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Following a prosperous career in music and poetry, Detroit-based musician and performer Malik Alston readies his vibrant album 'Malik Alston Presents Painted Pictures: Air' set for release via The Jazz Diaries. The album is a spirited celebration between jazz virtuosity and Motor City house music, showcasing Alston's roots in Jazz, Gospel, Soul and Dance Music.

Roman Flügel and Radio Slave remix KUSP ft Pablo:Rita on Rekids this November.

Arriving on Radio Slave’s vital Rekids imprint following 2020’s ‘Freedom of Fear EP’ on Rekids Special Projects, British duo KUSP deliver the captivating ‘Folding’, featuring vocals from Pablo:Rita and remixes from label boss Radio Slave and electronic music luminary Roman Flügel. A deviation from the duo’s upfront techno records, which have been supported by likes of Luke Slater, Regal, Truncate, and more, KUSP have crafted an emotive breakbeat jam featuring vocals from West London-based Pablo:Rita, the Crosstown Rebels affiliated duo formed of Annabel Simpson and Liz Cass.

Following the A1 is the ‘After Dark’ mix, which sees the duo head to heavier territories, stripping away the vocals and going for the jugular with crisp, pounding drums under the original’s melodic touch. On the flip, Roman Flügel brings his years of clubland experience to the table, introducing a wonky electro-esque
pattern, arpeggiated synth lines, before an ecstatic breakdown takes hold. For the final version, Radio Slave returns to his use of breaks and delicate atmospherics with his evocative, early-rave referencing ‘New Age Of Love’ remix.

Eine neue Sammlung von Liedern, persönlich ausgewählt vom weltgrößten ”klassischen Künstler” - Ludovico Einaudi - aus mehr als 25 Jahren Musikschaffen.

Dieses neu gemasterte Doppelalbum erkundet Musik aus dem gesamten Katalog von Einaudi und bringt verborgene Edelsteine aus über 9 Alben ans Tageslicht. Es enthält Tracks aus seinen zahlreichen Kooperationsprojekten wie Taranta, Diaro Mali & Cloudland, die Soloalben Eden Roc, I Giorni & Una Mattina, Live-Auftritte aus Berlin & La Scala, Mailand, eine Gesangsversion seines beliebtesten Titels Nuvole Bianche, mehrere Titel, die nie vollständig veröffentlicht wurden, und einen bisher unveröffentlichten Titel.

Newmont’s first release explores a broad-based sound, ranging from breaks to downtempo. The record puts forward a more hybrid-driven score, which is the Paris-based idea for this project. Get your copy from your local record dealer!

The album is his first for Oakland-based emotive experimental label n5MD, and it finds Ohadi taking inspiration from Adam Curtis' Oh Dearism shorts reflecting on the globes' modern-day state of turmoil.
As of late, n5MD has focused more on harboring artists with a more visceral take on ambient, eschewing background music or music for concentration or respite for ambient that requires deep listening.
COLDSTREAM is another such fibrous collection. Ohadi utilizes dark ambient, drone, glitch, and even industrial motifs to aid Idlefon's grainy ideology. COLDSTREAM is boundless, with moments of tension that swirl in and out of view, making it a perfectly ascending aural view of our ever declining society.

On 18th April, 1980, after decades of anti colonial struggle, the Zimbabweian flag was finally raised at midnight at the Rufaro Stadium in Harare. Not long after, the words "Ladies and Gentlemen, Bob Marley and The Wailers!" rang out, and Zimbabwe's independent future began.

In the years that followed, Africa was to produce it's own reggae superstars, as the likes of Alpha Blondy, Majek Fashek and Lucky Dube swept across the continent and beyond, and there's no doubting Bob Marley's explosive impact on this particular narrative.

Marley's unswerving commitment to liberation and unity ranged from the sweeping spiritual sentiments of iconic hits such One Love and Redemption Song to the galvanising, focused tone of 1979's 'Zimbabwe', and his status as global superstar ensured that his (self funded) part in the countries' epochal celebrations meant that the history of reggae in Africa would always be viewed through the prism of his influence ( Wiki/African Reggae : "In 1980, world-famous Jamaican reggae musician Bob Marley performed in Harare, Zimbabwe, and that concert is often credited as marking the beginning of reggae in Africa")

But in fact, the recorded history of reggae produced in Africa stretches back over a decade before Marley's arrival on the continent, and showcases broad pan - diasporic interflows between the Carribean and Africa, with the UK and the US communities playing influential supporting roles, all helping shape the evolution and development of the genre in Africa from late 60's inception to Marley's arrival in 1980, and then well beyond.

Reggae Africa : Roots and Culture, 1972 - 1981 tries to capture a sense of that evolution, starting in 1972 as Mebussa's ultra rare 'Good Bye Friends' effortlessly captures triangular, transatlantic cultural interflows, with the short lived Nigerian group's bitter sweet chords echoing classic US soul, but laid over a gritty, skanking Jimmy Cliff - esque proto reggae rhythm.

Trying to work out the precise provenance of Black Reggae's 'Darling I'm So Proud of You' (1975) isn't easy, but involves Paris based / African focused label Fiesta, some proper OG co-branding exercise with Bols Brandy ( "Bols Brandy presents Black Reggae") - and deeply infectious, lilting Rocksteady.

By 1976, glorious Nigerian sister duo Lijadu Sisters are echoing the chunky roots of a Dennis Brown or U Roy on 'Bobby', and in 1977, bespoke Nigerian drummer Georges Happi is introing 'Hello Friends' with the soon to be universal signature reggae tom roll intro, before veering leftfield with snatches of spoken Afro - English vocal in between the hooky choruses.

Nigerian giant Chrissy Essien's 'I'll Be You Man' (1979) combines floaty Lovers vibes with catchy ska shuffle, and in the same year, Cameroonian afro-funk/disco heavyweight Pasteur Lappe' drifts seamlessly into skanking, Lovers infected reggae on 'Babbette D.O. ( Rastawoman )' (before a sprawling electric guitar solo reminds us how unselfconsiously eclectic so much African music of the era was.)

And finally bookending the compilation, in chronological terms, fellow Cameroonian Tala AM also swaps his funk and soul for the rootsy and infectious 'Hop Sy Trong' (1981), again highlighting the diverse and eclectic approach to this timeless Carribean musical genre taken by African musicians in the years before that Bob Marley year zero event in Zimbabwe.

Cult American ambient label Past Inside The Present looks to New York City-based composer Christina Giannone for her new full length Glazed Vision, which is pressed to nice heavy 160 gram transparent clear vinyl. This is her third full length following 202's The Faint and a collaborative work also last year, and it is another development of her dark, heavy, drone fulled ambient landscapes. These are lo-fi, foggy tracks that hang in mid air and make you feel like you're doing the same as only the most subtle of shapeshifting chords brings a sense of motion. It is bleak yet beautiful and never less than hugely absorbing.

Briti$h is a UK-based artist carving out his own niche using a unique blend of original sounds. Growing up in Ipswich, Briti$h’s relationship with hip hop was strengthened when he moved to Florida, where he lived for 10 years. He became immersed in the music of famed Southern ambassadors such as UGK, Outkast, Scarface and Rick Ross, which went on to subliminally inform his music.

Back in Ipswich, a town that has long been a hotbed of Hip-Hop talent, Briti$h stepped right into the scene and never looked back. His style is impossible to pin down in any one area of Hip-Hop, instead offering a smorgasbord of styles with its roots laid down across the spectrum, from boom bap to trap, but always with a heavy focus on lyrics.

Briti$h’s debut EP, ‘Stuck in a Bunker’, was released in 2018. It delivered a solid introduction to his music, and enjoyed a warm reception from both his fans and peers. The EP was produced by label mate Bunker Beats, on Briti$h’s fledgling label DJGT Entertainment, and was all recorded at his Purple Loft Studios.

Briti$h was involved in a few notable collaborations with the likes of Emjam, Skribblez, El-Emcee, and Rye Shabby. He has also enjoyed airplay from BBC Introducing, the FATP Hip-Hop Show and Graffiti Kings Radio.

LIMITED-EDITION SANDS OF TIME COLOR VINYL VERSION Open The Gates is Philadelphia-based free jazz collective IRREVERSIBLE ENTANGLEMENTS's third full length album (and first double LP length album). Recorded at Rittenhouse Soundworks in Philadelphia, across 73 minutes of music the band - featuring Camae Ayewa aka Moor Mother, trumpeter Aquiles Navarro & drummer Tcheser Holmes (who released their duo debut Heritage of the Invisible II on International Anthem last year), saxophonist Keir Neuringer, and bassist Luke Stewart - supplement their raw, organic punk-jazz sound with firsttime experiments with electronics and synthesizers.

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David Lohlein about to drop his long awaited album on Snake Sounds. Although sticking to his club roots on VIA TAYA he is exploring new grounds based on his signature snake sound.

Robert Sotelo is a mercurial melodist building a resplendent world of pristine DIY pop from the ground up. The Glasgow-based artist’s songs are meticulously crafted, patchworked together with eclectic arrangements and ardent vocal performances. Each of his albums to date has been accompanied by a growth-spurt, 2017’s debut ‘Cusp’ was packed with miniature psych overtures, whilst 2018’s 'Botanical' was more keyboard-minded and playful with a near-absurdist palette of sound. ‘Infinite Sprawling’ came out towards the end of 2019 and surprised with songs pulled together like a wakeful stretch, brisk with a lightness of touch. This was neatly followed by ‘Leap & Bounce’ melding a sparse synth-pop minimalism to an emotional undertow.
This November Upset The Rhythm will release Robert Sotelo’s vivid new album ‘Celebrant’. ‘Celebrant’ was intended to be and still is to some extent a joyous wedding album (Sotelo is recently married), but in his own words “the pandemic and the death of my aunt Carmen intersected with the original concept so the album is darker than intended in places.” More cinematic and measured than prior albums, Sotelo expounds that “it is purposefully a bigger sounding attempt at my keyboard songs and I felt more ambitious about it in general.” That’s certainly reflected in these twelve sophisticated loops of song, all curiously affecting and catchy, sprinkled with Sotelo’s offbeat musings and keenly accurate observations. Guitars are rarely employed on this record with Sotelo recruiting Iain Mccall, Ross Blake, Celia Morgan and David Maxwell to contribute brass, woodwind, spoken word and acoustic drums respectively. All of these additions blend well with the album’s synthetic core, softening and subtly shaping its pop-first nature into something more nuanced, vulnerable and human.
‘Celebrant’ is a plucky synth-centric collection of unbridled songs at times surefooted at others threatened by disconnect, skilfully steered by Sotelo with typical classy touch. ‘Dear Resident’ is divinely metronomic, ‘Behaviour’ luxuriates in pitching a silken saxophone into a frenzied drum-off. ‘The Currency Is Love’ swaggers with 80s vibes aplenty: “all the globe is listening as a system of concern” sings Sotelo in clipped manner, enjoying the placement of each word in each song precisely, however seemingly stumbled upon and surreal their selection might seem. Other highlights include title track ‘The Celebrant’ with its lush environ of droning keys, swooning woodwind and baroque reverie, and ‘This Is My House’ a woozy, maze-like triumph of melody. ‘Influencer’ is similarly masterful with melancholic strains of synth, sax and voice: “extract the data from the fruit straight off the tree, conducive testing proves it’s not reality, create a substitute to simulate the tide, with rich efficiency the differences can hide.” The song itself a cipher for an ill-imagined future we might be living in already.
With ‘Celebrant’ Robert Sotelo has made an album that sounds as big as its heart and imagination, true depth of feeling, true depth of connection. It’s an ornate album, complex and thoughtful, a fitting tribute to a wedding in unsettled times. What a treat that we’ve all been invited to the reception.

12" Vinyl with reverse board sleeve

DJ, producer and artist Call Super announces their latest release, the double EP titled ‘Cherry Drops’. This is the third and fourth release to come on can you feel the sun, the label they co-founded with London-based DJ and producer Parris.

The adventurous EP by Call Super, real name Joseph Richmond Seaton, is a collection of tracks written around the time they were working on a larger project called ‘Tell Me I Didn’t Choose This’, which reflects on a period in their life of upheaval, trauma and self-discovery. However, the music on Cherry Drops became a release from that project - a distraction from painful reflections and recollections. Reconnecting with music made solely for the dancefloor became their much needed escape, as it was in those spaces they originally found release and freedom during pivotal periods in their life.

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Subjoi has a long history with Shall Not Fade, an early addition to the Lost Palms series which now hits its 48th release. The Adelaide-based producer had two stunning EPs on the label in 2020, displaying his signature blends of eclectic dance music styles.

