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UEVPD - Usage/Efficiency/Variance/Platform/Domain - is the solo project of Dominic Goodman, a former member of Mosquitoes and currently one half of Komare.

The self-titled UEVPD debut LP, released on 22nd November via World of Echo, consists of eight sequentially numbered electro-acoustic tracks made over approximately five years, living recordings that have morphed in shape over time, each systematically stripped back to their elemental form before being deemed complete. From the outset, Goodman purposefully deployed a relatively limited array of equipment and adopted a determinedly minimalist approach to composition, a practice in restraint that privileges detail and nuance. Field recordings, made using a combination of dynamic, condenser, contact and electret microphones, geophones and hydrophones, were allied to a basic modular/analogue synth setup, allowing for little in the way of excess or indulgence.

The results are markedly defiant, displaying an expert exercise in control and restraint that lets in little light but plays a great service to space and time. This is patient, claustrophobic sound design that bears out the value in attentive listening, a meditation on the acceptance of passing time, change, growth, death and regeneration. As such, listeners might connect associative lines with the likes of Pan Sonic and Mika Vianio’s solo work, Emptyset and Civilistjavel (who’s Tomas Bodén shows up on mastering duties here), though this remains distinctively Goodman’s vision, a continuation of his interests shown in Mosquitoes and Komare that further pushes out into the murky unknown.

Copenhagen's Asmus Odsat lands on Kora Sounds with three tracks of uplifting breakbeat weirdness, while he continues to explore the landscape between experimentation and functionality. On the B-side Sputnik One delivers a club ready remix of the original title track.

For our second disc of ‘24, ONO returns to the club with ‘Tek Code’, a brilliant EP from exciting up-and-coming Boorloo artist, Beltrac.

Across five tracks, Beltrac serves up his fresh and considered sound. Spanning dubbed-out minimal rollers that hark back to the sleazy, smoke-infused tech-house of the late '90s and early 2000s. Into exhilarating excursions into frenetic drums and deep bass that display Beltrac’s penchant for rhythm construction and sound design. Setting the tone and tempo for Side B of the disc, Echo Response receives the remix treatment from Eora dub king Command D, who mutates the wonky bass chug of the Side A closer into a hazy after hours dub techno strider.

Combining careful attention to detail and excellent technical production with an undeniable sense of groove, Beltrac delivers a club ready EP that tickles our brain while keeping our body moving. Turn it up loud, this one’s for the late night crew.

"‘One of the most exciting composers alive.’ – Daily Telegraph

Nonesuch will release the original score for Ken Burns’s new two-part documentary, LEONARDO da VINCI, with new compositions by Caroline Shaw; the documentary airs on November 18 and 19 on PBS. The album features performances by the composer’s longtime collaborators Attacca Quartet, Sō Percussion, and Roomful of Teeth as well as John Patitucci. Shaw wrote and recorded new music for LEONARDO da VINCI, marking the first time a Ken Burns film has featured an entirely original score.

In celebration of LEONARDO da VINCI, New York City’s historic venue The Town Hall presents an evening of performances from Shaw’s score by Attacca Quartet, Sō Percussion, and Roomful of Teeth on October 29. The filmmakers will also preview excerpts from the four-hour film..

LEONARDO da VINCI is directed by Ken Burns, Sarah Burns, and David McMahon. The film, which explores the life and work of the fifteenth century polymath Leonardo da Vinci, is Burns’s first non-American subject. It also marks a significant change in the team’s filmmaking style, which includes using split screens with images, video, and sound from different periods to further contextualize Leonardo’s art and scientific explorations. LEONARDO da VINCI looks at how the artist influenced and inspired future generations, and it finds in his soaring imagination and profound intellect the foundation for a conversation we are still having today: what is our relationship with nature and what does it mean to be human?

“No single person can speak to our collective effort to understand the world and ourselves,” said Ken Burns. “But Leonardo had a unique genius for inquiry, aided by his extraordinary skills as an artist and scientist, that helps us better understand the natural world that we are part of and to appreciate more fully what it means to be alive and human.”

“To help give depth and dimension to Leonardo’s inner life, and to carry our viewers on his personal journey, we enlisted the composer Caroline Shaw,” McMahon says in the album’s liner note. “Caroline’s existing body of music—joyful, daring, at times transcendent, and wholly unique—seemed to speak directly to Leonardo, a seeking soul who, 500 years after his death, can come across as strikingly modern. A fully original score, we believed, would add crucial connective tissue to areas where the record of Leonardo’s life is thin and it’s possible to briefly lose his trail. The music Caroline created is dynamic, enthralling and filled with wonder.

“This soundtrack is a testament to the inspired efforts of Jennifer Dunnington, who marshaled it into being, the brilliant musicians and vocalists who, with the help of Alex Venguer, Neal Shaw, Colton Dodd and Tim Marchiafava, made it soar, and most of all Caroline Shaw, who might be Leonardo’s soulmate from across time,” he continues. “With her help, the Leonardo who emerges is no wizard shrouded in mystery, but a prideful, obsessive, at times lonely or flustered, occasionally ecstatic, and, in the end, content man who is in ways both modern and thoroughly of his time.”

