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1862, 13 years after the Great Famine. An English Nightingale Nurse Lib Wright (Florence Pugh) is called to the Irish Midlands by a devout community to conduct a 15-day examination over one of their own. Anna O’Donnell (Kíla Lord Cassidy) is an 11-year-old girl who claims not to have eaten for four months, surviving miraculously on “manna from heaven”. As Anna's health rapidly deteriorates, Lib is determined to unearth the truth, challenging the faith of a community that would prefer to stay believing. Matthew Herbert is an award-winning composer. His artistic works extend from celebrated albums (Bodily Functions, One Pig) to scores for Oscar winning films (A Fantastic Woman, The Cave), including music for theatre, TV, video games, books, Broadway shows and art installations. He has performed as a DJ, as a solo artist, in venues from the Sydney Opera House to the Hollywood Bowl. He has remixed iconic artists including Quincy Jones, Serge Gainsbourg and Ennio Morricone; and collaborated regularly with acts from Björk to Dizzee Rascal.

Bongo Joe Records is pleased to announce the release of Yalla Miku's debut album. It is a new way of combining African, European, electronic, acoustic and electric music and cultures. The project was launched by Cyril Cyril duo, then joined by Simone Aubert and Vincent Bertholet from Hyperculte and three musicians with migrant backgrounds: the Moroccan Anouar Baouna, the Eritrean Samuel Ades and the Algerian Ali Bouchaki.

For its initiators, the idea was not to appropriate a non-European heritage and to interpret it in the company of musicians from these countries. They opted for a more radical approach: to propose a base of compositions on which the migrant musicians then worked with their instruments, which range from the derbouka to the guembri via the krar, the Eritrean lyre.

The album, nourished by these stage performances, was recorded in autumn 2021. The result is full of vibrations, unusual sounds and life experiences. Sung in Arabic, Tigrigna and French, the lyrics glide over throbbing rhythms, borrowing from gnawa, krautrock and electro trance. Their eponymous debut album sounds like a call to travel beyond the barriers of sound, a call to a horizon without a visa.

Toots Thielemans was a jazz harmonica virtuoso from Belgium. Together with pianist Karel Boehlee, bassplayer Hein Van De Geyn and Hans van Oosterhout on drums Toots recorded, as the European Quartet, the album 90 in
2012. The album features two compositions from Antonio Carlos Jobim, “Wave” and “One Note Samba”, “Dat Mistige Rooie Beest” from Rogier van Otterloo, “In Your Own Sweet Way” from Dave Brubeck and 7 more tracks.

90 is available as a limited edition of 500 individually numbered copies on white coloured vinyl.

Red Vinyl

ASSASSINS did what many bands do: they grabbed a moment out of the air and slammed it onto tape machines and hard drives with relentlessness, cunning, and an attitude.
It was in Chicago, mid 2000’s, and though there was energy in the music scene, it wasn’t coalescing into anything you could use as a heading in the musical encyclopedia. Drag City, Thrill Jockey, Bloodshot, Tortoise, Andrew Bird, 90 Day Men – amazing labels and bands, but discrete and siloed and separated by boundaries that weren’t very real.
In the midst of that complicated morass, ASSASSINS generated a collection of songs that became the album YOU WILL CHANGED US. And it did.
There was confidence built into the fabric of the project: 5 members, 2 singers, massive synced video walls and samples streaming from laptops swirling in three dimensions around the stage. They could go from subtle atmospheric moments to a gargantuan wall of sound instantly. It was hard to do- months in cold practice rooms troubleshooting sections of songs or reworking synthesizer patches put the band through a self-imposed boot camp. And it brought them together as a sort of hive-mind focused on one thing: that these songs could connect. They could cut through the noise and share a state of mind with other human beings.
And it worked. Those early shows were mind bending. It was fun, loud, drunken, and rewarding- that time together, before the record deal, before the tragic let down of being traded and gobbled up by the major label system. The years after that got more difficult, more complicated, more human.
Leading us here: the musical journey of the Assassins has ended. With the up-coming release of their second and final album THE YEAR THAT NEVER CAME, we finally get to hear, and feel, the final statements of their inspiring chemistry.
In July of 2021, founding member, songwriter and singer Joe Cassidy unexpectedly passed away. THE YEAR THAT NEVER CAME is the culmination and end point of a collaboration that started in the early 2000’s with a chance meeting and excited conversation with Aaron Miller at a gig in Chicago. Quickly joined by David Golitko on keyboards, Merritt Lear on vocals and guitar, and Alex Kemp on bass.
It was Miller who saw Joe Cassidy’s song writing in a new context. Cassidy had been known for his beautiful, post- pop inflected BUTTERFLY CHILD, a thoughtful, regal project where Joe’s emotions could soar. Miller saw a different context for that voice- not dreamy, but immediate, not just hopeful, but demanding. He took Joe’s open hand and suggested that it could be a fist, raised in the air, with a crowd of other people doing the same.
At the time of his death legendary composer and songwriter Jimmy Webb (who wrote such hits as ‘Wichita Lineman and MacArthur Park) said Joe ‘was a creative and generous producer but, more importantly, he was a creative and generous friend.’
With the release of THE YEAR THAT NEVER CAME, this band, this relentless creative force, has to finally relent. No one in the band could see a future ASSASSINS that doesn’t include Cassidy. So in one last act of will, for the love of their friend, they did the rigorous work of finishing the songs that they had started together for the second album.
Assassin’s obsession with the notion of time, from YOU WILL CHANGED US to THE YEAR THAT NEVER CAME, flows from the most natural question we all have to ask ourselves: what do I do now? Because: how we react today to life’s unpredictability - that is the tomorrow we build for ourselves.

The “Heaven” EP features producer-extraordinaire Leonard Charles at the helm, collaborating with prodigious artists from New Zealand (his home country) and the USA, to create an wildly eclectic E.P. project with the common underlying thread of basement funk knitting it together. This presentation of funk is truly a legitimate foundation for the heads that need it: built upon solid soul/jazz chord progressions and played on original musical equipment/gear from the 80’s and 90’s. The record features an exclusive remix of the song “Nine Lives” that he co-wrote with boogie/funk legend Leroy Burgess, and additionally features stellar collaborations with Guilty Simpson, Zyah Belle, Reality Jonez and A.C. Freezy. Jeremy ‘Leonard Charles’ Toy is a producer / artist / musician from Auckland New Zealand who has played on records for Mark De Clive Lowe, Recloose, Julien Dyne and Ladyhawke. He has performed music with Randy Crawford, Hugh Masakela, Kimbra, Maynard Ferguson, Ronald LaPread (the Commodores) and has collaborated with Grandmaster Caz, Guilty Simpson (The Leonard Simpson Duo), Georgia-Anne Muldrow, Dudley Perkins and Wildchild. He has released music on his own imprint, From The Crate Records and Jakarta Records, Hit + Run, Wonderful Noise, Hobo Camp and now CQQL Records.

The next album release on Goldie's fast-rising, boutique label Fallen Tree 1Hundred, The Day Out of Time by The Degrees is the Acid Jazz/Soul and Trip Hop long-player from drum and bass man of the moment Break, alsongside singer songwriter isha Campbell, heavily inspired by their home town of Bristol.

The album follows a year of lead-in singles nicely supported by Mary Anne Hobbs, Huey Morgan on BBC Radio 6Music, Mi-Soul, Solar and playlisted on the legendary Jazz FM.

Apparel Music Review:

Perhaps it's nostalgia for that wonderful time when making music was more challenging, at times laborious, and the more tiring was the process that led to the creation the more the final product acquired value, but this album brings you back to those times, without sounding outdated.

We know how much work goes into a record of this kind and, even if today's music world runs fast, presenting hundreds of thousands of releases a day, it is important to remember that records can still be timeless. Well, this is the first thing I thought while listening to this LP for the first time: it is timeless. It sounding ageless is perhaps ascribable to the fact that it recalls that famous sound coming from South-West England in the late 90s/early 00 but, having that musical wave had such an impact and therefore created a sonic standard, it can easily be revived and revisited in a current key without sounding obsolete. In addition, this album is full of different influences coming from R&B, Soul, Hip-Hop which, over the years, have grown and developed to become the daily bread of many listeners who have refined their taste with time, and can now perfectly incorporate the multiple sound stimuli coming from it, as 'The Day Out Of Time' satisfies every type of taste

The endlessly prolific and unpredictable Richard Youngs returns to Black Truffle with Modern Sorrow. As any Youngs fan knows, one of the great pleasures of following his career comes from not being able to predict what the next entry in his inexhaustible string of releases will bring: Unaccompanied voice? Country songs? Shakuhachi? Guitar pieces played with his feet? Shredding fuzz bass over the top of hyper-speed distorted drum machine beats? Continuing in the grand Youngs tradition of exploring new techniques, instrumentation and approaches while bringing to all of them his idiosyncratic touch, Modern Sorrow serves up two sides of twistedly elegiac, radically stark takes on contemporary pop production. The side-long title track is built from a piano sample, synthetic bass notes and organ swells, and an iterative blurt that seems to have wandered out of a 90s jungle track. Eventually joined by a shuffling drum machine, the track moves very slowly through a series of chords, each delayed long enough that its arrival comes as a major event. Over the top, Youngs’ heavily pitch-corrected voice is heard. The processing paints his signature wandering melodic improvisations with shades of contemporary R&B; at the same time, it cuts the natural swoops and glides of Youngs’ melodies into rapid microtonal trills, giving his voice a quavering, middle eastern feel. Unfolding languorously over more than 17 minutes, the piece’s final minutes make room for an extended drumless coda, returning to the stark palette of its opening moments. On the second side, the two parts of ‘Benevolence’ push this minimalism ever further, its first half consisting of nothing more than a remarkably slow drum machine hit, bass-heavy chords and pitch-corrected voice, here so heavily processed that it starts to resemble a shawn solo. In its second part, the harmonic foundation drops out from under the piece while two more voices join; at some moments the voices pause, leaving nothing more than isolated, metronomic drum hits. Though Youngs has explored the sound worlds associated with dance music and contemporary pop in previous work, here these elements are radically reduced, foregrounding a meditative bed of silence with a boldness equal to any more academically inclined contemporary composer. Embracing the accessible digital tools of contemporary music production just as at another moment he would pick up a kazoo, like much of Youngs’ work Modern Sorrow uses simple DIY tools to generous ends, producing formally radical music that remains both free from pretension and deeply moving.

Rootz Lions Band share the love for conscious roots reggae music & are dreadicated to taking the music forward in these times.

Bassplayer Carlos Silva is the founding member of the band. In 2016 he gathered some of the Dutch reggae scene's most experienced musicians, each of them having previously played with top local and international artists - most recently the band have performed with Army, Prince Jamo, Donovan Kingjay, Black Omolo, Iyiapo Tafari, Chezidek and more.