Compared to last year's Bias, Steadfast EP is a more understated affair, leaving space for Subjoi's production skill to shine. The title track pairs piano melodies and subtle breakbeat for an emotive sound easing into "Count It Off", where slow pads give way to a beat that takes influence from UK garage and jungle. By coupling this high-energy style with sombre chords, Subjoi makes a uniquely melancholy club track.

Yearning vocals and synth stabs build complexity in "Rapids", a forward late night number. The closing track keeps the
haunting atmosphere of the rest of the records, fading out as subtly as it began with an organic sound palette contrasting the stuttering 2-step beat.

Mechanism is a Rotterdam based organisation with a focus on presenting and releasing adventurous techno driven music. The aim of Mechanism is to push the limits of the sonic palette and to contribute to the intersection of dance floor rituals and abstract sensory experiences.

The second release of the Mechanism label is by Rotor Militia. The music of Rotor Militia is a combination of technoid beats and hypnotic abstract layers of ritualistic and synthetic sounds. With this four tracker Rotor Militia works the soil for the new label to build upon.

After 20 years working intensively as a drummer, singer, producer and composer in the city of São Paulo, the Brazilian based in Duisburg Mariá Portugal (Quartabê, Arrigo Barnabé, Elza Soares) releases her new album EROSÃO in November 2021. The album will be released digitally and on vinyl by Selo Risco (Brazil) and Fun in The Church (Germany).

EROSÃO has three layers: song material, acoustic improvisation and electronic manipulation. In each layer exists both the reminiscence and the oblivion of the precedent, like a stone that is built up of overlapping layers that also modify each other through mechanical and chemical processes.

Mariá Portugal’s songs are the first layer and the basis of the project. As any Brazilian singer/songwriter, she has strong roots in the Brazilian song tradition, going from Dorival Caymmi to Itamar Assumpção and Arrigo Barnabé to Caetano Veloso, besides being strongly influenced by same-generation composers, such as Negro Leo, Iara Rennó, Kiko Dinucci and Maria Beraldo.

Endless Boogie re-joins with its fifth proper studio album. It contains and is called ADMONITIONS. Seven tracks of unrefined wisdom, mostly put to tape in improvised fashion with little to no warning. Recorded over two years and two sessions - at the pastoral tranquility of the Stockholm inland archipelago in 2018, and in the dank, cramped basement of a Fort Greene, Brooklyn studio in February 2020. Eklow on crude direction, Sweeney on stealth glamour, the obscurantist clarity of Paul Major is, as always, as ever, on full display, the fierce reality of Mike Bones is crucial, and the stoic solidity of The Harry Druzd lays beneath it all. Old pal Kurt Vile hovers over COUNTERFEITER. Full grease, delivered with ease. It is the band’s humble wish that you immerse yourself and this offering. Endless Boogie emerge from fugue state with a new double LP. Admonitions was conceived a recorded via timewarp between NYC, TX & the Stockholm archipelago. Major growls, Eklow riffs, Sweeney flavors. Mystery players appear as specters in the mirror. 100% guaranteed to drown out paranoid inner dialogue. Onward and inward. . This one goes down swinging.

Siv Disa, the Chinese-American New York singer currently residing in Iceland has announced her debut album, Dreamhouse on UK based label Trapped Animal. Dreamhouse is available on Sky Blue 180GSM vinyl with a printed inner sleeve including song lyrics. The outer sleeve is printed uncoated high-quality card. Also available on Digipak CD and via Digital streaming and DL. The artwork was conceived and built by Siv Disa. It features a dreamy hand-painted dollhouse—the front image is a photograph of a tangerine sherbet living-room-in-miniature, complete with a teacup table and a glowing salt shaker lamp. The artist herself is hanging on the wall ensconced in a gilded frame overlooking the tableau. The back cover explores the same dollhouse, from a distance: there’s a garden in the basement, a maze of threads in the gallery, and a small ocean in the bathroom. A callback to the intricate maximalism of 70’s psychedelia and Neo-art nouveau, there are layers of details embedded into each room for the viewer to discover. Dreamhouse is a wild journey through its creator's psyches. It moves from gentle break-up songs to dark nights out in the fluorescent haze of nighttime New York and Reykjavik city filled with deep hallucinogenic beats... before it finally closes on a song infused with the isolation of 2020. The first part of Dreamhouse was recorded in upstate New York with collaborator and producer Sam and the sea, they both chose to relocate when the pandemic hit the US – and regrouped at a studio cabin in the wilderness to complete Dreamhouse and take time to escape the ensuing storm we all faced. It’s important to understand, whilst a product finalised during lockdown – this album was largely conceived way before the lockdown or pandemic, this is Siv Disa’s debut album and it was always going to be luminous and otherworldly, as with its creators. Quotes : “psychedelic pop that converges the encompassing textures of Broadcasts with Joanna Newsom’s pleasantly off-kilter melodies” - Line Of Best Fit // “...a haunting feel, while her warm, soft voice invites the listener into even the darkest of stories…Fear is an embodiment of this distinct sound she’s mastered.” Audiofemme // “profound lyrics flow from an ethereal plane, it’s an utterly captivating offering” Get In Her Ears

Featuring Squirrel Flower and Liam O’Neill (SUUNS). Recommended If You Like: Mount Eerie, Low, Richard Swift, the Weather Station, Lomelda, Fleet Foxes, Squirrel Flower, L’Rain. Cedric Noel is a songwriter, bassist, collaborator and producer currently based in Montréal, Québec. The newest longplayer from Tio'tiá:ke/Montreal staple Cedric Noel lands with a stunning sense of surety and self. Hang Time stands as a high water mark for a songwriter who's spent the past decade quietly expanding the borders of his music. Longtime fans will recognize the fluid elements of the album’s open-ended rock formations: reflective strumming, soaring choruses, searing guitar lines, subtle bass grooves; all occasionally dissolving into pools of pure ambience. New listeners will find surprises throughout: threads of folk pop, ambient and sound collage fasten the foundations of this expressive whole. However, what’s most striking on Hang Time is Noel’s newfound sense of voice, both literal and metaphorical. Written primarily in 2017-18 during an intense period of self-reflection, this collection of songs finds Noel wrestling profoundly with his sense of identity, self and place. The album’s material was captured faithfully at The Pines, a beloved downtown Montreal studio whose doors shuttered shortly after amidst the strain of the pandemic. Noel worked closely and patiently with friend and engineer Steve Newton, ensuring the songs had the time and space needed to come fully to fruition. Hang Time features subtle rhythm work from drummer Liam O’Neill (SUUNS) and guest spots from Brigitte Naggar (Common Holly) and Tim Crabtree (Paper Beat Scissors) among others. The album opens in mid-air with ‘Comuu’, a song that implores a becoming-more while hovering triumphantly. Then follows a suite of songs (‘Headspace’, ‘Keep’, ‘Stilling’) that recall the heart-rending power of y2k-era Low, albeit with a more vigorous beat. On ‘Bass Song’, an intimate duet with musician Ella Williams (Squirrel Flower) that explores the depths of interpersonal constriction. At the crux of the album sits ‘Born’, a deceptively pleasant-sounding song that explores the confounding emotionality of adoption before fading into a distended soundfield. Throughout the back half of the album, Noel double’s down on this commitment to his genuine, proud, Black self. The most confrontational track, ‘Allies’ finds him refraining “Are you on my side?” as a trailing guitar solo interweaves a Malcolm X soundbite, eventually engulfing the composition. Glorious lead single ‘Nighttime (Skin)’ traces the artist’s sense of ancestral dissociation through to a triumphant moment of pride in self-acceptance. Throughout Hang Time, Noel finds a way to ask hard questions (both of the listener and himself) in ways that are compassionate, open and honest. The ebb and flow of tension and tenderness that moves within these tracks helps to grow the heart and redefine what Black music can be in 2021.

Debut album Moveys was released to critical acclaim from the likes of The New York Times, NPR, NYLON, AV Club, Stereogum, and more. Pigeons & Planes Rising Band To Know For 2021. Future Touring: European tour spring 2022. RIYL: Alex G, Beabadoobee, Big Thief, Soccer Mommy. Slow Pulp follow up their triumphant debut album 'Moveys' with two 'Deleted Scenes'. "At It Again (Again)" reinterprets the grunged-up album track as a soft and gentle acoustic version. Emily Massey’s vocals float light as a feather over strumming acoustic strings and staccato guitar rhythms. "Iowa" is a hazy, fever-dream take on 'Moveys' standout "Idaho". Recalling the ethereal allure of alt 90s acts such as Mazzy Star or Enya, this adaptation finds the band experimenting with new sonic textures. Somehow both haunting and comforting, the pitched-down, androgynous vocal delivery gives “Iowa” its unique charm. 2020 was a turbulent year of ups and downs for the band. In the process of making their debut record, the Chicago- based indie rock band powered through health challenges, a severe car accident, and a pandemic. On the other side, they emerged with 'Moveys', 10 compelling tracks of blistering energy and emotional catharsis, highlighting the band's resourcefulness and resilience to come together even when the odds were stacked against them. Their debut long-play was released to critical acclaim from the likes of The New York Times, NPR, NYLON, AV Club, Stereogum, and more. Pigeons & Planes recently dubbed Slow Pulp a rising band to know for 2021. To support 'Moveys' and its counterpart, 'Deleted Scenes', the band will embark on a full US headline tour this November and December. Stops will include shows in New York City, Los Angeles, and their hometown of Chicago.

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

Pressed on Orange Vinyl! Eto Brigante is the one and only time Rochester's favorite son has done a concept album. The featureless affair is based on the classic gangster film Carlito's Way, as song titles like "Benny Blanco Club Scene" and "David Kleinfeld" make abundantly clear. Eto adapts the key scenes of the movie into rhyme in a way that only he can. The hardbody beats are handled by underground go-to's like V Don, Trox, Chup The Producer, MichaelAngelo, and more. Art by CEP.

In 1981, The Ex started squatting Villa Zuid, an estate overlooking abandoned Van Gelder paper factory in the village of Wormer, Netherlands. Formerly the home of the factory's manager, the Villa briefly served as the band's base of operations and would inspire one of The Ex's most impactful, enduring albums in their 40+ year history.

Originally released in 1983, Dignity Of Labour is "our idea of improvised industrial punk noise," states Ex-frontman G.W. Sok, which not only offers a perfect summation of these idiosyncratic sounds, but also of the group's music in the decades to come.

During its heyday, Van Gelder employed over 1,000 workers. By 1981, it had gone bankrupt, following the takeover and divestment of a multinational corporation. Having saved the Villa from demolition through squatting, The Ex pored over newspaper articles, interviews and business records to tell the story of the factory and the people whose labor brought it to life – an unparalleled example of DIY archival action.

With new drummer Sabien Witteman bringing polyrhythmic accents and a supporting crew of agitators (credits include piledriver, bus engine, printing press, etc.), The Ex recorded eight tracks in-studio and then played them back in the ruins of the factory while recording the playback – giving Dignity Of Labour a haunting sense of space that is at once cavernous and decaying.

This first-time vinyl reissue (configured as single LP) comes with 24" x 18" poster and 24-page booklet.

Elsa Hewitt is a London-based music producer and writer hailing from Sussex, via Yorkshire. Beginning as a young singer-songwriter producing demos on a four-track, she progressed through fronting post-punk bands and solo electronic songwriting, all the while developing a passion for album-making which would ultimately lead her to electronic production, establishing her name producing avant-garde, experimental & ambient, leftfield dance, and lo-fi, psychedelia. Since her 2017 official debut ‘Cameras From Mars’, stepping onto the scene as a Future Bubbler and Lynsey de Paul Prize winner, Hewitt has amassed a series of distinct yet interlinked philosophical worlds; each one holding its own tones of joyful beauty and abstract darkness. With a boundless approach to merging elements of dance & ambient, Hewitt’s adventurous approach remains pinned by her earthy voice, idiosyncratic songwriting style and sharply poetic lyricism.

Born and raised in Seoul, Didi Han's passion for the arts began in high school.

During her time at university, where she majored in art and textile design, Didi worked as a designer. Didi Han first began blurring the lines between the arts of fashion and music after working as a music director for fashion shows and selecting music during fashion week. It wasn't long after that, that Didi went to DJ academy to learn how to DJ, inspired by a performance from Nicolas Jaar.

After her success as a member of the "Deluxe Seoul” collective, with whom she played at multiple popular venues across Korea, Didi Han was asked to perform for the world-famous Boiler Room platform on two separate occasions, and later toured across Europe and Asia. While active as a DJ, Didi Han discovered a desire to create her own music. Her 2019 release Forest gave her fans a glimpse of exciting production activities to come, featuring a low-fi texture and the sound of a flugelhorn.

