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4 Reworked & Reimagined tracks from Motherhood and a cover of Deftone’s “Teenager”. Clear w/ Blue Glitter Colored Cassette Shell, with full pull-out J-Card artwork. Recommended If You Like : Bjork’s Live Box, The Deftones Cate Le Bon. Montreal’s No Joy—since 2009, a noisy four-piece shoegaze band, from 2015 onward, the sonic experiments of founding member and principal vocalist Jasamine White-Gluz has rejected convention, opting to find cohesion in vast, bold, indiscernible structures. In the beginning, the group excavated melodious riffs from squalling guitars, now, White-Gluz approaches songwriting with abstract meticulousness, no longer tethered to her six-string instrument. In 2018, it was the modular electronica of No Joy / Sonic Boom, an EP collaboration with Spaceman 3’s Pete Kember. In 2020, her first full-length as a soloist and No Joy’s first album in five years, Motherhood, her guitar returned for a genre-agnostic, maximalist treatise on aging. Fertility, family, death, birth, her voice heard loud in the mix, White-Gluz became a commanding force among the many-splendored sounds of trip-hop, trance, nu-metal, dance rock, and, of course, shoegaze, delivered through banjo, vibraphone, scrap metal, slap bass, even kitchen appliances. Who knew chaos could have such lucidity? Now, White-Gluz’s ever-expansive evolution has brought forth Can My Daughter See Me From Heaven, an EP reanimation of five songs from Motherhood, transformed by new orchestral instrumentalists: an opera singer, a cellist, a harpist, French horn musician. These songs, recorded entirely remotely, are not a correction. They are a spring rebirth—an opportunity to grow those tracks, similar to the transformation they would’ve undergone live, on stage. “Songs take on a new life when I’m on tour. These songs didn’t get that chance. I still had more to say with them,” White-Gluz explains. “I probably never would’ve been like ‘let’s get a bunch of classically trained players together,’ if it wasn’t for covid-19 canceling tours. This EP was an opportunity to do something that wasn’t obvious. It’s a bedroom recording, but it doesn’t sound like we recorded this in our bedrooms. I wanted to do something that sounded bigger than Motherhood did, and Motherhood was recorded before covid.” Where many musicians used last year’s disaster to look inward, releasing solitary, insular albums, No Joy did the opposite: “It was more, ‘Let’s try everything!’ Give me something to look at!”

Early, yet mysterious collaboration between Sun City Girls and Life Garden reissued on Unrock. Recorded live on Sept. 22, 1991 and originally released by visionary operator Nick Schultz on Majora Records, Tsunami .2↑ was, still is, and will remain a mysterious album. Because the music didn’t represent or sound like either of the bands involved, they decided to call the group Square 9 and chose to leave everybody’s names off of it. No further information was given, only "Recorded at Grand Theater, Buenos Aires, Argentina". Until today, nobody knows exactly who was behind the record. Rumors came up that is was part of the Sun City Girls legacy, but the "truth" lingered in the dark. So unusual and experimental the approach to record this album was, so remarkable it finally turned out. By the time it was released back in 1992 only a few dedicated core followers were aware of its existence. Everybody played anything and everything on this recording, no specific instruments are assigned to players. Different instruments, various percussion instruments, a piano and other sound sources. Insiders maybe recognize the voices of Su Ling and Alan Bishop or a piano sounding like Richard Bishop playing it. Some of the live sounds have been treated and processed live by W. David Oliphant. It was an impromptu series of improvisations by Sun City Girls and members of Life Garden (W. David Oliphant‘s main working group after Maybe Mental) and probably the last recordings made by members of Sun City Girls before the band fully re-located to Seattle. In retrospect it is a belonging and relevant part of the history of both bands, which needs to be broadcasted to a wider audience. 30 years after the recordings were made, a remastered version of the album is made available through Unrock. While the original release was two side-long tracks, the remastered version is split into 6 separate tracks, remixed and mastered by W. David Oliphant. Vinyl cut by Peter Koerfer at Ivory Tower. Square 9 were (in alphabetic order) Alan Bishop - Richard Bishop - Charles Gocher - Su Ling - W. David Oliphant - Peter Ragan

This album is a critical meditation on variations of Orientalism practiced by Arabs themselves, as well as those who were born and raised within the diaspora. It originally began as a documentation of extended drum techniques, but eventually morphed into a project of more ambitious scope. Having an open timeframe, Julius Masri gave himself reasons to include all the instruments he obsessively picked up and learned over the years. The work accumulated intentions and guiding principles, and it became rather autobiographical in nature. Some of the tracks either refer to or were recorded in the actual physical spaces he grew up near, in Tripoli, Lebanon during the 1980s. The "Arabic Room" of the title refers to the sitting room in his family‘s house that was decked out in hyper orientalist exoticism, mashing together furniture, fixtures, paintings from all over the Arabic speaking world. The sitting room, or salon, is common in Lebanese homes made specifically to host and entertain guests. Rimsky-Korsakov's Sheherazade and other western made Orientalist cultural artifacts not only had ubiquitous presence in the house, but also found their way onto tv shows and commercials. After moving to the US, his parents recreated this room in their home. Additionally, his father's generation was one that saw their country transform from a post-agrarian trading society after WWII to a center of banking and finance within the span of a few decades. The sense of some lost Eden like innocence of the interwar years permeated much of the media that was available to him growing up there. This album is neither ironic nor some judgmental pronouncement. Call it critical nostalgia. For Masri, there isn't much difference between this form of exotic fantasy creation, and his own adolescence steeped in comic books and listening to bands like Voivod. They both seem to him part of what's known in German as Fernweh, "a nostalgia for a place one's never been". All instruments are performed by Masri himself, (drums, Egyptian rababa, Azeri kamancheh, circuit bent electronics, keyboards, hammered dulcimer, and vocals). Genre-hopping is foundational to the album’s ethos; jazz, metal, experimental, electro-chaabi, and sound collage all appear within the framework of Arabic music, creating the sense of adventurous possibilities best associated with well curated mixtapes. Julius Masri is a Philadelphia based multi-instrumentalist and performer/composer, originally born in Tripoli, Lebanon. The Arabic Room is his debut solo-album. Currently he is working and playing with members of the Sun Ra Arkestra. The album will be released on vinyl only in an edition of 300 copies.