MLK is a singer from Sierra Leone, based in the Netherlands. He performs regularly live with bands and in 2018 released the acclaimed LP 'The World Is In Trouble' with The Breadwinners on the Bionic Dread label.

King Cooper (AKA King Kooper in the Jazz world) from Amsterdam has a long & fascinating career, playing reggae, jazz, funk & soul with the likes of Doe Maar, Sister Sledge, Coopertest & many, many more... proving himself as one the world's top saxophonists.

Hornsman Coyote from Belgrade, Serbia is one of the leading Trombonists in the modern reggae scene and works regularly with top producers & labels internationally, such as, Lee Perry, House Of Riddim, Rolling Lion, Jah Works, Earth Works, Jerry Lions to name but a few. His career started as the front-man for Belgrade Hard-Rock-reggae crossover band, Eyesburn & is a singer songwriter in his own right with a huge catalogue from over 20 years of continued performance & recording.

Plunder was recorded and mixed at Earth Works Studio, Amsterdam

Now available at a new lower price. Pressed On Opaque Yellow Vinyl With Japanese Stylized Insert And Deluxe Obi Strip. Remastered From The Original Analog Tapes. The first live Miles Davis electric band release since 1977’s very dark and heavy Dark Magus. The album features live performances from shows at Boston’s Kix Club. The double vinyl release contains reimagined versions of songs from The Man With the Horn (1981), tunes from the pre-electric Gil Evans collaboration Porgy and Bess (1959), and a dedication to the Boston venue called Kix. While this was one of the first live Miles Davis performances in over half a decade it certainly did not show!!! This album features R&B legend Marcus Miller on bass, Mike Stern on guitar, Bill Evans on saxophone, Mino Cinelu on percussion, and electric band alumni Al Foster on drums. Produced and edited by long time Miles collaborator Teo Macero

Concerto Pour Détraqués" was ranked 52nd best French rock album by Rolling Stones magazine in 2010.

Eleven tracks like so many vitriolic pictures of a sick society: rape, extreme right-wing, psychiatric confinement, security paranoia, alcoholism and all the other crap that the future seems to hold. Loran and François express more than ever their rage and their refusal of the adult world in a recital with three chords: more aggressive guitars, more incisive lyrics and voices while an armada of chorus members and a saxophone come to heckle or underline this darkness.

"Concerto Pour Détraqués" is the band's reference album, with a string of hymns to insubordination and freedom: Petit Agité, Vivre Libre ou Mourir, Les Rebelles, Porcherie, Hélène et le Sang...

The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

- 2023 Edition - Pressed on Clear Red Wax - LP housed in an expanded Stoughton tip-on gatefold jacket - Includes fold-out poster, sticker and insert, along with a download card for full album, non-album single B-side "The Cowboy Song" and an unedited October 1978 BBC audio interview with John Lydon // Reissue of the pioneering group's debut album First Issue. In 1976 Johnny Rotten and the Sex Pistols set the agenda for punk's year zero with 'Anarchy In The UK', a song that summed up the spirit, sound and attitude of the band in one shocking package. Two years later, the Sex Pistols were in tatters, but Rotten was as unsentimental as you'd hope. He reverted to his real name - John Lydon - and set about forming a band whose very identity kicked against press and media manipulation. Featuring bassist Jah Wobble, drummer Jim Walker and guitarist Keith Levene, his new group were Public Image Limited. The public image would be limited. PiL were a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a more experimental sound fusing rock, dance, folk, ballet, pop and dub. But that's not to say Lydon's new outfit lacked vitriol. 'Public Image' hits out against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols public image - "You only saw me for the clothes I wore". The debut single (and the album that followed) operated as a theme song and a manifesto: "_my entrance/My own creation/My grand finale/My goodbye," as the lyrics had it. It is, essentially, the sound of four people letting loose in a studio - and not caring what anyone else thought. The album was never officially released in the USA back in the day, its sound considered too un-commercial by major-labels for an American release. First Issue has been lovingly reproduced from the original UK 1978 release and this special reissue also comes with a clutch of post-punk era treasures. The 2023 LP edition includes an expanded gatefold jacket, an archive replica fold-out poster, a PiL sticker, insert, and Download Card for the album, the archival BBC interview, and "The Cowboy Song." All of which were approved and coordinated with John Lydon and his personal management.

There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that_they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé_who were already one of Colombia's most prominent alternative acts_have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooko_a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente_and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of sound systems around the globe.

Star Funeral is the full-band solo project of Nikki Es- posito. Stepping into the spot light from behind the bass in Secret Tapes, Esposito adds guitar and lead vocals to her list of duties while drums are handled by Ethan Kreidemaker. Sonically, Star Funeral walks a fine line between pleasant and somber tones- dreamy guitars splash through plodding bass and drums with Esposi- to’s vocals driving them forward through a flurry of aching longing and regret. This is indie rock at its finest and Star Funeral feel set to be a standard bearer for a long time. “In the Dark” came together in 2020 after urging from close friends and producer Billy Mannino (Bigger Better Sun, Oso Oso). Singer/multi-instrumentalist Nikki Es- posito built this solo project from the ground up, per- forming all instruments alongside Ethan Kreidemaker’s studio percussion. It’s a lightning bolt of intensity and harrowing growth set to honor and expand upon her primary influences, a flash of self-understanding while re-entering a lightless era. Star Funeral’s debut is a potent discovery of new ways to shoulder old wounds, such as the murmurs of body dysmorphia trailing be- hind double-jaw surgery (“Mouth Bleeder”), the lack of closure in lost friendships (“Outgrow”), and the anxiety of letting others in after these hurdles (“Breather”).

Steve Gunn and David Moore’s Let the Moon be a Planet is a volume of improvisatory exchanges between classical guitar and piano, and a meeting place where two artists become acquainted through instrumental dialogue without a single expectation distracting them from the joy and open field possibility of collaboration.
A project enveloped by an aura of reciprocity, Let the Moon Be a Planet unfolded from an invitation to connect between two New York-based musicians who admired each other’s work but had never intersected: guitarist and songwriter Steve Gunn, whose solo, duo, and ensemble recordings represent milestones of contemporary guitar- guided material, and pianist and composer David Moore, acclaimed for his minimalist ensemble music as the leader of Bing & Ruth.
The exchange began remotely as Gunn and Moore responded to one another’s solo improvisations, embarking on a synergistic progression of deep listening and connection through musical conversation. “We were both fans of each other’s music and this was a chance to try a different process which was much more open,” says Moore. “It felt like something I needed personally as an artist, to not be so controlling over the final output, and to truly collaborate with somebody else.”
Similarly for Gunn, who was exploring new pastures and passages in classical guitar when the dialogue began, the project was an invitation for pure conversation and exchange, creating space for him to revisit foundational forms with his playing: “I was trying to break out of what I was doing, to have something that just pulled away all the elements of usual structured things.”
Let the Moon Be a Planet intertwines the trajectories of two musicians acclaimed for pushing the boundaries of their instruments, unified by a shift away from what they recall as more “detail- oriented” approaches to composition. Fueled by the magnetism of their call and response exercise, Gunn and Moore set out on a nomadic songwriting venture without an intended destination.
“We didn’t know it was going to be an album,” Gunn explains. “There was never pressure on us to complete or make something. It was interesting to start realizing that this could be an album and to take a step back... to arrive at a project after the fact.”

Nowadays Records has never lost its taste for compilations. And after having released dozens of them to date, the label is planning to release new ones for the occasion, directly from the Club Nowadays' aerial nights, where artists from different scenes, lesser-known heads and label figures are mixed together, always with this key word: openness.

More than just a name for a party or a compilation, Club Nowadays is also becoming a real artists' collective.

On the 1st compilation "Club Nowadays, Vol. 1" released in June 2022, we found house and techno sounds in the Nowadays style by the artists Chien Méchant, Grand Soleil, La Fine Equipe, Fulgeance, Trifouille1er, Ténéré and Vect (who also signed the whole visual DA of the project).

Nowadays is back with "Club Nowadays, Vol. 2", with other artists such as Phantom Traffic, Le Bag, Jeff The Fool,... In a word, Nowadays gives us its definition of club music. It may not be universal, but it is unique and inseparable from the label's image.

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release.
With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra).
Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future.
Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s.
The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.
If in 2020 you are missing the hallucinogenic content in Eden Ahbez, it amazingly makes up for that deficiency with simple chords, expansive arrangements, and lyrics about travel, relaxation, free love, and spirituality. Thus creating the standard of psychedelic music. Eden Ahbez’s songs weren’t only fantasy and his personal philosophy was the real thing that he lived.

reviews:

“This carefully and extensively researched compilation culls covers by top notch mainstream artists juxtaposed with unreleased Eden recordings. What might sound like a mixed bag is actually more like a chronological, musical non-fiction novel about Eden Ahbez. While Eden was writing hundreds of songs and performing live and making recordings in various styles, his songs were also being picked up by popular artists like Nat King Cole and Eartha Kitt who recorded with a more polished mainstream style. There are also some early rock n roll style recordings here. Eden’s professionally recordings often end up as Novelty Pop records such as “Child of Nature” and “The Clam Man” but if you read between the lines and listen to the lyrics it is pretty eye-opening that he is singing about Eastern-religion-style and pre-hippie philosophies about being at one with the planet Earth.
All of this is explained in the lengthy liner notes inside the lp along with a few choice photos that establish Eden as a founding father of Southern California mystic/psychedelic music.” – Tiki_News
“Eden Ahbez’s life philosophy was summed up in the lyrics of his most famous song, “Nature Boy,” a 1948 hit for Nat King Cole: the song describes a “strange enchanted boy” who wanders the world in search of truth. “The greatest thing you’ll ever learn,” he concludes, “is to love and be loved in return.” Ahbez was a pre-cursor of California’s beatniks and hippies, and an exalted icon of ex-otica via his rare 1960 album Eden’s Island. Beyond “Nature Boy” and Eden’s Island, though, there were nu-merous lesser-known Ahbez record-ings. Ahbez biographer Brian Chidester has been doing an exemplary job of archiving and documenting that catalog of work. The Exotic World of Eden Ahbez (reviewed in UT#38) appeared a few years ago, gathering together 14 Ahbez-related rarities” – Ugly Things

Tape Runs Out's debut album, Floodhead On 180GSM, River Green Vinyl, with beautiful matt varnish artwork, Green vinyl strictly limited run of 350 ,. Floodhead is an exploratory sonic journey from the mind and soul of long-time band leader, Liam Goodrum-Bell (guitar, vocals). Tape Runs Out’s experimental sound comes in part from their excellent array of instrumentation - the band members bring violin (Clare Myerscough) and the hammered dulcimer (Ellie Winter), as well as bass (Takeshi Kanemoto) and drums (Laurence Moore). Recorded and produced by Liam and Dan Dawson (band’s guitarist) at Dan’s home studio over the course of a year, the album thrives off experimenting with different textures and sounds, with each song seeking to be its own microcosm of creativity, delivering its unique part within the whole. The painstaking detail and time spent by Liam and Dan between the initial recording session during the summers of 2021 and 2022 has resulted in an incredible production, and one that takes the listener through the Tape Runs Out universe. The first single from Floodhead, Souvenir made God is in the TV's track of the week and was heaped praise on by Steve Lamacq on his BBC 6 Music afternoon show and new music fix.

