Cerca:bell

The Cycle is the fifth album by Mourning A BLKstar - It's the Clevelandbased collective's masterwork -- a double LP spanning 20 songs and
three singers, touching on neo-soul, hip-hop, and the cosmic expanse in
between/beyond
It is a humble addition to the long legacy of James Baldwin's adage of the artist
as witness. It is their song cycle, written in a time that just may need a song or
two in support of and in love and power to the living. Pressed on Neon Yellow
Color Vinyl

RIYL: Guided by Voices, Pavement, The Clean, XTC, Flying Nun. The title of The Stroppies' newest LP, Levity, serves as a creative statement of intent and an acknowledgment of the dichotomy between the music they have made and the conditions in which they were produced. For a group that started over an initial idea to "create open ended music, quickly and haphazardly”, the logistical challenges of creating their second album in the midst of a pandemic, in a city that endured the longest lockdown in the world, created a need to redefine process. Levity, The Stroppies strongest creative statement to date, is the result of this new approach to creative process. Playful yet focused, but broader in scope and experimentation than previous efforts, the ten songs that comprise Levity continue the band's exploration of the pop song as both foil for experimentation and conduit for personal reflection. Whereas the group's debut LP Whoosh! demonstrated their ability to craft clean, concise jangle pop, Levity takes a different route by utilizing a darker pallet of sounds to create its impressionistic whole. Fuzz and distortion are employed to add weight to songs built on tape loops and Motorik drum patterns. Warbling synthesisers and modulated keys add new moods and dimensions to The Stroppies unique brand of pop classicism. Thematically, the band continues their exploration of the personal refracted through the lens of the absurd, though this time around the music feels a few shades darker, a somewhat inevitable consequence of the collective trauma of the past 24 months. While the narrative around the 'lockdown record' is increasingly commonplace, there are unavoidable realities involved in making creative decisions under such circumstances that can't be overlooked, especially for a band that thrives on collaboration. "The restrictions around COVID really informed the way we made the record', says Angus Lord, the band's co-founder and guitarist. "It meant that there was a lot less opportunity to meet and build ideas collaboratively, which is how we’ve worked in the past. Instead, ideas were developed in isolation, then shared digitally, developing slowly over correspondence and only bearing fruit when we were able to be in a room together. I think this had a big effect on the songwriting and execution.” This process even extended to the studio, where The Stroppies found a kindred spirit in John Lee of Phaedra Studios, who mixed the record in isolation, somehow managing to synthesise the band's pop sensibilities with their penchant for studio experimentation. Furthermore, the addition of new member Zoe Monk, known for playing in a diverse array of Melbourne acts (Eggy, Thibault, The Opals) contributed both synthesiser experimentation and rock solid rhythm guitar, a huge addition to the band's developing sound, an infectious combination of the off-kilter 90s US underground, British artpunk ala Wire and a more than generous love of classic Pop songwriting. The Stroppies have managed to craft a record of weight and substance. Through Levity the Stroppies have, at least temporarily, found their feet amongst the chaos

This first-ever vinyl reissue, remastered from the original analog tapes, includes a gatefold jacket and inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen; an insert with lyrics, original notes, and Terry’s letter to H.C. Westermann about the songs; and a high-res download code. Deluxe CD edition features a trifold jacket and inner sleeve. Recorded exactly two years after acclaimed visual artist and songwriter Terry Allen’s masterpiece Lubbock (on everything), the feral follow-up Smokin the Dummy is less conceptually focused but more sonically and stylistically unified than its predecessor it’s also rougher and rowdier, wilder and more wired, and altogether more menacingly rock and roll. Following the 1973 Whitney Biennial, in which songwriter and visual artist Terry Allen and fellow iconic artist Horace Clifford “Cliff” Westermann both exhibited, Allen maintained a lively long-distance correspondence and exchange of artworks and music with Westermann, whose singular and highly influential art he admired enormously. In a February 1981 letter to his friend and mentor, written shortly after the late 1980 release of his third album Smokin the Dummy, while he and his family were living in Fresno, California, Terry explains the genesis of the album title: Westermann died shortly after receiving this letter, enclosed with a Smokin the Dummy LP, the minimalist black jacket of which Allen suggested that Cliff fold into a jaunty cardboard hat if he didn’t like the music. That response was unlikely, since Westermann loved Terry’s music, calling his debut record Juarez (1975) “the finest, most honest and heartfelt piece of music I ever heard.” The Panhandle Mystery Band had only recently coalesced during those 1978 Lubbock sessions, Lloyd Maines’s first foray into production. Through 1979, they honed their sound and tightened their arrangements with a series of periodic performances beyond Allen’s regular art-world circuit, including memorable record release concerts in Lubbock, Chicago, L.A., and Kansas City. Terry sought to harness the high-octane power of this now well-oiled collective engine to overdrive his songs into rawer and rockier off-road territory. His first album to share top billing with the Panhandle Mystery Band, Dummy documents a ferocious new band in fully telepathic, tornado-fueled flight, refining its caliber, increasing its range, and never looking down. Alongside the stalwart Maines brothers co-producer, guitarist, and all-rounder Lloyd, bassist Kenny, and drummer Donnie and mainstay Richard Bowden (who here contributes not only fiddle but also mandolin, cello, and “truck noise theory,” the big-rig doppler effect of Lloyd’s steel on “Roll Truck Roll”), new addition Jesse Taylor supplies blistering lead guitar, on loan from Joe Ely (who plays harmonica here). Jesse’s kinetic blues lines and penchant for extreme volume were instrumental in pushing these recordings into brisker tempos and tougher attitudes. Terry was feverish for several studio days, suffering from a bad flu and sweating through his clothes, which partially explains the literally febrile edge to his performances, rendered largely in a perma-growl. (By this point, he was regularly breaking piano pedals with his heavy-booted stomp.) Like the album title itself, the songs on Smokin the Dummy ring various demented bells. The tracks rifle through Terry’s assorted Obsessions especially the potential energy and escape of the open road, elevated here to an ecstatic, prayerful pitch and are populated by a cast of crooked characters: truckers, truck-stop waitresses, convicts, cokeheads, speed freaks, greasers, holy rollers, rodeo riders, dancehall cheaters, and sacrificial prairie dogs, sinners seeking some small reprieve, any fugitive moment of grace. A reigning deity of a certain kind of country music since the mid-70s. – The New York Times // The kind of singular American artist who expresses the fundamental weirdness of his country. – The Wire

RIYL: Guided by Voices, Pavement, The Clean, XTC, Flying Nun. The title of The Stroppies' newest LP, Levity, serves as a creative statement of intent and an acknowledgment of the dichotomy between the music they have made and the conditions in which they were produced. Levity, The Stroppies strongest creative statement to date, is the result of this new approach to creative process. Playful yet focused, but broader in scope and experimentation than previous efforts, the ten songs that comprise Levity continue the band's exploration of the pop song as both foil for experimentation and conduit for personal reflection. Whereas the group's debut LP Whoosh! demonstrated their ability to craft clean, concise jangle pop, Levity takes a different route by utilizing a darker pallet of sounds to create its impressionistic whole. Fuzz and distortion are employed to add weight to songs built on tape loops and Motorik drum patterns. Warbling synthesisers and modulated keys add new moods and dimensions to The Stroppies unique brand of pop classicism. Thematically, the band continues their exploration of the personal refracted through the lens of the absurd, though this time around the music feels a few shades darker, a somewhat inevitable consequence of the collective trauma of the past 24 months. While the narrative around the 'lockdown record' is increasingly commonplace, there are unavoidable realities involved in making creative decisions under such circumstances that can't be overlooked, especially for a band that thrives on collaboration. "The restrictions around COVID really informed the way we made the record', says Angus Lord, the band's co-founder and guitarist. "It meant that there was a lot less opportunity to meet and build ideas collaboratively, which is how we've worked in the past. Instead, ideas were developed in isolation, then shared digitally, developing slowly over correspondence and only bearing fruit when we were able to be in a room together. I think this had a big effect on the songwriting and execution." This process even extended to the studio, where The Stroppies found a kindred spirit in John Lee of Phaedra Studios, who mixed the record in isolation, somehow managing to synthesise the band's pop sensibilities with their penchant for studio experimentation. Furthermore, the addition of new member Zoe Monk, known for playing in a diverse array of Melbourne acts (Eggy, Thibault, The Opals) contributed both synthesiser experimentation and rock solid rhythm guitar, a huge addition to the band's developing sound, an infectious combination of the off-kilter 90s US underground, British artpunk ala Wire and a more than generous love of classic Pop songwriting. The Stroppies have managed to craft a record of weight and substance. Through Levity the Stroppies have, at least temporarily, found their feet amongst the chaos.