“As we set out to explore Leonardo’s life, we realized that while he was very much a man of his time, he was also interested in something more universal,” said Sarah Burns. “Leonardo was uniquely focused on finding connections throughout nature, something that strikes us as very modern today, but which of course has a long history.”

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. She has worked with a range of artists including Rosalía, Renée Fleming, and Yo-Yo Ma, and she has contributed music to films and TV series including Fleishman Is in Trouble, Bombshell, Yellowjackets, Maid, Dark, and Beyoncé’s Homecoming. In addition to three albums with Sō Percussion, Narrow Sea, Let the Soil Play Its Simple Part, and Rectangles and Circumstance, Nonesuch has released her two Grammy-winning albums Orange and Evergreen, both of which feature Attacca Quartet. “Two-Step” and “Ghost,” Shaw’s songs with Ringdown, her duo with Danni Lee Parpan, are available now on Nonesuch. Caroline Shaw is Wigmore Hall’s 2024-25 Composer in Residence."

The official soundtrack to Risk of Rain 2's second DLC "Seekers of the Storm" is coming to vinyl.

The new album includes 42 minutes of music written by Chris Christodoulou with the contribution of one piece by fellow Greek composer Stavros Markonis.

It will be available on limited edition 1xLP on blue / white / dark green / sky blue / black marbled vinyl, housed in a special gatefold sleeve with complementary artwork and design by Daniele Giardini.

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

We are excited to present you with the soundtrack from the Netflix film Rustin, composed by the renowned saxophonist, conductor, and jazz composer Branford Marsalis. Branford is a highly respected figure in the jazz world, with an impressive list of accolades including three Grammy Awards, one Tony Award, and one Emmy. He is also a member of the illustrious Marsalis family, a dynasty of jazz musicians.

Jan Anderzén - living in Tampere, Finland - is a collage artist making music, quilts, drawings, mosaics, videos and other things. From him, among a few others, sprang the The River of Finland. A stream that shook the European underground for infinity, back from the years 2005 and up. Jan is/was involved in acts like Kemialliset Ystävät, Avarus, Tomutonttu and The Anaksimandros. When in the past some of that River of Finland tasted like a fermented ocean of mycelia - today it tastes different, like sparkling water.

Halki pilvien - transl. Trough the clouds - brings exactly what one expects from the clouds. It is a collection of soft and gentle movements, as playful as a ‘Jan Anderzén type of music’ is always. A collection of patterns that solidify for just a brief moment in time, before sublimating in the back of the mind. This album is in constant motion.

Push play. A warped piano and cartoonish SFX’s might foretell a hyperreal approach to music. Yet while the champion of hyperrealism, Noah Creshevsky, describes his music as being written in a language we already understand (realism) yet in an exaggerated manner (hyper) - I have to add that things on this album do not sound exaggerated at all. Moreover, i have the feeling that somehow on this work, Jan is trying to underwhelm us. In the best possible way. Because clouds float trough and dissolve. Thus instead of hyperrealism, is Jan maybe speaking to us in a certain Serenerealism? Or Mildrealism?

What Jan’s music does have in common with Creshevsky’s is the no rush part. Listening to Halki pilvien makes time non-directional. The music seems to be designed to be played over and over again. This music has no direct impact like one can experience at a punk show, or at a classical music concert. This music is not that one gigantic raincloud covering the world dark. Quite the opposite, it is a pattern of clouds and clearings, floating over the lands. Trough this music a shadow play appears. This music is durable.

And it is when the sounds are at its faintest, that Jan touches the core: in the smallest detail, we find the fullest musical information.

With a career spanning over 50 years, U Brown is one of the last legends of Jamaican reggae. Singer, toaster and producer on the famous Hits Sound label, he has spanned the decades, leaving an indelible mark on roots reggae with hits like “Weather baloon”, “Superstar” and “Tu Shung Peng”.

His discretion and humility, despite being one of the world's greatest toasters like U Roy or Big Youth, make him a cornerstone of this music.

After many years of collaboration on stage and in the studio, U Brown and French label Irie Ites Records have teamed up to produce this new album entitled 'Still Chanting Rub A Dub'.
Comprising 12 tracks, this opus showcases U Brown's inimitable voice.

U Brown's inimitable voice and flow, recognizable from the very first notes. The themes addressed revolve around current social issues, in which the artist encourages us to surpass ourselves on a daily basis and to fight against the corruption of the most powerful. Lyrics that will speak to a wide audience!

Musicians on the album include the cream of reggae songwriters such as Roots Radics, Naram & Art, Med Tone, The Ligerians, Irie Ites All Stars, Nambo Robinson and Dean Fraser. Mixed by Roberto Sanchez and Irie Ites for a rootsy result in the image of 70s albums. A host of roots reggae greats feature on various tracks, including Eek A Mouse, Cornell Campbell, Frankie Paul, Sugar Minott, Linval Thompson, Glen Washington, Al Campbell, Naggo Morris and Trinity.