Originally put together by a couple of Belgian Joy Division experts to celebrate the 25th anniversary of the sadly missed Ian Curtis-and the year that the Ian Curtis Movie began to be made. Now the movie is out to much critical acclaim. This album contains extremely rare audio interviews with all members of Joy Division - some of which have never seen the light of day before plus spoken word contribution on one number from Martin Hannett and a rare Martin Hannett interview. The interview sections are interspersed with superb live performances from various venues through the career of the band including rarities from Dutch and Belgian concert performances and a couple of rare alternative studio outtakes. The gatefold sleeve contains lots of Joy Division images and a detailed biographical article on the band.

Circassian-Turkish Producer Sine Buyuka debuts new solo project Sinemis with lush, graceful album ‘Dua’, gently combining the ancestral Sufi music of her homeland with sophisticated techno-inflected ambient. Dua’s life began with a life-threatening illness. “I started feeling unwell last year and no one could figure out the reason,” Sine writes. “It was a scary time, not knowing and trying to manage symptoms while they slowly worsened. In late 2021, while I was visiting my family in Turkey during the Christmas break, I was taken into A&E. After more tests, I had a diagnosis and had surgery in January.” Following this, within the healing process - highly emotional as well as physical - Sine was drawn to the traditional Sufi music of Turkey and the Middle East. Ritualistic music to accompany ancient sema ceremonies, in which whirling dervishes enter a transcendental consciousness through ecstatic movement and repetition. With this influence at heart, Sine began work on ‘Dua’, with a newly-formed artist name to signify new, unfamiliar music from a celebrated electronic producer. For her, the album marks a significant step in her recovery. But it is also a potent marriage of contemporary and ancestral trancestates, interweaving sci-fi synthesis and floor shaking bass tones with mystic imagery, textures and timbres. A meditative, spiritual balm that melds field recordings, found sounds, ambient soundscapes, electronics and acoustic instrumentation to celebrate life and survival in challenging circumstances. The breathy, cinematic tones of album opener ‘Dua’ hover and shiver in preparatory stasis as broken-machine punctuation begins to dot rhythmically through the space. A yearning, repeated vocal sample - a living, beating heart inside the machine - characterises a crucial theme for the album: the marriage of digital instrumentation with the analogue, the human and the organic. Later, ‘Elegy’ reflects its title with heartbreaking chordal shifts and glitching birdsong, conjuring a sound world somewhere between KMRU and Max Richter. Key track ‘Gazel’ moves in glacial slo-mo, like whirling dervishes frozen in time at the peak of their trance. Euphoric ceremony made haunting and poignant without losing a mote of power…Across the album, the timbres of Sufi ritual are often captured by the otherworldly presence of the historic ney flute, said to be as old as the Holy Books. “Sufi music can be created using several different instruments but the ney flute is at the heart of it. The sounds emanating from this fascinating instrument kept capturing my imagination,” Sine tells us. Working both with samples and with Turkish musician Omar Faruk Tekbilek, Sine achieves a rare balance of reverence and recontextualisation for such a time-honoured instrument, here performed by a lifelong student of its intricacies and mysteries. In Sinemis’ hands, the processing and sonic treatment of the ney even sometimes renders it indistinguishable from Dua’s synthesis and sound-design

LORI finds Iron & Wine’s Sam Beam drawing from the songbook of noted singer-songwriter and multiple Grammy winner Lori McKenna. Recorded at the famed Sam Phillips Studios (Memphis, TN) with producer Matt Ross-Spang, Beam takes on four of his favorite McKenna tracks with help from Sima Cunningham and Macie Stewart, known collectively for their work in the indie-art-pop band Finom (formerly known as Ohmme.) Beam came to McKenna’s music a few years ago on the suggestion of a friend. As the lock down dragged on, Beam found himself, like so many, turning to music for comfort. McKenna’s catalog of work was never far from reach. Taken by her heart-on-your-sleeve confessional style storytelling, Beam admits it’s a trait that draws him to McKenna and something not often found in his own songwriting. As a well-known interpreter of other artists’ songs, when the time came for him to shake off the pandemic cobwebs and record, McKenna’s songs were as fresh and familiar to Beam as his own. Traveling to Memphis in March of 2021, Beam invited Cunningham and Stewart to join him in the studio. During the three days of recording, Ross-Spang was a logical choice to take the helm as he had handled Iron & Wine’s 2019 collaboration with Calexico, the twice Grammy nominated Years to Burn, and had also worked on two of McKenna’s own records. Having enjoyed successful solo careers outside of Finom, Cunningham and Stewart bring their own touches to LORI and helped Beam find even further depths to McKenna’s songwriting. Together the trio sonically re-interpreted her plaintive odes into a tapestry of sounds effortlessly blending their signature singing styles and breathing fresh life into the lyrics

Darling West decamped for a tiny island on Norway’s west coast to begin writing what was to become Cosmos, their fifth studio album. For the first time, the band’s core – married couple Mari and Tor Egil Kreken – have included band members Thomas Gallatin and Christer Slaaen in the songwriting and production process. As a larger united, Darling West has really evolved. Cosmos is indeed the sound of expansion. West coast, cosmic folk, americana… Call it what you will – there are even hints of afro blues on here – but where the band once fit firmly in the folk/americana category, you might as well just call it pop these days. Cosmos was recorded and produced in its entirety by Darling West. Vocal guests on the album include Matthew Logan Vasquez (Delta Spirit) and Jarle Bernhoft, while David Wallumrød, Lars Horntveth and Torjus Vierli all excel on keys. Finally, the one and only Rob Moose (Paul Simon, Bon Iver, Sufjan Stevens, Phoebe Bridgers) provides strings on “Till Night Turns to Day” and “Old Man”. The listener is also awarded plenty of what we’ve come to love from Darling West: Mari Kreken’s gorgeous voice and Tor Egil Kreken’s incredibly versatile playing (guitar, bass, banjo, etc.) playing. The sum of these parts makes up a magical record, with songs and melodies that will stay on your mind for the unforeseeable future. While many struggled to keep their heads up during the pandemic, the band did their best to contribute positively, and came out on the other side with a growing, dedicated fanbase, due to their incredibly popular “Family Sessions” on Youtube. A recurring concept where they featured a host of friends and other artists, thus creating a community – or family – which is still going strong. The music on Cosmos searches outward, while the lyrics look inward. The resulting record includes elements of pop, while it pushes the envelope for what Norwegian americana can sound like. Cosmos is also about loving yourself, and there are of course a handful of love songs about shaky relationships – as we’ve come to expect from Darling West. The band continues to develop their unique musicianship and Cosmos is indeed another masterstroke from the band.

'Mighty Joe Moon' the 1994 sophomore effort by Grant Lee Buffalo found the band hitting their artistic stride with their distinctive Americana/Alternative rock fusion and the evocative, wide screen song writing of singer and guitarist Grant Lee Phillips. The beautiful alternative rock hit 'Mockingbirds' brought the band, and this album, their biggest exposure and success. From all out rock assaults like 'Lone Star Song' to somber and highly personal numbers such as 'Happiness' and 'Honey Don't Think' the album is a highlight of the era and the best record the band ever made. Reissued on 180 gram vinyl from Plain Recordings.

Milan based label Positive Not Happy collect its first various artists release called “Quadrifonia”, exploring a wide range of styles connected by a common sound aesthetic. The four tracks leads you into a realm of profound and psychedelic grooves with accurate sound design and effective rhythms, music for the body and the mind, from the soul. The selection of artists includes true gems from Dawl, Modex, TC80 and The Lumens, representing today’s underground club scene in its pure beauty.

After two decades of releasing music on 12" vinyl under multiple pseudonyms the duo from Even Drones have completed their first LP.
The 20 track double vinyl carries the classic "album era" approach of the 60s and 70s into a modern contemporary work.

Each of the 4 sides of "Ethics" feels like the chapter of a story balanced into a synthesis of counterpoints from piece to piece. Twisted arrangements are stringed together with dance-able tracks and are woven into finespun transmutations of sounds. Sometimes peaceful and regulated, sometimes abstract and complemented with tamed feedback, noises, crackling and delightful patterns.

Like a continuous thread through all titles of the album, the multi instrumentalists somehow managed to harmonize a twisted array of methods and structures into a coherent listening experience.
This full feature-length metamorphosis with no boundaries of styles or genres is released just in time for the 10th anniversary of the band on Freund der Familie.

The first thing that grabs you about Altin Gün"s new album is the energy. With Ask, the Amsterdam-based sextet turn away from the electronic, synth-drenched sound of their 2021 albums, Alem and Yol. While those two, created at home during the pandemic, paid homage to the electronic pop of the 80s and early 90s, Ask, marks an exuberant return to the 70s Anatolian folk-rock sound that characterised Altin Gün"s first two albums, On (2018) and Gece (2019). But there"s development here too. Ask is the closest the band have come so far to capturing the infectious energy of their live performances. "It"s definitely connecting more with a live sound - almost like a live album," says bassist Jasper Verhulst. "We, as a band, just going into a rehearsal space together and creating music together instead of demoing at home." "We didn"t record it like we did the last album," agrees vocalist Merve Dasdemir. "We basically produced that one at home because of the pandemic. Now we"ve gone back to recording live on tape." How many more worlds do Altin Gün visit in this joyful expedition? "Rakiya Su Katamam" is glowering space rock as though Gong had taken a stopover on the Bosphorus. "Canim Oy" is a psychedelic freak-beat stomper from a world where Istanbul"s Kadiköy district was the Carnaby Street of the east. "Güzelligin On Para Etmez" is a dreamy acid-folk anthem. And the finale, "Doktor Civanim," is an irresistible slice of sci-fi disco camp with lava-lamp synth squiggles that wouldn"t sound out of place next to Baris Manço"s "Ben Bilirim." Fresh yet timeless. Rooted in antiquity yet yearning for heavenly futures. Ask wants to take you places. All you have to do is strap yourself in

SP-1200 beats made using postal service. Fredfades and Sraw collaborate through post, exchanging dusty beats for an experimental Hip Hop record. The process of sending floppy discs back and forth, where each producer added element over element on their own SP-1200, has been on-going for almost 10 years, slowly building a collaborative body of work.
The result is Double Density, an LP that oozes with the character of that infamous instrument which laid much of the foundation for the earliest Hip Hop artists and still manages to evoke those raw and visceral sounds of that era. Reinforcing those sounds are the voices of Planet Asia, Pink Siifu and Blue November, who deliver lyrics from US coasts to Scandanavia’s fjords.
The duos collaborative effort swims in a sea of eclectic influences where Jazz, Soul and Hip-Hop thrive in the construct of this unique instrument. The drum machine pops, crackles and hisses on a bed of big bass lines through 12 tracks that go from short instrumentals to fully arranged songs.
Taking Hip-Hop back to its origins, everything is stripped bare to its essentials and for every vocal track, there’s its antithesis in the form of an instrumental break. It’s a record that plays with the archetypes of Hip Hop and Rap as something that we’ve lost over the years that begs for revocation. Double Density sounds exotic in the world of today’s gleaming beats.