“I’ve lost track of how many times I’ve listened to Age of Exile in the past few weeks. I got a preview before it came out and on the first listen I was hooked. My first impression was that it sounded like Kaleidoscope (with whom Straw Man Army shares members), but it’s reaching toward something more like the song-oriented anarcho punk of Zounds and Crisis. I’ve been playing this record into the ground in the subsequent weeks, though, and there’s so much more to hear than a simple “this kinda sounds like this” comparison. One thing Straw Man Army shares with Kaleidoscope is a sense of rhythmic sophistication and inventiveness. We expect that a neo-anarcho band will have some interesting marching band snare patterns, but there’s so much more to the tracks on Age of Exile. Every song has a unique groove (or rather several of them, frequently overlapping), giving the album a sense of scope and breadth far beyond most contemporary punk records. And then there’s the sense of melody, which is equally sophisticated. While the interwoven rhythms make each song seem like a dense tapestry, the guitar melodies have a sense of sweetness and directness that makes Straw Man Army seem approachable and human. And then there are the lyrics, which I haven’t been able to dig into thoroughly, but are as dense, poetic, and vibrant as the music, focusing on how to live in the rubble of empire. Age of Exile is a striking album no matter which aspect of it you focus on, and it’s so distinctive and consuming that I can already tell it’s going to be a big part of the soundtrack to this part of my life.”

Originally recorded by Rudy Van Gelder in August 1960 and released in February 1961, "Caribè" shows the great multi instrumentalist Eric Dolphy in the unexpected context of a Latin Jazz combo. A fascinating combination of apparently distant elements where Dolphy's masterful playing shines through every harmony and groove displayed by this solid Latin-Jazz quintet featuring Juan Amalbert – congas, Gene Casey – piano, Charlie Simons – vibraphone, Bill Ellington – bass and Manny Ramos - drums, timbales.

Aufgang is back with its 3rd album, “Broad Ways”, slated for release in November 2021

With this 3rd album, the franco-lebanese duo perpetuates its winning alchemy by drawing on the psychic and collective traumas of recent History at the crossroads between European and Middle Eastern cultures.

What more was there to prove for the Aufgang duo since their re-invention of US techno a few years ago through the means of organic instruments like piano + drums, and releases on Infiné & BlueNote/Decca ?

Maybe that they would from now on independently take onto themselves, the full conception and distribution of their body of work, supported by a collective of visual-arts creators, dancers, and emerging talent-incubators (Bi:Pole/Believe/ BigWax/Alter-K)...

“Broad Ways” could be translated as «in many ways» in the sense that there are many ways of seeing the world, and that everything is not binary and that on the contrary, our lives are shaped by the each other’s own paradigms...

In this clever mix of experimental techno, lyrical prowess and melodies in the Arab tradition, can one imagine a future that would solve the world’s current contradictions in a boiling magma so complex of which Edgar Morin would be proud... Following this unique trademark, this art of mixing influences and cultures, along the New York, Paris, Lebanon and now Sydney axis... how far will they go?

According to Pitchfork, AUFGANG “blends piano, drums and electronic music with virtuosity, with one foot in the club and the other in the conservatory.”

Rami KHALIFÉ, composer and pianist, transcends the classical heritage of his years studying at the Juilliard School in NYC and the Middle Eastern origins of his masterful family: his father Marcel KHALIFÉ is a major composer and musician in the Arab world.

The drummer and producer Aymeric WESTRICH has an instinctive DIY approach and infuses his music with his knowledge of urban and electronic cultures, developed with Kery James, Cassius, Phoenix and more recently Lomepal.

Taking their inspiration from multiple artistic movements and currents, from the Disco of the mythical Larry Levan to the poetry of Oum Kalthoum, these two free electrons have created their sound between Paris, Beirut and New York, in reaction to the frenetic energy of big cities, as if in an effort to prevent this energy from corroding their freedom. It’s a unique experience born from the sublime diversity of these two masterful approaches.

Leng Records has long admired Andrew Meecham’s work as the Emperor Machine. Last year, Meecham made his first appearance on the label via a fine remix of Harks & Mudd favourite ‘Susta’. 12 months on, Meecham returns to Leng with his first Emperor Machine outing of 2021, a typically eccentric, heavily electronic dancefloor outing featuring the seductive vocals of rising star Séverine Mouletin. Meecham is one of British dance music’s most experienced and lauded producers, with a packed history stretching right back to the acid house era. He first rose to fame as part of Bizarre Inc and Chicken Lips (both alongside long-term studio partner Dean Meredith), but over the last two decades has devoted far more time to solo work as The Emperor Machine. In the process, he’s developed a sparse, hypnotic, heavily electronic trademark sound that combines analogue and modular synthesizer sounds with nods to post-punk disco, new wave, trippy proto-house and the mind-altering experiments of the Radiophonic Workshop.



‘Dance Par Amour’, his first solo single on Leng, is typical of his now familiar personal sonic style, with echoing, alien-sounding synthesizer motifs (some reminiscent of those that marked out Chicken Lips’ club classic ‘He Not In’), with bubbly sequenced bass, unfussy machine drums, rubbery slap-bass riffs and flashes of post-punk disco guitars.



Sparse but weighty and pleasingly trippy, the EP-leading ‘Extended Vocal Mix’ is classic Emperor Machine: a near ten-minute workout in which Mouletin’s tender but confident vocals rise above Meecham’s stylish and note perfect backing track, which sits somewhere between early ‘80s ‘no wave’ New York disco, lo-fi European synth-pop and the trippy late night dancefloor dubs that were once a feature of American boogie and proto-house records. Meecham further explores his love of these sparse, effects-laden “synth-dubs” on the accompanying ‘Erotique Dub’, a thrillingly heavy, heads-down affair awash with echoing vocal snippets, hypnotic drums and synthesizer flourishes that attractively echo across the sound space. Like the best DJ-focused dubs of the early 1980s, the remix is propelled forwards by a strong bassline, around which other elements – guitar, bass guitar, sparkling synth sounds and mind-mangling electronics – appear, make their mark and then drift off into the ether. With key passages of Mouletin’s vocal appearing periodically to encourage people to dance, it’s the kind of delightfully wayward revision that will keep people dancing well into the early hours.

absent origin’ reassembles and reimagines recordings and musical
scores composed by Mira Calix, globally, over the past decade. It’s a
collage album about edges and borders, cutting and tearing, and
composing new combinations that point to an audio visual manifesto for the 21st Century.

“Like Duchamp, I had started out wanting to make an album, or box, of approximately all the things I produced. In the end, I realised - as much as a collage is the coupling of two or more realities, it also offers the means to examine the materials and culture of an era, questioning and expanding its borders.” - Mira Calix

Every song on the album was created by applying a different collage
process relating to a different visual artist, spanning the history of collage to contemporaries of the practice. The sonic materials are subjected to a myriad of processes; layered, synthesised, constructed and assembled into electronic melodies, textures and complex, frisky dance rhythms that are constantly shifting in surprising ways. absent origin employs collage to make sense of the current moment of displaced voices, disjunction and political unrest.

Calix’s recording sessions from all over the world are the many
fragments we hear across the album; from India to Tasmania, Jordan to Belgium, China to Uganda, her former home of South Africa, to her
current home in Britain. Slicing into these are further recordings of
vocalists, percussionists, choirs, orchestras, quartets and soloists, never appearing in the form in which they were originally intended. The record is a polyphony of predominantly diverse female voices held together by pulsating baselines, haunting electronic sounds and orchestrated melodies and with them, we travel.

