from the cello — while the rest of the ensemble (violin, viola, and 2 percussion) voice a sequence of chords separated by notated silences. The cello voice is sometimes alone, but never for too long as it finds itself supported from both the top and bottom in a harmonic embrace. This supportive structure involves a percussion section which colors the seemingly simple chords (major 6th, inverted minor 7th, inverted minor 2nd, etc.) with a non-traditional toolkit of bowed singing bowls, stone sheets, harmonicas, and even leaves.

This is music that gently gives the listener a sense of predictability but always in an unexpected (and subtly indeterminate) shade. Speaking of shade, the album’s cover photo was taken in 2019 in Alvin’s backyard in Middletown. Alvin and Jordan sit with similar demeanors in front of his favorite tree — a crooked aspen which early on looked to be doomed — but which he would often saunter over to spend time with, giving it whispers of blessings and encouraging words.The world was blessed with Alvin’s presence and hopefully this album will whisper to you and yours.

Artist statement:
“With Alvin’s recent passing I was overwhelmed with messages and calls from friends, collaborators, and his former students. Everyone had a heavy heart, no doubt, but were grateful for the memories and their gift to be around Alvin during his lifetime of prolific dedication to the arts, his fascination with poetic storytelling through scientifically-inspired minimalism, and his calm and warmhearted spirit. In his last few years on earth, Alvin was busier than ever — brainstorming new ideas, creating new pieces, and planning big things. While he was here, he was alive, and may his music — and spirit — live on forever, spreading from his corner of Church and High (where he recorded his seminal piece I am sitting in a room) to every corner, concert hall, and loudspeaker in the world.”

Having received critical acclaim for releases 1 and 2, ‘Marc Riley Sessions Volume 3’, features 9 tracks recorded for the award winning BBC Radio 6 Music show in 2015 and 2016. “The two sessions on this compilation feature many songs that appear on

‘Going, Going...’ the studio album that The Wedding Present released in 2016. ‘Going, Going...’ itself was an extensive audio-visual

project recorded over the space of eighteen months in Provence, Liverpool and Seattle. Track listing: A. Tracks 1-4 Recorded 04/11/15 1. Ten Sleep (Going, Going… 2016) 2. Broken Bow (Going, Going… 2016) 3. You Only Live Twice 4. 1000 Fahrenheit (Valentina 2012) B. Tracks 1-5 Recorded 08/09/16 1. Rachel (Going, Going… 2016) 2. Bear (Going, Going… 2016) 3. Jumper Clown 4. Kill Devil Hills (Going, Going… 2016) 5. Santa Monica (Going, Going… 2016)

Having received critical acclaim for releases 1 and 2, ‘Marc Riley Sessions Volume 3’, features 9 tracks recorded for the award winning BBC Radio 6 Music show in 2015 and 2016. “The two sessions on this compilation feature many songs that appear on

‘Going, Going...’ the studio album that The Wedding Present released in 2016. ‘Going, Going...’ itself was an extensive audio-visual

project recorded over the space of eighteen months in Provence, Liverpool and Seattle. Track listing: A. Tracks 1-4 Recorded 04/11/15 1. Ten Sleep (Going, Going… 2016) 2. Broken Bow (Going, Going… 2016) 3. You Only Live Twice 4. 1000 Fahrenheit (Valentina 2012) B. Tracks 1-5 Recorded 08/09/16 1. Rachel (Going, Going… 2016) 2. Bear (Going, Going… 2016) 3. Jumper Clown 4. Kill Devil Hills (Going, Going… 2016) 5. Santa Monica (Going, Going… 2016)

A core part of the Control Freak Recordings family, London based artist Keplrr has built a reputation as a deft & talented producer with unparalleled attention to detail. In the wake of the widespread support for his 2020 EP ‘Reconstructed Club’, we asked four producers we have long-admired to flip a track from the original release. The result is ‘Club Reconstructed’ - a collection of remixes which distill the spirit of Keplrr’s original record into new forms.

First up, Holding Hands boss Desert Sound Colony serves up one of his signature slammers, locking Convection into a thumping four to the floor groover. Berlin-based Konduku, who has carved some of the most kinetic, angular club tracks of recent years with releases on Nous’klaer Audio, Spazio Donsible and others, provides a second interpretation of Convection, time-stretching the original material into a slow-motion panic attack.

On the flip, Syz makes his return to the label after 2019’s highly acclaimed Bunzunkunzun EP, applying his organic touch to Esoteric Functions with a ‘refunction’, which blurs the line between techno and 140 - packing some serious low-end and a cheeky mid-way switch-up to send the dance wild. Rounding things off, Milan’s Piezo proves his reputation as one of the most inventive producers on the scene, repurposing Bod’s Realm into an aggy, warped & technoid ‘Doom Ragga Mix’.

Pressed by Deepgrooves - Europe’s leading ecologically-friendly plant for sustainable vinyl production, made using 100% green biomass energy

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Humans controlling machines or machines controlling humans. KAOS has born as a form order approaching the machine music to human emotions, from the dance floor for the dance floor. Distinctive techno tools on high energy mode for Disc-jockeys and collectors.

KAOS is a subdivision from OAKS

Compiled and selected by Hector Oaks.