Still Chanting Rub A Dub is an album that will undoubtedly mark U Brown's long career as one of his landmark albums. A must-have for all fans of Reggae Roots and Rub-A-Dub!”

This 20th Anniversary Limited Edition 8LP Super Deluxe Collectors Boxset celebrates the critically-acclaimed album ‘How To Dismantle An Atomic Bomb’ – which won all eight Grammy Awards for which it was nominated, including ‘Album of the Year’. The original album - now remastered for the first time – includes the global hit singles ‘Vertigo’ (winner of three Grammy Awards), ‘City Of Blinding Lights’ and ‘Sometimes You Can’t Make It On Your Own’. This unique boxset also includes the shadow album, ‘How To Re-Assemble An Atomic Bomb’, featuring new, unreleased songs recently rediscovered in the archive of the original HTDAAB album sessions.

Dark Evergreen VInyl. The odd couple of Kristian Dunn (El Ten Eleven) and Damon Che (Don Caballero) was the result of some clever musical matchmaking by Karl Hofstetter, founder and curator of Joyful Noise Recordings. Karl introduced Dunn and Che via email in April 2023 after Dunn's prolific output outgrew the resources and abilities of his instrumental duo El Ten Eleven. Less than a year later, after countless text messages and song sketches were exchanged, and one fateful meeting at a recording studio was organized, their nascent project's debut record, See You at the Solipsist Convention, was complete. Despite Che's initial unfamiliarity with Dunn's musical output, their personalities bridged any and all gaps_both Che and Dunn share a flair for the comically absurd and musically adventurous, a mindset that shines throughout See You at the Solipsist Convention. Che has become legendary for his calculated polyrhythms and undeniable physicality, while Dunn is known for relentless experimentation and productivity akin to a freight train. Quickly, the unlikely pair transformed into destined collaborators. Scaffolded around eight-string bass, knotty percussion, and intricate syncopation, See You at the Solipsist Convention is a carnival of delights for fans of the post-everything persuasion_uncategorizable yet reverent to the altar of instrumental rock. Beyond all measure, Yesness stands as a testament to the powerful dividends of friendship and collaboration. We are nothing without each other - our partners, our local record store clerks, our neighbors. Music, too, thrives on our entanglements. With twelve tracks, an upcoming tour, and an unexpected friendship stemming from one email, Yesness underscores the brilliant machinery of human connection.

Summer of 2023: Koralle wants to escape the heat of Bologna for a few weeks. He is heading south and rents a small hut by the sea near Ravenna. One night he meets Francesco Giampaoli, a seasoned jazz & world musician at a bar on Bassona beach. The two had worked on music before and Koralle visits Francesco the next day at his studio which is stuffed with analogue gear and instruments. He stops by every single day for the next weeks and the duo creates some incredible strange music.
As a special treat, they’ve invited a talented lineup of artists, including Twit One, The Offline, Slim, Mr.Käfer, Midan, Opek, and Darius Heid, to offer unique reinterpretations of their tracks.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

Wicked: The Soundtrack features performances by the stars of Universal Pictures’ new cinematic event, Wicked, with music and lyrics by legendary Grammy and Oscar® winning composer and lyricist Stephen Schwartz. The soundtrack includes songs performed by Emmy, Grammy, and Tony winning powerhouse and Oscar® nominee Cynthia Erivo (Harriet, Broadway’s The Color Purple) as Elphaba and Grammy-winning, multi-platinum recording artist and global superstar Ariana Grande as Glinda. In addition, the soundtrack features the musical talents of Oscar® winner Michelle Yeoh as Shiz University’s regal headmistress Madame Morrible; Olivier Award winner and Emmy nominee Jonathan Bailey (Bridgerton, Fellow Travelers) as Fiyero, a roguish and carefree prince; and pop culture icon Jeff Goldblum as the legendary Wizard of Oz. Based on one of the most beloved and enduring musicals on stage for the past two decades, the spectacular, generation-defining film adaptation of Wicked is destined to be the most talked-about film of the holiday season. The official soundtrack track list includes iconic Wicked songs “Defying Gravity,” “Popular,” “Dancing Through Life” and more, performed as you’ve never heard them before! Wicked, in theaters November 22, 2024, is the first chapter of a two-part immersive, cultural celebration. Wicked Part Two is scheduled to arrive in theaters next year, on November 21, 2025.

"Alternative History: A Cracker Retrospective" is a dynamic journey through the sonic landscape of Cracker, one of alt-rock"s most enduring and beloved bands. This special compilation album offers fans a fresh perspective on Cracker"s rich musical catalogue, featuring alternative versions, re-recordings, and live takes from the band"s history. Spanning their entire career, this retrospective highlights the band"s evolution, revisiting classic songs with new energy, creative arrangements, and live recordings that capture their unfiltered spirit. Featuring 5 previously unreleased versions and 6 rare live recordings the album presents a mix of fan favourites and deeper cuts.