When Ella Fitzgerald began recording her series of albums devoted to the work of
America’s greatest song writers, she elevated the art of Jazz singing into a new
dimension while celebrating a unique musical heritage bequeathed to the world of
popular music. Norman Granz encouraged the bold decision to record five albums all
featuring the extraordinary output of songs composed by the brothers George and Ira
Gershwin during the Golden Age of popular song. Gershwin show tunes had long been
a staple diet for bandleaders, pop-vocalists and star-instrumentalists eager to perform
such exhilarating material as Strike Up The Band, Oh, Lady Be Good!, S’Wonderful and
I Got Rhythm. But there was also a gamut of ballads and romantic dance themes
needing to be interpreted with greater sensitivity. Ella was more than capable of
focusing on lyrics and caressing melodies of songs like Someone To Watch Over Me, A
Foggy Day and Embraceable You. They are among the 53 Gershwin classics she
recorded over an eight month period in 1959 and now featured in this superb collection.

MC/Lyricist Raw Poetic (aka Jason Moore) announces Space Beyond The Solar System, his new album out December 9th on 22nd Century Sound, and presents its lead single, “A Mile In My Head,” featuring legendary saxophonist Archie Shepp. Although Space Beyond The Solar System could be considered a concept album by its outcome, its inception started from a string of experiments between Moore and frequent collaborator/producer Damu the Fudgemunk. These initial sessions had no specific direction but became the catalyst for what would become a prolific wave of Raw Poetic projects; five of which have been released since 2020.

It was these initial sessions and the demos they produced that convinced Shepp—who is also Raw Poetic’s uncle—to record what would eventually become 2020’s Ocean Bridges, a collaborative album from Raw, Damu, and Shepp, praised by The FADER as “modern masterpiece at the intersection of rap and jazz.” The trio’s collaboration continues on Space Beyond The Solar System, which boasts three tracks featuring the jazz legend, including today’s “A Mile In My Head,” a sprawling and thought-provoking album stand-out.

At two hours, absorbing Space Beyond in its entirety may be overwhelming for most, especially in the present day, but Raw and Damu are very aware of this. With a total of over 40-plus years of experience between the vocalist and producer, the two of them went down memory lane taking every influence and experience in their personal histories to extract ingredients for a groundbreaking statement. Space Beyond The Solar System is their most comprehensive environment to date.

The creation of Space Beyond sparked a conversation between Raw and Damu about their creative chemistry, with Raw likening their direction to a “space beyond the solar system.” His comment was a eureka moment for the two artists, giving their wandering efforts a sense of definition that was needed. “I think we’ve been exploring music beyond our limits for a few years,” says Raw Poetic. “It’s hard to tell where we’ll land, but we are constantly pushing our way out of the norm. Hence the title, ‘Space Beyond the Solar System.’ It’s just to say, this is new territory for us. Where the sky was once the limit, now it’s just the start.”

Melanie Martinez is set to release her new album ‘Portals on March 31st, with the first track off the album, ‘DEATH’ set to release alongside the official music video on March 17th.

Melanie Martinez's creative drive and talents have always distinguished her from other musicians. Her compelling music and visual art have created a rabid global fanbase with over 8.4 million followers on Instagram, 11.4 million subscribers on YouTube, 6.3 billion global streams, and 2.4 billion official YouTube views. After releasing her platinum-certified 2015 debut album, Cry Baby—which reached No. 1 on Billboard's alternative albums chart and has amassed over 3.5 billion streams worldwide —she conceived and directed a video for each song on the album. These mini-movies traced the traumas and insecurities experienced by the album's character, Cry Baby. As of 2020, every song on Cry Baby is RIAA certified Gold or higher, including the 2X Platinum “Dollhouse” and the Platinum “Pity Party,” “Carousel,” “Mad Hatter,” and “Soap.”

Melanie’s sophomore album and film, K-12, is another ambitious triumph with debuts at #3 on the Billboard 200 Chart, #1 on the Billboard Alternative Album Chart, #1 on the Billboard Soundtrack Chart, and a nomination for “Top Soundtrack” at the 2020 Billboard Music Awards. K-12's music is a vibrant and singular melting pot of low-key hip-hop, soulful pop and indie-leaning electro. K-12's universe is an expansion of the one introduced in Cry Baby. Using lyrics rich with metaphor, songs address the struggle to find a place to belong—including within friendships, the physical world and romantically—even when fitting into society feels like an uphill battle. Since releasing her K-12 album last September, Melanie has released 13 new music videos from the project which have now garnered over 100 million views collectively.

A reissue of Nikolaus Utermöhlen’s »Karlsbad« album, originally released in 1989. Utermöhlen was a founding member of Die Tödliche Doris and this is his sole solo release. A collection of 23 witty oddball compositions for clarinet, accordion, percussion, recorder, violin, guitar, organ. It definitely has a Doris dose but even more so it shines for its totally singular mélange of tribal dada chamber folk, dilettante dissonant poetry, hard to compare with anything else. A slice of flamboyant wellness.

The recordings of this album were made for the "Georgette Meunier" film by Tania Stöcklin and Cyrille Rey-Coquais. Issued from the original master tapes and includes the 8 page booklet with engravings from the Karlsbad spa era.

We are very pleased here at RE:WARM Records to announce our first release of 2023 and our first full artist album from none other than David Kitt as he brings us his first album since July 2021. The Genre-bending Irish musician and producer has announced his ninth studio album ‘Idiot Check’ to be released on 31 March 2023 via RE:WARM. A unique and sincere songwriter with an expert ability to meld inspirations, eras and sounds, Kitt’s music glimmers with a sense of timelessness well-earned after over twenty years immersed in music.

Produced and recorded by Kitt himself using his “Breaking Bad mobile studio set-up”, the album was written between 2016 and 2022 in Dublin, Paris and eventually the remote town of Ballinskelligs in south-west Kerry, where the artist moved during the pandemic and has stayed ever since. Blending acoustic and electronic elements with expert precision, the record showcases both the diverse circumstances of its inception and Kitt’s personal breadth as a songwriter and producer. From the fuzzy, lo-fi “Wishing Well” fluttering with a gentle sense of magnetism, to the infectious and upbeat “Not So Soon”, and jovial, traditional folk cut “Balances”, “Idiot Check” is an evergreen album as experimental as it is ageless.

40th Anniversary Edition - newly remastered from the master tapes, with an additional bonus LP of instrumentals and the previously unreleased "Narration Theme."
Daytime Viewing (1979-80) is an extended narrative song, based on a casual analysis of daytime television drama and the audience phenomena such programming addresses. The piece explores the use of fantasy as a survival mechanism against loneliness, illustrating the human compulsion to inflate the mundane to mythological proportions. A central female character weaves tales, using threads of personal experience and the idea of TV as friend, as mantra, and as transformational window between imagined spectacle and the pedestrian plane.
Originally released as a private cassette edition recorded, 1982; Chez Hum-Boom release, 1983 documenting the collaborative performance piece of the same name by Jacqueline Humbert g David Rosenboom. This heady, thoroughly enjoyable work was first made available on CD and LP in 2013 by Unseen Worlds. Jacqueline Humbert (aka J. Jasmine) is a songwriter of brains and wit on
par with Robert Ashley, with whom she's worked extensively. David Rosenboom's complex, harmonic electronic arrangements are accentuated brilliantly by percussion from William Winant. Daytime Viewing can happily be added.

The long awaited reissue of one of the bests albums of rare Eastern and psychedelic Jazz by the famous Hungarian guitarist. Carefully remastered by prolific Grammy nominated sound engineer Jessica Thompson. For fans of Grant Green, John Abercrombie, Pat Martino, Joe Pass, Wes Montgomery, Tal Farlow. Ultimate collector’s item for those who are deeply in Jazz and guitar music.

Das dritte Album von Filter, The Amalgamut, wurde 2002 veröffentlicht und knüpfte an den Erfolg ihres Platin-Albums Title of Record von 1999 an. Das Album brachte Klassiker wie ”Where Do We Go from
Here” und ”American Cliché” hervor. Das Album hatte einen anfänglichen Erfolg und stieg auf Platz 32 der Billboard 200 Charts ein.
Das dritte Studioalbum von Filter, The Amalgamut, ist zur Feier des 20-jährigen Jubiläums des Titels zum ersten Mal auf Vinyl erhältlich. Nach dem Erfolg des Platin-Albums Title of Record aus dem Jahr
1999 brachte The Amalgamut aus dem Jahr 2002 die Fan-Favoriten ”Where Do We Go from Here” und ”American Cliché” hervor. Die Vinyl-Edition ist ein 2-LP-Set in einer Klapphülle mit bedruckten
Innenhüllen.

On the heels of his already critically acclaimed (yes, already!) retrospective, World Spirituality Classics 3: The Muslim Highlife of Alhaji Waziri Oshomah, Alhaji Waziri Oshomah — the Oyoyo King, the Godfather of Afemai Music, the Etsako Super Star, Mr. Please Please Please, Mr. Dynamite — returns with Vol. 3.

Along with the other four volumes of the series, Vol. 3 is now available—for the very first time!—as part of a complete set (in a box): Vol 1 - 5 (1978 - 1985) (November 4, 2022).

Waziri hails from a small part of Edo State in southern Nigeria called Afemailand, known for being a harmonious region where Muslims and Christians live—and dance—together. And there, as a devout Muslim and an exemplar of religious piety in his community, Waziri’s music fuses Etsako/ Afemai folk styles with pan-Nigerian highlife and pop to create a sublime vehicle for his Islamic philosophy that gets everyone—Muslims, Christians, whoever—on the dancefloor.

Every song on Vol. 3 (one of which you might recognize from The Muslim Highlife) strikes his signature balance of traditional music, highlife, and funk, as he entreats you to stay on the straight and narrow, though there’s nothing straight about his beat.

Limousine has returned to this experimental ground where simplicity of composition, haunting loops and a sense of release are combined, but now voices come to dress their tracks and propel the vehicle into a new dimension.

Vocals in Limousine: a revolution for a quartet whose concept was precisely to do without them, so much so that they have often defined themselves as a band for singers who don't exist. From then on, the mission was to find that these singers, or singers, exist.

A cast that alternates iconoclastic figures and young hopefuls for a certified Grand Tourism trip: Malik Djoudi, Amber Burgoyne, Lucas Santtana, Victor Solf and Akhenaton take part in this new adventure. Rappers, singers or vocalists, these five performers slip naturally into Limousine's saps, as if each of the tracks had been specially cut for them.