Clear Vinyl repress

1987... for those lucky enough visiting a decent import shop in that year could have seen a US import record with pink label showing a darts board with small text next to the picture saying "Target records" and "Joe R Lewis". Pretty sure nobody at that time would be alarmed by this... reading further it said....1. Love Of My Own... Written and produced by Joe R Lewis... in even smaller text the label info continued; mixed by Larry Heard! And even that, at that time that would not have ringed a bell, except for maybe a couple of dj's who only just in the last couple months picked up copy of a Mr Fingers record and memorised the writter credits. We're talking the very early days of House music, the pre-internet era where new music and info didnt spread all over the globe within a couple of seconds.... Now more then 30 years later this is a holy grail for worldwide record collectors and house aficionados, still not all info is clear. Rumors go that this record was produced after a recording sessions of Larry Heard and he helped Joe Lewis with the mixdown... but like all good stories there is a cloud of mystery covering up the details!. On the flip side there is one of the best tracks ever produced by Joe Lewis,.... Life Immoreal... a track so elegant and beautiful that it hurts!! Two of the best tracks Chicago House music has to offer in remastered versions taken from the original master tapes on this latest outing of Clone Classic Cuts!!

Very limited vinyl pressing, 500 copies in a gatefold sleeve, a printed inner housing white and marbling effect vinyl with full download included. CD in a 4 panel digipack with a 4 page booklet. New Heavy Sounds is very proud to bring you Moongazer, the 2nd album by the 4 piece stoner rock powerhouse from Italy, TENEBRA. The band had already made waves on the scene with their debut album ‘Gen Nero’ before delivering ‘What We Do is Sacred’ their debut EP for New Heavy Sounds last year, 3 killer tracks that were but a taster of things to come. Moongazer takes the story a stage further with 9 slabs of crushing fuzzed up grooves, fuelled by 70’s proto metal, hard rock, punk, psych-blues and noise, loaded with great riffs and melody and topped off by gutsy soulful vocals. Musically, you could say that TENEBRA occupy similar musical terrain to bands such as Graveyard, Witchcraft, Kadaver and other bands of that ilk, but TENEBRA are very much their own beast. They have all the chops of course, but are musically less slavish, often adding a twist that keeps the songs fresh and now. There’s also very little reliance on Sabbath-isms (apart from one cheeky nod) and though occult rock is also part of the vibe, the music steers well clear of the cliches. In fact the band bring a clutch of left field influences into their melting pot as well, from June of 44 and Love Battery to the Misfits and the psych grunge of Screaming Trees. Of the 4 members, Claudio (bass), Emilio (guitar) and Mesca (drums) came from the hardcore and post-hardcore squat scene that gathered around Bologna, whereas their formidable vocalist Silvia (the youngest of the crew) is immersed in the underground rock of the '60s and' 70s. When you hear her sing you’ll know where she’s coming from as she has one helluva rock voice, laced with whiskey, smoke, grit, late nights and a whole lotta soul. Think Maggie Bell meets Betty Davis with a smattering of Gillan, and you'll be in the right ballpark. So what you get with ‘Moongazer’ is a band revelling in the spirit of 70’s rock rather than recreating it. ‘Heavy Crusher’ lulls you with its dreamy intro, but it’s not long before the riffs hit with Silvia in full effect. This pretty much sets the tone for the record, coiling proto metal riffs, executed with gusto and joie de vivre. And as with every track on this album, Silvia belts it out like she absolutely means it man. ‘Cracked Path’ continues the journey and ups the heavy fuzz a notch or 2. First heard on ‘What We Do Is Sacred’ (full length album version). ‘Black Lace’ is a brooding beast, epic and melodic, almost a ballad, with a heap of soul lurking within, courtesy of Silvia’s mighty voice. ‘Carry My Load’ keeps the brooding vibe going till the loping off kilter killer riffs kick in. This is definitely Silvia at her most Gillan-esque. ‘Winds Of Change’ does just that, dial things down to bluesy, almost psych feel, with dreamy solos and a hooky guitar break. ‘Stranded’ is a full on stoner rocker as is ‘Space Child’ with its short homage to the dark lords, there’s even a a sax solo. Never one’s to just play it straight these guys. ‘Dark And Distant Sky’ is pure proto metal, a la Bloodrock or Grand Funk, it truly rips, and once again, it’s construction veers it away from anything approaching what you’d expect. ‘Moon Maiden’ is the album’s closer, featuring Gary Lee Conner (no less) of the aforementioned grunge legends Screaming Trees, guesting on guitar. It’s a fitting and epic closer, by turns hard ‘n’ heavy, psychedelic and chock full of great ideas. MOONGAZER is without doubt an accomplished sophomore release that deserves to be heard and appreciated, purely because, though it may appear to reside in the world of stoner, it is so much more.

Back in 2017, Moderat announced that they’d be taking an extended break following a final concert in front of 17.000 people in their hometown of Berlin. And now they return. MORE D4TA, the group’s fourth album, arrives more than six years after its predecessor (2016’s III). Created largely during a time when touring (and most traveling) was off the table, MORE D4TA is an album that wrestles with feelings of isolation and information overload—issues that have become particularly pronounced over the past two years. The ten songs on MORE D4TA are rooted in collaboration, but long before any of its tracks were laid down, Moderat spent months hanging out and getting musically reacquainted, indulging in extended bouts of experimentation and slowly fleshing out ideas as they dove into modular composition, field recordings and other sonic oddities.
But no matter how far the band ventures into music’s outer realms, they always wind up back in their own unique soundworld, a place where emotive pop and fluttering electronic soundscapes walk hand in hand. Many of its lyrics are rooted in Ring’s frequent trips to Berlin’s Gemäldegalerie museum (often with his infant daughter in tow), where he’d seek refuge in the great paintings of the past while worrying about the future.
What they make isn’t necessarily dance music, but it is something that shines brightest in the dark of night, the group’s rich melodies and Ring’s ethereal vocals emitting a warm, almost bioluminescent glow. After spending the better part of two decades making music together, they’ve carved out a sound and aesthetic that are all their own, and MORE D4TA showcases a group that’s creatively recharged and fully dedicated to its craft.

Deluxe Edition / LP+Poster

Back in 2017, Moderat announced that they’d be taking an extended break following a final concert in front of 17.000 people in their hometown of Berlin. And now they return. MORE D4TA, the group’s fourth album, arrives more than six years after its predecessor (2016’s III). Created largely during a time when touring (and most traveling) was off the table, MORE D4TA is an album that wrestles with feelings of isolation and information overload—issues that have become particularly pronounced over the past two years. The ten songs on MORE D4TA are rooted in collaboration, but long before any of its tracks were laid down, Moderat spent months hanging out and getting musically reacquainted, indulging in extended bouts of experimentation and slowly fleshing out ideas as they dove into modular composition, field recordings and other sonic oddities.
But no matter how far the band ventures into music’s outer realms, they always wind up back in their own unique soundworld, a place where emotive pop and fluttering electronic soundscapes walk hand in hand. Many of its lyrics are rooted in Ring’s frequent trips to Berlin’s Gemäldegalerie museum (often with his infant daughter in tow), where he’d seek refuge in the great paintings of the past while worrying about the future.
What they make isn’t necessarily dance music, but it is something that shines brightest in the dark of night, the group’s rich melodies and Ring’s ethereal vocals emitting a warm, almost bioluminescent glow. After spending the better part of two decades making music together, they’ve carved out a sound and aesthetic that are all their own, and MORE D4TA showcases a group that’s creatively recharged and fully dedicated to its craft.

Sean Johnston has put together some righteous compadres to form a new project - The Summerisle Six. Featuring Jo Bartlett (Yellow Moon Band) on vocals, Andy Bell (Oasis and Ride amongst others) & Duncan Gray on guitars, Kev Sharkey (That Petrol Emotion, The Undertones, Elvis Costello to name a few) on percussion, Mick Somerset Ward on Sax (Clock DVA, Was Not Was, Crooked Man). This Is Something is a driving pop groover reminiscent of a late 80's early 90's Indie Dance anthem. The Dub mix invites the OG mix to ALFOS, turns the lights off and presses the smoke button for a chuggy heartwarming trip across the dance floor. There are no words to describe Rico Connings mix other than to say this 10 min journey has to be heard to be believed. A genuine Balearic gem.

Vordergrundmusik’s Rittik Wystup returns with a slightly-so avant-garde collage of Piano and Beats. Little melodies awake spuriously, welcoming Spring; they interplay with sizzling cymbals and flamboyant drums. The usage of wind is the carrier throughout the record, just as coastlines bring a strong breeze of cool or warm air.

The overture "Rhythm of the Wind" opens a space of gusts and drafts which circle the EP’s leitmotif. Shifting keys only slightly, it’s a calm prelude to the following track.

"Drums in the Deep" tells the story of a drifting wanderer, voiced by Stepan Terteryan, at the shore of Armenia’s Lake Sevan. His poem can be heard throughout the track, mumbling away as he feels the ground beneath him shaken by roaming bears.

"Three Droplets in Space" presents falling water drops, lifted by a steady, sharp beat. As they approach a large pool, they increase in size and weight, becoming more round and abundant. A gnarly FM bass and frozen hi-hats make way for the passage through the thickening air, blitzing the little leitmotif here and there.