[b] Teen Angst (What The World Needs Now) [Redux Version]

J. Written has been preparing for this moment almost his entire life. From early on he has been writing. You might even say he was obsessed with writing. It did not matter what he was writing, he just felt compelled to write. Hence the name Written.
Born on January 18, 1994 (yes, he will gladly accept birthday greetings!) in the Payne Land neighborhood of Kingston, Jamaica, J. Written entered this world as Jason Rasheed Wright. Due to certain financial instability in his family they had moved around a bit to various locations within the Kingston area. His parents, wanting him to be safe, encouraged him to be at home with his two sisters and to occupy his time at home he began to write. And write and write. And write some more.
He would write daily journals and even create newspaper articles written on the walls of their home. This creative outlet gave way to writing poems, speeches and essays while a student in high school. At 16 he started a dance trope known as the ACEZ dancers who were quite popular around Kingston.
He was then drawn to music around age 18 and began to create beats at a studio in Trench Town. He became part of the Trench Town community and is still very connected with the people there. His drive to write songs became his new medium for expressing himself. And this has led to him being recorded for various producers and included in the song “Fear To Understand” with Albarosie. Other songs and music videos followed and J. Written was brought to the attention of reggae producer Doctor Dread.
“When I first saw a video with J. Written and began to listen to more of his songs I knew this was a unique artist with a special vibe and a knack for writing interesting songs” says Doctor Dread. So he came to Jamaica and produced a first album “Kaleidoscope” for J. Written which is due for release in late 2024.

“My mission is to be active and positive. Not to confirm with the norm. To sometimes make people feel uncomfortable with issues impacting our community and society at large. To give thought to what is happening in the world and presently around us”. J. Written has made his intentions clear and it is revealed through his music.
And of special note is that J. Written has a role in the Bob Marley movie “One Love” as Junior Braithwaite, a member of the early Wailers in the scene when the young Wailers first come to audition for Coxsone Dodd of Studio One.
The future is bright for J. Written. He is creating music and lyrics as a constant in his life. And now the world will be able to share in his vision of creative expression.

"The Millennium Bell is the 20th record album by Mike Oldfield, originally released in 1999. The theme of the album is a reflection of different periods of human history. The album borrows its name from the dawning of the 3rd millennium and Oldfield's Tubular Bells series of albums. The Millennium performance of the latter half of the album plus some older tracks was given in Berlin, Germany on New Year's Eve 1999, with an estimated audience of 500,000 people.

Oldfield recorded the majority of the album at his home studio, Roughwood Studios, Berkshire, and then recorded the orchestrations in just one day at Abbey Road Studios, London with the London Session Orchestra. It was Oldfield's third album within one year, after Tubular Bells III in late 1998 and Guitars MOVLP1694 earlier in 1999. The album is eclectic in style, ranging from majestic choruses and soundtrack-esque orchestral passages through New Age sonic textures and ethnic sounds to strong pulse of electronic percussion. The Millenium Bell is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl and includes an insert."

»Nuts of Ay«, the thirteenth album by the Berlin-based electronic pop duo Tarwater (Ronald Lippok and Bernd Jestram), is their first in a decade, since 2014’s »Adrift«. Beautifully poised and smartly dressed, it's an album that draws Tarwater’s various pasts into a high-definition present, while bringing the duo, yet again, into productive dialogue with all kinds of fellow travellers.

Tarwater’s music has always been marked by a hypnotic pop-ness, but that’s particularly evident on »Nuts of Ay«, where a song like »Hideous Kiss« weaves together jangling guitar, pastoral flute, and flittering electronics into a gem-like construction. While the lyrics of »Hideous Kiss« are written by the duo, »Nuts of Ay« also continues a longstanding Tarwater tradition of recasting the words of others in their own mould. This time, their remit is broad: poetry from Derek Jarman (»All Nuns«) and Millner Place (»Trapdoor Spider«); lyrics from Jean Kenbrovin (»I’m Forever Blowing Bubbles«), the late Shane MacGowan (»USA«) and, again, John Lennon (»Everybody Had a Hard Year«).

This cast of found and borrowed lyricists also finds collaborative echo in the guest musicians dotted throughout »Nuts of Ay«. Schneider TM turns up on the lovely, Felt-like »Spirit of Flux«, where guitars channel the tangled reveries of Vini Reilly and Maurice Deebank into lush pop. Carsten Nicolai joins, as Alva Noto, dappling »On Waves and Years« with intimate glitching textures; he also provides the album cover art. Elsewhere, Masha Qrella appears on »Down Comes the Goose«, and actor Lars Rudolph pitches in for »USA«.

It may have been ten years since the album's predecessor, but Lippok and Jestram have kept active with other projects. They’ve collaborated with Masha Qrella, Immersion, and Iggy Pop; worked on radio plays with Kai Grehn, some based on the writing of Nick Cave (»The Sick Bag Song«, featuring Tilda Swinton, Paula Beer and Alexander Fehling) and William S. Burroughs (»The Cat Inside«); and made music for several radio-tatorts (radio plays based on »Tatort«, a long-running German police TV series) by playwright Tom Peuckert.