Tropical stroll for the Brazilian Lucas Santtana, hip hop aside with AKH, soulful and intimate nocturne with the revelation from Brighton Amber Burgoyne or melancholic wandering with Malik Djoudi, Limousine purposely gathers a beautiful international French style.

For the rest, the quartet keeps its iconoclastic line and confirms its ability to create weightless themes.

In the end, Hula Hoop is an authentic Limousine album, whose elegance it perpetuates while constituting its expanded version.

The return of the classic Demonstration Tapes double LP on vinyl from the one and only Dolly Mixture. Originally self released in 1984 - this 27 track set collects the band's demos from 1979 to 1983 of perfectly executed pop, indie pop and '60s girl group gems. The sound is raw but the charm and pure-pop songcraft manages to shine through.

Dolly Mixture should have been massive - so just sit back and enjoy these charming songs that have aged like a fine wine. Original copies sell for silly money and even the Germs of Youth reissue sells for over £100. This reissue comes with a brand new sleeve design.

All of us carry a piece of where we’re from with us, but these parcels of fallow land often in a uniquely mysterious way become the prey that nourishes our aspirations. Agnès Gayraud a refined thinker by day that transforms into la Féline at night left Tarbes many years ago in search of greener pastures. After making a name for herself with Adieu l’Enfance (2014), Triomphe (2017), and Vie Future (2019), the author and musician has evolved once again. Her latest release Tarbes reinvents the circle of life and challenges our preconceived notions. She welcomes us to her hometown with sweet and clear melodies over the backdrop of an electronic hum, reminiscent of Mark Twain classic Tom Sawyer. Tarbes is no more than a listen away. Physically prevented from returning to her hometown by the viral threat we all know all too well, Agnès found her way back with a small Electone home organ. The constraints of off-peak hours that called for some DIY savvy, slowly but surely, roused her spirit. With a drum machine, a bass and a guitar, she succeeded in making the young girl inside her smile again. With 13 songs and just as many adventures Tarbes is a concept album that tells the story of a young woman’s formative years, as spent in her hometown. The returning hymn doesn’t only imprint nostalgia, it paints the full emotional portrait of a town. Because for Agnès, Tarbes is not just her theater, but her whole world, showing how fiercely protective she is of her hometown in the song Solazur. Under a magnifying glass of emotion, and with the sentimental testimony that is La Panthère des Pyrénées, the artiste shows us the skeletons in our own closets. Tarbes, more than a brief stopover in a rail journey to the coast, broaches issues that touch on abandonment, desertification, aging and redevelopment that many French towns and cities face today. Alexandre Guirkinger’s photographs serve as album art that illustrates this strangely unique singularity. While fine-tuning this collection of stories, in an oh-so-intimate album where solitude rips away the mask of confidence, Agnès found solace in uniting with other spirits. For 3 songs Tarbes, Jeanne d’Albret and Fum, inspired by an Occitan poem of Louisa Paulin (1888-1944), she invited the young voices of Conservatoire Henri Duparc a building she knows intimately, despite never feeling allowed to enter as a child to breathe the energy of their adolescence into this record. She also collaborated with Lyon’s own François Virot to imbue his delicate rhythms into her work, as well as Belgian guitarist Mocke Depret. Lastly, La Féline entrusted the last production stages to her eternal partner in music, Xavier Thiry, with Stéphane “Alf” Briat on the mixing board. The final piece has a complex tranquility, surrounded by non-verbality, with Jeanne d’Albret, Louisa Paulin and the Pyrénées safeguarding Agnes’ secrets. With the calm reassurance of her metamorphoses, La Féline delivers a slice of silence to her town, serving as both her cradle and theater. Tarbes’ Théâtre des Nouveautés is where Agnès Gayraud, La Féline, has decided to present Tarbes to its residents on October 14, 2022. While “nouveautés” evokes newness, this theater is reminiscent of a future which is already outdated, where modernity is only vague and fictional, carrying reminders of French haute-kitsch accordionist Yvette Horner, whose parents were the caretakers of what was then called the Cani Eldorado a bastion of virtue through the 30s, with its lineup of Catholic films. However, by the 60s, it would have become a temple of pornographic cinema. Tarbes, “Les Nouveautés”, end card. In the mid 90s, then 16 years old, Agnès discovered the volatile dust and the ghosts of the past that were hidden in this apostate theater. This phantom bequeathed song the teenager with the gift of her undeniable talent at her first appearance on stage a high school performance of a guitar-laden ballad sung in Spanish, a language her Andalusian mother has infused her with. On October 14, 2022, Agnès returns to the stage, bass in hand and joined by François Virot (drums), Mocke Depret (guitar), Léa Moreau (keyboard) and the Conservatoire de Tarbes singers to perform the album in its entirety

For over 30 years Richard Adams has been quietly documenting his own particular corner of the English countryside both with Hood, the post-rock band he formed with his brother in 1991, and since 2007 with The Declining Winter. Recorded over a five year period and inspired by rustic English alternatives such as Talk Talk and Robert Wyatt, The Declining Winter’s latest work ‘Really Early, Really Late’ is a collection of beautiful songs, immersed in a richer sonic spectrum incorporating strings, horns and lush electronic textures, alongside Adams’ own unique guitar tones and characteristic dubby bass. Though it retains the homespun scratchiness of previous The Declining Winter records, ‘Really Early, Really Late’ is also their most ornate. A remotely collaborative effort, the record is scattered with decorative embellishments from violinist Sarah Kemp (Brave Timbers), cellist Peter Hollo (Tangents), and guitarist Ben Holton (epic45), among many others. Adams’ distorted whisper of a voice has never been more exposed leading to a brutally emotive and intensely personal song-suite, both raw and beautiful in equal measure. The storybook curiosity of Mark Hollis’ work is a particular influence. Like Hollis, this music is imbued with magical realism: beholden to nature, it hints at the mysteries lurking in mundane local landscapes and the more remote Yorkshire moors and valleys. A record to hold close to your heart, ‘Really Early, Really Late’ sees Adams and his collaborators emerge from the shadows with their most complete work to date. Home Assembly are proud to present the album on lush crystal clear, double vinyl, bundled with a CD housed in an oversized vinyl-style sleeve.

With nothing more than a Gibson Les Paul slung over his shoulder, a warm amp turned all the way up, and a hot microphone on and ready, Jared James Nichols churns out the kind of rock that rips, roars and rolls without filter or apology. The Wisconsin-born and Nashville-based singer, songwriter and guitarist delivers a one-two punch of gritty vocals straight from the gut and incendiary fret fireworks. After earning widespread acclaim from the likes of American Songwriter, Guitar, Guitar World, Relix and more, tallying millions of streams, and packing houses at countless shows, he showcases every side of himself on his 2023 self-titled third full-length offering.

Girls in Airports has been described as ‘a unique blend of Nordic jazz lyricism, indie-rock
influences and sounds from around the world’. The Danish band is famous for their
captivating soundscapes crossing musical genres and geographical borders. Combining
jazz, indie and urban folk into a unique expression of heart stirring, melody-laden elegiac
hooks and dance-friendly, globally influenced rhythms. Featuring four of the most distinctive
and creative musicians from the Danish music scene, Girls in Airports is one of the most vital
experimental ensembles in Europe. With a coherent and unique sound, their music is both
absorbing and powerfully emotive. The band’s charismatic live performances have quickly
made them one of the most talked about new bands on the international scene.
Based in the Danish capital, the award-winning band has released seven albums and toured
in China, Brazil, the US and across Europe since their formation in 2009

Both broadening and defying the sounds of their first two 7” releases, Delivery continue their claim for the title of hardest and fastest working band in town on their debut full length LP ‘Forever Giving Handshakes’. Collecting songs written over the Melbourne five-piece’s two year lifespan and following on from the band’s bedroom project origins of ‘Yes We Do’ and the expanded one-two punch of ‘Personal Effects/The Topic’, ‘Forever Giving Handshakes’ captures Delivery at full force for the first time, leaning into the fully-realised live sound they’ve been quite actively working on since their first show in March 2021. Here the band collate a 12-track garage-punk opus, their five distinct voices simultaneously pulling songs in different directions while an undeniable chemistry reveals a combined hive mind ascending on a clear group mission… to rock. If you didn’t have the Delivery phenomenon yet, you’re about to. Marking the beginning of a victory lap for Delivery, the album rounds out a sprint of unrelenting live shows, impressive support slots and two stellar 7”s, all within a tidy 18 months. ‘Forever Giving Handshakes’ is a statement from Delivery and one of the strongest Australian punk debut albums of the past decade.

Amniote editions readies the DCX capsule with two beat oriented releases focused on tripped out atmospheric sounds.

Moloch Horridus debuts with four beautiful cuts of electro belters spanning from straight-in-your-face-no-bullshit stompers to more meditative moods.

DCX-4: Moloch Horridus - Self Guard EP
12” & digital
All tracks written & produced by Tred

Parietal Eye returns in collaboration with Cantil for two versions of Final Destination - explorations of sizzling hi-tek sci-fi soundscapes and turbo-driven drum programming.

DCX-6: Parietal Eye & Cantil - Final Destination
Mesh print & digital
All tracks written & produced by Yuri & Internazionale

The artwork is designed and imagined by Amniote household art director and co-founder Rose Marie Johansen.

Repress!

Silver Sleeve 2012 Version

This special edition 2LP package comes housed in an a silver jacket featuring DOOM’s infamous metal mask icon embossed on it.

Each record is pressed on black vinyl. An absolute must have for the DOOM completist. The long awaited reissue of DOOM's first solo gem, Operation: Doomsday. Remastered from the original Fondle 'Em 1999 issue. Side A is listed as "Side Zero". Side B is "Side One". And so forth. Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After KMD (his first group)’s 1994 sophomore album Bl_ck B_st_rds was shelved by Elektra in 1994 and his blood brother Subroc (one half of the sibling rap duo) passed away, surviving frontman Zev Love X mutated into the MC Avenger known as MF DOOM and the Rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol’ Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable. On arguably the best track, “Rhymes Like Dimes,” Doom weaves some pointed lyrics through his abstract wordplay, spitting ‘only in America could you find a way to earn a healthy buck / And still keep your attitude on self-destruct.’ Who You Think I Am? features DOOM‘s crew M.onster I.sland C.zars, while on “?” he trades hot verses with former Columbia artist Kurious Jorge. Doom’s avant-garde ghetto-rhyme philosophies take even more intentionally weird twists on “Tick, Tick...” where he and guest MC MF Grimm’s flows warble over a rhythm track whose tempo speeds up and slows down continually. The comic-book themed skits, will help take you deep into the mind of an MC who is as otherworldly as they come. And in today’s bland commercial Rap universe, Operation Doomsday’s left-of-center beats and rhymes are the perfect remedy.