Wake Up is the first project from Didi Han on french label Roche Musique. The 5 track EP was completed after the Seoul based-producer's trip to Bali in 2020. Inspiration from the sounds heard and the experiences had in the warm sunlight and emerald ocean, are what influenced the chill house tracks. Here, Didi Han introduces a mellow and melodic debut-EP which features a lots of percussion. Wake Up mixes elements of hip hop, jazz and house, and features collaborations with established artists such as Wansun Kim, Lydia Lee, Nelick and fellow Korean producer, L-like.

Already keen on Roche Musique musical identity, she quite naturally decided to release her first project under the French label.

“We first met in 2018 while Roche Musique was touring in South Korea, we instantly matched around our vision of the club scene : fresh, bold and spontaneous! In 3 years we had time to build a genuine relationship.”

SINM introduces their second release: 74 Space Station EP. Starting out with "74 Space Station" the crew delivers an ambient influenced breakbeat with chopped vocals, voyage-like arpeggiators that take you back and fourth in a low-gravity state. Talented Cesare Muraca takes over a electro influenced remixed with a heavy baseline and layers of powerful synthesizers for a suprising twist on the original. Finally "Hello Callisto" rounds up the EP with a fast paced, train-like momentum with engaging baselines, galactic pads and garage influenced drums that will keep your journey going from start to finish.

Record Kicks drops "Solid Ground", the explosive debut album by US band The Grease Traps, recorded at Kelly Finnigan' Transistor Sounds and mixed by Orgone's Sergio Rios.

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

As avid record collectors and fans of that old school analog sound, Solid Ground was recorded straight to 8-track tape on a Tascam 388, which also graces the cover art. Half of the tracks were recorded live at Transistor Sound Studio by soul crooner, Kelly Finnigan, and Ian McDonald where both Kelly and their band, Monophonics, have recorded their last few albums. The other half of the tunes were recorded by Kevin and Aaron at Fifty Filth Studio in Oakland, CA where the band also rehearses and mixed by analog-obsessive Orgone producer Sergio Rios. The album's original tunes draw from the Traps' various soul influences ranging from gritty funk ("Bird of Paradise" and "Hungry") to fuzzed-out psychedelic ("Residue") to sweet lowrider soul ("More and More"). The lyrics by lead singer The Gata also don't shy away from pressing issues of the day such as racism in America ("Roots") and finding hope in a world that seems pitted against you (the JB's style "Solid Ground"). The rare funk covers from the album provide a taste of the raw energy one would experience at a Grease Traps live show. The Traps also supplemented their sound with special guests including the Monophonics horns, background vocals from seasoned Bay Area vocalists, Sally Green and Bryan Dyer, as well as strings organized by Kansas City master viola player, Alyssa Bell.

The seed of The Grease Traps formed back in 2000 when keyboardist, Aaron Julin, answered an ad put out by guitarist, Kevin O'Dea, searching for players who were hip to the rare grooves laid down by Blue Note artists such as Grant Green and Lou Donaldson. They quickly formed Groovement, covering those same artists along with other jazz-funk staples. When their sax player and frontman moved away, they switched gears to form the band, Brown Baggin, getting into the harder funk of the JB's, the Meters, Kool & the Gang, and lesser known acts such as Mickey & the Soul Generation. They also started digging into the rare funk compilations put out by Keb Darge, Jazzman Gerald,and labels like Harmless, Ubiquity, Soul Jazz, and Now-Again. Modern day soul and funk outfits such as Breakestra, the Whitefield Brothers, and the Daptone/Soul Fire crews provided additional inspiration.

In 2005, while still playing with Brown Baggin yet fed up with juggling the schedules of seven band members, Aaron and Kevin put out an ad to find a bassist and drummer to jam with as a quartet. The first two cats to show up were bassist, Goopy Rossi, and drummer, Dave Brick. It was clear from the get-go that this rhythm section had great chemistry. Originally intended as a fun side project, the Traps quickly took priority as Brown Baggin dissolved. Performing as an instrumental quartet for a number of years, they eventually expanded their repertoire to include horns as well as that sharp-dressing soul brother, The Gata, on lead vocals. Over the years, they've shared the stage with acts such as Shuggie Otis, Robert Walter, Durand Jones, Monophonics, Neal Francis, and Jungle Fire.

New purple splatter repress of ‘Monsters’, the latest album
from US-based duo The Midnight.

Having gone from online cult fascination to selling out
London’s Roundhouse, The Midnight’s ‘Monsters’ debuted in
the UK Top 100 Album Chart on release, ahead of a sure-tobe-sold-out tour that includes headining Brixton Academy.

The album finds lyricist, guitarist Tyler Lyle and
instrumentalist and producer Tim McEwan creating a
sweeping sound that fuses Americana archetypes with an
evocative electronic palette referencing synth-driven film
scores, deep house, pop and rock.

‘Monsters’ (released via Counter Records - Maribou State,
ODESZA) sees a continuation of The Midnight’s immersive
world-building that has attracted a rabid fanbase. From the
album artwork to the song titles, the record excavates
teenage emotions through nostalgic touchstones - the early
internet, VHS tapes, PlayStations, movie posters - to
recreate the thrilling and crushing experiences of those
tumultuous years.

For fans of Kyle Dixon (‘Stranger Things’ OST), The 1975,
M83, The Weeknd, Muse, Chromatics, Hot Chip, Chvrches.

Fans of the band also include actor Chris Evans (‘The
Avengers’, ‘Captain America’) and legendary producer
Quincy Jones.

“Big soundscapes, dreamy vocals, and saxophone solos - for
years.” - BBC Newsbeat

2LP pressed on 140g purple splatter vinyl in a gloss
varnished gatefold sleeve with printed inners plus digital
download code.

AZUCENA DREAMS COLORED

INDIE RETAIL EXCLUSIVE AZUCENA DREAMS COLOR VINYL LP City of Mirrors is a bold new collection of music from Chicago-based alt-Latinx band Dos Santos, which is comprised of bandleader/singer/lyricist/guitarist/keyboardist Alex Chavez, drummer Daniel Villarreal, percussionist Peter "Maestro" Vale, bassist Jaime Garza, and guitarist/multi-instrumentalist/vocalist Nathan Karagianis.

The Handy Records crew return once again with a stunning EP from none other Mr Bobby Cazanova.

A1 is an absolute gem. Nostalgic, catchy, euphoric and all-round feels. Just what we needed after the 2 year hiatus from nonsense. It’s a speedy emotive number with all the bells and whistles for a great time. Definitely one for the 6AM sunset. Following; the A2 is a sub aquatic bubbler. Low slung bass and rich strings lead this into a deep technical groover. Again Bobby has nailed the feeling of having heard this before but never quite like this. The A3 is something quite special. Acid lines and driving bass make this an absolute heater for the floor.

On the flip we have another fast-paced rhythm. This time capitalising on the darker side of Bobby’s mind. Between pulsating baselines and inquisitive synths there is an emotive and paced production that is sure to get people moving. Rounding off the EP is a darker piece. Glistening pads and pensive arpeggiation make this a slow but sure burner for the dance floor.

Xenia Rubinos, is a New York City based artist who's been revered for her innovative voice and maze-like knack for melody. Una Rosa is Rubinos' third album , her second on Anti- Records, following up her critically acclaimed Black Terry Cat (2016). Xenia Rubinos dips in and out of genre and structure to create movingly powerful songs. Her powerhouse vocals stem from a combination of R&B, Hip-Hop and Jazz influences, all delivered with a soulful punk aura. Pitchfork has lauded the radiant singer as "a unique new pop personality" while The New Yorker described her work as "rhythmically fierce, vocally generous music that slips through the net of any known genre." Having previously collaborated and toured with acts as diverse as Battles, Deerhoof, Man Man and Tune-Yards, Rubinos' energetic live show echoes some of the larger than life icons she admired as a child like Nina Simone and Erykah Badu, while wielding a space in music that is utterly her own. "I think my sound is a collage of different music coming together on a visceral level, connecting the dots with my voice and imagination," she said. Una Rosa is produced by Rubinos along with her longtime collaborator and drummer Marco Buccelli, and is full of color- drawing much of its multichromatic sound from the bright colors of pop art, which Xenia was immersed in during the writing process.

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

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

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

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

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

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

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

Repress

Veteran French producer, Maelstrom made his Cultivated Electronics debut in 2018 with 'ECZO EP'. Now more than two years later and following a new album on RAAR, he returns with another EP, this time for CE's vinyl-only subsidiary, Cultivated Electronics Ltd. Joan-Mael Peneau has been making music for over fifteen years, with a history of aliases and side projects, illegal raves thrown in warehouses, fields and basements, but he soon came into his own under his Maelstrom moniker, releasing music on the likes of RAAR (the label he co-founded with Louisahhh in 2015), Cultivated Electronics, Central Processing Unit, Mechatronica, Private Persons and Discos Atonicos. Though his name suggests chaos, Maelstrom's music delivers intention, focus and precision that are evident on his 'Expression Directe' EP, which features four new tracks of deep and expressive electro-funk.

Known for his soothing trumpet work in German jazz group Fazer, Matthias Lindermayr is back on Squama with an all-new trio and his third album 'Triptych'.
With Philipp Schiepek on acoustic guitar and Simon Popp on percussion, the Munich-based musician created a forward-thinking record between jazz and contemporary classical, conceptually bold and utterly beautiful.
'Triptych' is a thrillingly quiet record. While the album's predecessor 'Newborn' (2018) featured a quintet, the rather unusual trio line-up on 'Triptych' gave Matthias more room to share the nuances of his playing.
His compositions, most written especially for this group, are of a noble simplicity allowing the musicians to focus more on interaction and sound.

We are quite pleased to be bringing you this new album of mind-bending, pseudo liturgical and potentially lysergic electro acoustic compositions from Paris based, Belarusian composer Lina Filipovich, entitled "Magnificat". With its dark echoes of early Doctor Who episodes, and it's bent and twisted, industrially tinged and distorted choral decay, it seems at times like an ominous soundtrack to an end of the world sci-fi film. This is the standard vinyl version in an edition of 90 copies.

Gold Vinyl

From the hyperuranium of Argentinian folktronic, the mesmerizing and ancestral voice of Dat García meets the arabesque sounds of the London-based afro bass producers Carthnage in a
mystical and ethereal vibe!
On the flip Tunisian masked sorcerer Nuri takes us on a ride on his upbeat polyrhythmic grooves, through jungles and deserts right to the other side of the ocean, tying us to the masts of Carthnage's futuristic drum patterns, to let us be charmed by Dat Garcia's sirenic melodies.

Francisco López offers a brand new field recording composition based on the recordings he did in the island of Tenerife whilst visiting for a performance at the Keroxen Festival, 2020.

Internationally recognized as one of the major figures of the sound art and experimental music scene, Francisco has an ear-like gift to point his microphones (and our ears) to the most special and unlikely of sound sources. For almost forty years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, the presentation here is not unlike his most famous and celebrated works whilst still maintaining its unique relevance among a prolific catalogue of sounds.

Entitled Hidden Island Music the work explores its aforementioned ‘hidden sounds’ of Tenerife with a high sensorial mix of environmental and ‘industrial’ recordings taken in and around the Massifs of Teno and Anaga and later composed into a unique sonic journey through the huge sound pits of this rugged region of north Tenerife.

Another masterful work from one of the masters of his craft, shifting from the limits of our perception to the most dreadful abyss of sonic power, a profound and transcendental listening open to sensory and spiritual expansion.

Original environmental sound matter recorded at multiple locations in Macizo de Teno and Macizo de Anaga (Tenerife), November 2020.

Evolved, composed, edited, mixed and mastered at ‘mobile messor’ (Tenerife, Den Haag) and Dune Studio (Loosduinen), 2020-21.

One Instrument welcomes the Australian sound artist and composer Felicity Mangan. Based in Berlin since 2008 she plays her found native Australian wildlife archive and other field recordings exploring the timbre and biorhythm of animal voices and field recordings to create minimal quasi-bioacoustic environments.

For the release on One Instrument the mouth organ is her instrument of choice. Felicity explores the resonance and pitch of the reeds within at the harmonica The Echo Harp of the brand M.Hohner. “Bell Metal Reeds” shows a committed and ambitious composition in each singular tone. The striking attention to detail and commitment to investigating tonal possibility characterizes throughout the whole body of work.

As an amateur player, through breath and minimal electronic music composition techniques she composed four beautiful organic ambient pieces within the parameters of the One Instrument concept.
Felicity breaths new life into the harmonica and meditates on a the single instrument where she takes extraordinary sounds out of. The Echo Harp that Felicity used was found on a flea market in Hamburg in February 2020. All tracks were composed during the severe lockdown in the Autumn of 2020 in Berlin.

Felicity Mangan is an Australian sound artist and composer based in Berlin, Germany since 2008. In different situations such as solo performance, collaborative projects with other musicians or installation, Felicity plays her field recording archive exploring timbres and biorhythmic patterns to create quasi-bioacoustic electronic music. Felicity has played in collaborative projects Native Instrument (Shelter Press, Entr’acte) presenting electro-acoustic bug beats with vocalist Stine Janvin.