Both voracious and committed in their creative energies, Jestram and Lippok report back from these experiments with »Nuts of Ay«, one of their most compelling, deeply lustrous, dreamlike albums yet. They say there was no concept for the album, which is surprising, perhaps, given its holistic mood, explaining it »grew together like a coral reef in the studio over a period of several years«. There’s something to be said for letting an album gather and mutate naturally, without an overarching framework in place, and »Nuts of Ay« certainly feels like an unforced collection of material that nonetheless inhabits a similar space, one where guitars twist like driftwood next to amorphous, aqueous electronics, Lippok’s droll yet completely convincing vocal delivery riding songs that pulse and plume with curious, unpredictable rhythms.

But you can also hear elements – submerged but still present – of other music that’s inspired the duo: they’ve drawn some connections for us with psychedelic folk, Bowie in Berlin, Burial, and the film music of Popol Vuh and Krzysztof Komeda. This music shares a strong sense of place – whether in the world, or the mind – and the twelve songs on »Nuts of Ay« have such similar presence; a shared mood, a shared world, a shared sense of the possibilities of what electronic pop music could, and should, be. A bold and brave pop experiment.

Artwork by Carsten Nicolai
Mastering by Bo Kondren, Calyx Berlin

»Trapdoor Spider«, »On Waves and Years« & »Breaking Day«: lyrics by Milner Place
»All Nuns«: lyrics by Derek Jarman
»USA«: lyrics by Shane MacGowan
»Down Comes the Goose«: lyrics from a traditional song
»Forever Blowing Bubbles«: lyrics by Jaan Kenbrovin
»Everybody Had a Hard Year«: lyrics by John Lennon

BMX Bandits album Bee Stings, now issued on vinyl for the very first time. Last Night From Glasgow are thrilled to release the album on coloured vinyl in November 2024. Arguably the band's lushest work, Bee Stings was initiall released in 2007 and finds Duglas T Stewart and friends in serene form. Rachel Mackenzie's vocals add an extra dimension, making it a firm fan favourite, even 17 years on. BMX Bandits are one of Scotland's most iconic pop-bands. Formed in Bellshill in 1986 by Duglas T Stewart, the band became legendary in Scotland and beyond. Often cited as one of Kurt Cobain's favourite bands, he once stated "If I could be in any other band, it would be BMX Bandits." BMX Bandits' line up has varied over the decades but Duglas has remained the face and leader of the group.

Five Five is the second studio album from the Miami-born underground rap pioneer, Pouya. Marking a slight transition into a more mature sound, Five Five showcases Pouya’s evolution as an artist while maintaining the raw authenticity that has endeared him to his fans. With tracks like "Suicidal Thoughts in the Back of the Cadillac Pt. 2" and "Handshakes," Pouya delves into themes of struggle, resilience, and personal growth, offering listeners a glimpse into his journey. In what became truly a solo effort, Five Five is limited to one feature in Night Lovell, with production primarily handled by Mikey The Magician (Track 4 produced by Chevali). The album draws from elements of Bone Thugs-N-Harmony, yet remains uniquely rooted in Pouya’s own style. Over the years, Pouya has developed a long lasting core fanbase, first bubbling up in Miami alongside artists such as Denzel Curry, and then becoming a nationally celebrated artist. Back in print for the first time since originally released in 2018. Pressed on Wire Wheel Picture Disc Vinyl and cut at 45 RPM.

Woven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of "gathering from the air a live tradition".
Cloudy Clear plus Black Galaxy effect vinyl in dub style jacket. Limited and Non-Returnable.
At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.

Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

"Herne's Oak" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.

If Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Cover art is by Henry Hablak, who also designed the art for Part One and Part Two.

The ever prolific Teffa is back on LoDubs, albeit for his first Vinyl EP.

As just alluded to, this is the second meeting of the Far West Ruler and the Low End Master from Leeds, although one might be forgiven for blinking and missing the highly sought after (sold out in 5 minutes) Poly DubPlate cut released in early 2023, which was a matter of course in a year where pressing turn times quadrupled. As glad as we are that those days are in the past it also still left the inkling that a full release was necessary once the time and tunes presented themselves.

..And as such, here we have a total of 6 now-ting Grime hybrids (4 on the vinyl, and 2 vinyl-only bonus tracks in the DL and details on how to get those as a poly Dub, only for owners of the vinyl EP), Containing the elastic basslines of a true UKG and Dubstep Stalwart, whilst stretching those elements over syncopated, at time staccato-esque riddims, all beneath a novel modernization of the stilted, subharmonic and eski-esque synth bass pads that are quintessentially Grime. There truly is more to these with each listen, all the while grabbing you at first go.

State of the art: From the one and only Teffa.

