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"We entered the shadowy mouth of a new space, descending into a realm that precedes the underworld, the arcane, far from our time. We met beasts that gave us lessons about their language which we started learning without grammar."


'The animal world is a constant in the work of Milan improvisational duo Rosso Polare. If Cani Lenti was guided by the diaphanous birdsong integrated into their sparkling mix of folklore, ambiences and occasional humming, on Bocca D’ombra the themes go darker, textures are harder to pin down and the animal presence takes on new connotations.

Instead of an anonymous, patchworked outdoors we enter a cavernous space that invokes the collective unconscious with bestial and funereal undertones, as the animals take on the role of the psychopomps, ancient guides through the shadow realm.

The album is influenced by Timothy Morton’s Dark Ecology, a thinker who sees the constant exchange between the human and natural world as an ongoing dialogue, the two influencing each other, in a series of reverberating loops. This looping is also reflected in their compositions, where improvisations with traditional instruments like electric and acoustic guitars, monophonic synths, horns or flutes meet natural noise-making tools like branches, rocks or nuts that amount to lugubrious, often dissonant textures. Bocca D’ombra is built on a series of whispers, breaths, panting and rustling, creating a feeling of closeness sometimes verging on the claustrophobic, ingeniously set against sounds evoking space – fireworks crackling, crows echoing, church bells reverberating, indistinct cries from a children’s playground.

Distance and repetition are deeply ingrained in their own understanding of sound and their surroundings, becoming the building blocks of their practice. Just like Gregory Bateson in the ‘70s, the duo believes in a more romantic approach to ecology, seeking a porous border between self and environment, human and animal, internal monologue and external ambient hum.

If earlier releases were noisier and denser, Bocca D’ombra is tight and focused - every sound and melody is given room to breathe and develop on its own, enhancing the haunting, otherworldly aspect of the music. The result is heady, intoxicating mix which sublimates chaos into sparkling compositions of contemporary animism.'

The Belgian vibraphonist Guy Cabay has played with Toots Thielemans, Philip Caherine or Raoul Faisant. Composer, arranger, musicologist and singer, he also wrote and recorded two extraordinary albums in Liege Walloon. Tricatel is happy to make them available at last, 46 years after their publication.

"Gravity kills us. Perhaps that is the meaning of Adam's Fall. We are condemned to be Newton's apple, not the balloon carried away by the wind. But it happens nevertheless that, by the grace of music in particular, we escape gravity, that time escapes time, that another breath inflates our lungs, so much lighter than the one that usually suffocates us.

We don't take light music seriously, and that's good. Only serious music deserves to be treated so badly. Guy Cabay's music flows from a purer source and speaks to us in a more tender voice. One can obviously describe it as one labels export product. Origin: Belgium. Ingredients: jazz, bossa nova, tropicalism, song - proportions may vary. Calorific value: none.

Non-perishable product. But this would say as much about what this music really is as if, in. order to evoke what the foggy blue of a Norman sky inspires, one were to take note of the variations in the percentage of humidity in the atmosphere at Etretat and make a learned presentation on the laws of refraction.

Guy Cabay did pass through Brazil and still lives there a little, a Brazil that is not the one ofcartographers or travel agencies, a Brazil that is as real as the Far West in which Fenimore Cooper's child readers lived, as blurred and limpid as a dream. It is not the Amazon thatflows through this Brazil, but the Ourthe, a tributary of the Meuse, which makes it morefamiliar, stranger and even more poetic.

To let oneself be bathed in this melancholichappiness, to let oneself be carried by this river is sweet, as sweet as the fluid consonants of the Walloon language, this 'd' which becomes 'dj' in his mouth, as in Portuguese, by the way. To know how to create melodies that hold on a note like Jobim's samba, like a fildeferist above a waterfall of chords, is not given to everyone. It is a gift. Knowing how to lace others on dozens of points, as on Tot a-fet rote cou d'zeur cou d'zos, a poignant encounter between Randy Newman and Robert Wyatt, is another. These are not the only ones that the fairies offered to Guy Cabay and that, by an almost miracle, he offers us again today. Hearts up."

Bertrand Burgalat

Returning to Lisbon’s Light Channel Recordings, DJ Silver mines the rich seam of techno’s late-century flourishing into diverse forms – from stern 4/4 to reflective electro to gorgeous, cinematic ambient. ‘P World’ takes (and merits) the whole A-side: what starts as an unadorned piano solo unfurls into a mélange of sunburnt synth washes and hazy arpeggios, as if Detroit Escalator Co. went to the beach for a day. On the B, ‘Cell’ takes us on a nostalgic flight through Incunabula-era electro, here with a remarkable melodic lead line, while ‘Future Domination’ sheds the introspection and drops us straight into the ritual pressure of a packed techno floor. It’s a timely reminder that, even during a time of confinement, music can transport us to far-flung places.