Felicity has released solo publications on Longform Editions titled Stereo’frog’ic, a play on the word stereophonic – presenting a sound piece, crafted from found recordings of frogs, insects and other ‘vocal’ animals wavering about in a stereo field.

More recently a tape release titled Creepy Crawly on Slovakian label Mappa Editions. With the up and coming release Bell Metal Reeds on One Instrument, November 2021. Felicity has presented projects in many different settings from galleries, gardens, clubs, festivals and online platforms throughout Europe, including National Gallery Denmark, Technosphärenklänge CTM/HKW, Sonic Acts Academy and RIVERSSSOUNDS

New Orleans-based African-American producer/composer, IFÉ feeds Afro-Caribbean hand percussion through digital synthesizers and drum machines as he delivers explosive lyrics tackling life, death and the world we live in today to create a 21st century soundsystem experience on 0000+000 - the follow up to IFÉ's acclaimed 2017 debut LP IIII+IIII.

Storming in with his newest slice of extraterrestrial swing-ology, Liquid Earth (alias Urulu under guise) returns to dish out the playful above all “Scope Zone” - a lush and bouncy gem primed for ecstatic workouts and bold galactic excursions, complete with a reshape from Scottish born, Berlin-based vibist, Youandewan. Flush with garage va-va-voom and low-end paranormal activity, “Scope Zone” indeed lacks no wide-screen power of crowd subjugation.

Taking us back to the 90s continuum with its astute mix of chopped-up vox, pong-like bleeps and propulsive buildup, Liquid Earth’s latest is a fun-loving ode to the kaleidoscopic sound of an era and its untamed flow of energy. True to his signature refined melodic touch and airy 4x4 architectonics, Youandewan’s version has us embarking for a proper deep, exhilarating ride across bumpy time warps and oddly familiar parallel universes.

clear red vinyl / incl. poster

The fourth release (ZC-ELEC004) of the Electro Acid Series has arrived. With "Lightsplitter", you can expect four dancefloor fillers that also provide truly captivating listening experiences. Created by The Human Behind Pluto, Johnfaustus and VSO who's passion for electro, acid and IDM meet on this high-quality release.

About the artists:
Human Behind Pluto: Born somewhere else, raised liked a human... using synthesizers, some hardware some not to express something hard to grasp... Eclectic mixes between IDM, Braindance, Electronica and Ambient is a good guess of what it would sound like if you join the ride...

Johnfaustus: Piano lesson in the 80's, rocking the guitar in the 90's, pacing free party since the end of the millennium (followed by a hardware addiction), johnfaustus is still making noise. Versatile producer, he navigates from dub to death metal with of course some mental acidcore in between.

VSO: VSO, aka Vasco Oliveira, based in Porto, started his journey in electronic music around 2017. Since then, he has been experimenting with acid, electro, IDM, breakbeat and ambient.

Human Behind Pluto - Lightsplitter
the Human Behind Pluto delivers an excellent up-tempo electro track with 'Lightsplitter' Superb atmospheres are driven by subtly distorted beats and a razor-sharp arrangement that manages to split light to be projected into the mind's eye. A truly captivating track that enchants instantly!

johnfaustus - Red Sonjia
With 'Red Sonjia' John Faustus tells a dark and ominous tale voiced by analog synths and mesmerizing vocals. A hypnotizing 303 line tops of this high-quality sonic adventure, where Sonjia manages just fine without Conan.

VSO - Sinking
With 'Sinking', VSO has created a beautiful and all-encompassing electro adventure. The hard-hitting beats won't stop you from sinking in the sonic pool filled with melancholy and acidic creatures.

VSO - Complacency
'Complacency' by VSO is an offbeat electro killer accompanied by 303 basslines and distant electrofied voxes. Don't get too comfortable balancing between the beautiful contrast of the intense beats and the dream state vibe because complacency is on the lurk.

Australia's biggest selling dance act and one of the most popular drum'n'bass acts of the early 21st century, Pendulum are an Australian group based in the United Kingdom. Formed in Perth in 2002, the group was originally comprised of producers Rob Swire and Gareth McGrillen, who worked in tandem with a local DJ named Paul "El Hornet" Harding. One of the team's initial releases, "Vault," became a sensation amid the drum'n'bass community in 2003, benefiting greatly from its high-profile placement at the beginning of J Majik's FabricLive mix album. In 2005, Pendulum made their full-length album debut, Hold Your Colour, featuring the singles "Tarantula" and "Slam."
Pendulum signed to Warner Music U.K. and made their major-label debut with 2007's "Granite," a Top 30 hit. Their second full-length album, In Silico (2008), spawned four singles, including U.K. Top Ten hit "Propane Nightmares". In Silico went on to reach platinum status in the U.K., as well as just missing out on the U.K. number one album chart spot. Their third album, Immersion, was released in 2010, and shot straight to the top of the U.K. albums chart. It featured collaborations with the Prodigy's Liam Howlett, Porcupine Tree's Steven Wilson, and Swedish metallers In Flames. In support of the album, Pendulum embarked on a world tour, playing two sold-out shows at London's Wembley Arena and headline slots at some of the U.K.'s largest festivals.
At the end of 2011, Pendulum took a break from live performing, with Rob Swire and Gareth McGrillen focusing their energy on their side project, Knife Party. In 2018, Pendulum returned from a seven-year hiatus, with Rob Swire, Gareth McGrillen and Paul Harding currently touring as Pendulum - Trinity.

Aarhus (DK) based MØL blend swirling guitars and hissing vocals with the dreamy ambience of shoegaze to form a unique blend of soundscapes and crushing passages. Inspired by bands like My Bloody Valentine, Slowdive, Drop Nineteens, Lantlôs and Alcest, MØL released their self-titled debut EP back in 2014. A year later, the band had perfected their sound on their second EP "II", produced by Jacob Bredahl and released in 2015. Both EPs were very well received and drove them on to do some empathic live shows, which were praised by press and helped establishing a dedicated audience. In 2018, MØL made an international breakthrough signing with Holy Roar Records (UK) who released their debut album “JORD” to critical acclaim. Recorded at Grapehouse Studios and mixed and mastered by Chris Kreutzfeldt, “JORD” gained massive media acclaim turning MØL into one of the most talked about Danish metal newcomers in recent years. The album was also released as an instrumental version and in 2019, the band re-released their two first EPs, remastered for CD and vinyl. On November 5th, 2021, MØL now return with their second studio album, “DIORAMA”, the group’s first for Nuclear Blast Records. Recorded and mixed by Tue Madsen (Gojira, Meshuggah, Heaven Shall Burn), the band has successfully developed its captivating, aggressive sound even further. Brace yourself for a ferocious yet melodic blackgaze monument! Praise for ‘JORD’: “It’s epic and stirring stuff. Absolutely crushing” - Daniel P. Carter , BBC Radio1 Rock Show “JORD is one of the exhilarating blackgaze albums to drop in a long time” - Metal Hammer “JORD has received unanimous praise and has immediately seen them heralded as one of the greatest examples of the blackgaze movement” - The Independent UK “By far one of the genre’s most accomplished records” - KillYourStereo

Lists and nomations for “JORD” Metal Hammer - #12 on “The 50 Best Albums of 2018” Loudwire - #19 on “The 30 Best Metal Albums of 2018 Kerrang! - #17 on “The 50 Albums that Shook 2018” Kerrang! - Music video for Bruma on “The 12 Best Music Videos of 2018” The 405 - #20 on Top 50 Albums of 2018 Distorted Sound Magazine - #2 on “Top 20 Albums of the Year” WhatCulture - “10 Best New Heavy Metal of 2018” GAFFA Awards 2019 – Nominated for “Best Metal Album of the Year”

When you’re trying to make it through tough times, you need a little light to find your way. That light blazes brightly on the alchemical second album from Penelope Isles, an album forged amid emotional upheaval and band changes. Setting the uncertainties of twentysomething life to alt-rock and psychedelic songs brimming with life, colour and feeling, ‘Which Way to Happy’ emerges as a luminous victory for Jack and Lily Wolter, the siblings whose bond holds the
band tight at its core.

 Produced by Jack and mixed by US alt-rock legend Dave Fridmann, the result is an intoxicating leap forward for the Brighton-based band, following the calling-card DIY smarts of their 2019 debut, ‘Until the Tide Creeps In’. Sometimes it swoons, sometimes it soars. Sometimes it says it’s OK to not be OK. And sometimes it says it’s OK to look for the way to happy, too. Pitched between fertile coastal metaphors and winged melodies, intimate confessionals and expansive cosmic pop, deep sorrows and serene soul-pop pick-you-ups, it transforms ‘difficult second album’ clichés into a thing of glorious contrasts: a second-album surge of up-close, heartfelt intimacies and expansive, experimental vision.

 Field recordings were made during a stay at a small cottage in Cornwall, where Penelope Isles began work on the album. With romantic heartache already in the air, things swiftly got worse:
lockdown began, claustrophobia kicked in and emotions ran high. As Jack puts it, “We were there for about two or three months. It was a tiny cottage with four of us in and we all went a bit bonkers, and we drank far too much, and it spiralled a bit out of control. There were a lot of emotional evenings and realisations, which I think reflects in the songs.”

 At different points along the way, Jack Sowton and Becky Redford left the Isles. An old friend, multi-instrumentalist Henry Nicholson, stepped in swiftly - “A godsend after a low time,” says Lily. Another friend, Hannah Feenstra, contributed drum parts; now, Joe Taylor is the band’s drummer. After Cornwall, the band redid many of the rhythm tracks, recorded a little in Brighton, then recorded more in Cornwall at their parents’ house. “It was,” says Jack, “a proper
rollercoaster ride.”

 The ride continued with Fridmann, whose recent credits include Isles’ favourites Mogwai’s No 1 album, ‘As the Love Continues’. As Lily puts it, the process of sending Fridmann a mix, receiving it back in the morning and then having five hours to make decisions on it resulted first in stress, then in something sublime. “I love everything he’s touched - MGMT, Mogwai, Mercury Rev. He would turn our mix into this electric, fiery thing. There were some moments that were
initially hard, like on ‘Miss Moon’, where he took out the bass when it gets to the chorus. But now it’s my favourite bit on the record. He made everything so colourful. It’s an intensesounding record - a hot record. It was so refreshing to have that blast of energy from Dave - it’s like he framed our pictures.”

 Away from the confines of the cottage, the Wolters also opened the door to a collaboration with storied composer Fiona Brice, whose credits include John Grant, Lost Horizons and Placebo. A
“big bucket-list tick” for Jack and Lily, the team-up results in glorious arrangements across the album: for Lily, ‘11 11’ stood out. “I was in absolute tears when she sent back the strings for ‘11 11’. It was like, oh my goodness, she’s nailed it.”

 On its release, ‘Until the Tide Creeps In’ received rave reviews from Q, DIY, The Line of Best Fit and many others, while finding champions in Steve Lamacq and Shaun Keaveny. It also become part of a lifeline for music fans during the 2020 lockdown when the band participated in Tim Burgess’s Twitter Listening Party. Meanwhile, extensive touring saw the Isles develop into a formidable live force, with ‘Gnarbone’ emerging as a sure-fire showstopper.

 Now, the Isles have 11 more showstoppers to add to the mix. At the album’s heart, the band’s core traits have never been stronger: the bond between the Wolters, a sensitivity towards complex feelings, a desire to celebrate life in all its facets and an ambitious reach combine to create an album that feels utterly, emphatically present on every front, rich in depth and uplift.

 LP pressed on 180g clear vinyl with A4 print.

Nair Mirabrat is a Uruguayan ensemble led by the composer Martín Ibarra. The candomberos of Montevideo are dressed in the infinite colors of the world and they immerse themselves in the world of song and dance, building bridges between the inside and the outside. "Juntos ahora" is built based on the myth of the hero and his journey through the symbolic labyrinth. Death, time and place are the themes where the lyrics wander. DESCRIPTION Martín Ibarra and his Nair Mirabrat ensemble bring a garden variety of electrifying rhythms with "Juntos ahora", fusing together elements of candombe fusion, jazz, and pop. Deep in the Montevideo music scene, Nair Mirabrat effortlessly transcends genres and local tradition bringing forth a new era of influence as they revel in the bliss of Ibarra's soaring vocals over tropical rhythms. Ibarra and crew are a modern-day mixture of Jaime Roos, OPA, Hugo Fattoruso and Eduardo Mateo with their explorative, forward-thinking passion of keeping it 100% Uruguay. Chris J. Morris

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

Following the release of acoustic EP Letters To Our Former Selves – Acoustic late last year, Youth Fountain is excited to be back at it with new single “Peace Offering" “This track was written in the perspective of knowing you could never truly love or be loved by anyone before being comfortable with who you are as a person,” shares Tyler Zanon “No matter what positive aspects can come out of a relationship - if the foundation isn’t there of having that bare minimum of self love, things inevitably tend to tarnish.” As Youth Fountain prepares to move forward, the future perfectly mirrors the past. What began as a solo project by guitarist/vocalist Tyler Zanon in 2013 under the name Bedroom Talk eventually blossomed into a full-blown band by 2017, with the Vancouver-based Youth Fountain (then a duo) proudly announcing their presence with the debut single “ Grinding Teeth ” and a pair of Pure Noise Records releases that expertly toed the line between pop-punk fervor and more reflective emo moments.