Robin Carolan's latest soundtrack for Robert Eggers' highly anticipated Nosferatu is a haunting, gothic-infused and meticulously crafted work that draws from a vast palette of sounds, instruments, and inspirations. Following their successful collaboration on The Northman, Carolan reunites with Eggers to bring the legendary tale of Nosferatu to life, infusing the film with a score that is as complex and nuanced as the story itself. With Daniel Pioro, one of Britain's most exciting young classical musicians, at the helm as the orchestra leader and first chair for a vast majority of the recording, the soundtrack features a vast orchestration, including 60 string players, a full choir, various horns and woodwinds, a harpist, and two percussionists. Despite the grandeur of the orchestration, one of the most challenging pieces was the music box used at the film's beginning. Carolan and Eggers struggled to perfect its sound, a process marked by their meticulous attention to detail, which Carolan describes as almost telepathic. Set in the 1800s, Nosferatu allowed Carolan to incorporate contemporary instrumentation, though he made a deliberate effort to ensure the score didn't sound overly modern. Letty Stott, who also worked on The Northman, contributed ancient horns and pipes, enhancing the soundtrack's eerie atmosphere. Additionally, percussionist Paul Clarvis custom-built a toaca-like instrument for added authenticity. Carolan's inspirations for the soundtrack were as eclectic as they were profound. He frequently drew upon the works of Bartok and Coil, while films like The Innocents, Angels and Insects, and Eyes Wide Shut provided cinematic inspiration. Additionally, he explored the more obscure side of Hammer Horror soundtracks and found a deep connection to the music of the Ukrainian film The Eve of Ivan Kupalo, which helped shape the score's otherworldly tone. Carolan intentionally moved beyond the typical horror score, focusing on capturing the tale's melancholy and tragic elements while weaving in a sense of warped romanticism. The result is a soundtrack that not only complements the film but also stands on its own as a testament to Carolan's artistry and the enduring power of collaboration.

Robin Carolan's latest soundtrack for Robert Eggers' highly anticipated Nosferatu is a haunting, gothic-infused and meticulously crafted work that draws from a vast palette of sounds, instruments, and inspirations. Following their successful collaboration on The Northman, Carolan reunites with Eggers to bring the legendary tale of Nosferatu to life, infusing the film with a score that is as complex and nuanced as the story itself. With Daniel Pioro, one of Britain's most exciting young classical musicians, at the helm as the orchestra leader and first chair for a vast majority of the recording, the soundtrack features a vast orchestration, including 60 string players, a full choir, various horns and woodwinds, a harpist, and two percussionists. Despite the grandeur of the orchestration, one of the most challenging pieces was the music box used at the film's beginning. Carolan and Eggers struggled to perfect its sound, a process marked by their meticulous attention to detail, which Carolan describes as almost telepathic. Set in the 1800s, Nosferatu allowed Carolan to incorporate contemporary instrumentation, though he made a deliberate effort to ensure the score didn't sound overly modern. Letty Stott, who also worked on The Northman, contributed ancient horns and pipes, enhancing the soundtrack's eerie atmosphere. Additionally, percussionist Paul Clarvis custom-built a toaca-like instrument for added authenticity. Carolan's inspirations for the soundtrack were as eclectic as they were profound. He frequently drew upon the works of Bartok and Coil, while films like The Innocents, Angels and Insects, and Eyes Wide Shut provided cinematic inspiration. Additionally, he explored the more obscure side of Hammer Horror soundtracks and found a deep connection to the music of the Ukrainian film The Eve of Ivan Kupalo, which helped shape the score's otherworldly tone. Carolan intentionally moved beyond the typical horror score, focusing on capturing the tale's melancholy and tragic elements while weaving in a sense of warped romanticism. The result is a soundtrack that not only complements the film but also stands on its own as a testament to Carolan's artistry and the enduring power of collaboration.

Recorded by McIlroy’s long-time friend and musical associate, Big A, the songs are laden with cracked harmonies and homemade instruments, including found materials used as percussion. The pair drew on the talents of fellow travellers for backing vocals and rhythm tracks which has resulted in the live outfit expanding to a three piece, with Ben Price (bass) and Charlie Garson (drums) on board.
Commenting on the writing process McIlroy explains:
“It was written during a period of madness and adverse offending behaviours. The songs dash from one theme to another and reflect the mistaken beliefs we cling to when our perceived realities are threatened. It’s also got jokes.”
Opposing a streaming culture that values top tracks and playlists, the record is intended to be heard in one sitting, with Side A showcasing more extroverted songs, in all their loudmouth braggadocio, and Side B being more introspective and honest.