The album fizzes with a political energy and the interconnectedness of
everything. At this moment in time, there is an impossibility of separating one thing from another; the effect is strange and not exactly reassuring.

Collage suggests infinite possibilities and each track here is a singularly unique compositional combine, a dizzying hall of mirrors with its own unlikely harmony, its own distinctive rhythm. On ‘absent origin’, collage becomes the tool to make sense of a present that is often anything but.

2LP in printed inner sleeves with 5mm spine outer, printed insert and
digital download code.

It's back-to-back hits with the return of the Names You Can Trust split single series featuring two new emerging artists and record debuts.

After years on the local New York scene as DJs, collaborators and permanent fixtures amongst the brightest of musicians and artists, Raspadura has spent a long time brewing behind the curtain, tucked away in the musical minds of real life partners Josue Granados (Sonidero Mixteco, Los Taxis) and Dayan Silva (Dayansiiita). Their coming out party as recording artists is a perfect encapsulation of the duo's raucous but delightful energy. "Pa Que Gocen" is pure punkera, but seasoned with a deep musical appreciation that abounds in the timeless tropical music universe, and surely a precursor to further recording adventures, as this debut should warrant. The appeal is obvious as soon as the needle drops. Silva's enchanting vocals grab you immediately, with tales of sweets upon sweets. Pure visions of dulce, panela and miel are chanted over the rhythm of Granados' low down ska-beat and hypnotizing tres cubano. For Raspadura, dessert is first!

Come fly with Grupo Pernil in this ode to the timeless vibes of gypsy rumba, merengue and guaracha. Featuring an international all-star cast of musicians from travelling adventures and collaborations of recent years, "Danza de la Cabra" was originally conceived at home in the NYCT studio, and later brought to life with additional sessions inside Amsterdam's Heat Too Hot and Barcelona's Nación Funk studios. This one-off instrumental recording turned into a case of severe psicodelica, under the influence and improvisation of the group's talented players and percussion professionals, then amped and electrified for maximum effect with a touch of studio magic and a taste for local iberico. Featuring members of Greenwood Rhythm Coalition, Conjunto Papa Upa, Fundación Tony Manero and Los Fulanos.

Bjarki leads a pack of international artists who in the past few years have taken a hauntological approach to re-moulding the scents of breakbeat, rave, jungle, trance and IDM into sounds that are entirely their own. Already this year he began his own label bbbbbb with artistic sparring partner Johnny Chrome Silver, released under new alias Cucumb45, performed his new live show at clubs and festivals from Mutek ES and Peacock to Printworks, and recently announced a US tour for July.

TRP015 finds Bjarki in typical, monstrous, floor slaying form with four trance leaning tracks that have proved an inspiration for Nina Kraviz's DJ sets over the past year. Bjarki takes key aspects of trance and takes it for a headspin into the unknown - mangled percussion, disorienting voices, unravelling textural layers, sub aquatic bass frequencies and intense melodies. All make for a uniquely irreverent take on a much maligned genre that most of us secretly adore..

The Memphis rap duo returns with Dum and Dummer 2, the monumental follow up to their highly acclaimed album, Dum and Dummer, which charted #8 on the US Billboard 200. With more of a lighthearted approach than the more serious back-and-forth on the first project, Young Dolph & Key Glock hit their stride as a duo and show the world what Memphis has to offer. With hit songs like “Aspen,” “I’m The Type,” & “Penguins,” the album boasts an impressive 20 song tracklist and feels as effortless as an old friendship.

"The Tragically Hip announce they will be releasing a special version of their sophomore album, Road Apples 30th Anniversary Deluxe, on Friday, October 15. The album is available in comprehensive physical deluxe CD and Vinyl and Pure Audio blu-ray audio box set editions.
Created to mark the 30th anniversary of the band’s second studio album which became their first record to hit #1, the Road Apples 30th Anniversary Deluxe editions were carefully crafted with input from each living member of the band. The outcome is a deep dive behind the scenes of what made this album one of the most beloved in The Tragically Hip’s vast catalogue. With all tracks completely remastered in 2021 by Ted Jensen at Sterling Sound in Nashville, for the first time, fans will hear music from the band with all the grit, vibrancy, and passion of their original recordings, second only to being in the recording studio with them. The physical box set editions, (CD and Vinyl), of the release will contain special Dolby Atmos, 7.1, 5.1 and binaural mixes by Richard Chycki of Road Apples and 5 cuts from Saskadelphia, ensuring fans have a one-of-a-kind listening experience. Fans and collectors will also appreciate the brand-new artwork for each of the packages within the physical box sets.
The expansive deluxe editions of the release are jam packed with rare and more previously unreleased and never heard before pieces of music chronicling The Tragically Hip’s Road Apples era, including:
• Road Apples, the original album re-mastered in 2021 by Ted Jensen at Sterling Sound in Nashville.
• Saskadelphia, as released earlier this year.
• Live At The Roxy Los Angeles, May 3rd 1991, originally recorded for a Westwood One radio show, often bootlegged and sought after by fans for many years. It has been re-mastered and expanded and includes the rare “Killer Whale Tank” version of New Orleans Is Sinking. This legendary Roxy show is now a double vinyl album. This album is available exclusively in physical product.
• Hoof-Hearted, an album of previously unreleased demos, outtakes, and alternate versions."

Two monumental full-side tracks from a pair of late 70s Orchestre Poly-Rythmo albums, ‘Unité Africane’ isn’t exactly a compilation, more a combination of the standouts at a time when the band was at the peak of its powers. Originally released in 1977, the title track is an infectious Afro-Latin workout that is interwoven with driving horn stabs by master trumpet player Tidiani Kone. ‘Unité Africaine’ was recorded over the Nigerian border at the state-of-the-art EMI Studios in Lagos, yielding majestic sonic results. ‘Mede Ma Gnin Messe’ is taken from the 1978 ‘Special 30 Novembre’ and this time Poly-Rythmo wore their Afro-funk hat to deliver almost sixteen minutes of dancefloor fire. Propelled by PolyRythmo’s super-tight beats and underpinned by a relentless keyboard refrain, the magic is in the stellar horn parts that take this track to another level. As with much of the Albarika catalogue, copies of the original LPs are incredibly tough to locate in anything approaching reasonable condition, so this should be a gift.

Kingston Jamaica's well known and always forward operating Dancehall creators Equiknoxx in special collaboration with eclectic Twin Cities USA newcomers Feel Free Hi Fi. 4 tracks with 4 dub versions of experimental electronic dancehall.

The records come in double sided silkscreen printed DJ jackets, with Obi Strip style stickers and hand stamped white labels created and printed by Digital Sting.