Staying in key, "I Exhale" whispers an ascending piano phrase into the air, which upon reaching for the sky reforms into an unwavering, repeated, slightly melancholic expression. A homage to a valley of bells and chimes, it bursts and blasts into tiny fractions before it evaporates.

Traditional drums and plucked strings progress through "Might y Mist". Before they lose themselves in a faraway landscape, feet stomp and heads bob. As they meld into a fog, carrying debris of the wanderer’s voice and his melody, they spread like a mist: over the water’s surface.

Finally, Timo Maas drops a hefty and punchy remix of "Drums in the Deep". He picks up on the poem and its inclinations but keeps the dancefloor in mind when shattering glassy bits over distorted fragments of the melody. A splendid pumpy finisher to a fairly eccentric EP.

Belle and Sebastian's A Bit of Previous is a classic album that found the pair at their melodic best. It showcase their superb knack for songwriting and will fill your head with earworms and pithy lyrics that you will not be able to forget. Amongst the self-produced tunes are some moments of beautiful melancholia as well as lots of what you would expect from the band. It is infused with the experience and sense of responsibility that comes with age as well plenty of musical bravado. There's a reason this is one of the UK's best love pop acts.

Belle and Sebastian's A Bit of Previous is a classic album that found the pair at their melodic best. It showcase their superb knack for songwriting and will fill your head with earworms and pithy lyrics that you will not be able to forget. Amongst the self-produced tunes are some moments of beautiful melancholia as well as lots of what you would expect from the band. It is infused with the experience and sense of responsibility that comes with age as well plenty of musical bravado. There's a reason this is one of the UK's best love pop acts.

'Dirty Camaro' was written and recorded in collaboration with several of
Williams' musical compatriots, in cluding John Paul White, Ashley
Monroe, Robert Ellis, Anderson East, Thad Cockrell, and more
Williams' voice is one to be reckoned with, and the album spins powerful stories
of heartbreak and longing, tenderness and love for family, and overcoming
obstacles when everything seems like it's going wrong
First solo project of front man from the folk-rock group "The Lone Bellow"

Fans of dream-pop, shoegaze, noise-pop, psychedelia, and love songs look no further than San Francisco’s Young Prisms.

Formed in the late 2000s by life-long friends Matt Allen and Giovanni Betteo alongside Stefanie Hodapp and Brooklyn based drummer Jordan Silbert, Young Prisms is not only back with new music, but reissues of their debut LP, Friends For Now, and sophomore LP In Between, which was originally released in 2012.

Young Prisms plays a fiercely loud and sneakily melodic brand of shoegaze that also traces along the edges of noise pop scrappiness and neo-psych dreaminess.

Konduku returns to Nous'klaer with a two tracker on the fourth instalment of his K-series. Starting out with Gelgit; a typical Konduku poly groover with mesmerising bells and subtle drops. On the flip we hear Konduku channeling his four to the floor affection into one of his sweatiest cuts yet. Crafted for big soundsystems.

4 effective deep burners by Sciahri & Desroi on the notorious Spanish imprint Semantica.

Vier Jahre nach dem Ende seiner Progrock-Band Mess brachte der estnische Musiker Sven Grünberg 1981 das bemerkenswerte Album "Hingus" heraus. Das 23-minütige Titelstück beschwört, mitunter beeinflusst von fernöstlicher Tonalität, mit einer Kirchenorgel, extrem seltenen Synthesizern und außergewöhnlichen Percussion-Effekten faszinierende futuristische Klangwelten. Die beiden anderen, ebenfalls großartigen Tracks erinnern stilistisch eher an die Berliner Schule um Klaus Schulze und Tangerine Dream. Grünberg ist in Estland ein bekannter Bühnen- und Filmmusiker - und ein alter Hase, was elektronische Musik betrifft. 1974, noch während seines Musikstudiums, gründete er zusammen mit Härmo Härm die Progrock-Band Mess. Grünberg war damals der erste Musiker im Baltikum, der einen Synthesizer einsetzte. Mit dem Album "Hingus" (zu Deutsch: "Atem"), das er zwischen 1978 und 1980 einspielte, widmete er sich dem Ambient, versetzt mit einer Prise Space- und Progrock sowie intensiven asiatischen Einflüssen. Basis der Aufnahmen waren die Orgeln der Kirche in Rapla und des Doms von Tallinn. Die sakrale Anmutung wird durch Synthesizer und Percussions gebrochen oder auch ins Rauschhafte gesteigert. Röhrenglocken (die von Mike Oldfield bekannten Tubular Bells), Paarbecken (Piatti), eine Ratsche (Raganella), ein Tamburin, ein ostasiatischer Metallgong namens Tamtam, Glockenspiel und Kastagnetten kommen zum Einsatz. Zudem spielt Grünberg diverse ungewöhnliche elektronische Instrumente, die Härmo Härm und andere teilweise als Einzelstücke selber bauten. Dennoch zählt dieses außerirdisch schöne und zum Teil hochpsychedelische Album hierzulande zu den noch zu entdeckenden Klassikern dieses Genres.

LIMITED COPIES

For the very first time on vinyl, the cult song by JUDGE DREAD “SKINHEAD” on 7inch single.

Disliked by some, Judge Dread is adored by many! And this is one of two very important songs that has never been on vinyl before.

Very much in demand.

On the flip the gorgeous “THE BELLE OF SNODLAND TOWN”.

This lovely piece of “art” was only released as a single in France in 1975!

Presented here both in its Stereo and Mono versions, this album was Duke Ellington and John Coltrane's only ever recorded encounter. For the occasion, Trane and Duke were accompanied by the bassist and drummer of their respective groups (who alternated from track to track), Aaron Bell and Sam Woodyard (from Duke's rhythm section), and Jimmy Garrison and Elvin Jones (from Trane's rhythm section).

"For this classic encounter, Duke Ellington 'sat in' with the John Coltrane Quartet for a set dominated by Ellington's songs; some performances have his usual sidemen (bassist Aaron Bell and drummer Sam Woodyard) replacing Jimmy Garrison and Elvin Jones in the group. Ellington always recognized talent, and Coltrane seemed quite happy to be recording with a fellow genius." - Scott Yanow,
AllMusic









i 9. Big Nick [john Coltrane Quartet Version]




[n] 14. I Got It Bad And That Ain’t Good [john Coltrane Quartet Version] *



[r] 18. The Feeling Of Jazz [duke Ellington Orchestra Version]









[i] 9. Big Nick [john Coltrane Quartet Version]




[n] 14. I Got It Bad And That Ain’t Good [john Coltrane Quartet Version] *



[r] 18. The Feeling Of Jazz [duke Ellington Orchestra Version]

Repress
LP Vinyl +7- no digital An underground classic!' - The most comprehensive vinyl edition of the original motion picture soundtrack for John Carpenter's first feature film, Dark Star (1974). Includes the sought-after When Twilight Falls on NGC 891 by Martin Segundo & the Scintilla Strings, for the first time ever on a John Carpenter-related release.
WRWTFWW Records is ecstatic to bring back the original motion picture soundtrack for John Carpenter's Dark Star (1974) with added bonuses that are sure to satisfy all cult sci-fi soundtrack completists of the galaxy (and further). This limited edition double vinyl combo comes with a 12 and a 7". The former is a remastered version of the original motion picture soundtrack consisting of incidental music, sound effects, John Carpenter's synth experimentations, dialogue excerpts, and vintage interferences extracted directly from the film roll. The 7" is red with a yellow label circled in black (in pure beachball alien fashion) and contains Ode to a Bell Jar' remade by loyal Carpenter collaborator Alan Howarth (Escape from New York, Christine, Big Trouble in Little China, They Live...), the fan favorite Benson Arizona' remade by Dominik Hauser, the very sought-after When Twilight Falls on NGC 891 by Martin Segundo & the Scintilla Strings (in the real world *James Clarke's Spring Bossa), as well as endless loops of sound effects from the movie to turn your house into your very own scout ship. Oh and there is a very secret hidden bonus track too!

Elders is the debut release from Ensemble Nist-Nah, a nine-piece percussion group led by Nantes-based Australian drummer and percussionist Will Guthrie. The diverse group of French musicians that make up Ensemble Nist-Nah – whose collective experience encompasses traditional Gamelan performance, contemporary composition, noise, jazz, and everything in between – perform on drum kits, traditional and junk percussion, and a complete set of Javanese Gamelan instruments. Though building on the foundations of Guthrie’s solo work with Gamelan instruments (Nist-Nah, BT057) and primarily performing his compositions, Ensemble Nist-Nah is a collective endeavour, propelled by a breathtaking enthusiasm that has seen the ensemble manage to rehearse, perform, and even tour Europe during the Covid-19 pandemic.