Sudd WAX is a vinyl only label of Sudd Records Family.
The Limited Series, 2nd release presents SCSI.

Gari Romalis signature sounds Detroit Electro and Techno.

SCSI Culture maintains his Soul essences and influences
from Underground Scene.

(2022 REISSUE)

"...some of the most delightful electronica to arise in Britain since Aphex Twin, the Black Dog and Global Communication." - Bethan Cole, The Sunday Times

"...electronica rarely comes as intriguing and atmospheric and laden with weirdly unshakable tunes" - Alexis Petridis, The Guardian

The first in a complete series of Ghost Box re-issues, starts with the 2004 EP Farmer’s Angle by Belbury Poly. The very first release for label co-founder Jim Jupp was joyfully naïve yet oddly sinister electronica. It very much set out Ghost Box’s stall with its strong roots in library music, TV soundtracks, folk and psychedelia.

Farmer’s Angle is issued on 7inch vinyl, CD and all digital channels. Packaged in the original sleeve art by Julian House that was to establish the label’s strong visual identity. Drawing influences from library music albums and Penguin books of the 60s and 70s with a classic British modernist aesthetic, House’s work for Ghost Box predated the eventually ubiquitous use of paperback book visuals in popular commercial graphic design. Farmer’s Angle was included in an Electronic Sound magazine feature, A History of Electronic Music in 75 Records.

Belbury Poly
Jim Jupp has released EPs, singles and seven albums on Ghost Box under the name of Belbury Poly. He is also a member of The Belbury Circle along with Cate Brooks (of The Advisory Circle) and occasional collaborator, John Foxx. In 2019 he co-wrote and produced the music and spoken word album Chanctonbury Rings with Justin Hopper and Sharron Kraus. He has recorded library tracks for KPM, BMG and Lo-Editions. He has remixed tracks for several artists including John Foxx and Bill Ryder-Jones (The Coral) and co-written a song with Paul Weller for his 2020 album On Sunset.

Still rooted in these early influences and with a consistent and strong visual identity, the label has developed over the years and now has a more international roster with a broader range of musical styles. But each new release continues to be a unique fit into the label’s distinctive parallel universe.

LTD CRYSTAL CLEAR EDITION


Electronic pop quartet Ladytron announce their highly anticipated seventh studio album "Time"s Arrow". Crystalline melodies enveloped in icy textures and rippling arpeggios, shoegaze, disco, and industrial sounds that combine in their signature electro pop style. Forming in Liverpool in the late 90s, Ladytron"s debut album "604" was released a year ahead of 2002"s "Light & Magic in 2005 - "a quantum leap record" said Pitchfork. The group were lauded as leaders of the new electro pop and electroclash scenes then flourishing, and "Light & Magic" went on to be influential, for both independent and mainstream electronic pop music which followed.

Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon . Recorded in 1988, Lyburnum would not be released until 1993 - several years after Moss Icon 's demise. Originally released on Vermiforn - the esoteric noise label founded by Sam McPheeters of Born Against - the vision that Moss Icon 's Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, "My creative mind was well into its next chapter, onto an apocalyptic order referring to Joy's post- Moss Icon band, Universal Order of Armageddon . Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues. With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision." Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece - a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond. Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon 's seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored, and includes previously unpublished photos that were inadvertently missing from the original release. Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.

CRYSTAL CLEAR VINYL
Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon . Recorded in 1988, Lyburnum would not be released until 1993 - several years after Moss Icon 's demise. Originally released on Vermiforn - the esoteric noise label founded by Sam McPheeters of Born Against - the vision that Moss Icon 's Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, "My creative mind was well into its next chapter, onto an apocalyptic order referring to Joy's post- Moss Icon band, Universal Order of Armageddon . Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues. With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision." Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece - a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond. Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon 's seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored, and includes previously unpublished photos that were inadvertently missing from the original release. Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.

Over the past 20 years, The New Pornographers have proven themselves one of the most excellent bands in indie rock. The group's ninth album and first for Merge establishes them alongside modern luminaries like Yo La Tengo and Superchunk when it comes to their ability to evolve while still retaining what made them so special in the first place. A dazzling and intriguing collection of songs, "Continue as a Guest" finds bandleader A.C. Newman and his compatriots Neko Case, Kathryn Calder, John Collins, Todd Fancey, and Joe Seiders exploring fresh territory and shattering the barriers of their collective comfort zone. Newman began work on "Continue as a Guest" after the band had finished touring behind 2019's "In the Morse Code of Brake Lights". Themes of isolation and collapse bleed into this album, as Newman tackles the ambivalence of day-to-day life during the COVID-19 pandemic. But Newman says that the album's title track also addresses the concerns that come with being in a band for so long. "The idea of continuing as a guest felt apropos to the times," he explains. "Feeling out of place in culture, in society, being in a band that has been around for so long_not feeling like a part of any zeitgeist, but happy to be separate and living your simple life, your long fade-out. Living in a secluded place in an isolated time, it felt like a positive form of acceptance: find your own little nowhere, find some space to fall apart, continue as a guest." Newman discovered new vocal approaches within his own talent. There are new and rich tones to Newman's voice throughout Continue as a Guest, from his dusky lower register over "Angelcover" to his slippery slide over the glimmering synths of "Firework in the Falling Snow," to bold tones he embraces on the soaring "Bottle Episodes." Another sonic change comes courtesy of saxophonist Zach Djanikian, whose tenor and bass luxuriate all over Continue as a Guest's alluring chassis, especially on the menacing build of "Pontius Pilate's Home Movies." Along with Newman's usual collaborators, several songwriters contribute. The bursting opener and first single "Really Really Light" is a co-write with Dan Bejar (Destroyer, the New Pornographers). Then there's "Firework in the Falling Snow," a collaboration with Sadie Dupuis of Speedy Ortiz and Sad13. Even as Newman embraces a collaborative spirit more than ever, his new album is a testament to his ability to discover new artistic sides of himself. "Continue as a Guest" sounds like a thrilling path forward for The New Pornographers, with songs that generate a contagious feeling of excitement for the future as well.

Ltd. Green & Blue Vinyl

Over the past 20 years, The New Pornographers have proven themselves one of the most excellent bands in indie rock. The group's ninth album and first for Merge establishes them alongside modern luminaries like Yo La Tengo and Superchunk when it comes to their ability to evolve while still retaining what made them so special in the first place. A dazzling and intriguing collection of songs, "Continue as a Guest" finds bandleader A.C. Newman and his compatriots Neko Case, Kathryn Calder, John Collins, Todd Fancey, and Joe Seiders exploring fresh territory and shattering the barriers of their collective comfort zone. Newman began work on "Continue as a Guest" after the band had finished touring behind 2019's "In the Morse Code of Brake Lights". Themes of isolation and collapse bleed into this album, as Newman tackles the ambivalence of day-to-day life during the COVID-19 pandemic. But Newman says that the album's title track also addresses the concerns that come with being in a band for so long. "The idea of continuing as a guest felt apropos to the times," he explains. "Feeling out of place in culture, in society, being in a band that has been around for so long_not feeling like a part of any zeitgeist, but happy to be separate and living your simple life, your long fade-out. Living in a secluded place in an isolated time, it felt like a positive form of acceptance: find your own little nowhere, find some space to fall apart, continue as a guest." Newman discovered new vocal approaches within his own talent. There are new and rich tones to Newman's voice throughout Continue as a Guest, from his dusky lower register over "Angelcover" to his slippery slide over the glimmering synths of "Firework in the Falling Snow," to bold tones he embraces on the soaring "Bottle Episodes." Another sonic change comes courtesy of saxophonist Zach Djanikian, whose tenor and bass luxuriate all over Continue as a Guest's alluring chassis, especially on the menacing build of "Pontius Pilate's Home Movies." Along with Newman's usual collaborators, several songwriters contribute. The bursting opener and first single "Really Really Light" is a co-write with Dan Bejar (Destroyer, the New Pornographers). Then there's "Firework in the Falling Snow," a collaboration with Sadie Dupuis of Speedy Ortiz and Sad13. Even as Newman embraces a collaborative spirit more than ever, his new album is a testament to his ability to discover new artistic sides of himself. "Continue as a Guest" sounds like a thrilling path forward for The New Pornographers, with songs that generate a contagious feeling of excitement for the future as well.

Originally conceived as a standard EP, the remixes of The Human & Assets' original composition Jugem Jugem have proven to be an eclectic array of high-quality tracks, ranging from warm and rounded minimal sounds to rumbling low-end rigidness - and a few classic techno bombs to round things off.

The project turned into a two-disc collection of remixes, each giving the listener a specific and original flavour of electronica. Remix duties were masterfully executed by Japan's own Ko-ta, known by his sly releases on DJ Nobu's Bitta label; rising underground marvel and Edit Select Record's household name Linear System, with his hypnotic syncopations - and to finish the release off in massive style, French heavyweight Moteka (Skryptom) brings his colossal version of the original.

Born in Milan to a Cameroonese father and a Polish/Lithuanian mother, Nathan Dawidowicz moved at the age of 6 to Jerusalem. He was spending his childhood in a Jewish ultra-orthodox environment playing the piano and dreaming of being a Fashion designer and musician. After waking up from the reality he was raised in, he moved to Venice and started to explore the "outside world" of the mental barriers of religion. Music and fashion were his medicine, and he quickly became addicted to musical textures and vinyl. His love for music brought him quickly to Berlin, where he currently lives and loves.

Sanctuary Of Ideas is a very personal and optimistic journey by Nathan Dawidowicz. His first solo album is a spiritual path, as cosmic and adventurous as Nathan`s trajectory, with beautiful twists and psychedelic twirls into Dawidowicz personal rabbit hole. A record full of memories and positive affirmations, filled with Jazzy yet psychedelic Cosmic and Krautrock elements. A fusion of inspiration - and a perfect reflection of Dawidowicz heritage.

Idea`s Eve is a stargate to our ancestral power. The source of our inspiration is connected to our past - to the spirits of our ancient memories. Dawidowicz leaves a lot of space to breathe in this magical opener. Enchanting melodies and bubbling sounds surround the listener while his voice keeps repeating a mantra of an ancient love spell. A track where you feel your DNA spiraling up the ladder of evolution. Yet so natural and healing.

Full Moon Dance is the spiritual continuation of the first track. A swirl of magical melodies, yet jazzy but truly cosmic walking up the ladder to another dimension, where warm moon rays and fluffy clouds surround love. The synth lines represent the playful and smooth moon rays reflected on a rhythmical heart-beating ground where tears can be joyfully spent to honor the emotions we usually oppress.

To close the EP, Nathan Dawidowicz worked a half a year to finalize the last track in full detail. 23 Minutes and 18 Seconds long is the Capricorn Rising Over Jerusalemite Temple. This story is where the listener is brought to a higher level of consciousness. Against the rules of our consumerist world, Nathan Dawidowicz focuses on a dramaturgy full of patience for our own lifetime. Acidic lines come and go, powerful synth solos trigger unknown brain parts, and an epic melody accompanies the listener and lets dark emotions melt in a brass-filled part where a voice tells us that time is on our side. The song ends with an epic twist and promises a new start, where our most lovely memories stay in a vortex of light. Beam me up Nathan.