CREATIVE CONTEXT ON SINGLE 1 - “Misery’s A Muse"
"I had a demo of a song Billy put together that he had no home for but decided to share with
me to get my thoughts on it. I happened to be in the studio with another band and took
advantage of some of the time I had blocked out to track vocals to this song idea for kicks.
What's interesting is the demo vocals is what made the cut on what would ultimately
become "Misery's A Muse". At this time there was no band, expectation or particular sound
we were going for. It's a snapshot of us accidentally becoming a band so we could have an
excuse to write more songs. It feels good to finally have an opportunity to share some of
these early workings, and lay the ground work for what we are doing next“ – Rick

CREATIVE CONTEXT ON SINGLE 2 - “Wedlock Waltz"
"Once the tone was set with the first demo, we pushed ourselves to make the most blistering
track we could with "Wedlock Waltz". I remember throwing three mics on my drums and
grinding a series of blast beats in odd meters to start the song. Brian (Sullivan) and I would
sit in my basement studio and pass the guitar back and forth until the we found the riff. We
wanted to keep it high energy and dissonant. Looking back I feel like this is the song that
really paved the way for where we were heading creatively." – Billy

The crew of vinyl addicts based in Torino is back with the second episode of Bounce FM Edits series. Watch real dancers go crazy on this two psych-funk gems of the early ’70s, consciously edited by Bounce FM.

Nyami Nyami Records are pleased to announce the first ever reissue 100% analog from the original
master tapes of the classic Zimbabwean album Soweto from 1986, with the same tracklist and original
artwork, produced at the peak of jit’s popularity in the mid-1980s. While staying within the chimurenga music
framework pioneered by Thomas Mapfumo and Jonah Sithole, Robson Banda and the New Black Eagles
produced a crisp, precise and exciting sound, emphasising the upbeat dance music favoured on the
dancefloors of independent Zimbabwe’s nightspots and beerhalls. Mbira-based guitar licks bring a nostalgic
feeling to these dance-floor gems championed at the time by legendary English DJ John Peel.

Produced off the back of a profoundly inspiring trip to his homeland last year, Luigi Madonna crafts the pin-sharp ‘Italian Shocks’ EP. The Amsterdam-based artist is a key Drumcode contributor, who runs the label off the back of last year’s well-received collaborative EP ‘Mad World’ with Roberto Capuano.

The title track is brain-spangling, industrial and brilliant, characterised by a suspenseful narrative, which is typical of Madonna’s creativity in the studio. ‘This is the Future’ is crisp and rolling, an intelligent tool for every set. ‘Enveloping Times’ is punchy and hypnotic, an immense transcendental belter ready to be unleashed this summer. ‘Interfrequencies’ is an exhilarating rush to the head, as a killer bass synth and piston-like drums for a rave-ready finish.

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

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

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

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





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

Carwyn Ellis from Cardiff/Wales is a singer, songwriter, composer, arranger, multi-instrumentalist and record producer. He fronts Colorama, formed the Welsh folk group Bendith and hosts a regular themed radio show on Soho Radio. In 2019, Ellis embarked on the first project under his own name, Carwyn Ellis & Rio 18. Sung in Welsh and recorded mainly in Rio de Janeiro, the album, "Joia!" was nominated for the Welsh Music Prize and followed by "Mas" in early 2020. The new album "Yn Rio" is a collection of new songs recorded in Cardiff together with The BBC National Orchestra Of Wales.

In 2017 Carwyn Ellis joined the touring line-up of The Pretenders. For Ellis, a record collector and fan of Brazilian music, the opportunity to tour South America would present opportunities he couldn't have possibly imagined when he accepted Chrissie Hynde's invitation. "The first place we went to was Rio and by the time I met Chrissie for breakfast the day after our gig, I already had a bag of albums I'd just bought. I'm sitting with her and she says, 'You should meet my mates, and do something in Welsh with them! Nobody's done a Welsh language album with Brazilian musicians?"

In 2018, when Alexandre Kassin, a leading light in that Brazilian scene announced a show in London, Hynde suggested that they see it. "I met him afterwards," Ellis recalls, "and we hit it off straight away." Within weeks, Ellis was on a plane to Rio with songs that would form the basis of the first album. This creative purple patch extended into another album released early in 2021 with Carwyn working once again with Kassin plus long-time friend Shawn Lee. The songs on "Mas" drew on the environmental threats that face both Wales and South America, spidering out around the central theme of water ("rains, no rain, droughts, rising seas and flooded valleys for corporate gain. We're screwed without it and screwed if there's too much").

With "Mas" recorded but weeks away from release, Ellis received a call from Gareth Iwan Jones, head producer of BBC Radio Cymru, offering a third album to be performed in March 2021. Ellis started to reflect upon the life-changing events triggered by his South American adventures. The Welsh word 'hiraeth' which describes the longing that Welsh people feel when they're far from home, was something that he was now beginning to feel for Rio de Janeiro: "'Yn Rio' is based around a day in Rio," he explains. "The events of 2020 influenced the record inasmuch as I wanted it to be a complete antidote to what was going on. If you couldn't go on holiday in real life, you could at least put this record on."

The first single "Olá!", incorporating Jorge Ben's spirit in the chorus and rhythmic breakdown, manages to sound languorous and euphoric. "Cariad, Cariad" was a Portuguese folk poem brought to Ellis' attention by Sonya from Quarteto em Cy and arranged by Christiaan Oyens. "Tristwch 20" is a nod to "Foot and Mouth 68" by Gorkys Zygotic Mynci from "The Blue Trees", 'one of the most beautiful albums of all time', while "Ynys Aur" is named after a 1929 book by Welsh missionary J. Luther Thomas written on returning from his travels to Papua New Guinea. With Kassin unable to participate, Ellis thanks him by translating his "A Paisagem Morta" to create "Y Bywyd Llonyd". For Carwyn Ellis "Yn Rio" is an extraordinary memorial to extraordinary times."There are some days so idyllic you just want tobe able to jump back into them at the touch of a button. That's what I was searching for when I was writing these songs."

New Orleans-based African-American producer/composer, IFÉ feeds Afro-Caribbean hand percussion through digital synthesizers and drum machines as he delivers explosive lyrics tackling life, death and the world we live in today to create a 21st century soundsystem experience on 0000+000 - the follow up to IFÉ's acclaimed 2017 debut LP IIII+IIII.

Splatter Vinyl

Latest compilation of ISSUES containing big tracks from artists such as Detlef, Chicks Luv Us, George Smeddles, CAAL & BAUM and Brown Vox.

On the A side we find George Smeddles with hard hitting house track “FIX”, from trippy and sexy vocals to smooth cut baselines. Second track by Caal & Baum “I Wish”, a playful groove, solid bassline, robotised vocals and a powerful breakdown.

On the B Side Detlef is on remix duties for Chicks Luv Us “Other Dimension’ with a bass driven remix, combined with clever effects, chopped vocals and a solid breakdown that will bring dancefloors to life and last but not least we have Brown Vox’s “Do It Ma Way”. A track with smooth elements, bouncy beats, subby basslines, a massive breakdown with vocals and a quick drop that surprises everyone before it kicks in.

“Einsteigen Bitte!”

After more than six years of collaboration between label and artist, Feines Tier and Luca Musto bring to you the highly anticipated first full length LP “Nice Place, Bad Intentions”.

Musto’s first LP “Nice Place Bad Intentions” departs from the conventional 4/4 time signature. Instead, the album’s structure and the tracks themselves are reminiscent of a 1990s/2000s Hip Hop long play release. This becomes evident in the fact that the LP not only features 17 tracks, including skits and interludes, but also that they make up the framework of a conceptual album. Here, listeners will be encouraged to follow the track list and listen to “Nice Place, Bad Intentions” in one go.

“Nice Place, Bad Intentions” was produced over a period of 1,5 years. Besides the majority being original samples and vocals from Luca Musto, the LP also features a number of studio musicians, including bass players, trumpeters and guitarists. Cologne-based guitarist Simon Bahr can be found on several tracks, including the three singles “Infiltrate”, “Boogie Angst” and “Real Name, No Gimmicks”. Moreover, the skits and interludes are spoken by professional voice actors from the US and Canada.

The Berlin-themed album follows the characters Mick and Richie, who are all about partying and come to the city for one weekend in hopes to have the time of their lives. When the characters’ expectations meet reality, their naiveté (or bad intentions) lead them to getting screwed, robbed and even arrested. These stories about their journey through Germany’s capital are found in the interludes and skits. Listeners can follow them passing infamous places and metro stations in the city based on sampled BVG announcements, which gives the album a radio play vibe.

Sound-wise, Luca Musto’s unique sounds include scratched hooks that meet original lyrics and melodies, resulting in distinctive genre-bending tunes. As Mick and Richie stumble through some of Berlin’s most in-famous places, their expectations repeatedly clash with the reality of the capital’s nightlife. Similarly the liste-ners’ expectations are twisted and turned. Yet, the soundtrack underlining the characters’ journey never disappoints and brings its listeners on a rhythmic trip of old and new sounds. From rapping on downtempo as in “City of Grind” to merging the classic structure of electronic music with funky guitar licks and unconventional chord transitions as in “Infiltrate”, the LP feels at once like a daring experiment and like the beginning of a developing new genre.

If one always looks at the sky, he will end up with wings, a wise French man once declared. Halifax, Nova Scotia based musician Jeremy Costello had wings, long before he looked up. Wings of imagination. Brandishing in his head, transforming deep-rooted emotions into poetry and sound. Since 2012 the Canadian self-releases music as Special Costello, a moniker under which he records solo or with local friends like Saxophone player Nick Dourado or guitarist Dave Burns. His lyrics are sincerely woven poetic enunciations that balance between introspective emotions and existential philosophical demands. Lyrics from a spirit that is in love without an object, unconditional, mirroring his very own subconscious inner being. The music reflects his tempers in many colours. Glimpses of Synth-Pop, psychedelic rock nuances, traces of new romantic utopia, infantile Casio minimalism, Shoegaze haze, drama wave: Special Costello blends many styles, uniting all in his very own musing grandeur of pop music.

After an array of digital releases, Berlin based label Marmo Music now publishes the Special Costello touch for the first time physically fabricated on vinyl. Seven songs featuring the longing voice of Jeremy Costello, sometimes in correlation with spoken words and dialogues by noted artists, poets, and scientists. All creations have been recorded by himself between Spring 2017 and winter 2020, using the extrasomatic help of instruments and machines like Farfisa Combo Compact transistor organ, Roland JX3P polyphonic analog synthesizer, Roland D50 linear synthesizer, Roland Rhythm Composer TR-08, Arturia Microbrute monophonic analog synthesizer or a Gibson Thunderbird IV bass guitar. In communication with his sensitive inner blues, they created an atmospheric voyage into the heart of Special Costello, that fulfils Arthur Russel’s sapient declaration: being sad is not a crime! Seven musical paintings full of intimate, vibrant feelings and existential thoughts, veiled in an antidepressant neo new romantic glam. An epic tune like “The Next Day”, in which Costello’s singing links with thought-provoking spoken word samples, sounds like Robert Ashley is meeting Hans-Joachim Roedelius in a psychic séance with Brian Ferry. In comparison, a song like “If Not Depression, Then What?” grooves with a pulsating wave bass figure and an overall gently floating electronic majesty, while Costello’s voice takes deep listeners to an unknown higher ground. On the other hand, a composition like “Unsetting” offers a nonchalant graceful funk drift with reverberant hand claps, minimal guitar strains and a chromatic synth pop grace. Above all the music Costello’s voice cries, screams, whispers, and weeps with a compelling introspective elegancy, that invites to associate intensely with the nonpareil Special Costello touch.

Written, composed, and recorded by Jeremy Costello between 2016 to 2020 in Halifax, Scotch Village and Toronto (Canada).