From the first seconds of opening track ‘Geni / Tirta’, it becomes immediately obvious that this is no dry academic exercise or exotic indulgence. Rapid arpeggiated figures are propelled by manically busy kit drumming while slow-motion melodic lines float above. After a series of abrupt tempo changes and fragmented unison passages that crossbreed the rhythmic intensity of the Balinese Kecak with the joyride of an Ornette Coleman head, the music slows to a monumental groove, equal parts Javanese court music and Dark Magus. Another sequence of thrilling divagations leads us to the unexpected guest appearance of acclaimed vocalist Jessica Kenney, who elaborates a haunting Javanese Bedhaya across a spacious backdrop of massive gong hits, shimmering cymbals, rustling bells, and gritty textures.

The remaining pieces that make up Elders explore a dizzying variety of approaches, from the shifting rapid-fire muted textures of ‘Overtime’ to the ghostly bowed tones and ominous swells of the title piece (developed from a track on Guthrie’s solo Nist-Nah release), which gradually builds into waves of shuddering low resonance and asynchronous percussive clicks like a haunted clock mechanism. On the aptly titled ‘Rollin’, virtuosic twin drum kits criss-cross errant metallophone patterns in propulsive polyrhythms, while ‘Planeker’ manages to achieve a bizarrely effective fusion of Harry Partch and Autechre. Arriving bedecked in beautiful monochrome images of gongs drawn by ensemble member Charles Dubois, Elders is a feast for the ears: music that burrows deep into timbral and rhythmic possibility while possessing an intoxicating physicality and revelling in the joy of collective performance.

A year from his latest release on Figure, Arthur Robert clocks back in with two full EPs.

The first one is a jam-packed 5-tracker, sporting full-on peak time thrill rides such as electrifying elated opener Mastermind or its more brawny brother, the bellowing beast that is stab-driven roller Relentless. But x31 features also Robert’s more introspective side, be it the glowing experimental excursion of What We Do With Our Time or the dreamy half-time stepper Cosmic Traveler. Fans of his more hypnotic techno productions will find joy in the modular magic of Rising, hinting at what’s to come on x32…

In 2011 Gazelle Twin self-released 'The Entire City', a debut album that gathered rapid acclaim and sparked a decade of creativity during which its creator, Elizabeth Bernholz has built big upon her foundation of dark, cinematic energy. The album is now set to be reissued on deluxe coloured vinyl featuring the captivating photo collage artwork of British artist, Suzanne Moxhay, with newly designed artwork by Paul Agar & Gazelle Twin.

"For a whole decade, spanning between the second half of the ‘50s and the second half of the ‘60s, jazz took over the Italian screens. The Californian be-bop rhythms, filtered and reinterpreted in a typical Mediterranean key, became the perfect soundtrack to the Italy of the economic boom; the quintessential music for a country that was sailing through a moment of profound and exciting industrial, social and cultural renovation. A nation that was rapidly shedding its skin, changing its style, look and identity, but also its landscape, letting itself go to the inebriation of the economic miracle. The compilation was conceived like a sonic stream, a journey of discovery carefully sequenced from hundreds of soundtracks from the golden age of Italian jazz contained in the CAM Sugar archive.
33 tracks that go beyond music, telling the story of Italian cinema, society and of its unmistakable style and charm. A genre that even when nodding to Californian be-bop, to crime jazz or bossa nova still sounds surprisingly original and Mediterranean, elegant, and seductive, either with joyous peaks (the scat of I Cantori Moderni di Alessandroni or of I 4+4 di Nora Orlandi) or with enigmatic and nearly dramatic nuances (La strega in amore by Luis Bacalov, Il batticuore by Marcello Gigante). The compilation also offers a precious insight into the Italian jazz scene of the times, with its string of formidable soloists like Gianni Basso (sax) and Oscar Valdambrini (trumpet), two Piedmontese men on duty for the RAI television orchestra conducted by Armando Trovajoli; like Nunzio Rotondo (trumpet) a legendary and elusive figure who had a special bond with Piero Piccioni; or like Enrico Rava (trumpet), Franco D'Andrea (piano) and Gegé Munari (drums) who often recorded with Piero Umiliani. Not to forget international stars like Chet Baker and Gato Barbieri, who were often fortuitously dragged into the recording sessions also thanks to Umiliani’s never-ending curiosity."

Last Night From Glasgow is proud to be re-releasing theaudience's first and only album, theaudience

First released in 1998, theaudience features Sophie Ellis- Bextor's debut as a vocalist before her successful solo career, and were founded by Billy Reeves; formerly of indie group Congregation. Hotly tipped by the music press, the band released four fine singles--the latter two reaching the Top 40--before bringing out their self titled debut album in the summer of 1998.The record will feature the original LP split over 3 sides with the side 4 including the bonus tracks :"Mr. Doasyouwouldbedoneby" (original version)"I Know Enough (I Don't Get Enough)" (original version)"A Pessimist Is Never Disappointed" (Blah St acoustic version)"You Get What You Deserve" (piano version)"Keep in Touch" (piano version)"I Can See Clearly"

An exclusive collectors' LP edition of Bell Evan's iconic album Waltz For Debby issued with a 7" single on coloured vinyl featuring further versions of songs from the Waltz for Debby LP; unaccompanied piano versions of "My Romance" and "Waltz for Debby", plus a quartet reading of "Waltz For Debby" featuring Evans with Cannonball Adderley.

Working with producer Paul Butler (The Bees, Micheal Kiwanuka, Caroline Rose, Hurray for the Riff Raff), Seratones have taken the invitation to knock at the door of the cosmos. A.J. Haynes's voice dances with soul-stirring devotion at the altar of Black Feminisms: weaving the words Toni Cade Bambara, Octavia Butler's Xenogenesis multiverse, echoes of bell hooks, and Audre Lorde's Power of the Erotic. With drummer Jesse Gabriel's machine- like precision and the
transcendental touches from guitarist Travis Stewart, the album oscillates between Alice Coltrane-inspired bliss & Giorgio Moroder's ecstatic release. Each song hovers and pulsates in the wide, dark matter'constellations guiding a journey through the subtle body, the vast fullness of the human experience and the irresistible potential of liberation.Packaging: CD Digipack

Roger Eno ist ein britischer Komponist und Musiker, dessen unverwechselbarer Stil als Aufnahmekünstler Kultstatus erlangt hat. Letztes Jahr gab er sein Debüt bei der Deutschen Grammophon mit Mixing Colours, seinem ersten Duo-Album mit seinem Bruder Brian, das mit großem Erfolg veröffentlicht wurde. Nun erscheint Rogers neuestes Soloalbum, The Turning Year, am 22. April 2022 beim Yellow Label.

The Turning Year erlaubt es dem Hörer, durch Roger Enos Spiegel zu blicken, gefüllt mit Einblicken in pastorale Szenen und frei fließenden, berührenden Kompositionen. Diese Stücke werden von Eno als Pianist exquisit umgesetzt und von einigen der besten Orchesterspieler Berlins begleitet. Mit einer Mischung aus neuen Kompositionen und bereits vorhandener Musik bietet das Album eine umfassende Präsentation des Solowerks des Komponisten. ”The Turning Year ist wie eine Sammlung von Kurzgeschichten oder
Fotografien einzelner Szenen, von denen jede ihren eigenen Charakter hat, aber irgendwie eng mit den anderen zusammenhängt”, erklärt Eno. ”Beim Anhören musste ich darüber nachdenken, wie wir unser
Leben in Facetten leben, wie wir flüchtige Blicke erhaschen, wie wir durch unser Leben gehen, wie wir die Jahreswende wahrnehmen.”

Nach der Wiederveröffentlichung von „Back To The Light“ letztes Jahr erscheint nun auch endlich Brian May´s „Another World“ am 22. April!
Diese Neuauflage kommt genau zur richtigen Zeit, denn lange war das Album überhaupt nicht erhältlich. Brian May kümmerte sich zusammen mit dem Co-Produzenten Justin Shirley-Smith, dem Queen- und BM Pro Tools-Experten Kris Fredriksson und dem langjährigen Queen-Artdesigner Richard Gray um die neue
Reissue-Version.

Nach der Wiederveröffentlichung von „Back To The Light“ letztes Jahr erscheint nun auch endlich Brian May´s „Another World“ am 22. April!
Diese Neuauflage kommt genau zur richtigen Zeit, denn lange war das Album überhaupt nicht erhältlich. Brian May kümmerte sich zusammen mit dem Co-Produzenten Justin Shirley-Smith, dem Queen- und BM Pro Tools-Experten Kris Fredriksson und dem langjährigen Queen-Artdesigner Richard Gray um die neue
Reissue-Version.