Als "Mr. Isaacs" 1977 erstmals als LP-Vinyl erschien, war der Grundstein für die internationale Karriere zum Superstar des Reggae gelegt. Unter der Federführung von Produzent Ossie Hibbert und seinen Musikerkollegen von den Revolutionaries wurde der Interpret Gregory Isaacs zum Markenzeichen im Albumformat! - Mit einigen seiner größten Songs wie "Set The Captives Free", "Slave Master" (im Kultfilm "Rockers" prominent vertreten), "Storm" (der Riddim kommt in über 75 Versionen zum Einsatz), "Smile", "Get Ready" (Reggae-Cover des Rare Earth Hits), kommt der Longplayer dieser Tage als Kevin Metcalfe Remaster als 9-Track Originalalbum in einer Fan-Edition mit Sleeve Notes und bedruckter Innenhülle inklusive großformatiger Fotos.

Among the most important full-length album works from one of reggae’s greatest singers, "Mr. Isaacs" shows the great Gregory Isaacs in the prime of his career in 1976/1977. Better known for his love songs, Isaacs was equally adept at cultural themes. The tracks "Set The Captives Free" and "Slave Master" are among the most popular in his catalogue, the latter immortalized on film in the movie 'Rockers'. The track "Storm" became an early favourite in the dancehall, its rhythm track (aka the Storm riddim) is re-imagined no fewer than 75 times over the last 40 years. Gregory Isaacs love of Rocksteady shines in his cover of the Silvertones’ "Smile", and his soulful side comes through on a cover of The Temptations’ "Get Ready". The breadth of material on "Mr. Isaacs" is the hallmark of a reggae classic!

Further facts and collector's info:
- The album was one of the first titles ever distributed by VP Records, "Mr. Isaacs" reissue coincides with the label’s 40th anniversary celebrations.
- This pressing features the earliest known cover art and producer Ossie Hibbert’s original Earthquake labels, as found on the pre-release edition.
- "Mr. Isaacs (Remastered)" comes with a printed inner sleeve featuring extended liner notes by Harry Hawke plus a great artist photo on the other side

Magna Pia, a.k.a seasoned producer, DJ, and composer Hüseyin Evirgen, announces his second full-length album, ‘QUT’, arriving on Inland’s Counterchange label in March on double vinyl.

After 2 steamrolling EPs of club tracks on the label - now entering its tenth year of action - Magna Pia presents his most complete and advanced body of work to date, weaving a dense narrative of drone, figurative synthesis, bass-heavy electronica, and abstract techno.

Over eight tracks each referencing his rich cultural and musical background, we are treated to a unique overview of a producer at the crest of his art. The word ‘Qut’ is an ancient positive affirmation, in one short word encompassing all that is scared, pure and good. The Old Turkic term meaning not only ‘good fortune’ and ‘joy’, but in shamanic circles, the ‘wonder of the heavens’, permeates the roots of Evirgen’s multi-heritage history.

That Evirgen expresses his interpretation of this central theme through the marriage of bewitching melodies with atonal, experimental and rumbling electronics is a conscious comment on the distortions and mutations of our Modern Era. We now exist in the digital age of the Technosphere for better or worse, and must seek beauty where-ever possible.

The opening ‘Prologue’ invites the listener into a futuristic yet organic sound world, where lush stereo processing goes hand in hand with rumbling bass and subtly detuned drone languages. From the echoes of traditional Uyghur folk music, translated via synthesizers into a glistening slow-diving opus (‘Qizil’), to churning dub-techno adorned with a symphony of evolving sine-waves (‘Venus M’), Evirgen then deploys ‘X’ - a haunting experimental piece composed predominantly with his voice and electronic processing.

The interweaving synth lines of ‘Gudanna’ pierce the fog with a radiant and transcendent club-techno bounce before the ode to the ancient Bronze Age goddess ‘Astarte’ unfolds its snare-driven broken-beat formations. The title track ‘Qut’ embodies by far the heaviest club track of the album, in a deadly, stripped-back moment of future-techno hypnotism. Dancing flames of purple-tongued synthesis are held (just) in line by a wonderfully tough throb of drums.

With his ‘Epilogue’, Magna Pia allows the spectral ideas and concepts laid out across the LP to connect and travel full circle, confirming our suspicions that this could be one of the most coherent and exciting works to emerge in the brave new field of introspective, and sensitive techno-electronic language.

Die schwedischen Afflicted verblüfften den Death Metal 1992 mit ihrem viel gelobten Debüt "Prodigal Sun". Progressiv, psychedelisch und doch zutiefst brutal stürmten die Stockholmer mit "Ivory Tower", "Tidings from the Blue Sphere", "Harbouring the Soul" und "In Years to Come" in die Herzen der Konventionen. Seit Jahren nicht mehr erhältlich, erstrahlt "Prodigal Sun" in neuem Licht durch ein spektakuläres, originalgetreues Remaster von Patrick W. Engel (Corrosion of Conformity, Destruction) in den Temple of Disharmony Studios. Wenn Napalm Death, Soundgarden, Voivod und Pink Floyd einen kollektiven Peyote-Ausflug in den bewaldeten Vororten Stockholms unternähmen, dann wäre das Ergebnis Afflicted's bahnbrechendes "Prodigal Sun". Dieses hochgelobte klassische Meisterwerk erscheint als 180g LP inklusive LP-Booklet, als Ltd. CD Jewelcase im Schuber sowie als digitales Album

Die Fans von Britney Spears dürfen sich freuen: Zum 20-jährigen Jubiläum ihres unvergesslichen zweiten Album "Oops ! I did it again" erscheint der Longplayer in einer limitierten Picture-Disc-Vinyl Version.

Originally from Manchester now based in Lewes, Kalli co-runs the GODDEZZ parties and record label.

Sonically, Kalli can't hold back when interconnecting the dots of hoover synths, electro, gritty rave and off-kilter weirdness.

Soft Play is a primal techno beast with punk undertones and monstrous hoover rave drop.

Gems Per Capita shows Kalli in full club mode, unleashing a bass heavy electro tinged track with a killer Acid break; a peak time weapon.

The memory of trying to naively connect to an identity, along with searching for daily eccentric enjoyment in a rural, rainy post-industrial town’ Kalli.

marbled vinyl in 3 different colours

Four years on from the release of Astral Projection, ASC's last LP for Horo, a re-listen reveals a body of work that still sounds prescient and current, mapping out a simmering landscape that stood proudly on it's own in the crowded world of electronica.

Hiding in Plain Sight takes the musical baton left by Astral Projection and expands the environment. The two opening tracks (No Mask, A Whisper In Your Ghost) are sumptuous palette cleansers that paint the walls with bliss. As we continue on, mesmerising waves of melancholy wash over Grey Area themed constructions, sometimes jagged (No Mask, Dying Star, Centrifuge, Galaxies), other times propulsive (Dreadnought, Surface Encounters). Pensive, frozen constructions that come off as soundtracks to movies only James has seen pepper the LP (Overscan, Dying Star, Mirrored Sequence) while the centrepiece of the LP soars unbound over stuttered, sculpted breaks (Orbiting Neptune).

ASC's great gift is his ability to create worlds of music that are densely layered and complex and yet project a sense of perfect effortlessness while they assimilate into your psyche.

Hiding In Plain Sight is not so much a journey, as a destination. A rich, full bodied alien planet intricately designed to envelop your senses.

blueblue is the latest full-length from multi-instrumentalist and all-around vibe wizard, Sam Gendel. The record, out via Leaving Records, is a concise, tightly wound song suite whose 14 tracks each correspond to a pattern within sashiko, a traditional style of Japanese embroidery. This conceit remains playfully ambiguous — to what extent, if at all, is Kagome (woven bamboo) meant to evoke the pattern of the same name, for example? But there is an intuitive sense, throughout blueblue, that Gendel has, in this instance, narrowed his focus. To say that blueblue feels richly textural might be a little on-the-nose, thematically, but alas…it does. There is an intimacy, a humility, and a strength at play here that typifies the work of a master craftsman. Only an artist could make it sound so effortless.

A Los Angeleno by way of Central CA, Gendel is by now an institution. Across a dizzying slate of solo releases and collaborations, he has amassed a reputation for not only virtuosic musicianship (primarily as a saxophonist, though the songs that would become blueblue were all initially composed on guitar), but also for his mercurial and prolific output — a corpus of work, which, while obviously indebted to jazz and hip hop (and the farther flung, experimental corners of both) is, in a word, unpindownable.

The bulk of blueblue was recorded in isolation in a makeshift studio built in a cabin floating atop a tributary of Oregon’s Columbia River. Having sketched out a set of guitar melodies, Gendel recorded the album in five-or-so weeks, during which time he became well-acquainted with the river’s tidal rise and fall. This organic rhythm, which daily lifted the house to meet the horizon, later setting it down gently upon the riverbed, permeates t

Far Out Recordings proudly presents laid back Brazilian groove maestro Joao Donato’s synth-heavy collaboration with his son Donatinho. Sintetizamor sees the father-son duo jovially hurtle through space and time across ten tracks of sparkling pop, Brazilian boogie and club friendly disco-funk.

Joao Donato has been a hugely influential figure in the development of Brazilian music since the mid-1950’s. He’s played and recorded with virtually every one of his fellow Brazilian masters. Many of his own albums (of which he’s recorded over three-dozen) are regarded with such adulation that ‘cult-favourites’ doesn’t quite cut it.

Aged 82 at the time, Donato’s collaboration with his prodigious, synth obsessed son Donatinho - whose keyboard talents have been called on by the likes of the late Gal Costa, Djavan and Donatinho’s contemporaries such as Diogo Strausz - was originally released back in 2017, as a limited Brazil-only release.

For Record Store Day 2023, Sintetizamor will be available on vinyl (for the first time outside of Brazil) from participating stores.

Nach der Veröffentlichung der 2CD-Version des Albums Moonage Daydream im letzten Jahr, wird der Soundtrack nun am 31. März als 3LP Vinyl veröffentlicht.

"Moonage Daydream" beleuchtet das Leben und Genie von David Bowie, einem der produktivsten und einflussreichsten Künstler der jüngeren Musikgeschichte.
Auf Spielfilmlänge nimmt uns Brett Morgen mit in die Welt Bowies, erforscht anhand von großartigem, vielfältigem und nie zuvor gesehenem Filmmaterial, Live-Auftritten und Musik (Morgen sichtete vier Jahre die Archive des David Bowie Estates) seine kreative, musikalische und spirituelle Reise.
Durch den Film führt uns dabei die Erzählerstimme von David Bowie selbst.
Das Begleitalbum zu "Moonage Dream" enthält Songs aus Bowies gesamter Karriere, darunter bisher ungehörtes Material, speziell für den Film und dieses Album angefertigte Mixe und Gesprächspassagen Bowies.