To many, Equiknoxx needs little introduction. The musical collective of Gavsborg, Time Cow, Shanique Marie, Bobby Black Bird and Kemikal has been operating on an international level for many years now. Their debut, 2016’s Bird Sound Power was met with critical acclaim. Since then Equiknoxx has released two more full length albums, many singles, collaborations and have consistently performed around the globe

During the inception of Feel Free Hi Fi as a Sound System in the Twin Cities, Equiknoxx productions were in heavy rotation. Their distinct approach to Dancehall, Dub and Electronic music felt like a sound that Reed and Maxwell had been waiting to hear for a long time. The initial connection with Time Cow via social media soon turned into a regular correspondence, hang outs in NYC and this musical collaboration.

The record is simple in premise but dynamic in resulting sounds. The record features original rhythm offerings from Gavsborg, Time Cow and Feel Free Hi Fi (in collaboration with W. Statler of Free Music). All rhythms were swapped and dubbed, creating eight tracks in total. A release with a basis in international correspondence and similar interests in sonic exploration, we kept it fun, we kept it simple, but we think the rhythms and the dubs stand up quite nice.

Left Ear returns where they started, further highlighting the music of the enigmatic Leong Lau. Arguably one of the most unique artists to come out of Malaysia/Australia during the 70’s, Leong migrated to Australia to pursue an education in Engineering. He finished his degree but instead took a different ’career path’, choosing to explore his creativity.

From an early age Leong had been trained in the arts including both Chinese opera and flute. Leong recalls “making flutes out of grass weeds”, as he couldn’t afford a flute. It was this DIY ethos that Leong attached to his lifestyle. He found himself promoting festivals in the infamous town of Nimbin before moving to Sydney where he would record a small body of music with the sessional musicians he was playing with daily in the venues of Sydney’s Circular Quays. Leong’s ‘Late Night Flyer’ was the single to his supposed second album, which was allegedly manufactured but unfortunately a copy of the LP is yet to surface. One thing is for certain, two tracks landed on a 7” and together with a predominantly Chilean backing band known as ‘The East-West Unity Band’ they created two raw latin influenced jazz-rock tracks that stand the test of time.

The A-side a homage to the omnipresent characters that frequented the after-hours jazz clubs Leong performed at. Whereas the B-side is named after his favourite philosopher Herbert Marcuse’s novel ‘One Dimensional Man’, which sees Leong take a more psyched out approach.

Hanagasumi - hazy curtain of flowers, cherry blossoms appearing from afar like a white mist - this phenomenon can be seen during the sakura blossom in Japan.

The third release on the label from the musician Shine Grooves. This vinyl is a mini LP of five tracks with different moods. The release is opening with a melodic track with exciting keyboard chords, performed in the best traditions of electro rhythm. On the second track, the mood changes towards a glitch house with a 4x4 beat and a naive melody that penetrates deeply into the mind. The first side of the vinyl is closing with a techno track - a loop recorded on a Roland TR-606 drum machine with an atmospheric melody that flutters in the air throughout the entire composition.

The second side of the vinyl starts with a 10-minute ambient ode, with cosmic synthesizer sequences and fragments of phrases from telephone conversations - a slow entrance to another reality. The last track on the record has an experimental IDM flavor with melodic guitar tones.

This LP is made on 12" vinyl, hand stamped, limited to 300 copies. High quality analogue mastering by Sergey Luginin at Luginin Studio.

What's the connection between one of the rarest and most in-demand gargae rock records of the 1960s and Christina Aguilera, and why is it coming to Acid Jazz?
For many years and many a bootleg the snarling imperious Stones or Yardbirds influenced groove of The Illusions 'City Of People' has been sought after and coveted by garage rock collectors. The Illusions released one single, on the tiny Michelle label and today any copies that appear easily sell for North of £1000.

So far, so typically Garage. However there is a backstory to the release that explains why the record never sold at the time of release. The record was produced by Bobby Marin, a Nuyorican, who at the time was stationed in Michigan on his National Service, and who would later go on to record some of the biggest names in Latin Music, first for the cult Speed label and then for United Artists and various of his own labels. In the early 2000s his 'I'll Be A Happy Man' was sampled by Christina Aguilera on her smash hit 'Ain't No Other Man'.
At the end of 2020 Bobby found the master tape of The Illusions single - including the Byrdsian B-side. This legal reissue a fresh mastering from those tapes, bringing out the intensity of the recording, and we have released it on a look-a-like Michelle label.

(DJ Tennis & Adiel remixes) Francesco Farfa has got his groove back, leading to Danza Tribale number 10. In recent times, the Italian DJ has found himself re-energised once again, back in love with electronic music and right back at the sharp end of the underground scene. A true digger and sound obsessive, Farfa comes armed with decades of experience and musical appreciation, but now with a fresh perspective.

Multi award-winning composer Shepherd’s seventh album and first on vinyl, with sleeve notes from Percy Mabandu.

Compositions explored on this long-awaited release include new articulations of well-liked familiar melodies like ‘For Keith’, ‘Desert Monk’, ‘Sweet Zim Suite’ and ‘Cry of the Lonely’, along with improvised pieces ‘Zikr’, and ‘Desert Monk’.

Mastered and cut for vinyl by Frank Merritt at The Carvery with heavyweight 180g vinyl pressed at Pallas in Germany.

Shepherd embodies much of South Africa’s piano tradition with visionary clarity. More than his own ingenuity, he holds up an appreciation of the richness of a shared musical inheritance. This must be underscored by an understanding that all pianists, in fact all artists of real commitment, have a wish to be distinctive, along with a real rootedness. The selection of tunes treated here, shores this up about Shepherd. It also points to a deeper, loftier revelation: jazz, and creativity as the ultimate articulations of human hope.
Percy Mabandu, from sleeve notes

The Black Keys release a special tenth anniversary edition of their landmark seventh studio. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC Radio 1 Zane Lowe session from 2012, a 2011 Electro-Vox session, an extensive photo book, a limited-edition poster and lithograph, and a ‘new car scent’ air freshener. A three-LP edition, which includes the remastered album and the live recording, will also be available. The Super Deluxe version will also be available digitally.

El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.

Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’

In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:

The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.

The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.

The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."

In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.

El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.

Recently, the band announced their World Tour of America. The Black Keys will perform three intimate shows in Oxford, MS, Athens, GA, and St Petersburg, FL, surrounding their September 25 headlining set at Pilgrimage Fest in Tennessee.

The Black Keys recently released their tenth studio album, Delta Kream, which was recorded at Easy Eye Sound studio in Nashville. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

The Black Keys release a special tenth anniversary edition of their landmark seventh studio. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC Radio 1 Zane Lowe session from 2012, a 2011 Electro-Vox session, an extensive photo book, a limited-edition poster and lithograph, and a ‘new car scent’ air freshener. A three-LP edition, which includes the remastered album and the live recording, will also be available. The Super Deluxe version will also be available digitally.