Instruments used by the artist: Farfisa Combo Compact transistor organ, Roland JX3P Programmable Preset Polyphonic Synthesizer, Roland D50 linear synthesizer, Yamaha DX7 Frequency Modulation/Programmable Algorithm Synthesizer and TX7 FM Expander, Roland Computer Controlled Rhythm Composer TR-08, Arturia Microbrute Analog Synthesizer, Gibson Thunderbird IV bass guitar, MicroKorg Synthesizer/Vocoder, Electro Harmonix Small Stone Phaser, Memory Boy Analog Delay, Alesis Quadraverb, and finally, their voice was recorded using Shure Beta57A and AKG D 330 BT dynamic microphones.

Repress

Assembler Code - We've Felt This One Coming For A Minute Now. After An Unstoppable Run Of Releases Along Side Jensen Interceptor On Labels Such As Cultivated Electronics, Private Persons & Boysnoize Records, Ac Is Finally Flying Solo With This 4 Track Electro Assault Masterpiece 'mental Escape'.

Plugging Into The Title Track 'mental Escape', It's A Rugged Machine Driven Work Out Through Idm & Industrial Landscapes Formulated To Present His Vision Of Futuristic Electro Whilst Still Providing All The Nostalgic Rother & Drexcyian Nods We All Love.

Now That The Tone Has Been Set, 'simulant' Follows Suit. Entering The Celestial Sphere Via Some Haunting Sci-fi Strings, We're Slapped In The Face With Slamming Percussion Followed By A Relentless Acidic Modulated Baseline That Takes Us From One Planet To The Next At Light Speed.

The Journey Wouldn't Be Complete With Out His Old Partner In Crime Jensen Interceptor Coming On Board For A Ride. 'type 2' Is A Classic Case Of Past Meets Present. Scrapyard Industrial Groove Ready To Split Speakers At Your Next Warehouse Party Married With A Selection Of Classic Alpha Sounds To Keep All The Purists In Check.

The Thunder Continues To The Very End. If You're A Tape Saturation Fiend Begging For Your Next 808 Crack Hit, Prepare To Have Your Back Bent In Half With Euphoria As Soon As 'hal's Machine Tool' Is Injected Into Your Ears. In Short, 4 Minutes & 44 Seconds Of Hard Nasty Robotic Electro Booty Sweat.

Overkill are an American thrash metal band, formed in 1980 in New Jersey. They are often called 'the Motörhead of thrash metal', based on their unique playing style, which was influenced by punk rock and the new wave of British heavy metal. They were also one of the first thrash metal bands to sign to a major label (having signed to Atlantic Records in 1986), and rose to fame as part of the genre's movement of the mid-to-late 1980s, along with the 'big four' (Metallica, Megadeth, Slayer and Anthrax) as well as Exodus and Testament. Overkill achieved their first mainstream success with their second studio album and Atlantic debut, Taking Over (1987) which acclaimed global praise & chart success. The band's next five studio albums were also on Atlantic —Under the Influence (1988), The Years of Decay (1989), Horrorscope (1991), I Hear Black (1993) and W.F.O. (1994) and were also successful on a global scale, making them one of the most successful East Coast thrash metal bands. Overkill now have nineteen studio albums under their belt and continue to tour the world to huge audiences still to this day.

Domination Campaign was started in Hobart Tasmania in late 2019 by Psycroptic vocalist Jason Peppiatt as a solo studio project. Jason began work in Crawlspace studios in December 2019 with fellow Psycroptic band mate and studio engineer Joe Haley. Once recording began Joe was recruited to also play drums on the album and the duo had their sights set on recording an over the top, heavy, straight down the line, crushing old school death metal album. Nothing fancy or technical just big simple heavy riffs and massive mid paced drum beats. Lyrical topics are loosely based on events of various wars in history. Their debut album ‘Onward to glory’ was completed in July 2020 with all recording, mixing and mastering done by Joe Haley and album art done by Jason Peppiatt

A Svart Mondo release. The original vinyl of “Harvest Time”, the debut album by the Finnish band Elonkorjuu (which means ‘Harvest’ in Finnish), has been the among the most valuable collector’s items in Finnish rock: its average prize in 2021 is over 1200 euros, and even over 2000 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Elonkorjuu’s “Harvest Time” is a best kept secret for many Scandinavian Prog aficionados. With music inspired by groups like Cream and Free with more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them a little unique and ahead of their time. Drawing initially from the schools of bands like Sabbath and Colosseum but expanding on those influences with soulful church organ and cutting guitar from leader Jukka Syrenius, “Harvest Time” is entirely worth it’s reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over and great vocals sung in English,which is rare for a Finnish band of this era.
Finally receiving a worthy reissue from the vinyl obsessives at Svart Records, “Harvest Time” sees the light of day again on gatefold vinyl, including new liner notes. If you have an ear and place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably “Harvest Time” for you!

12” gatefold jacket w/ full color matte UV print, 1x translucent purple cloudy effect vinyl, black dust sleeve, printed LP labels, marketing sticker and free digital download card

Gregory Keltgen (aka DJ Abilities) gravitated toward the turntables at a young age, becoming a DJ at only 17, before going on to compete in the legendary DMC DJ competitions only 2 years later in 1999. He won the regional title and advanced to the U.S. finals that year, before doing it again in 2001. Soon after, Abilities was also garnering attention for performing all the scratches on indie classic, Fantastic Damage, the debut album by El-P of Run The Jewels’ fame, as well as contributing his turntable talents and production skills to other Hip-Hop cult favorites like The Anti-Album by Semi.Official, and The Taste of Rain... Why Kneel? by Deep Puddle Dynamics. But above all, his name would become most celebrated throughout the 2000’s as one-half of the dynamic Hip-Hop duo Eyedea & Abilities.

DJ Abilities had first met Micheal “Eyedea” Larsen in the mid-90’s, and the two soon began a working relationship that would eventually play a prominent role in the burgeoning Indie-Rap movement of the time. Together, the pair developed a near symbiotic

creative union that produced three albums—First Born; E&A; and By The Throat—a catalog animated by the burning fusion of Eyedea’s introspective and technically adept rhymes with Abilities’ precise scratches and versatile production. Tragically, his partner Eyedea passed away in 2010 leaving Abilities to soldier on by himself, but the influence of their partnership continues to shape DJ Abilities’ music to this day.

His latest project, Phonograph Phoenix, finds the DJ/Producer returning to the forefront and embracing an entirely new approach to making music. A departure from previous work that was primarily sample-based, Phonograph Phoenix finds Abilities opting to build the album’s compositions from the ground up, creating his own sound through Ableton Live and various soft synths, with razor sharp cuts and select vocal chops providing a voice where his fallen partner may have once stood.

Since its beginnings in Jamaica in 1959, the story of the pioneering Island Records label has been inextricably linked to the story of its founder, Chris Blackwell. Now, Blackwell has curated a series of compilation LPs featuring his hand-picked tracks that correspond with his and Island's legendary history. On October 29, Island Records / UMC will release the third volume of The Vinyl Series, an 18-track double LP compiling some of the label's key releases of the late 1960s and early '70s. Volume One included pivotal songs from 1962 to 1969, and Volume Two, released over the summer, covered the years 1969 to 1973. Taken together, the sets explore the wide-ranging highlights from Island's remarkable and extensive catalog. This volume of The Vinyl Series includes material which remained rooted in the folk and acoustic-based styles that were crucial to Island's foundation. That side of the label's history is represented by Nick Drake's "Way to Blue" (from his first album, Five Leaves Left) and "Late November" by Sandy Denny, which first appeared on a 1971 label sampler. But it was Cat Stevens who was identified most commonly with Island in the U.K.—he "continued to be Island's biggest seller," notes Blackwell—and this album contains his 1971 global smash "Morning Has Broken," an adaptation of a Christian hymn.

What happens when you put four of the most creative musicians from the Norwegian jazz scene in lockdown? They create. In march 2020, when the corona pandemic forced Norway into lockdown, Flukten found their oasis. Flukten springs out of one thing - the will to create music. Flukten consists of musicians from some of the most critically acclaimed jazz groups in Norway: Hanna Paulsberg Concept, Atomic, Moskus, GURLS, Wako, Espen Berg Trio, Hullyboo, Skadedyr and Trondheim Jazz Orchestra.After Flukten's debut concert last year one music critic wrote: "if there is one band debut that really has left their mark in soul and heart, it is this".With a musical reference library filled with the likes of John Scofield, Joe Lovano, Per "Texas" Johansson, Salif Keita and Paul Motian, they take detours through hip hop, soul and folk music from all over the world. Here, all spontaneous whims can be cultivated and explored. Flukten gives you dirty jazz that makes you move, and soft, fine tuned jazz that makes you think. This is music that celebrates life and embraces the unbelievable. In February 2021, the four musicians entered the recording studio with the same open attitude as when they first jammed together. On Flukten`s debut album you hear saxophonist Hanna Paulsberg's eternal vocabulary and multifaceted tone unfold completely without compromises. You hear guitarist Marius Klovning somewhere in the middle of John Scofield, sharp soul, western and Norwegian folk music. Hans Hulbækmo's drumming is tempting to compare with the playing of a solo pianist in his melodic repertoire. Bassist Bárdur Reinert Poulsen drives everything with his punchy, hard swinging hand, but also provides us with emotional solos.Together, Flukten are an explosion of joyful playing from some of Norways most talented musicians. The songs of Flukten's debut album span from playful melodies to dissonant harmonies. Sometimes it's a composition based on a voice memo of someone humming. Other times we hear snapshots from improvisations in the vivid studio atmosphere. The music dances, other times it is like a soft caress. Suddenly they fly into ecstasy. This album is the sonic equivalent to jumping from a hot sauna and into cold water. The music wakes you up. This is music that could only appear this exact moment from these exact musicians. Maybe you spend hours lying on the floor, lost in a book. Maybe you get drunk, or you run into the woods? We all need to escape now and then.

Over the past decade or so, Chris Forsyth has produced a series of perennially year-end list haunting studio albums of expansive art-rock, from 2013’s Solar Motel to 2019’s All TimePresent , in the process becoming one of the leading lights of the so-called “indie jam” scene, musicians combining omnivorous influences with post-Dead sprawl.

These critically lauded albums have established Forsyth as one of today’s most unique and acclaimed guitar player/composers - a forward thinking classicist synthesizing cinematic expansiveness with a pithy lyricism and rhythmic directness that makes even his 20-minute workouts feel as clear, direct, and memorable as a 4-minute song.

Pitchfork has called his music “a near-perfect balance between 70s rock tradition and present day experimentation,” NPR Music named Forsyth “one of rock’s most lyrical guitar improvisors,” and the New York Times calls him “a scrappy and mystical historian… His music humanizes the element of control in rock classicism (and) turns it into a woolly but disciplined ritual.”

But the studio records are just the tip of the iceberg.

You see, in a live setting Forsyth’s music is never really finished.

He hasn’t had a fixed band in years and plays with a rotating cast of characters. Regulars in Forsyth’s bands have included bassists Doug McCombs (Tortoise) and Peter Kerlin (Sunwatchers), and drummer Ryan Jewell (Ryley Walker, too many others to mention), among others - basically, whoever is available for the given gig or tour.

These are not groups that rehearse, exactly. Operating more like a jazz band, Forsyth and his players treat the songs as frameworks that remain identifieable but morph based on who’s playing them, like weather to a landscape.

Embracing this flux has become a cornerstone of Forsyth’s live sets, rendering every performance special and thereby catching the attention of tapers from his home base in Philly to New York City, Chicago, and Minneapolis. In fact, most of his live performances over the last few years are recorded and posted on the Live Music Archive site.

But the taper recordings, though many are high quality and full of character, are not professionally recorded and mixed multi-tracks.

Which brings us to Peoples Motel Band , the new live LP culled from a set that Forsyth played with NY-based group Garcia Peoples as his band, and is self-releasing on his own Algorithm Free label in a limited pressing of 500 copies.

Recorded September 14, 2019 before a packed and enthusiastic hometown crowd at Johnny Brenda’s in Philadelphia, Peoples Motel Band catches Forsyth and Garcia Peoples (plus ubiquitous drummer Ryan Jewell) re-imagining songs from Forsyth’s last couple studio albums with improvisatory flair.

Forsyth and Garcia Peoples played a number of 2019 shows together, beginning with a semi-legendary jam set at Nublu in NYC in March, through a couple dates on Forsyth’s month-long weekly residency at Nublu in September and concluding with a five-date tour of the Northeast in December. The chemistry between the players is tangible.

As is often the case with Forsyth shows, the gloves come off quickly and the players attack the material - much of it so well-manicured and cleanly produced in the studio - like a bunch of racoons let loose in a Philadelphia pretzel factory.

Recorded and mixed with clarity by Forsyth’s longtime studio collaborator, engineer/producer Jeff Zeigler, the record puts the listener right in the sweaty club, highlighted by an incredible side-long take of the chooglin’ title track from 2017’s Dreaming in The Non-Dream LP (note multiple climaxes eliciting wild shouts and ecstatic screams from the assembled).