Debut full length album on the Valley of Search label by Mexican born, New York-based vibraphonist, marimbist, improviser and composer Patricia Brennan. The twelve original instrumentals that make up the album were composed and performed solo by Brennan on vibraphone and marimba. Employing unusual performance techniques and occasional electronics, many of the compositions were borne from improvisations created live in the studio at the time of recording. At times exploring silence and space, stillness and patience the album investigates new sonic territories with an endless sense of curiosity. "This album is a personal statement not only as a vibraphonist but also as an improviser and composer," says Brennan. "From bowing and bending pitch, to the use of extended effects via guitar pedals, this album reflects my vision for the vibraphone and the potential of all the possible ways it can be played. I wanted to not only incorporate all those techniques in the compositions but also wanted them to become part of my general improvisatory language." Patricia has performed with many renown musicians including singer and composer Meredith Monk and Theo Bleckmann, saxophonists Jon Irabagon and Scott Robinson, trumpeter Ambrose Akinmusire, drummer Marcus Gilmore, guitarist Mary Halvorson and many others. She has performed in venues such as Newport Jazz Festival, SF JAZZ, and Carnegie Hall, as well as international venues such as Wiener Konzerthaus in Vienna, Austria, Alte Oper in Frankfurt, Germany, Palacio de Bellas Artes in Mexico City and Teatro Colón in Buenos Aires, Argentina.

Artist/composer/producer and Algebra Records head Casually Here's ambitious second solo album Possible Worlds will be released on the 1st of April on vinyl and digital distributed by Kudos.

Casually Here (Nic Nell) is a multidisciplinary artist, composer, sound designer & record producer with a background in art & mathematics. Recent projects include producing, co-writing & mixing Orlando Weeks' acclaimed 'A Quickening' album (PIAS) with playlisting and 200+ plays across BBC radio and fantastic reviews "Nothing short of stunning" DIY. And a collaborative electronic art/dance album 'Many Worlds' w/ Lawrence Hart (Hotflush Recordings) released as a series of EPs with wide DJ/radio support in the dance world from DJs like George Fitzgerald, Sasha and The Blessed Madonna, and featured in two Radio 1 Essential Mixes.

His music has been featured by The Guardian, Pitchfork, FACT Magazine, The Fader, Dummy, The Sunday Times, Dazed etc. Other projects include being half of both Young Colossus & art pop duo Rainer. His music & productions have been streamed over 15 million times & released on labels such as XL Recordings, Play It Again Sam, Hotflush Recordings & Bella Union.

Nic founded and runs Algebra Records with a focus on supporting emerging artists practically, technically and collegiately to help foster artistic community and context. Recent Algebra releases included the two debut EPs from Heavenly Stems, artist/composer/architect Emma-Kate Matthews' 'Far Flung EP', Liam Hutton's Trials EP, ELY's debut album 'Are You Invested In The Economy Of Love?', Lake Turner's Prime Mover EP and Sunplus' debut album 'More Colour'.

Artist/composer/producer and Algebra Records head Casually Here's ambitious second solo album Possible Worlds will be released on the 1st of April on vinyl and digital distributed by Kudos.

Casually Here (Nic Nell) is a multidisciplinary artist, composer, sound designer & record producer with a background in art & mathematics. Recent projects include producing, co-writing & mixing Orlando Weeks' acclaimed 'A Quickening' album (PIAS) with playlisting and 200+ plays across BBC radio and fantastic reviews "Nothing short of stunning" DIY. And a collaborative electronic art/dance album 'Many Worlds' w/ Lawrence Hart (Hotflush Recordings) released as a series of EPs with wide DJ/radio support in the dance world from DJs like George Fitzgerald, Sasha and The Blessed Madonna, and featured in two Radio 1 Essential Mixes.

His music has been featured by The Guardian, Pitchfork, FACT Magazine, The Fader, Dummy, The Sunday Times, Dazed etc. Other projects include being half of both Young Colossus & art pop duo Rainer. His music & productions have been streamed over 15 million times & released on labels such as XL Recordings, Play It Again Sam, Hotflush Recordings & Bella Union.

Nic founded and runs Algebra Records with a focus on supporting emerging artists practically, technically and collegiately to help foster artistic community and context. Recent Algebra releases included the two debut EPs from Heavenly Stems, artist/composer/architect Emma-Kate Matthews' 'Far Flung EP', Liam Hutton's Trials EP, ELY's debut album 'Are You Invested In The Economy Of Love?', Lake Turner's Prime Mover EP and Sunplus' debut album 'More Colour'.

Getting ready, putting on your best gear, pre-playing with your crew to get a nice buzz before you hit the club. Dancing and watching people get down on the dancefloor, the nerds in the back leaning against the wall nodding their heads. Going to the afterhours, wastedly making new friends, making out with a cute stranger and passing out on someone's couch. This record is about all that.

Much anticipated, the band's first full length release sees the four- piece surf a swirling wave of reverb-drenched organ, garage-rock guitars, hypno-motorik bass and pounding, ritualistic drums. Preferring to work in a village hall deep in the wilds of the east British countryside, JTV recorded live to an old 8 track machine with The Wytches' Kristian Bell.In 2020 the band released their third EP slice of
off- piste cosmic- beach psych before calling in top remixers ncluding UNKLE, Gabe Gurnsey, and James Welsh for a 2021 Record Store Exclusive around a headline UK tour culminating in a triumphant homecoming London show at The Lexington and playing with friends Snapped Ankles. EP III had followed two previous critically acclaimed and quickly sold out EPs supported heavily by key
alternative tastemakers from Marc Riley & Steve Lamacq at BBC 6Music to the likes of So Young, NME, and Clash.

Numbered limited pressing of The Craps Game from Double Dee and Steinski! 300 Green colored vinyl!

Our latest is now available on VINYL! Yes friends, Double Dee and Steinski return to vinyl -The Craps Game is now here on limited edition vinyl from new label Slamboyant!

The pressing is a short one, 300 numbered records, in jacket matching green vinyl! And also included is a brand new bumper sticker! Announce to the world your appreciation of our great works while performing double duty hiding those unsightly scratches and graffiti on your car (or home).

In addition to The Craps Game, and Stone Cold Crazy from ADA, is a brand new track “Let the Twenty Ride”, riffing on a bite in The Craps Game. It’s a loving tribute to JB, The Godfather, and c

The Ricardo Villalobos / Samuel Rohrer partnership has yielded increasingly interesting results over the past few years, with the former’s remixes of the latter’s trio Ambiq being supplemented by further reinterpretations of Rohrer’s solo work and live meetings at select events like Berlin’s Funkhaus and Radialsystem V. As should be the case with any strong collaboration, this partnership has been based on mutual challenge rather than compromise,
seeing each participant shuttle key technical and emotive aspects of the other’s work to previously unexpected places.
Those who have been closely following this relationship will notice a definite sense of continuity between previous outings and the new collaborative release entitled MICROGESTURES. As with those earlier Villalobos / Rohrer pairings, these four new pieces are defined by a special quality of being many things that once: that is to say, depending on the listener’s own level of focus, these can feel very tightly constructed and disciplined, or playful and freely wandering. That the tracks are equally engaging regardless of one’s chosen listening “mode” is a testament to the level of thought put into them; you could almost imagining the creators poring over some elaborate sketched set of architectural blueprints rather than coolly monitoring the usual multi-track editing software.
Altogether the music here is firmly a-melodic and percussive, but within these deliberate limitations there is still a greater variety of individual sounds than most would bother with. Each track is its own observatory of microgestures clustering together into a dense communicative fog or a sort of robotic sound swarm. Yet while all
these tracks are variations on that theme, each one has its own character and, consequently, its own rewards in terms of the exact sectors of the imagination that it activates.
Take for example “Cochlea” and its twin “Helix,” on which the magnetizing, busy layers of percussion are tempered with mischievously disruptive blossomings of digital noise, as well as sampled radio communications (which again bring us back to the idea of listeners’ attentiveness changing the meaning of this music - these
curious transmissions can either be taken as a purely aesthetic element or as something to be actively decoded).
Club-oriented elements are also not absent from this suite, particularly on “Incus” with its traditional sequenced baseline, crisp synthetic trap and hats, and dizzily sliding set of bell-like tones laid on top.?
Yet this track, too, is powered as much by its restless desire to deviate as by its rhythmic consistency: throughout the eleven-minute running time, a mass of ambiguous and restless machine sounds build a parallel narrative, and will maybe prompt the occasional glance over the shoulder as they seem to be taking on their own life. “Lobule” rounds out the program with the most rhythmically eventful sound set off the five.
What this all adds up to is a confident music which builds that quality from its faith in possibilities rather than firm conclusions: it’s an inspiring addition to both the musical landscape and reality in general