El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.

Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’

In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:

The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.

The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.

The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."

In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.

El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.

Recently, the band announced their World Tour of America. The Black Keys will perform three intimate shows in Oxford, MS, Athens, GA, and St Petersburg, FL, surrounding their September 25 headlining set at Pilgrimage Fest in Tennessee.

The Black Keys recently released their tenth studio album, Delta Kream, which was recorded at Easy Eye Sound studio in Nashville. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

This double album is a new collaboration between long-time Umor Rex artists Andreas Gerth (one half of Driftmachine) and Carl Oesterhelt (11 Pieces for Synthesizer). Both developed their shared musical cosmos during their time with the now defunct Tied +Tickled Trio. Oesterhelt is also known for his solo compositions for orchestras and for collaborations with Johannes Enders and Hans-Joachim Irmler of Faust.

As futurism seems inherent to electronic music, the backward-looking view is alien to its nature – consequently, a dialectical struggle between these principles is rarely expressed with the means of electronics. Especially today, its essence as a medium of progress stands in opposition to a sceptical position. By reconnecting us with history, The Aporias of Futurism seeks to define a critical location, that stands in opposition to the postmodern concept of interpretation, deconstruction and reformulation and the belief in progress that goes with it.

The working method for the album Andreas and Carl followed was the usual musique-concrète-technique – cut/assemble/edit/process pre-recorded sounds – but instead of deconstructing the concrete noises into an abstract sound entity, they followed a different path: the organic interweaving of orchestral structures with the electronically processed noise layers into a composition in the sense of classical modernism at the beginning of the 20th century.

Carl started with sketches recorded via a broken CD player, processed through a ring modulator, which sounded like old electronic music from the 1950s. To interact with these fragments Andreas recorded and processed a plethora of everyday noises, atmospheres, tonal fragments from the modular, industrial and shortwave radio noise, percussion in the form of door slamming, falling metal sheets, ball tracks, and so on. So, while they still played within the futuristic discipline, the reference to the past is actually unmistakable. One can hear it in the tonality of the contrasting orchestral passages, in the sound character of the processed samples and the sonic electronic layers. But it is precisely here, where a narrative tension develops. Theses and antitheses, extreme (unresolved) opposites, contrasts… essentially inner contradictions, or expressed in another word aporias… … but there is another factor at play here, something that plays a subordinate, almost ostracized role in the post-modern context: beauty (albeit the beauty of ruins) – beauty, the only refuge of the pessimist.

In the course of the process, a wide range of motifs and ideas emerged from the fog of memory. Free associations of concepts, books and authors from a wide period of time, such as Milton's Paradise Lost, William Blake, Robert Graves, ancient Rome, as well as Borges and Juan Rulfo. This flood of images is also incorporated on the album cover as a "free interpretation" of cultural objects and their relations in time.

The overarching motif of a sceptical rejection of the idea of Futurism is illustrated by a quote from Emile M. Cioran, the writer who most closely embodies the common spirit of the work presented here.

"But here comes the strangest thing: the Futurist idolizes becoming only until he has enforced that order for which he fought; then the ideal conclusion of time becomes apparent to him, the ‘always’ of utopia, which concludes and crowns the historical process. The conception of the Golden Age of Paradise par excellence, thus grips believers and unbelievers alike. But between the original paradise of the religions and the eschatological of the utopia there is the whole distance that separates a nostalgia from a hope, a repentance from a delusion, an achieved from an unrealized completion."

All music composed by Andreas Gerth and Carl Oesterhelt between Berlin and Munich, Germany in 2021. Produced and mixed by Andreas Gerth in Berlin. Mastered by John Tejada in Sherman Oaks, USA. Artwork by Daniel Castrejón in Mexico City.

The story of six soulmate musicians meeting at the intersection of classical composition, pop, electronic and minimal music begins in 2016 with their celebrated performance at the Cologne Philharmonie. After follow-up performances at the Bundeskunsthalle Bonn as well as the Hamburg Elbphilharmonie, Gregor Schwellenbach, Daniel Brandt, John Kameel Farah, Paul Frick, Erol Sarp and Kai Schuhmacher made a guest appearance at the invitation of Radio Berlin Brandenburg in the iconic Haus des Rundfunks in Berlin's Westend on February 2, 2019. "Live im Haus des Rundfunks" documents the first half of this evening, in which the individual composer-pianists introduced themselves to the audience in solos, duos and trios. This carefully choreographed set served as an electrifying prelude to the grand finale, the 20-minute collective mantra of Steve Reich's 1973 composition Six Pianos, a studio recording of which has already been released on the 2016 record Steve Reich "Six Pianos" – Terry Riley "Keyboard Study #1" (FILM LP/CD 002).

Im Jahr 2016 beginnt die gemeinsame Geschichte der Pianisten Gregor Schwellenbach, Daniel Brandt, John Kameel Farah, Paul Frick, Erol Sarp und Kai Schuhmacher, sechs seelenverwandten Musikern, die sich zu einem Kollektiv an den Schnittstellen von klassischer Komposition, Pop, Elektronik und Minimal Music zusammengefunden haben. Nach gefeierten Auftritten in der Kölner Philharmonie (mit Hauschka, ohne Kai Schumacher), der Bundeskunsthalle Bonn sowie der Hamburger Elbphilharmonie gastierte das Projekt am Abend des 2. Februar 2019 auf Einladung des RBB im geschichtsträchtigen Haus des Rundfunks im Berliner Westend. Die damals entstandene Aufnahme des Konzerts im Großen Sendesaal bildet die Grundlage der nun vorliegenden Veröffentlichung. “Live im Haus des Rundfunks“ dokumentiert den ersten Teil des Abends, innerhalb dessen sich die einzelnen Pianisten solo, im Duo oder Trio, dem Publikum vorstellen. Dieser Part stellte das Vorspiel zum großen Finale dar, dem 20-minütigen, kollektiven Mantra von Steve Reich’s Komposition Six Pianos aus dem Jahr 1973. Eine Studioaufnahme hiervon wurde bereits auf der 2016 auf FILM erschienenen Schallplatte STEVE REICH "SIX PIANOS" - TERRY RILEY "KEYBOARD STUDY #1" (FILM LP/CD 002) veröffentlicht.