This is not the new Chris Forsyth album, exactly, but then again, it kinda is because whenever he sits down to play, something new comes out.

Long before John Brannon of Negative Approach cemented himself as a USHC icon, you
would hear rumblings about his pre-NA glam group, STATIC. Only a handful of people were
lucky/brave enough to see them live. Scenesters spoke of a tape but never seemed to have
one. Their most well-remembered song, Toothpaste and Pills, allegedly featured smashing
beer bottles against John’s mom’s basement wall as a percussion instrument. Could this be
real?

Fast forward to 2020 and a few months into the covid-19 lockdown, Brannon came across a
bunch of tapes he dug out of a box in his Mom’s closet - STATIC “DEMOS ‘78”, STATIC
“LIVE AT GROSSE POINTE SOUTH H.S.”, STATIC “LIVE AT PLEWA HALL”. Holy shit! The
legend is true! And best of all, STATIC rule!

John Brannon grew up in Grosse Pointe Park just a few blocks from the Detroit border. John
was always into music, but as soon as he heard T-Rex, The Stooges and Alice Cooper, he
was obsessed (and still is) and had to start a band to channel his obsessions. With the help
of neighborhood kid and collaborator Billy Daniels and a local drummer simply known as
“Red”, STATIC was born.

Before Negative Approach changed the face of punk and hardcore, before Laughing Hyenas
scared the world silly and blew everyone else off the stage and before Easy Action started
melting minds all over the world, there was STATIC. STATIC was real. STATIC was real as
shit.

Third Man Records is beyond ecstatic to be providing this long-missing piece of the
American Underground Music puzzle. We worked closely with John Brannon and Warren
Defever, one of Third Man Mastering’s resident wizards, to put together this essential
collection of demos and live recordings.

Wasted Cathedral is the solo project of Saskatoon-based musician Christopher Laramee (Shooting Guns, The Switching Yard, and The Radiation Flowers). This new album is the latest in an impressive line of releases that have explored a variety of sounds, from ambient drone and electronic disco to experimental chaos and downtempo electronica. I'm Gonna Love You 'Til The End Of Time is made up of seven songs and is undoubtedly influenced by the starkness of the Canadian Prairie and long Saskatchewanian nights. It serves well as a soundtrack to the setting of any number of listening experiences, particularly when experienced with headphones. No matter the direction Laramee has chosen to guide Wasted Cathedral, the result has always been intriguing and captivating. I'm Gonna Love You 'Til The End Of Time is certainly no exception.

Laramee describes Wasted Cathedral as incidental music, improvised soundscapes created in passing moments, like musical snapshots. This makes perfect sense, considering the likes of Sarah Davachi, Peter Kember, Terry Riley, and Augustus Pablo inform Laramee's approach to composition, as well as tone-setting and mood. According to Laramee, this collection of songs is a continuation of his previous work, albeit in a more stripped down fashion.

Wasted Cathedral is recommended for listeners of Flying Saucer Attack, DJ Shadow, Spectrum/Sonic Boom, Spiritualized, and Portishead.

After being championed by John Digweed on his iconic Transitions radio show, London duo The Pressure team up with Digweed and his long-time studio partner Nick Muir on Counting Down The Days, a soaring, hypnotic, emotive progressive house cut that points to brighter times ahead.

The Pressure are a London-based electronic band. Diverse production and energetic performance form the pair’s foundations, with influences from rave culture and performance-centric dance acts such as Depeche Mode and Underworld prominent across their releases and live shows.

2020 saw them self-release Ride and Planes: two tough club tracks with songwriting at the heart of them. A statement of intent from the duo, both cuts showcased a varied production approach reminiscent of the Bristol-era of UK electronica. Earlier in 2021 they made their debut on Undisputed Music with Saturday Night, a distinctive dance cut that sat somewhere between deep house and crossover electronica, and has to date clocked up more than a million streams across all platforms.

John Digweed is one of the most celebrated electronic artists of all time, and alongside Nick Muir is responsible for an incredible catalogue of music, so even before you listen to it you know this is going to be something special. Counting Down The Days is a stunning collaboration, combining the pure, driving progressive house of Digweed and Muir with the poignant emotion and raw talent of The Pressure to incredible effect.

Passionate about breaking records and being immersed in the music that fuels our most cherished dancefloor moments, Undisputed Music is doing just that with a coalition of existing and new artists spanning many electronic genres, lining up releases to illuminate audiences across the globe.

Founded by industry aficionados Tony Garvey and Marc Thomas, they share over two decades of experience between them. From currently running the UK Electronic roster for world renowned management company, Red Light, to many years within the walls of, Island Records, Def Jam, Priority Records, MCA / Motown, AM:PM, Defected Records, Strictly Rhythm and Universal Music Publishing, their wealth of knowledge is well earned.


DJ Support:

Pete Tong, John Digweed, Nick Muir, Taiki Nulight

Working the sound of metropolitan life with a good glimpse of dystopia – rough, loud and with no mercy. With their new release Metropol, the techno duo 7Function stands up to its past releases fulfilling all expectations of a truly handmade piece of techno music.

Clearly, Snork Enterprises is the perfect home for this kind of sound, which has been produced in a heavy basement session with real hands and real hardware by the two artists Christian Quast and Christian Schachta. Adequately, “Metropol” is available with four tracks on vinyl. As the basement session has been quite productive, the digital release includes three additional tracks. Speaking of the titles of the tracks, as usual with 7Function they come with a certain dystopian message that perfectly fits the dirty underground sound.

Clap de fin for the "Cabinet des Curiosités" : 15th and last episode of Vol.1 with The Architect.

Since last fall, Al'Tarba has been able to mix his talents with those of a beatmaker, a producer or a rapper, for hybrid experimental collaborations, composed with 4 hands or more, mixing styles and sounds. In November 2020, somewhere in France, we could hear the noise of some machines breaking a silence of lead, due to the general fever of the cultural scene. In a studio-laboratory looking like a "Cabinet des Curiosités", where far-fetched ideas are piled up on as many dusted shelves, Al'Tarba and his instruments were still running at full speed.

Anxious to find the antidote, a handful of beatmakers, producers and rappers, all gathered under the aegis of the Toulouse-based scientist, have been fine-tuning, week after week and month after month, the ingredients of their new serum. Over the seasons, they have unveiled, with regular intake, hybridizations of composed styles. Between sharing sounds, ideas, sample loops and vocal takes, like a "Cabinet des Curiosités" containing a thousand and one unusual objects.

On this foggy road and until the lightning, crossed Mounika, Structural Anomaly, Aguirre and Prometheus, Yous MC, Beus Bengal, Goomar, DeZordre, ProleteR, Degiheugi, K.D.S and Stabfinger, DJ Low Cut, DJ Nix'on, Sarbacane, Mani Deïz, Slim Paul and Grin. The day when the echo of the party is heard again in the distance, the sky is discovered the time of a new story. The clouds finally dissipate, for the last chapter of this first volume.

Between two rocks, the sea and its blue, bathed in sunlight. On the horizon, the authentic "Orange Sea" sailing in the distance. It is Al'Tarba and The Architect who arrive against all odds, to tell us the last story of the "Cabinet des Curiosités", first volume. The Architect, overproductive beatmaker and informed digger, knows how to take his audience on a journey through the world and styles. A last collaboration which promises the great crossing, its hot and ardent breath like fire, bell sound of the beginning of summer found and its epics.

Melancholy of a past world and dreamlike flights of fancy, hope of the world after, will rub shoulders in a double-vinyl album that will bring together the entire adventure. Pre-orders are now open !

So many bright perspectives, which would even let us foreshadow a forthcoming release of Al'Tarba's second solo album on I.O.T Records: "La Fin des Contes".

In the afterglow of her acclaimed 2020 album Silver Ladders, Los Angeles-based harpist Mary Lattimore returns with a culminating counterpart release, Collected Pieces: 2015- 2020. The limited-edition LP features new and previously unreleased material, Bandcamp-only singles, and other obscurities alongside standouts from her 2017 tape Collected Pieces. Beyond the vinyl compendium, an expanded tracklist on the cassette/digital version brings more of Lattimore's archives together for the first time. Lattimore has described the process of arranging these releases as akin to "opening a box filled with memories," and here that box continues to populate, accessible for both the artist and fans. Evocative material separated by years, framed as a portrait of an instrumental storyteller who rarely pauses, recording and often sharing music as soon as it strikes her. Seemingly in constant forward motion for the last five years since her Ghostly debut, Lattimore glances back for a breath, inviting new chances to live in these fleeting moments and emotions; all the beauty, sorrow, sunshine, and darkness housed within. Opening the cassette version is "Mary, You Were Wrong," which mirrors an author's bout with a broken heart. "It's about how you have to keep on going even if you make some mistakes," she says. The bittersweet refrain cycles throughout, a little brighter every time, slowly, like the way time tends to heal. Unreleased track "Sleeping Deer" came together during Lattimore's artist residency on a cattle ranch in Wyoming. She remembers, "a small deer whose mother I think had been run over by a car would hang out in the yard. I called him Lollipop and would leave vegetable scraps out." Lollipop returned daily to eat, rest, and wait for more. The music this vision inspired is patient and droning, with light plucks giving way to deeper, vibrating tones, permeating with a sense of anticipation. Next is a newer single, "We Wave From Our Boats," which she improvised after walking her neighborhood during the early days of lockdown in 2020, and shared on her Bandcamp. "I would just wave at neighbors I didn't know in a gesture of solidarity and it reminded me of how you're compelled to wave at people on the other boat when you're on a boat yourself, or on a bridge or something. The pull to wave feels very innate and natural." The heart of the track is a somber loop, over top which Lattimore's synth notes ruminate, each a gentle shimmer of optimism in the most anxious and absurd of days. Also recorded in 2020, "What The Living Do" is inspired by Marie Howe's poem of the same name, which reflects on loss through an appreciation for the mundane messiness of being human. The echoed, slow-marching track has a distant feel to it, as if the listener is outside of it, watching life play out as a film. "Princess Nicotine (1909)" scores actual footage, a dream sequence Lattimore imagined for J. Stuart Blackton's surreal silent film Princess Nicotine; or, the Smoke Fairy. She adopted the same approach for "Polly of the Circus," explaining it was the name of one of the old silent films discovered in permafrost in the Yukon featured in the documentary Dawson City: Frozen Time, "the only copy that survived and it kind of warped in the aging process." A trove of pieces are collected here, most recorded in the moment, just Lattimore and her Lyon and Healy Concert Grand Harp, contact mics, and pedals. Like her most affecting work, these songs showcase Lattimore's gifts as an observer, able to shape her craft around emotional frequencies and scenes. Her power as a musician is rooted in how she sees the world: in vivid detail, profoundly empathic, with deep gratitude for nature and nuance.

For Delft-based label Omen Wapta's first release, Japanese musician/sound designer/coder/producer JEMAPUR explores the far reaches of abstract experimental techno on his album Mode Cleaner. Pulling from music made between 2016 and 2020, JEMAPUR demonstrates his distinctive use of glitch, microsampling, live coding, and granular synthesis techniques. The album was made when the producer was drawn to subjects like physics, geometry, murals, ancient civilisations, the logic of nature, and the observation of the universe.

Boasting the awesome "Chemical Warfare," a regular staple of Slayer's live shows, the Haunting the Chapel EP was a more crucial stepping stone in the legendary L.A. band's career development than many give it credit for. Issued in between the band's very promising debut and the following year's more sonically ripened Hell Awaits, Haunting the Chapel offers important clues about this transition period, which saw Slayer's rock-based song structures give way to the non-linear, genre-defining style thereafter regarded as thrash metal's signature sound. Among the uniformly solid cuts here, the enduring fan favorite "Captor of Sin" is another highlight, making this a well-recommended release for committed Slayer fans. - AllMusic

Manchester based trumpeter, composer, arranger and producer Matthew Halsall has carved out a unique niche for himself as both a band-leader and producer delving deeply into the worlds of spiritual jazz and string-laden soul.

His latest project finds him playing with and producing the legendary LA jazz singer Dwight Trible, who first came to international renown with his 2005 Ninja Tune release Love Is the Answer. Trible, whose deeply soulful voice has seen him compared to Leon Thomas and Andy Bey, has worked with the likes of Pharoah Sanders, Horace Tapscott and Kamasi Washington (he sings lead vocals on the Epic) and brings a deep-rooted soulfulness to everything that he sings.