Even as the obstacles to meaningful connection mount into an Everest-ian hurdle, artists nevertheless find ways to bend the technologies of our days to foster visceral human connection, rather than bereft isolation. Comprised of a West Coast bassist (Kristian Dunn of El Ten Eleven) and an Appalachia-adjacent drummer (Damon Che of Don Caballero), Yesness forges a friendship mediated through the language of collaboration, all formed through emailed song sketches and text exchanges of Van Halen demos. The odd couple of Kristian Dunn (El Ten Eleven) and Damon Che (Don Caballero) was the result of some clever musical matchmaking by Karl Hofstetter, founder and curator of Joyful Noise Recordings. Karl introduced Dunn and Che via email in April 2023 after Dunn's prolific output outgrew the resources and abilities of his instrumental duo El Ten Eleven. Less than a year later, after countless text messages and song sketches were exchanged, and one fateful meeting at a recording studio was organized, their nascent project's debut record, See You at the Solipsist Convention, was complete. "We were ships in the night of the musical variety until Karl found a way to merge our paths," Che said of his introduction to Dunn. "There are very few comparisons in the aesthetic approach to how we created the music. We worked remotely for eight months before physically meeting for the first time at the recording studio." Neck-deep in their own ambitions, Che and Dunn swapped musical ideas and quirky song titles throughout the summer, working at a breakneck pace. Star Wars references were intertwined with walloping bass lines ('If You Say So'); non-sequiturs were punctuated by Che's signature frenetic percussive jabs ('Horror Snuggle'). Scaffolded around eight-string bass, knotty percussion, and intricate syncopation, See You at the Solipsist Convention is a carnival of delights for fans of the post-everything persuasion—uncategorizable yet reverent to the altar of instrumental rock. Tearing through the record's evocative instrumentals is a delightful bolt of strangeness, felt as much as heard in the spontaneous chemistry between Che and Dunn. "Occasional Grape?" dances like a waltz played with a sledgehammer—delicate moments shattered by bursts of aggression, while still embedding a rhythmic earworm deep into your heart. 'Nice Walrus,' a string-studded panorama featuring Kishi Bashi, volleys between nervy hyperactivity and heartfelt grandeur. The album's closing track, "Non-incredible Visitor," contrasts Che's meticulous precision with Dunn's imaginative instrumentation, bonding bass and percussion like nesting dolls. Just as the track seems to settle, it drives off an uncharted auditory cliff—abruptly, without ceremony, leaving the listener grasping for meaning in the murk. Beyond all measure, Yesness stands as a testament to the powerful dividends of friendship and collaboration. We are nothing without each other – our partners, our local record store clerks, our neighbors. Music, too, thrives on our entanglements. With twelve tracks, an upcoming tour, and an unexpected friendship stemming from one email, Yesness underscores the brilliant machinery of human connection.

Records for AIA organisation. All benefits and even a bit more have been donate in advance to the Artists In Action Association... Organising kitchen in Calais refugees camp « The Jungle ». Here we got one excellent techno tune from Crystal Distortion, one pumpin from Suburbass and a great funny tribecore track from Matt Weasel Buster Tribe :) We also have here something really sticking to the subject : a tune made with sounds from the Jungle.

Seve & SleepingWater - Run For Human Values's Video Clip

In 2006, Danger Mouse is King Midas of the music world. He has an uncanny knack for creating jagged, dense, frenzied beats and odd, eerie, vivid soundscapes that never compromise the music's natural flow. Meanwhile, rapper and singer Cee-Lo, a veteran of Atlanta's Dirty South scene, has never been one to be constrained by hip-hop conventions, and is a willing partner in adventure. The result is an intrepid psychedelic blend of pop, hip-hop, soul, and rock that consistently challenges and delights. It's no wonder that "Crazy," with its modest riff, irresistible hook, and disarming opening line ("I remember when, I remember, I remember when I lost my mind") became a worldwide Internet sensation a full six months before the official release of St. Elsewhere. But that relatively simple soul-pop gem is the tamest track on this wide-ranging, often dark and introspective collaboration. (In fact, the duo considers Gnarls Barkley to be a wholly new creation, as opposed to a collaboration of existing artists.) "Everybody is somebody, but nobody wants to be themselves," Cee-Lo croons on "Who Cares?" He and Danger Mouse try very hard not to be their old selves as they creatively and confidently break down boundaries, but the brilliant cores of their musical personae--Cee-Lo's eccentric spiritual soul man and Danger's bold sonic explorer--remain. --Marc Greilsamer

High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, huge poster. Mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, huge poster. Mastered for vinyl by Patrick W. Engel at Temple of Disharmony

Gwen Dolyn releases her debut album "X-RATED feelings" on 22 November 2024, via Duchess Box Records. The album "X-RATED feelings", which contains the singles "ertrinken", "reiner wein" and "mies präpariert", was produced by Thomas Zehnle and Max Reiger. "X-RATED feelings" is about longing, mental health, feminism and relationships, love, loss and self-empowerment. The sound is a homage to the raw part of Neue Deutsche Welle and a combination of honest lyrics, grunge, pop sounds and extravagant outfits. Originally from the capital Berlin, Gwen Dolyn decided to leave the hustle and bustle of the city and now lives in Chemnitz. She is known as one half of the duo Tränen together with Steffen Israel from Kraftklub. Duchess Box Records, the Berlin record label that has discovered artists such as Gurr, Sofia Portanet, THALA and many more

A1 Dharma
Opening the LP in lively fashion, JLM liberally flecks a detailed composition with exquisite breaks cymbals playing a key role in the evolving patterns as the track progresses while heavy layers of synth work forms a substantial atmosphere. Musical and resonant with micro melodies and sprinkles of FX, Dharma encapsulates JLMs everimpressive attention to detail throughout its seven minutes.