HIGHLIGHTS: For the first time a sample of the essential work of Mesías Maiguashca, covering a period that goes from 1967 to 1989. This release includes historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay"(1971), which are early references for electronic music in Latin America. DESCRIPTION: Mesías Maiguashca is a relevant figure on the map of contemporary avant-garde composers. Born in Ecuador but currently based in Germany, he has been a composer who, since the 60s, would constantly expand his possibilities in fields such as electronic music (where he stands out as a pioneer), mixed works, expanded interdisciplinary pieces and the creation of unconventional instruments, where the encounter between his country of origin's popular folkloric tradition and the new European music has produced a universe of tension, as fascinating as it is startling. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) presents for the first time a sample of the essential work of Maiguashca, covering a period that goes from 1967 to 1989. This is the first of a new collection, a new series of albums that seeks to document the extensive recorded work of Maiguashca, with pieces that date from the mid-60s to the present. This first release is a good introduction to understand the various aesthetic options developed by the artist throughout his career. It includes his historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay"(1971), which are early references for electronic music in Latin America, and also mixed pieces, such as "Intensidad y altura" (1979) for six percussionists and magnetic tape, "The wings of perception" (1989) for a string quartet and tape, and "Nemos Orgel" (1989) for organ and magnetic tape. As the critic Fabiano Kueva has pointed out: "During six decades of musical creation, Maiguashca has outlined diverse aesthetic axes, raising questions about the aural experience and generating a sound flow, a permanent oscillation between Latin America and Europe. Therefore, the blend of Western and non-Western concepts, techniques and timbres, the literary references or the historical approach are perceived as a complex gesture that reveals the tensions, the memories, the place of the artist." Mesías Maiguashca studied at the Quito Conservatory, the Eastman School of Music (Rochester, N.Y.), the Di Tella Institute (Buenos Aires) and the Musikhochschule Köln (Cologne). He has made recordings at the WDR music studio (Cologne), Center Européen pour la Recherche Musicale (Metz), the IRCAM (Paris), the Acroe (Grenoble) and the ZKM (Karlsruhe). In 1988, together with Roland Breitenfeld, he founded the K.O.Studio Freiburg, a private initiative for the cultivation of experimental music. He has been living in Freiburg since 1996. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) is released as a double vinyl LP, in a limited edition of 300 copies, including photos and detailed information on the pieces. Liner notes by Mesías Maiguashca and Fabiano Kueva. Mastering: Alberto Cendra at Garden Lab Audio. Desing by Martín Escalante. Project carried out thanks to the Ibermúsicas fund.

Margo Cilker is a woman who drinks deeply of life, and her debut record Pohorylle, (out on Loose) is brimming with it. For the last seven years, the Eastern Oregon songwriter has split her time between the road and various outposts across the world—Enterprise, Montana, the Basque Country of Spain—forging a path that is at once deeply rooted and ever changing. As Pohorylle traverses through the geography of Cilker’s memories—the touring musician’s tapestry of dive bars and breathtaking natural beauty—love is apparent, as is its inevitable partner: loss. For what bigger heartbreak is there to be a fierce lover who must always keep moving? Cilker seems keenly aware of the precarious footing upon which love stands, and at many turns the record carries the desperation of being in the presence of something that is staggeringly beautiful, and slipping away.

BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM. Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu. After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years. There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador Recording Studios in Kumasi, at that time the country’s largest independent label. On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up- as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here. As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars) , and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players. THE MUSIC A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ. We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa..

Atomnation's 90th release is to be an album from long time associate David Douglas. He first appeared on the label in 2012 and now Escapism is a triumphant return across 10 tracks of deeply melodic and melancholic electronic music, with artwork by Menno Fokma.

David is a consistently high quality and prolific producer who has put out key albums like Moon Observations and Spectators Of The Universe, as well as vital EPs such as Mountain Pink and Royal Horticultural Society. He is an accomplished video editor who also edits documentaries while at the same time being an all encompassing producer. David finds inspiration in the majesty of the cosmos and the grandeur of nature and manages to capture the essence of that in his music.

This is an album that finds a perfect balance between heady underground sounds and more catchy pop tracks - an accomplished and adventurous album that takes you on an emotional ride through the ups and downs of everyday life, all with a delicate musical touch.

Percussionist Emmanuel Abdul-Rahim recorded this
mix of Latin and spiritual jazz in his adopted home of
Denmark in 1988. Sought after for the African
influenced ‘Kalahari Suite’, ‘Harlem’ is actually eight
tracks of brilliance that sees the veteran performer
lead a local band through their paces. A perfect
example of America meets Europe.
As Juan Amalbert he had led the in-demand Latin Jazz
Quintet who recorded for Prestige and United Artists in
the early 60s, including Caribé, which featured Eric
Dolphy. In 1966 he was asked to appear with John
Coltrane’s group at the performances that produced
the album ‘Live At The Village Vanguard Again’. Soon
after Amalbert recorded another album, which this time
featured Pharoah Sanders in the horn line-up. All that
appeared at the time was a single on Golden Earth
Records, but the album was later released as ‘Oh!
Pharoah Speaks’ in the wake of Sanders’ solo
success.
He then made the soulful 45 ‘When You Lose You
Groove’ / ‘The Knower’ and the spiritual jazz classic
‘Total Submission’ for Cobblestone, which featured the
updated version of ‘The Knower’, called ‘Al-Alim’,
which Acid Jazz included on ‘Jazz On The Corner 2’.
After that, like so many American jazzmen, he packed
his bags and headed to Europe to carry on his career,
which is where, in 1988 he recorded ‘Harlem’.
Acid Jazz are happy to officially reissue this album on
vinyl for the first time since its initial release, with full
co-operation of Rahim’s estate.

Tone B. Nimble hit us with a seemingly endless list of possible songs to license, and to that end we’re blessed to be able to offer a ‘bonus’ chapter of two in-demand University gospel choir cuts - Side One from Oral Roberts University (Tulsa, OK) and Side Two from Rutgers University (New Jersey). Original LPs are hard to come across, here Tone B. Nimble selects the best two tracks, re-mastered in DJ friendly 7" 45RPM format!

"Soul is My Salvation is a collection of dance friendly gospel songs. The mission is to simply uplift your spirit through music and word. Dancefloors around the world mirror the reactions of Churches from the 70’s and 80’s when experiencing these recordings" - Tone B. Nimble

The music on this full-length record by The Idealist, released on Höga Nord Rekords could work as a soundtrack for a Voodoo-horror-movie. It´s creepy acid-driven sound, often with a 303 as the centrepiece of the rhythm, is the kind that you´d expected to being chased in a maze of trees to.

Something threatening lies in The Idealists second release on the label. His Leftfield/techno is both a dark cold electronic adventure with metallic percussions, both a distorted image of a vengeful nature; a forest working as a single entity to find and feed on human souls.

Just like contemporary acts like Ramadanman and Appleblim, The Idealist contributes and develops a sophisticated yet primal branch of modern, uncompromising electronic music.

It's been already 10 years since the first DJ's Choice parties in basements and squatted social centers in Rome. Many things have changed, but the approach remains the same: using music as a form of expression and a means to affirm one's identity.

RM stands for "Rebel Music" (i.e., music by DJ's Choice founder The Rebel), but is also short for "Rome", a city represented in track one by the 'Jedi Master' of Roman hip hop: Danno, from the pioneering underground crew Colle Der Fomento.