DONNA SUMMER gained prominence during the 1970s disco
era, propelled by her incessant and creative driving force
behind the genre’s global popularity, rightly earning the title
“Queen Of Disco” and becoming one of the most
successful recording artists of the entire decade, now
having sold more than 130 Million records worldwide

Donna’s ‘80s close-out album was 1989’s ‘ANOTHER PLACE AND TIME’, which paired her with multi-hit making,
multi-million-selling UK producers Stock Aitken Waterman. The album is widely regarded as the best album they
produced, and which was heavily featured in the recent two-part TV documentary Stock Aitken Waterman:
Legends of Pop.
• The album’s lead single ‘This Time I Know It’s For Real’ was an uplifting, club floorfiller and radio-friendly hit,
peaking at #3 in the UK (#7 on the US Billboard Hot 100), giving Donna her highest charting solo single for more
than a decade.
• Four further singles were released from the album including the two Top 20 hits, ‘I Don’t Wanna Get Hurt’ and
‘Love’s About To Change My Heart’, giving Donna back-to-back UK Top 10 hits for the first time since 1977, as
well as remixed versions of ‘When Love Takes Over You’ and ‘Breakaway’.
• This special Picture Disc edition has a zoetrope effect on Side 2 that incorporates elements from the ‘This Time I
Know It’s For Real’ promo video and which gives a continuous dancing effect. It is best experienced using a
smartphone running a third party stroboscope app.

Bingo Club demands no rules for entry. Everyone knows your name. The hours are endless and the dress code remains
unspoken.
Martin Rousselot opened the doors to the Bingo Club at the dawn of the 2020's. Joined by Neysa Barnett, Vassili
Yatchinovsky, Marie-Paule Bargès and Emile Larroche, Bingo Club puts down its signature sound-stamp and juggles with
styles of different kinds; if five songs throb to the clank-clank of New York trains, five more drift lazily like Marseille's sailspotted waves.
Group signifiers and visual tropes are reduced to a molten wash of melodies and images that, whether heard or seen, unite
kindred spirits.
Whether as a duo or as a soloist, in English or in French, a warm mix of soothing voices is blanketed by soft rock
instrumentation. The videos are filmed with an analogue camera across the four corners of the globe.
A first EP, "Separated," released in 2020, sees a collaboration with Al Carson (Weyes Blood, Ariel Pink, Jessica Pratt...). In
2021 the single "Someday," featuring Annie Lime & Jonas San, comes out. In 2022, Bingo Club presents its debut album «
Better Lucky Than Beautiful », produced and mixed in Paris at Studio CBE by David Mestre (Sebastien Tellier, Chassol, ...).
The album is a collection of ten songs, written in different times and places, like a musical travel diary or sound-postcards.

Formed in 2016 by transatlantic buds Nick Mitchell Maiato and James
Toth, One Eleven Heavy is a band designed as a Venn diagram of the
pair's shared musical loves Crazy Horse, Grateful Dead, and Dylan come to the fore when listening to their joyful third album, Poolside, but the influences go much deeper.

Toth says, We were lucky to have our touring drummer, Jake Morris (Stephen Malkmus & The Jicks) at the ready to play drums. Nick's pal, the fantastic Guy Fowler, plays bass on the record.

Guided by mysterious producer Colin Sick, One Eleven Heavy spent
a year writing and recording the tracks that form Poolside, an album that feels like a gothic western romp through cartoon dreams of escaped criminal ciphers ( Tyrant King ), rebound coke binge recollections ( Rizzo In The Wig ), and tales of sasquatches crossing state lines ( Bama Yeti ).

Nashville soul singer DWAYNE SCIVALLY has certainly made his mark over the past couple of years; only to be expected really as he possesses the smoothest of baritone voices. This was as a result of two sell out vinyl LPs, composed, arranged and produced by French music maestro THOMAS GEE.

IZIPHO SOUL have licensed our hot picks; one track from each LP - the infectious groove of LET ME SO as featured on SOUL CHAPTER II and the enticing IS IT ME from THE SOUL OF NASHVILLE.

If you missed out on the LP, or simply want one handy little 7”, then don’t sleep as demand is expected to be high on these instant winners with listening longevity.

Powerful downtempo ballad with heavy emotions from Louisiana based guitarist Chris McCaa.

Originally released as a 7” promo oriented record in 1983, the band had hopes of it leading to bigger projects but most of the pressing probably ended up in someone's basement with very few copies available online. 40 years later, “If I Had To Say Goodbye” is back again to bless your ears at the ending sets of special dancefloors.

Featuring a sound that is highly reminiscent Chris Rea's aesthetic, both in terms of vocal and guitar use, yet still breaking new ground in the power ballad department. Now in 12” 45rpm format with an extended edit by Castro on the B-side, remastered at Berlin's finest manmade mastering.