Zu den Highlights des Tracklistings zählen ein bisher unveröffentlichtes Live-Medley von "The Jean Genie / Love Me Do / The Jean Genie", aufgenommen beim berühmt-berüchtigten letzten Ziggy-Stardust-Konzert im Londoner Hammersmith Odeon 1973 und mit Jeff Beck an der Gitarre. Weitere Raritäten sind eine frühe Version
des Hunky-Dory-Favoriten "Quicksand" und eine bisher unveröffentlichte Live-Version von "Rock 'n' Roll With Me", mitgeschnitten bei der legendären "Soul Tour" 1974.

New tunes from Distrubed Traxx !! Massive mastering cut for a delicious groove on da sound system !

After the experience of Camizole, Dominique Grimaud began a new (and different) adventure in 1979 with Monique Alba. Alongside Gilbert Artman (Urban Sax), Guigou Chenevier (Etron Fou Leloublan), Jean-Pierre Grasset (Verto) and Cyril Lefebvre (Maajun), Vidéo-Aventures is composed of instrumentals capable of reconciliating Captain Beefheart, Henry Cow, Suicide and... John Barry. All with the backing of Rock In Opposition, which enabled this Musiques pour garçons et filles to become known worldwide.

“Let us enter your hearts”: is the request made by Vidéo-Aventures, and how can we refuse? Especially as Musiques pour garçons et filles, recorded by Dominique Grimaud and Monique Alba fifty years ago along with handpicked colleagues, is as fresh as ever.

1979: having improvised a huge amount (and how!) with Camizole, Grimaud tried his hand at composition and studio recording with Alba. Their first instrument was the AKS synthetiser, with which the duo recorded the instrumental tracks that were then offered to their comrades Guigou Chenevier (Etron Fou Leloublan), Gilbert Artman (Lard Free, Urban Sax), Jean-Pierre Grasset (Verto) and Cyril Lefebvre (Maajun).

At the end of the year, they all came into the studio for a week to record the eight tracks of this mini- album that Chris Cutler would issue a few months later on his label, Recommended. In France it was the beginning of the agitation around Rock In Opposition, to such a point that Musiques pour Garçons et Filles would rise to second place in the NME independent Charts. And this is hardly surprising...

For these instrumental miniatures (here with the bonus of rare archives, some of which are previously unpublished) are uncontrollable: electronics augmented by lap-steel guitar (“Tina”), cunning pop (“Zazou sur la piste”), mechanic sound (“Une vie modern”), street piano (« French Kiss »), disturbing atmospheres (“La ballade des cardiaques”) or something like a TV theme tune capable of adjusting all the colours (“Telstar”)... With such promising ingredients, why stop Vidéo-Aventures from entering?

LIMITED EDITION CASSETTE
Formed in 1976, the Damned were Britain's first punk rock band.
By 1979 they had managed to disintegrate and re-assemble, way before it was fashionable.
By then punk rock and its neater sibling, new wave, were regularly producing real hits in the UK and the Damned were no exception, with three hit singles drawn from the “Machine Gun Etiquette” LP released that year.

The rock supergroup Beck, Bogert & Appice was formed in
1972 by Jeff Beck, evolving from the Jeff Beck Group. In addition to Beck, the trio consisted of bassist Tim Bogert and drummer Carmine Appice, who had previously played together in Vanilla Fudge and Cactus. They only released one studio album, Beck, Bogert & Appice, which came out in 1973 and features a mix of (hard) rock, blues and funk. The album contains Beck’s version of “Superstition”, written by Stevie Wonder. It was produced by Don Nix, who is one of the more obscure figures in Southern soul and rock and has worked with Freddie King and Furry Lewis amongst others.

To celebrate its 50th anniversary, Beck, Bogert & Appice is available as a limited edition of 1500 individually numbered copies on translucent red coloured vinyl.

Cruachan, irische Folk Metal-Pioniere mit einer 30-jährigen Erfolgskarriere, die sie auf die größten Metal-Festivals der Welt führte, veröffentlichen ihr neues Album auf Schwedens Despotz Records und heimsen direkt erste Lobeshymnen ein.

- 'From the uplifting excitement and energy of track one, The Living, this album grabs your heart and mind then drags them on a fantastic journey through haunting and foreboding stories put to sublimely beautiful folk and aggressive metal, constantly interweaving until we reach... The Dead.' - Jon Campling / Actor (Harry Potter, Final Fantasy)

- 'Now they return to find themselves as part of a folk metal scene that has rocketed in popularity to finally achieve the success that their influence on the genre merits.' - Terrorizer (UK)

Cruachan, irische Folk Metal-Pioniere mit einer 30-jährigen Erfolgskarriere, die sie auf die größten Metal-Festivals der Welt führte, veröffentlichen ihr neues Album auf Schwedens Despotz Records und heimsen direkt erste Lobeshymnen ein.

- 'From the uplifting excitement and energy of track one, The Living, this album grabs your heart and mind then drags them on a fantastic journey through haunting and foreboding stories put to sublimely beautiful folk and aggressive metal, constantly interweaving until we reach... The Dead.' - Jon Campling / Actor (Harry Potter, Final Fantasy)

- 'Now they return to find themselves as part of a folk metal scene that has rocketed in popularity to finally achieve the success that their influence on the genre merits.' - Terrorizer (UK)

Angel numbers: a series of recurring numerical patterns or sequences which those who believe in such things invest with cosmic significance.

Also, the name of the forthcoming album by Hamish Hawk – an apt title for an artist who bounces between scepticism and wonder, who alchemises the quotidian, who is engaged in a constant quest to outwit and outflank the ordinary. With the release of Heavy Elevator in September 2021, Edinburgh-based Hawk established himself as a writer of heartfelt, headstrong, unashamedly literate songs to stimulate both pulse and psyche. Heavy Elevator offered words to savour and tunes to relish. The songs were filmic and romantic, blending wit, wisdom, resignation and beauty with a kind of sceptical joie de vivre, delivered in a rich baritone that has drawn comparisons to everyone from Jarvis Cocker to Scott Walker. A singer of style and guile peddling accessible intelligence: what’s

not to love? Heavy Elevator established a powerful artistic imprimatur which nonetheless felt neither defining nor confining. While the album has been justly lauded, Hawk’s next steps have moved the story considerably further forward. Angel Numbers meets growing expectations head on, with panache and aplomb.

AD INFINITUM - Die heißeste Band im Modernen Symphonic Metal
2023 heizen AD INFINITUM erneut die Szene auf und melden sich mit ihrem spannungsgeladenen dritten Studioalbum, Chapter III – Downfall, zurück, das am 31. März über Napalm Records erscheint.
Der unverkennbare Sound des Quartetts aus druckvollen, fast progressiven Riffs, symphonischen Nuancen, mitreißenden Refrains und Melissa Bonnys einzigartigem stimmlichen Facettenreichtum führte zu
einem unaufhaltsamen Aufstieg in der Metal-Welt, der nun mit Chapter III – Downfall eindrucksvoll vorangetrieben wird. Das neueste Werk unterstreicht den bisherigen Erfolg der energiegeladenen Formation
– bestehend aus Melissa Bonny (Gesang), Adrian Thessenvitz (Gitarre), Korbinian Benedict (Bass) und
Niklas Müller (Schlagzeug) –, der sich seit der Veröffentlichung des Debütalbums 2020 auch in Millionen
von Videoaufrufen und Streams weltweit widerspiegelt.
Produziert von AD INFINITUM und Jacob Hansen in den Hansen Studios, zeigt Chapter III - Downfall, dass diese aufstrebende Band das Genre mühelos auf den Kopf stellen kann, indem es ihm zeitgemäße
Vibes verleiht, ohne auf die musikalischen Ursprünge zu verzichten, und dabei alle Metal-Fans auf ihrem
Weg an die Spitze begeistert!

Royal Headache's first LP from 2011. Black vinyl and super limited edition pressing on What's Your Rupture?

Royal Headache rose out of the bleak underground punk scene of Western Sydney in 2008. In part of response to the gloomy post punk bands happening at the time of its founding.

Royal Headache's first LP from 2011. Black vinyl and super limited edition pressing on What's Your Rupture?

Royal Headache rose out of the bleak underground punk scene of Western Sydney in 2008. In part of response to the gloomy post punk bands happening at the time of its founding.

First things first - you don't need me to tell you about the significance of Australia in the history of punk. I mean, what am I, Jon Savage? Google it yourself, FFS. Instead, let's just agree that the speedy, feral racket thrown together by the likes of The Saints, Radio Birdman and The Scientists in the mid-late '70s is AT LEAST as deliriously entertaining as anything concocted by their UK/US counterparts, sowing the seeds for seemingly endless garage-inflected noisemakers in the land down under. No one likes using words like 'tradition' or 'heritage' here - the punk rock clusterbomb is far too messy for any of that business - but also emerging from Australian rock's primordial soup is the addictive sneer of Stiff Richards. Like their predecessors, the band are a gleefully wracked mess of full throttle energy and barrelling power chords, with songs like 'Kids Out On The Grass' and 'Point of You' proving at least the equal of '(I'm) Stranded' or 'Aloha Steve And Danno'. Nine tracks in less than 30 minutes, all winners and all determined to leave you flipping over couches and smashing your TV set. And let's face it, you may as well; there's nothing good on. It all builds towards frantic closer 'Fill In The Blanks', which rattles around your speakers like the UK Subs trying to play Ed Kuepper riffs at the centre of an earthquake, before grinding to a halt as a voice says, "That's the one." Does it sound self-satisfied? Hey, it's got good reason to - this is the best no-frills garage rock party since Gino & The Goons' 'Do The Get Around', and the only appropriate response is to declare yourself betrothed to Stiff Richards because you can't imagine your life without 'em. Don't believe me? Sort out your ears and get 'State Of Mind' in 'em. Rock'n'roll as it's supposed to be played. Will Fitzpatrick.

Canadian alt. rock 5-piece Mother Mother have experienced a whirlwind decade, amassing over 830 million streams and views, earning 14 million monthly listeners on digital platforms and 2 million searches at Shazam.
In 2021 they became something of a TikTok sensation when songs from their back catalogue exploded on the platform, quickly accumulating a staggering 325 million uses of #MotherMother as well as 1.5 million fans (now at 2.7m).

In the band’s homeland, they have had numerous Top 10 Alternative Radio hits, spent several weeks at #1, and have been the most played alternative artist at radio for multiple years running. The band have also found success on the road. Their most recent pre-pandemic tours featured numerous sold-out headline dates including New York, London,
Los Angeles and all across Canada and the US.

Last autumn Mother Mother performed a sold out UK tour to over 9,000 rabid fans, including two nights at the 02 Forum in Kentish Town.