Also performing on The Rebel's instrumental are New York hip hop duo The Good People in track two, ''Body Rockin''', remixed by another Italian hip hop legend, Ice One.

Rome and New York are two worlds, two styles, but two sides of the same coin. Our Rebel Music brings them together as if they were two stops on the same subway line.





e 05: Body Rockin' (Hip Hop Room Remix) feat. The Good People

2024 repress

Nina Kraviz releases for the first time a full solo EP on her own label . 'Pochuvstvui' and 'You Are Wrong' briefly appeared before on her stand-out 'fabric 91' mix in December 2016. 'You Are Wrong' is a new version written for the EP release.

This is a super-limited strictly 1000 copy one-off only edition pressed on white coloured vinyl of this in-demand Trees Speak classic debut album.
When the band Trees Speak, coming out of nowhere, released an exclusive one-off 100-pressing white label 45, described as CAN/NEU! meets LIQUID LIQUID, it sold out so quickly (in less than 30 min) that Soul Jazz Records decided to release their album almost immediately.
Soul Jazz Records rarely release new music but found the music of TREES SPEAK’s album ‘OHMS’ so stunning and to have so many elements of music that they admired that they felt compelled to release it.
The group Trees Speak are from Tucson, Arizona and create new music that sounds like GERMAN KRAUTROCK meets NO WAVE/POST-PUNK and PSYCH ROCK – music for fans of CLUSTER, TANGERINE DREAM, CAN, NEU!, SILVER APPLES and early KRAFTWERK.
The album ‘OHMS’ sounds at times like a tripped out & moody JOHN CARPENTER/GOBLIN/MORRICONE soundtrack that seamlessly segues into propulsive, ‘motorik’ Krautrock instrumentals loaded with fuzzy, hypnotic mellotron, synths and analogue effects, as well as elements of ART ENSEMBLE free jazz, and all at times reaching a kind of post-rave psychedelia. More recent comparisons would include BEAK and GHOST BOX who draw upon similar themes and styles.
Trees Speak are Daniel Martin Diaz and Damian Diaz plus musicians from the Tucson, Arizona scene such as Giant Sand, XIXA and James Hunter. ‘Trees Speak’ relates to the idea of future technologies storing information and data in Trees and plants – using them as hard drives – and the idea that Trees communicate collectively.

“ When I started working on the piece in March of 2020, I had only decided to record it in the way I wanted to. The coronavirus was spreading globally, and the situation was gradually changing into something very serious. With no gigs scheduled and hardly seeing anyone, I felt as if my spirit was in a slightly deeper place than usual during the production. I sat down in front of my equipment as if I were dropping a fishing line into a quiet lake. I kept feeling that something new was lurking beneath the water surface. I was trying to catch that something that seemed to be just out of reach, that floated in and out of sight like a speck of smoke. “ ＿Referenced from: Afterword of 7FO「Ran - Bouten」

2021 brings a new album by Osaka electronic musician / producer 7FO. This work is a departure from the recent global ambient / new age approach, and the unique sound aesthetic created using only hardware equipment is a new frontier of 7FO or a return to his origin. "Ran - Bouten" is a new electronic music album with a poetic sensibility using machines.Discovered by overseas labels such as RVNG intl., Bokeh Versions, and Metron-and with the release that followed EM Records in his hometown Osaka, it's like his personal folk craft that was once quietly played at his own pace. Music has reached listeners around the world. In recent years, he has been touring from a famous performance with Tapes at the Belgian "Meakusma Festival 2019" to a Japan-Korea tour. "Ran - Bouten" was born as a result of facing the sound alone without being asked by anyone to cool down the heat when the steaming and intense experience had settled down. Inside the cool electronic sound like a water bath, you can feel the maker's heart sending hot blood.Peep into the condensed universe of a home-recorded miniature world that looks like an independent production of unknown age. He was alone in a dark room, making full use of KAWAI's 1990 digital and FM synthesizers , tracing the shape of nature and resonating the micro and macro sound worlds. The Rhythm and melody that continues to the Paradise Pure Land, which floats in a dreamy atmosphere, is the true value of 7FO even without his guitar play.Mastering by Makoto Oshiro, which supports everything from home listening to club sound systems. Hiroaki Hidaka designed the jacket to make the image of the sound appear cool and friendly everywhere.

Das kanadische Ensemble BADBADNOTGOOD machte sich einen Namen als sie kurzerhand Jazz und HipHop miteinander verbanden - nun kehren sie mit ihrem Debüt auf XL Recordings zu ihren instrumentellen Anfängen zurück! Mit dem Talk Memory reflektieren sie die Geschichte und die Innovationen der Musiker und Komponisten, die sie auf dem Weg zum eigenen Sound beeinflussten. Die Band formte sich 2010 im Humber College Jazz Kurs in Toronto, das feste Trio-Line-Up mit Alexander Sowinski (Drums), Chester Hansen (Bass) und Leland Whitty (Gitarre und Holzbläser) existiert seit 2015. Für die drei ist ein Song ein lebender und atmender Organismus, der sich natürlich entwickelt und je nach Umgebung anders klingt. "Talk Memory" ist ein Album, das ganz in diesem Sinne entstanden ist und markiert auch einen Wechsel vom Ego hin zum Kollektiv, zur Balance und zur Harmonie. Es enthält musikalische Beiträge von Arthur Verocai, Karriem Riggins, Terrace Martin, Laraaji und der gefeierten Harfenistin Brandee Younger, die bereits mit Moses Sumney und Thundercat gearbeitet hat. Die Visuals entwarf Virgil Abloh mit seiner Designfirma Alaska-Alaska_äó, der auch das Albumcover gestaltet hat. "Talk Memory" ist ein Album, das betont, wie Musik als Konversation unabdingbar kollektiv und improvisiert sein muss. Es erinnert dabei an die typischen Momente einer Live Jazz- oder Soul-Show, in der der Frontmann jedes einzelne Bandmitglied vorstellt, um ihm/ihr den gebührenden Applaus zukommen zu lassen. Und so ist ein Album voller tiefer Zuneigung zur Musik und zur Community entstanden.