The Hill District were a group of working musicians assembled by bassist Walter “Sonny” Hughes who following one afternoon rehearsal session together the very same evening recorded their only ever 45 outing the somewhat elusive and now sort after amongst group harmony collectors “Your Scared Of Falling In Love”. The other group members were Sonny’s brother Richard Hughes (Lead Guitar), Anthony Law (Keyboards), William M. Standard Jr (Piano), Mark Smith (Drums) and Daniel S. Lee Jr (Lead Vocals). The groups name was taken from a grouping of African American neighbourhoods in the city of Pittsburgh P.A. locally referred to as ‘The Hill’. The recording session was held under the direction of record producer and song writer James Richard Calloway (A.K.A) Rich Calloway. Calloway would go on to release “Your Scared Of Falling In Love” on his own ‘C-Way Records’ label featuring a instrumental version on the flipside. Rich Calloway hailed from Uniontown P.A. with Uniontown being known affectionately by the local black community as ‘Oniontown’ the name which Calloway adopted for his publishing company. Unfortunately for the Hill District the final mastering of their song left something be desired (a scenario we’ve now rectified with our release) and as a result local Pittsburgh Disc jockeys refused to plug their song leaving their one and only 45 outing to fade into obscurity with the group members going their own separate ways to continue their careers as session musicians with other ensembles. Producer and lyricist Rich Calloway also continued with his own C-way Productions company later composing both sides of The Cleveland Ohio group ‘The Entertains’1975 outing for Steel Town records “Love Will Turn It Around/Why Couldn’t I Believe Them”. Calloway was no stranger to Cleveland having been earlier employed by Way Out Records owner Lester Johnson to compose the lyrics to Jesse Fisher’s “Your Not Loving A Beginner”, the songs arrangement’s being originally laid down by members of the Way Out group The Soul Notes, William Bell (A.K.A Bill Spoon), John Washington and Ricki Dannison under the working title of “I’ve Been Waiting For Your Love”. Prior to the Hill’s District release Rich Calloway had penned and released a 45 single on another local Pittsburgh artist Richie Merrett. The 1973 outing You’ll Always Have Yesterday Standing By” b/w “I Gave It Up” (C-Way 103). Merritt a professional singer who performed with several groups including The Electron’s on their 1968 outing “Turn On Your Lovelight (Shock 209) recorded his first solo outing on the Nashville Deltron label “Can I Get A Rebate/It’s Never Too Late” which he later released again on his own R.A.M label followed by two early 90’s outings, the modern soul favourite’s “Where Did I Go Wrong” and “You Got Problems”. Richie still performs today doing one off shows in between his solo performances aboard 7 Day Cruise ships travelling between Los Angeles and Sant Cabos, Mexico. “You’ll Always Have Yesterday Standing By” was later produced by Walt Maddox under the shortened title of “Yesterday’s Standing By” on his own group ‘These Gents’.

Therefore Soul Junction brings you two 70’s soul/Lowrider in demanders back to back for your delectation.

Originally released by Victory Music in 1991, Tin Machine II is the second and final studio album by Tin Machine. After this album and the supporting tour, frontman David Bowie resumed his solo career.

Tin Machine II’s reputation has only increased over the years. Uncut magazine placed the album on their list of 50 Great Lost Albums (their list of great albums not currently available for purchase), calling the album “extraordinary”.

As with all Bowie albums, there are plenty of strong tracks here to make this a must have. Opening track “Baby Universal” is pure Bowie. He re-recorded this track in 1996 for his 1997 album Earthling, but the track was not released on the album. It was eventually released in 2020 on the Bowie EP Is it Any Wonder?. The first single “You Belong in Rock n’ Roll” was released ahead of the album and peaked at No. 33 in the UK. The second single “Baby Universal” achieved success on the Modern Rock chart in the USA, where it reached No. 21, and the third and last single “One Shot” became an even bigger hit, reaching No. 3.





RELEASE: 17-7-2020




• 180 GRAM AUDIOPHILE VINYL
• INSERT
• SPECIAL SPOT VARNISHED SLEEVE
• SECOND AND FINAL STUDIO ALBUM BY THE SUPERGROUP TIN MACHINE, ORIGINALLY
RELEASED IN 1991
• TIN MACHINE = DAVID BOWIE, REEVES GABRELS, TONY SALES & HUNT SALES
• LIMITED EDITION OF 5000 INDIVIDUALLY
NUMBERED COPIES ON SILVER COLOURED VINYL

SIDE A
1. Baby Universal
2. One Shot
3. You Belong In Rock N’ Roll
4. If There Is Something
5. Amlapura
6. Betty Wrong

The album’s cover (which was censored for its original USA release!) was created by Edward Bell, who had previously worked with Bowie in making artwork for Scary Monsters. The MOV cover features a spot varnish finish.

Music On Vinyl gives Tin Machine II its first vinyl re-release since the 1991 original, and it’s pressed on coloured vinyl for the very first time. The initial pressing is a limited edition of 5000 individually numbered copies on silver coloured vinyl.

... The Original Release of 'TJJA-10023' was on the 25th July, in 1992. Score by 'Joe Hisaishi', Album including 23 tracks. Theme song “The Time Of The Cherries” Ending song “Once In A While, Let’s Talk About The Old Days” / Vocal: Tokiko Kato. ... Committed to acoustic sound, this album was recorded by full orchestra of 70 people.

Father John Misty returns with ‘Chloë and the Next
20th Century’, his fifth album and first new material
since the release of ‘God’s Favorite Customer’ in
2018.
 ‘Chloë and the Next 20th Century’ was written and
recorded August through December 2020 and
features arrangements by Drew Erickson.
 The album sees Tillman and producer/multiinstrumentalist Jonathan Wilson resume their longtime collaboration, as well as Dave Cerminara,
returning as engineer and mixer. Basic tracks were
recorded at Wilson’s Five Star Studios with strings,
brass and woodwinds recorded at United
Recordings in a session featuring Dan Higgins and
Wayne Bergeron, among others.
 ‘Chloë and the Next 20th Century’ features the
singles ‘Funny Girl’, ‘Q4’, ‘Goodbye Mr. Blue’ and
‘Kiss Me (I Loved You)’

Reissue of the Count Basie Orchestra's 1970 album 'High Voltage',
arranged by Chico O'Farrill and featuring Eddie "Lockjaw" Davis, Cecil
Payne, Joe Newman, Freddie Green and Harold Jones among others
When in January, 1970 Count Basie entered the studio with his 17-piece big band
to record 'High Voltage', he ushered in the last full decade as bandleader of his
Orchestra. The Orchestra had left its imprint on the sixties by recording with the
likes of Frank Sinatra and Ella Fitzgerald. There would be more great albums with
star vocalists in the seventies, but the band's purely instrumental works, which
had begun in 1965, would also continue. Back then Basie had engaged acclaimed
Cuban composer/arranger Chico O'Farrill to arrange the music for such concept
albums as "Basie Meets Bond" and "Basie's Beatle Bag", transforming them into
crossover gems.
On 'High Voltage' O'Farrill demonstrates his affinity to Basie's big band sound, this
time with a repertoire of standards. For this album, Basie specifically chose
pieces the band had never recorded in their more than 30-year existence. This is
saying something, since the band covers such an impressive span of jazz history,
from the beginning of the swing era to the bop-influenced bands of the 50's on
through to the present album.
The Count's new drummer Harold Jones propels Fred Fisher's "Chicago" with a
tremendous drive. The Rogers and Hart classic "Have You Met Miss Jones"
features beguilingly dense deep- register horn lines and an almost languorous
piano, and Eric Dixon's tasty flute solo spices up "The Lady Is A Tramp". With its
smoky sophistication, Eddie Lockjaw Davis' Tenor dominates "Bewitched",
whereas guest trumpeter Joe Newman's muted tongue-in-cheek solo highlights
"Day In Day Out". Of course, Basie himself also steps forward: for instance, on the
Fats Waller-like intro to "I'm Getting Sentimental Over You", and with the playful
grace notes on "If I Were A Bell"." Reminiscent of the Las Vegas shows the band
performed with Frank Sinatra, "Get Me To The Church On Time" is also a
masterful dialogue between the horn sections.

Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies.

Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv- later in Leningrad & now St. Petersburg, from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 - 1983, her repertoire included music for violin and later expanded to contemporary music composition.

The improvisatory nature of free jazz and then-budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop- Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one
in flux by way of earnest curiosity.

Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel to reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio and Pierre Boulez channels through considerations of space and erratic sound design, the 3 movements of ‘Metamorphoses’ embodying this textural approach to musique concrete.

The compositional skills developed in Leningrad unfold in the romantic gestures of ‘Higher Frequencies’, whilst manipulated cello combines with synthesise keys across ‘Passageway To Eternity’.
The slow, pulsating drone soundscapes recall the likes of Robert Rutman’s US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros.

The juxtaposition of written notation and improvisatory flare is central to Goncharova’s sound world. This period of home recording documents a confluence of minimalism, free form and flirtations
with new age tropes (inc. bell chimes and cavernous vocal mantras).

Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina’s home studio functioned as a place to foster full artistic and creative freedom
away from any academic strictures.

Relocating to Estonia in 1984, and in parallel to the deeply personal music of ‘Recordings Vol. 1’, Valentina performed at jazz festivals and gave classical concerts across Eastern Europe. In a sense, the recordings on these discs offer only a glimpse into her lifelong body of work. Over the past few decades she has taught at Tallinn Music College, expanded and updated post- Soviet popular music repertoire, collaborated with the Russian Philharmonic Society of Estonia and given concerts and charity events alongside the Catholic Church.