A2 Artha
Where to start with Artha Setting the scene immediately with an epic synth intro that whooshes through your mind to prepare you for what is to come, its immediately obvious JLM has crafted a modern day classic here. Crisp Hot Pants breaks drop before we are treated to inspiring, continually developing and rousing melodies with a tuneful 808 bassline playfully dancing below. One to drop any chance you get Artha deserves to be heard.

B1 Moksha
Delightfully clear, characterful percussion introduces Moksha, a dancefloor friendly piece which rolls along beautifully thanks to old school breakbeats seizing the initiative while fluid keys, filtered synths and waves of serene effects punctuate the production. The
kick-light breaks will stay long in the memory as perfect for both the headphones and the discerning dance floor, just as weve come to expect from JLM.

B2 Kama
Taking you back to the early Progression Sessions era with a modern scifi twist reminiscent of your favourite space operatics, Kama will sit effortlessly alongside tracks from those days and now with its simple yet memorable core wind melody, sprawled
across energetic breakbeats and wide layers of synths & pads to a typically appropriate bassline. Another fine example of the evolving diversity in JLMs production with Spatial.

C1 Boundary
Switching things up, JLM treats us to a notably laid back vibe as Boundary is introduced by understated, filtered synth work and explorative kicks before a mellow yet chunky break pattern provides energy to the track. Detailed as ever, a myriad of effects and
samples are introduced and dance around the mix with a wistful complexity, in a track destined to be in your playlist for some time to come.

C2 Hexis
Kicking things off with a filtered DJ friendly beat intro, Hexis soon drops with constant old school jungle synth work and periodical strings alongside rasping, striking breakbeats that drive the track forward with impressive energy. The breaks reverberate in and out of the mix at intervals as JLM toys with the listener at will, creating a tonally unique and vibrant composition very much worthy of our attention.

D1 Ideal Forms
Low pass breaks echo and jostle for position with FX free counterparts early doors in the finely crafted intro to Ideal Forms, slowly developing with a triumphant assortment of keys and synths before a third layer of breaks are added which underpin a detailed, yet never busy, breakbeat landscape. Occasional breakdowns offer respite in a glistening wilderness of comforting melodies and light ambience.

D2 Physis
JLM rounds the album off very much on form with Physis a suitably climactic piece that opens with a detailed array of percussion, synths and effects before superbly programmed breaks take over the mix. An occasional, all encompassing sci fi synth rush
permeates the atmosphere to almost cinematic levels, while a melodic bassline nestles below leaving you with a track (and an album) you will not forget.

Words by Chris Hayes (Spatial / Red Mist)

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

At long last! Finally on vinyl! Can Fifteen Great Christmas Songs be collected together on one lovely 12-inch vinyl disc featuring bands and artists from the Damaged Goods archives? …you betcha bottom dollar they can! Each song has been recorded with the Christmas spirit in full flow and we’d guess the odd mince pie was consumed along the way as well. The full-on Christmas feeling that is flowing through these wonderful tracks is a joy to behold and we implore you to not just read these sleeve notes but to go crimble-crumble-crazy and actually buy this record and treasure it, not only this year but for many years to come. We are very proud to have put this album together as Christmas is our favourite time of the year. We love the feeling at special Christmas gigs - the over-inflated people and prices of things and the way everyone just has to go out and drink as much as they possibly can in the name of the good old lord Jesus. We did this for you, and only for you because we really, really care and want to share the joy that only Damaged Goods Records can bring you at this special time of the year. So enjoy some great music from the likes of Will Billy Childish, Miss Holly Golightly, Helen Love, Goldblade & Poly Styrene, The Courettes and so many more and remember, this LP is not just for Christmas it’s for LIFE! Ian Damaged, National Elf

"Run the Jewels - Hip-hop's preeminent collaboration between veteran rhyme-slayers El-P and Killer Mike —have gone from a whim-driven underground rap project to a worldwide sensation since the release of their 2013 debut Run The Jewels. Mixing the industrial grime of New York City with the vibrant bounce of the dirty South, they forge hip-hop's future while adhering to the core tenets of its bedrock: gymnastic displays of skills, incendiary political rhetoric, merciless braggadocio, battle-honed assholery, R-rated punchlines and a back-and-forth that brings the interplay of the shell-toe Adidas era screaming into our contemporary nightmare.

Tearing up the music industry rulebook, their self-titled 2013 debut was originally released through a series of website-crashing free album downloads. Featuring Outkast's Big Boi on Banana Clipper and Prince Paul on Twin Hype Back, it's a "rough and rabid ride"; a "swaggering victory lap for two artists at the peak of their creativity"; and been dubbed "one of the best hip-hop records of 2013"."