Doppel-LP im Gatefold-Cover, recyceltes & zufällig gefärbtes Doppel-Vinyl, Müllsack-Innenhüllen und ein Coupon zum kostenlosen digitalen Download. Als Aesop Rock in den späten 90er Jahren mit Music For Earthworms und Appleseed debütierte, war auch Blockhead mit von der Partie, nicht nur als Produzent, sondern auch, um den Verkauf der CDRs an hungrige Hip-Hop-Fans zu koordinieren. Blockhead und Aesop setzten ihre Zusammenarbeit fort und schufen dabei eine beeindruckende Liste von Songs, darunter zwei von Aesops beliebtesten Liedern bis heute: "Daylight" und "None Shall Pass". In den letzten Jahren hatte Blockhead bei vielen von Aesops Solo-Veröffentlichungen und Gruppenprojekten Produktionen und Remixe beigesteuert, und Aesop im Gegenzug eine Handvoll Features bei Blockheads Soloprojekten, aber in all dieser Zeit haben Aesop und Block nie ein komplettes Album zusammen gemacht - bis jetzt! Garbology entstand im Laufe der Pandemie und auch zu der Zeit, in der Aesop den Tod eines engen Freundes im Januar 2020 verarbeitete. Anfangs gab es weder einen Plan für ein Album, aber es dauerte nicht lange, bis aus einem Song ein paar wurden, und dann eine Handvoll, bis schließlich ein Album geboren wurde. Garbology fängt den Soundtrack der heutigen Zeit ein, eine Momentaufnahme von Aes und Block, die sich - inmitten von weniger sozialen Interaktionen als üblich - entertainen wollen, "verankert in einem Gulasch aus Hüttenkoller, Angst, Wut und Langeweile", wie Aesop es beschreibt. Was den Titel des Albums angeht, erklärt Aesop: "Garbologie ist definiert als die Untersuchung des von einer Gesellschaft weggeworfenen Materials, um zu erfahren, was es über soziale oder kulturelle Muster verrät. Ich sehe viele Parallelen zwischen diesem Begriff und der Idee, nach einem Verlust oder einer Zeit intensiver Unruhe die Scherben aufzusammeln und zu sehen, was wirklich da ist. Es sind Informationen, die etwas darüber aussagen, wer ich bin, wer wir sind und wie wir vorankommen. Außerdem: in alter, oft vernachlässigter Musik aus einer anderen Zeit zu wühlen und diese mit einem Ohr zu durchforsten, das darauf eingestellt ist, diese Daten auf eine andere Weise aufzunehmen, als der durchschnittliche Hörer_ das ist genau das, was Tony tut. Geh die Informationen durch und sieh, was du findest."

When Aesop Rock debuted in the late 90s with Music For Earthworms and Appleseed, Blockhead was also a part of the process, not only as a producer, but also helping coordinate sales of the CDRs to hungry Hip Hop fans. Blockhead and Aesop continued to collaborate, creating an impressive list of songs along the way, including two of Aesop's most popular songs to date; "Daylight" and "None Shall Pass". In recent years, Blockhead has contributed production, as well as remixes, to many of Aesop's solo releases and group projects, and Aesop has made a handful of guest features on Blockhead's solo projects, but in all that time, Aesop and Block had never done a full album together, until Garbology!

Garbology came together over the course of the pandemic, and encapsulates the soundtrack of current times. As Aesop explains, "Garbology is defined as the study of the material discarded by a society to learn what it reveals about social or cultural patterns. I find a lot of parallels between that and the idea of picking up the pieces after a loss or period of intense unrest, and seeing what’s really there. Furthermore - the idea of digging through old, often neglected music from another time — with an ear tuned for taking in that data in a different way than your average listener — is exactly what Blockhead does."

Following the success of the full Garbology album, it's only right to offer the instrumentals for further examination and repurposing efforts. Dive into the Garbology Instrumentals and see what you find.

Welcome to the world of Spöön Fazer!

This lost cold wave artist self-released a sought after 7” single in 1980 - Music 2 Dance 2 - and a 12” EP Sunset on Illuminated Records in 1982. In 2008 German label Anna Logue released an EP of unreleased songs that quickly sold out. Spöön featured on Cherry Reds Close To The Noise Floor compilation (2016) examining innovative U.K. electronica released between 1975 and 1984.

The music on these releases showcase Spöön's unique style that blended together art rock, drum machines, guitar, bass, washes of synthesisers and a compelling vocal style.
Spöön Fazer took to the stage over 30 times between 1980 and 1982 at venues ranging from the famous New Romantic haunt the Blitz Club to the Mind, Body and Spirit Festival at Olympia. He either appeared solo singing to pre-recorded music or with his backing band the In-Sect.

OM Swagger brings you a collection of material collated from Spööns personal tape archive. As well as tracks like Do Different Dances and Beat Dance Drumming that appeared on those hard to find recordings, we serve up unreleased tracks recorded between 1980 and 1982. Songs like Fall In Love With The East, Dancing In London, Samurai Dancing Party, Wish, Chan and Birthday show a more commercial side that never made it onto vinyl. These tracks are on a par with music released at the time by artists like Blancmange and John Foxx.

Aptly named Alternative Regression Therapy this 17-track compilation gives an insight into the lost world of Spöön Fazer detailing a career that started on a drum stool for punk band Whippets From Nowhere to a one-man crusade to enrich the cosmos with electronic music! Tracks like Michael, Row The Boat Ashore show that with the right backing Spöön might have
Continued over…
even hit the charts. Spöön even turned down the opportunity to become the drummer for the Thompson Twins just before they hit the big time.

It’s time to fall in love with Spöön Fazer.

With ‘Harmonizer’, his first album in two years, Ty Segall glides
smoothly into unexpected territory, right where he likes to find
himself. Responding to the challenge his new songs gave him: a
synth-tastic production redesign, Ty kicks back with bottom-heavy
creativity, dialling up a wealth of guitar and keyboard settings to do
the deed.
 ‘Harmonizer’ is a glossy, barely-precedented sound for him, and
truth, it enraptures the ear - but in Ty’s hands, the sound is also a
tool that allows him to cut through dense undergrowth, making for
some of his cleanest songs and starkest ideas to date.
‘Harmonizer’’s production model couches tightly-controlled beats
in thick keyboard textures, with direct-input guitar signal whining
and buzzing purposefully from left to right.
 The Freedom Band appear all over the record, but often one at a
time, their contributions leaving a distinctive footprint on the
proceedings wherever they appear. Operating in this airtight
environment with an eye towards precision, feel, and explosive
mass, Ty’s crafted a formidable listening encounter - and once you
get between the lines, the need to know more grows more
compelling with every song.
 The first recording to be released from Ty’s just-completed
Harmonizer Studios, ‘Harmonizer’ benefits from a collaboration
with Cooper Crain, who co-produced the album with Ty. The Venn
diagram of these guys unites them in DIY/punk dyed-in-thewooldom; Ty’s propers you know, but Cooper’s own unique
journey in rhythm, minimalism and DIY (as heard on his
productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the
depths around Ty’s peerless vocal attack and aid in the latest
chapter of his never-ending search for unfathomably corrosive
guitar sounds.
 Bursting with transcendent energy, ‘Harmonizer’ is an extension of
the classic style of ‘Emotional Mugger’ and ‘Sleeper’, revisiting the
lonely days and loathsome nights of the alienated, grown-upwrong soul, to make it all right in the end.