Hers is a life dedicated to the exploration of sound, a career forged through careful study and ceaseless intrigue. In a time where technological interconnectedness has allowed for music of the pas
to be continually mined and evaluated through new lenses, Shukai present an artist whose tendency for private home-taping had allowed recordings to go unheard for thirty years.

Finders Keepers present this uber-rare soundtrack to a
film that never existed, performed by an imaginary pop
group. Incredible Polanski-inspired German hip-hop
psychsploitation beats from 1969.

This is the movie soundtrack to a film that never existed.
This is the movie soundtrack by the band that was never
requested. These were the sound library musicians who
had to invent their own clients and imaginary cast, crew
and plot to get their music heard, by a niche audience,
before floating deep into the depths of the rare record
reservoir gasping for breath.

To take a cinematic cue the record in question is the
Eurotrash pop equivalent of Jean Renoir’s
tragic/triumphant Boudu character who as a homeless,
confused and desolate down-and-out plunged to the
depths to be unwillingly rescued, resuscitated then after
gradually winning the hearts of an entire family becomes
respected and revered as royalty. Over twenty years after
the mad scientists, Dr. Horst and Ackermann, first
breathed life into this short-lived beast, brave and intrepid
vinyl explorers have sporadically returned to the doors of
Dracula’s Music Cabinet to resurrect the sonic spooks and
mutated melodies to share with nerds, mods, rockers, hiphoppers, psych nuts and Krautsiders alike. The lifeless
corpses of The Vampires Of Dartmoore that lay six feet
beneath the belly of the Eins Deutschmark bins has since
crept through the record collections of the aforementioned
social circles devouring continental currencies and
demanding random ransoms of €250 plus, not to mention
sweat, tears (of laughter) and a lot of blood.

Revamped, remastered, and re-presented! Available once
again since the initial Finders Keepers’ limited edition 2009
pressing.

Sic transit gloria mundi! Roy Bianco & Die Abbrunzati Boys, die Halbgötter des Italo-Schlagers, nehmen den Ariadnefaden beherzt in die Hände und ziehen als gemachte Vielzahl von Theseus aus der Mitte des Labyrinths. 2020 is over if you want it. Und schon bot 2021 der Gruppe ein neues Reich der Ideen. Man schöpfte tief aus den Quellen der Inspiration über das heilige Land Italien und schließlich gab es neue große Werke des Italo-Schlager-Pops. Denn auserzählt ist diese Erfolgsgeschichte zwischen Kunst, Konsum und Kritik noch lange nicht. Von Roberto zu Roy, von „Greatest Hits“ zu neuen Titeln, heißt das neue Album fast schon folgerichtig „Mille Grazie“. Denn zum 40-jährigen (gegründet wurde die Gruppe schließlich 1982)
Bandjubiläum im Jahr 2022 muss man nach so einer bewegten Zeit auch einmal ganz bescheiden hinter den Mythos treten. Sich selbstverständlich mit dem nötigen Augenzwinkern, bei der großen Mutter Musik, bei den Fans und schließlich auch bei sich selbst bedanken.

Prima Materia was a vocal improvisation ensemble, founded by Roberto Laneri in 1973. Composed entirely of vocalists with no academic training, the group developed various techniques – revolving mostly around the use of overtones – that would embody their unique sound. No instruments nor electronic manipulations were ever employed within the group's physiognomy, which was realized purely through the human voice.

La Coda Della Tigre, the group's sole album, was recorded in 1977 by Alvin Curran and released on Ananda, an artist-run label founded by Laneri, Curran and Giacinto Scelsi.

As the original liner notes state, "The music of Prima Materia may sound radically new, yet at the same time it is likely to ring some distant bell and evoke ancient emotions. This is not due to chance: indeed, the very name of the group points to a specific path, namely, the unfolding of the potential implicit in the alchemical symbol as embodying a process of transmutation of consciousness."

Prima Materia's four members (Laneri, Claudio Ricciardi, Gianni Nebbiosi and Susanne Hendricks) combine voices to create a singular, beautiful drone that is (as the group's name suggests) both impossible to define and fundamentally simple.

This first-time standalone reissue is recommended for fans of La Monte Young, Terry Riley and Disques Ocora.

Three years after Stroom TV released his debut album Modified Perspectives, Kolàr released, Loops & Pieces, a documentation of sounds he has been working on in the period 2017-2020. According to Kolàr, this tape, also his first release for Dauw, was full of vaporous drafts transforming into solid forms with the help of time and distance. Compared to his previous work, the music on Loops & Pieces is much more stripped down and minimal, yet the dreamy character remained.

On Liquid Rhythm, we see Kolàr combining approaches of both albums. Using synths and acoustic instruments, he created 10 songs reflecting his typical playful yet melancholic aesthetics.

Montparnasse Musique is a balance of two distinct sensibilities: Algerian-French producer Nadjib Ben Bella’s passion for raw organic beats, and South African DJ Aero Manyelo’s love of DIY synthesis in the digital realm. It’s a bold blend of fresh and processed flavours; the acoustic grit of traditional Africa combined with the pulse of modern Johannesburg — gqom, kwaito, techno, afrohouse. Together they produce an electro-acoustic sound, loaded with infectious hooks, uncompromising and authentic. For their self-titled debut EP, the cross-continental duo collaborates with Congolese bands Kasai Allstars, Konono Nº1, Mbongwana Star and Basokin on five audacious dance tracks forged from the tribal rhythms and mystic voices of the Kasai rainforests, amplified by the aggressive growl of hand-wrought instruments from Kinshasa’s urban wilderness, and augmented with the slick precision of an EDM toolkit. The end result is an inevitable evolution of Congotronics into a sharp-edged, club-ready sound. Nadjib Ben Bella is a DJ and producer who draws influences from the gnawa music of his North African roots and a diverse range of Sub-Saharan sounds from musicians he has worked with over the years. Most recently he has been touring Europe with West African band Les Amazones d’Afrique. Aero Manyelo, a name now synonymous with the burgeoning South African house scene, has honed a distinctive electronic sound that translates across the international club circuit and has attracted a broad range of collaborators — including Idris Elba and The Mahotella Queens on the opening track of an album inspired by the Nelson Mandela biopic Long Walk to Freedom. The EP was recorded and mixed by Kwezydoctor at Khaima Studio in Lille, France.



c 3 Bitumba (feat. Mbongwana Star) Extended
d 4 Sukuma (feat. Muambuyi) [Extended]
[Extended]

Gerald Clayton gehört zu den wichtigsten Modern-Jazz-Pianisten unserer Zeit. Auf seinem zweiten BlueNote-Album will sich der sechsfach Grammy-nominierte Musiker mit den Auswirkungen der abstrakten Kraft der Zeit auseinandersetzen.

Bei der spannenden Umsetzung in mal lyrische, mal swingende, mal treibende Jazz-Klänge unterstützen ihn niemand Geringeres als sein berühmter Mentor Charles Lloyd am Saxophon, sein Vater John Clayton am Bass, Justin Brown am Schlagzeug und erstmals MARO als Vokalist.

Zu hören sind Originale, Stücke des katalanischen Komponisten Federico Mompou und von Geralds Onkel Jeff Clayton sowie zwei atemberaubende Solo-Klavierversionen des Standards „My Ideal“

Chris Imler likes to play drums standing up. He‘s the dandy with the killer offbeat, or, as one major German newspaper once put it, the "Grand Seigneur of the Berlin Underground". He has been making his mark on countless Berlin musical affairs since long before the fall of the Wall, with The Golden Showers, Peaches, Oum Shatt, Driver &Driver, Die Türen, Jens Friebe, to name but a few. He has also been perfoming across Europe as a solo artist for the past decade.

In "Operation Schönheit" (German for "Operation Beauty"), he has recorded his most, well, beautiful album to date. But Benedikt Frey's warm production subverts its own beauty with a multitude of clanking and ingling synth sounds, making the work very much about the cosmetic surgery it performs on itself. It's all in the tradition of the more experimental and electronic side of post-punk in which Imler and his unique groove are rooted. It doesn't take insider knowledge of Berlin's post-punk underground to realise that that Imler groove consists of rhythm that sings, vocals that dance and a look that fits, as illustrated by "Disappoint Me", his latest video: https://youtu.be/YeVJ75ljjB8

Elsewhere - such as in "Movies" - the rhythm sings, less electronically reduced, into the acoustics of an old, high-ceilinged Berlin apartment; metal clatters, a zither trembles and Imler plays with the metronome. Sometimes he moves ahead of time, sometimes trails behind it. He always manages to be in his very own groove, which carries everything along. And this is precisely the essence of the Imler rhythm, which lends itself to being applied to the very rhythm of life: Stretch and compress your time and loop it according to your own groove! Optimise nothing but feel everything! And dance to it! Even when contemplating everyday information overload, as Imler's high-speed mumbling suggests in the hectic yet smooth opening track "Temperature".