The illustrious, London-based duo Kit Sebastian, aka Kit Martin and Merve Erdem, return with a limited edition 7” single. It features ’L’addio’, a breakbeat driven, sultry ballad, and ‘Hayat’, a hazy, psychedelic scorcher that delves into the band’s Turkish and Azerbaijan influences.

‘L’addio’ saw the band perfecting their production and orchestration, with strings, horns and double bass, and an Italian synth found in a French dump. The music was greatly influenced by Italian soundtracks and Italian female singers, such as Mina or Rita Pavone. The track announces itself with a break that is guaranteed to get samplers twitching. The tone of the melody and lyrics is heartfelt and aching. It has a beautiful, intimate sadness like the closing scenes to a love affair, and it exquisitely rides over the slow, psych-funk-dramatic backing track. The lyrics are inspired by a flat opposite Merve's window that's occupied by drug addicts, with many guests coming in and out every night. Merve elaborated “Being both neighbours and strangers, and with the boredom of a post-tour everyday domestic life and a pinch of urban voyeurism, it was hard not to wonder what was happening in that flat. The words imagine an addict before her/his golden shot as if it's a love relationship between them that comes to an end.”

Having spent much of 2022 touring and writing, ‘Hayat’ was the first original composition the band recorded since their October 2021 album, ‘Melodi’. Here we see them weaving a psychedelic tapestry of Mugham melodies, organ-driven grooves, and jazz-pop harmonies in classic Kit Sebastian fashion. Recorded to Fostex 1/4” tape, the essence of the production is perfectly balanced between being brand new and retro, which is a feat very hard to pull off.

‘Hayat’ is sung in Turkish and the title translates as ‘Life’ in English. The song examines our desire to find one's place in the world and the provisionality of existence. Merve's searching lyrics ask “Where are you? Where is the universe?”. Her vocal delivery perfectly reflects the lyrical focus, its texture is probing and ethereal, almost as if sung from looking above us.

Nigeria is known as ‘The Giant of Africa’. It’s the most populated country in Africa with more then 250 ethnic groups and many different languages and dialects that gives to the country a rich diversity. This diversity also affects music which plays an important role in every aspect of social life. We, at DTW’s stable are happy to announce the reissue of “Narg Funk Machine” an explosive nigerian “black beat” disco originally released on Coconut in 1979. If you are looking for something weird here you’ve found it. Basically these four tracks are well represents the tangle of richness of nigerian music in this period, They are a melting pot of styles and sounds , where afrobeat, funk, highlife, juju, and psych rock are mixed all together in a cozy and captivating sound. Ready to bring some warmth and hypnotic sound to the dancefloor around the world.

To need, to be needed, in four corners. Sleep and privacy, gases come and gases go, and now you are the only one in the room you sit in, you are one with the room you sit in, as if there are no negatives and no positives--did you know that you are an extension of your apartment? Did you know that you are in a codependent relationship with your apartment? Did you know that your apartment knows and appreciates all of your secrets?--I feel safe, which is not a new need for human beings, but a very ancient one, almost the first one. It is enacted by the possibility of sound, humming or strumming something mostly. But the quiet apartment makes its own sounds: a single longing note of birdsong told to the beat of restful breathing, the angelic insistence of tinnitus, the neighbours. Sometimes I wonder if silence means nobody's home. How still I sit. Sometimes I return to silence and feel hugged by the cool lightness of its touch, like sleeping with just a sheet in summertime. Like turning the key. Like a visit from the cat next door. Like a somnambulant ray reaching across the room, asking if you'd like to step outside. Reste Envie is a desirous message to oneself, made from a place of lived solitude: the parameters of home. Roger 3000 is a painter and a musician from Brussels, Belgium. Rest En Vie follows his 2020 release on his own imprint Tundra Records, Fiftine. His first solo EP, UFO Love Letters, was released by JJ Funhouse in 2014, followed by a contribution to Ekster's 2017 compilation album EXO3. Roger 3000 frequently collaborates with other musicians and artists, most recently with Lawrence le Doux (with whom he released the EP Chou Chou on Lexi Disques in 2021); with Carole Louis as Ondine & Turbotin for the EP Club Solitude, as well as with Bitsy Knox, with whom he released the LP OM COLD BLOOD in 2018 on Tanuki Records. Text by Bitsy Knox

Brandee Younger will release her second album on Impulse! Records, ‘Brand New Life’. Younger is quite often noted for standing on the shoulders of the very women who ushered in the harp as a clear and distinct voice in jazz: Dorothy Ashby. This record is an amalgamation of original pieces from Brandee and select reinterpretations of Ashby’s work. Brandee Younger represents a generation of contemporary improvisational musicians who came of age in an era when hip hop commanded a strong presence in American popular culture and emerged as leaders of a new school. In ‘Brand New Life’, she brings progressive explorations of harmony, rhythm, and melody infused with styles from hip hop, rock and pop music.