Inspirations features some of Dwight Trible and Matthew Halsall's favourite songs including brilliant versions of the timeless Bacharach classic What The World Needs Now Is Love featuring harpist Rachael Gladwin and the Nina Simone smash Feeling Good. A soulful reading of Donny Hathaway and Leroy Hutson's classic Tryin' Times and a heartfelt version of Coltrane's beautiful ballad, Dear Lord, with lyrics by Trible. Other highlights include a vibrant, soulful version of and a beautiful take on They also laid down two spiritual jazz masterpieces, a powerful re-working of Dorothy Ashby's Heaven and Hell (from the legendary The Rubiyat of Dorothy Ashby album) and a spine-tingling reading of the old folk song Black Is The Colour Of My True Love's Hair. Finally the album is rounded out with and the traditional spiritual Deep River and the beautiful standard I Love Paris.


Inspirations is launched with a five date European tour featuring special guest Roger 'Chip' Wickham on saxophones and flute. April 28 & 29 - Duc des Lombards PARIS, April 30 - Flagey BRUSSELS, May 1 & 2 - Ronnie Scott's LONDON, May 4 - Band On The Wall MANCHESTER & May 7 - Funkhaus BERLIN (XJAZZ FESTIVAL).
Reviews and features from Jazzwise, Record Collector, Echoes, Mojo, Now Then Magazine, Blues & Soul, Sunday Times, Lira, Jazzthing (Germany), Nos Magazine, M Magazine and many more.Airplay from Gilles Peterson 6 Music, Jamie Cullum BBC Radio 2, Patrick Forge, Ross Allen, Jazz FM playlist, NDR in Germany, TSF in France and much more
On Line support from Jazz Standard, AllAboutJazz, World Wide FM, Written In Music and much more...

The legendary session from members of The Outsiders, The Sound and Honolulu Mountain Daffodils. released for the very first time.
Overseen by Adrian Janes and remastered by Nick Robbins with sleeve design and artwork by Bi Marshall.
PRESSED ON ‘SPECIAL’ COLOUR VINYL.
In December 1978 Pete Williams, later to achieve cult infamy as Lord Sulaco of the Honolulu Mountain Daffodils, decided to realise a notion which he’d long kicked around with some of his musician friends. This was to record some original songs for which he - who had never been in a studio in his life – would provide the lyrics and sing. These friends were the Outsiders, at that time consisting of Adrian Borland (guitar, vocals), Graham Bailey (bass) and Adrian Janes (drums), plus an increasingly regular guest player in Bi Marshall (clarinet). (A year later, Janes having left, the Outsiders became the Sound.)
With no prior preparation other than Williams writing a set of lyrics (reputedly all based on newspaper stories), he then hired Elephant Studio in London for a day’s session. This was engineered by Nick Robbins, later to produce The Sound among others, but at that point at the very start of his career. This was no bad thing, since he was as open to the bizarre working methods of the Crazies (named after the George Romero sci-fi horror film) as they were innocent of their strangeness:improvise a song during one run-through, record it, and then move on to the next one, each to be created in the same way.
This extremely efficient method left enough studio time after recording six songs for the rest to head off for something to eat, while Williams scribbled lyrics for a final composition, ‘When We’re Dead’, which was recorded upon their return.
The surviving members (Bailey, Marshall and Janes) all recall this as one of the most enjoyable and relaxed sessions they were ever part of. The same experimental freedom and warped humour can also be heard in the albums Williams and Borland made as the Honolulu Mountain Daffodils a decade later.
Cassette copies of the resulting album were produced for all concerned, and it seems that there was an idea of making it more widely available in this format, but this was never to occur. It is only now that, with the original tape rediscovered, that the Crazies’ ‘A Simple Vision’, mastered by Nick Robbins, can at last be perceived by the wider world.

Limited edition of 500. Vinyl edition includes tracks not available on digital and streaming formats

Grup Ses, Istanbul based veteran beatmaker returns to Souk after 2 years with first fully instrumental album since 2011's sought after 'Beats and Pieces from Turkish Psychedelia'.

Grup Ses project dates back to 2007 which at the time focused on v/vm style edits and breakcore infused mash ups. Starting from 2008 Grup Ses started to build a version of Stones Throw & Brainfeeder influenced beatmaking mixed with a touch of humour. A blend including all kinds of local recorded material like records, tapes, radio broadcasts etc., which became the building blocks of signature Grup Ses sound.

'Beats from the vaults' is a showcase of beatmaking aesthetics Grup Ses visited between 2008 and 2021. Including various cuts available only on soundcloud plus unheard material compiled just for this album.

The third release for this Brussels-based organization (Label Deviate records and Deviate parties) run by False Identity. This one focuses on Wavish Techno, body aktion and epic EBM bass lines from Years Of Denial, Mind Matter, Maedon & Downwell.

Previously unreleased on vinyl, Emanuelle and the White Slave Trade comes from the series of cult exploitation films based on the Emanuelle character. Similar to it peers in sound, full of disco, funk and library-esque
music. Taken from the original tapes and pressed on translucent Orange vinyl. The Orange Crush edition
will be the retail edition limited to 400 copies or less.

The Replacements’ 1981 Twin/Tone Records debut, Sorry Ma, Forgot To Take Out The Trash, heralded the Minneapolis-based band’s competing tendencies toward indelible genius and reckless abandon. With now classic songs including 'Takin' A Ride,' 'Shiftless When Idle,' 'Customer' and 'Johnny's Gonna Die,' the 'Mats' legendary founding line-up of lead singer/songwriter and guitarist Paul Westerberg, Chris Mars (drums) and brothers Bob and Tommy Stinson (lead guitar and bass, respectively) unleashed a shambling, dynamic sound. Loose, live, and brimming with energy, Sorry Ma… is a lesson in chaos.

The 40th anniversary of Sorry Ma, Forgot To Take Out The Trash is celebrated this fall with a 4CD/1LP set that offers a remarkable document of The Replacements’ formative years. Of the set’s 100 tracks, 67 have never been released before, including the first demos the band recorded in early 1980, as well as a professionally captured concert from January 1981. Along with a newly remastered version of the original album, it also uncovers many unreleased rough mixes, alternate takes, and demos from the band’s first 18 months together. The LP included in the set, titled Deliberate Noise, presents an alternate version of the original album using these previously unreleased tracks.

CD Tracklist:

1. TAKIN A RIDE
2. CARELESS
3. CUSTOMER
4. HANGIN DOWNTOWN
5. KICK YOUR DOOR DOWN
6. OTTO
7. I BOUGHT A HEADACHE
8. RATTLESNAKE
9. I HATE MUSIC
10. JOHNNY’S GONNA DIE
11. SHIFTLESS WHEN IDLE
12. MORE CIGARETTES
13. DON’T ASK WHY
14. SOMETHIN TO DÜ
15. I’M IN TROUBLE
16. LOVE YOU TILL FRIDAY
17. SHUTUP
18. RAISED IN THE CITY
19. IF ONLY YOU WERE LONELY
1. TRY ME (Demo)
2. SHE’S FIRM (Demo)
3. LOOKIN FOR YA (Demo)
4. RAISED IN THE CITY (Demo)
5. SHUTUP (Demo)
6. DON’T TURN ME DOWN (Demo)
7. SHAPE UP (Demo)
8. I HATE MUSIC (Studio Demo)
9. CARELESS (Studio Demo)
10. SHUTUP (Studio Demo)
11. OTTO (Studio Demo)
12. GET ON THE STICK (Studio Demo)
13. OH BABY (Studio Demo)
14. RAISED IN THE CITY (Studio Demo)
15. SHIFTLESS WHEN IDLE (Studio Demo)
16. MORE CIGARETTES (Studio Demo)
17. YOU AIN’T GOTTA DANCE (Studio Demo)
18. DON’T TURN ME DOWN (Studio Demo)
19. RATTLESNAKE (Basement Version)
20. TAKIN’ A RIDE (Basement Version)
21. LIE ABOUT YOUR AGE (Basement Version)
22. WE’LL GET DRUNK/CUSTOMER (Basement Version)
23. JOHNNY FAST (Basement Version)
24. MISTAKE (Basement Version)
25. BASEMENT JAM (Rehearsal)
1. CARELESS (Alternate Version)
2. TAKIN A RIDE (Alternate Version)
3. SHUTUP (Alternate Version)
4. OTTO (Alternate Mix)
5. RAISED IN THE CITY (Alternate Version)
6. RATTLESNAKE (Alternate Mix)
7. LOVE YOU TILL FRIDAY (Alternate Version)
8. CUSTOMER (Alternate Version)
9. SOMETHIN TO DÜ (Alternate Version)
10. JOHNNY’S GONNA DIE (Alternate Version)
11. I’M IN TROUBLE (Alternate Version)
12. I HATE MUSIC (Alternate Version)
13. WE’LL GET DRUNK
14. MORE CIGARETTES (Alternate Mix)
15. GET LOST (Instrumental)
16. HANGIN DOWNTOWN (Alternate Version)
17. SHUTUP (Alternate Version 2)
18. SOMETHIN TO DÜ (Alternate Version 2)
19. DON’T ASK WHY (Alternate Mix)
20. KICK YOUR DOOR DOWN (Alternate Mix)
21. LOVE YOU TILL FRIDAY (Alternate Mix)
22. JOHNNY’S GONNA DIE (Alternate Mix)
23. LIKE YOU (Outtake)
24. GET LOST (Outtake)
25. A TOE NEEDS A SHOE (Outtake)
26. YOU’RE PRETTY WHEN YOU’RE RUDE (Solo Home Demo)
27. IF ONLY YOU WERE LONELY (Working Version/Solo Home Demo)
28. BAD WORKER (Solo Home Demo)
29. YOU’RE GETTING MARRIED (Solo Home Demo)
1. CARELESS
2. TAKIN A RIDE
3. TROUBLE BOYS
4. HANGIN DOWNTOWN
5. LIKE YOU
6. OFF YOUR PANTS
7. GET LOST
8. EXCUSE ME
9. CUSTOMER
10. I WANNA BE LOVED
11. MISTAKE
12. MY TOWN
13. SHIFTLESS WHEN IDLE
14. OH BABY
15. I’M IN TROUBLE
16. JOHNNY’S GONNA DIE/ALL BY MYSELF
17. MORE CIGARETTES
18. OTTO
19. DON’T ASK WHY
20. SLOW DOWN
21. SOMETHIN TO DÜ
22. LOVE YOU TILL FRIDAY
23. RAISED IN THE CITY
24. RATTLESNAKE
25. ALL DAY AND ALL OF THE NIGHT
26. I HATE MUSIC
27. SHUTUP

Complet label owner and Berlin based DJ and producer Ray Kandinski has been making serious moves over the last few years, both through his ear for curation and his rich, intricate sound design. Inspired by a pool of influences, including; jungle, footwork and house - Kandinski believes the beauty of dance music can be found in its subtlety and range; which can be heard deeply running throughout his debut EP for Lobster Theremin.

A ray of sunshine shines through sparse breakbeats in opening track ‘95’, before ‘No Love’ follows with a slightly more clubier affair, while still maintaining it's blissful edge through the use of lush and dynamic synth work. ‘Healing’ then closes the A side with it’s minimal grooves, both hypnotic and understated; light refracting from one medium to another in a colourful display of blue and green.

The B side makes its entrance with ‘Zonin’ a choppy house cut with a point to prove, before demonstrating his artistic versatility in ‘The Mack’ blending his way into an electro mutation laced with ravey stabs and punchy drums, combining various influences from around the globe.

Title track ‘Garant’ takes place in a quasi-rainforest beckoned by nature's call. The type of good-natured music that sounds inspired by the evolving world around us; locking us in a groove that could happily last forever.

It’s been said that writing about music is like dancing about
architecture but what about singing about movies? Sufjan
Stevens and Angelo De Augustine have paired up for a
collaborative project that does just that. ‘A Beginner’s Mind’ is
their debut album and contains 14 songs (loosely) based on
(mostly) popular films.  The source material is highbrow, lowbrow and everything in
between. The music is folksy, sweet, sincere and harmonically
effervescent - Simon & Garfunkel with New Age flourishes. This
album runs the gamut and has fun with it, even while its
songwriters remain fully rooted in the melancholy folk idioms
they are known for.  Daniel Anum Jasper, a pioneer of Ghanian movie poster
painting, was commissioned to paint a series of new works for
‘A Beginner’s Mind’. His paintings are a graphic simulacrum for
the same sense of wonder, wordplay and intrigue that shape ‘A
Beginner’s Mind’. By transforming old films into vital new songs,
Stevens and De Augustine ask us to consider ourselves from a
previously unconsidered vantage point - a new way of seeing
and hearing - an exercise that’s as necessary and relevant now
as it’s ever been.  “In the dizzying chime of his careful fingerpicking and highpitched howls, De Augustine captures love’s bright blaze.” - Pitchfork
 “What we find here, on what is arguably the pinnacle of his
output to date, is De Augustine achieving the beautiful balance
between introspection and grandeur; straddling the place where
pain and hope intersect.” - Line of Best Fit