But being the ultimate night owl he is, Imler manages to make even the odd bout of paranoia seem like a good thing: like some kind of krauty, groovy B-horror-soundtrack-inflected high-pressure environment, "Whip Me" is a cross between Conrad Schnitzler and Bauhaus. In the title track, whose lyrics were written together with Jens Friebe, he intones: "You want to be something greater / You break your leg / When it heals again / You break it again" and sounds like the most gleeful fatalist you can imagine. Because in his city, one can still lose oneself better than anywhere else - a night easily becomes a whole universe that can be traversed, marvelled at and played with, and one might find one's old self again only when hearing "church bells" and "small birds singing". At least that's how Imler illustrates it in "Emptiness full of stars", and it seems likely that those "stars" are the human companions of the Berlin night in question.

And so once again Imler becomes Berlin's most important cultural ambassador: that scene of the eternally, and somehow successfully, failing creatures of the night, once the envy of the international postmodern bohème, has, despite many claims to the contrary, not been completely "optimised away", and its attitude to life is perfectly summed up in Imler's groove. And, of course, his look. "Schau Hin" (German for "Look!"), he sings in the track of the same name, masterfully dubbed out with the help of Melbourne's Leo James.

Quite right! Look - and listen.

Yours, Johannes von Weizsäcker (The Chap)

Montreal duo Mathieu Charbonneau (Avec Pas d'Casque, Organ Mood) and Pietro
Amato (Bell Orchestre, The Luyas) put melody and mood front and centre on this
second volume of luxuriant, immersive synth music. Like a humanist balm amidst
the ongoing wave of conceptronica, the pieces that comprise Synth Works Vol 2
were captured organically, live off the floor, on the eve of the pandemic. Recalling
elements of 70s kosmische and environmental musics, the collection finds the
longtime collaborators roving uncharted territory, ever mindful of their fellow
passengers.

Possessing one of the most distinctive and recognizable voices on the planet, former Men at Work frontman Colin Hay faces down struggle, loss and the existential questions about mortality on 'Now And Evermore', his first collection of new material since the 2016 release of Fierce Mercy

Written and recorded in Hay's adopted hometown of Los Angeles and at Compass Sound Studio in Nashville, the collection is a defiantly joyful celebration of life and love, one that insists on finding silver linings and reasons to smile through the challenges of recent times. That's not to say the record deludes itself about the realities of our modern world, but rather that it consistently chooses to respond to pain with beauty and doubt with wonder. The music on the new album
brims with fanciful melodies and lush orchestration. Hay's performances are likewise animated and full of life, drawing on vintage pop charm, pub rock muscle, and folk sincerity to forge a sound that's at once playful and profound, clever and compassionate, whimsical and earnest.

It begins with a rustle of noise, equally reminiscent of distorted factory noise and a cassette recording of cathedral bells unspooling, before a near-robotic beat and stuttering bassline enter the fray. Initially, you could be forgiven for thinking you’ve stumbled across the lost tapes of Joy Division’s early Warsaw incarnation, but the atonal blast of strafing guitars fading in and out soon make you realise this is a very different proposition. This is The Drin, and ‘Engines Sing for the Pale Moon’ is their debut album. It’s also one of the best things you’ll hear all year. Helmed by Dylan McCartney, drummer of the rock band Vacation, The Drin originally released this album as a hyper-limited cassette via Future Shock. It’s as much of a departure from McCartney’s usual output as it is for Drunken Sailor Records; songs don’t so much explode out of the gate as drift towards you like a creeping fog that turns your skin inside-out and leaves you sloshing organs all across the carpet. Second track ‘Guillotine Blade’ shows the pieces all coming together, a dubbed-out riot of claustrophobic noise that feels like Pere Ubu trapped in a cupboard one minute, and ‘Warm Jets’-era Eno trying on Bauhaus’ trenchcoats the next. Meanwhile, ‘Down Her Cheek A Party Tear’ unfolds across jittering, skittering rustles of drums and an undulating bassline, making you wonder why post-millennial post-punk so often settles for dickheads shouting non-sequiturs over landfill indie, when it could be entering these dark, unsettling territories instead. The Drin like to get weird. The Drin like to get wild. The Drin rarely cut loose, but that’s because the trip is already intense and haunting enough without things getting raucous in here as well. Hey kids, turn off those shite band name redacted records and get into this; you deserve so much better, and better’s right here. Fall into it, immerse yourself and step forward into a brave new world. I love this record

Allison was best known as one of the members of the great Funk band "TSU Toronadoes", who was the creator of the million seller, "Tighten Up" while backing Archie Bell & The Drells on Ovide & Atlantic an many more.

Allison has also written some amazing songs such as, I Still Love You, The Goose, Only Inside, Work on it, to name a few.
However, when the band "TSU Tornados" split in 1971, "Allison Lewis" went on to form "South Funk Blvd" with two other members Jerry Jenkins, Nelson Mills.

They recorded a well known rare single with his band "South Funk Blvd" called "Skying High Getting Off On Your Loving" & "Be Together" on Captain Funk Records. The rest of the band attempted to continue playing under the name "TSU Tornadoes".

"Chance" is the second album of Société Étrange, composed of 6 love
songs without words, with equivocal rhythms, glaucous turquoise
bass and melodies affectionately tinged with melancholy.
The album was recorded in July 2020 in Vaulx-en-Velin from a collection of materials and collective drift. Composed in studio, it is by the live that is shaped their pieces, several years to test them together so that these three musicians let us glimpse a possible civilization. Not fantasies that cannot beapprehended, but a future that we can hope to desire. Their hypnotic compositions, drunk with dub, iron harmonics and polymetric measures, play a music that is a bit shady, one of those that provoke the space for the dance to happen, without anesthesia. Société Étrange was formed in 2012 by Antoine Bellini (Electronics) and Romain Hervault (Bass), joined in 2015 by Jonathan Grandcollot (Percussions) after the release of their first album "Au revoir"

Rock Steady Cool is another fine collection of Rocksteady hits. The ‘Cool’ subtitle could not be more relevant to an album, as around 1966, an extreme heatwave hit the Jamaican island. This would not stop the all night dances from going ahead but the jerky Ska Rhythms proved too strenuous of an activity to partake in, so a new slower beat to suit this extreme weather had to be found and the ever resourceful music entrepreneurs came up with the slower paced beat and Rocksteady was born.

This two-year Rocksteady period ran until 1968 and would see some of the power escape from the big three producers, Clement ‘Coxone’ Dodd, Prince Buster and Duke Reid. It was time to make room for a new wave of up-and-coming producers that also had something to offer the people. Such names as Joel Gibson (Joe Gibbs), Sonia Pottinger, Derrick Harriott and most prolific of them all, Mr Bunny Lee would step forward and add some new musical touches to the island.

Rocksteady was an inspirational and somewhat overlooked sound that provided us with some outstanding music. So, sit back and enjoy some Rocksteady straight from the dances of Jamaica.

Hope You enjoy the set….

Born in Norfolk, Virginia on 11 February 1935. At the age of 12 Vincent
was given his first guitar by a schoolfriend. There was no generosity
involved in the gift because it wasn’t his friend’s guitar. It belonged to his sister, who was learning how to play. He couldn’t stand the racket she was making so he gave her guitar away. But unwittingly, this cruel act was a crucial moment in Gene’s life as he soon began to entertain with the blues, gospel and country from his porch. ‘Be-Bop-A-Lula’ was to be the first single by Gene Vincent & the Blue Caps. Selling 3 million copies, it opened the door to national fame and untold riches. Followed by the release of the album ‘Bluejean Bop‘ on Capitol Records. He was the ultimate greaser, the genuine article and the authentic voice of his generation.

GLOK is the electronic alter ego of Andy Bell; best-knownas the guitarist in venerated shoegazers Ride, alongside stints in other famous groups, with a noteworthy solo careertoo. This October his first album proper as GLOK - 'Pattern Recognition' - is released via Ransom Note Records' sisterlabel Bytes. Although usually renowned for purveying the finest quality jangle, drone and general guitar-based magic, Bell's forayinto dance music should come as less of a surprise than immediately meets the eye. There are parallels between the genres within the sonically-deep layers, hypnotic sound and trance-like headspaces, or, as he puts it more succinctly: "GLOK is all about the push and pull between electronic and psych in my music." Although not a full-blown concept album, 'Pattern Recognition' has a loose thread which takes in a week of life, from weekend to weekend, with each of the vinyl's four sides capturing different mind states across that transition. Each side has a distinct feel that's different to the last but inherently cohesive - much like the changes an individual goes through over 7 days. Across the album with loving craft Andy weaves together throbbing dubbed-out acid, steamy jack trax, levitational psychedelia, sparkling Balearic, techno, Kosmische, shoegaze, art rock and Compass Point-style post punk -with just a hint of ambient, new age and contemporary classical too.

Backyard Babies' selbstbetiteltes Album wurde 2008 in weniger als 90 intensiven Tagen aufgenommen und enthält die Instant-Klassiker 'Nomadic' und 'Abandon'. Das von Jacob Hellner produzierte Album erreichte Platz 1 in den schwedischen Albumcharts.

Rare early Soft Machine cuts from 1963 -1970, featuring Robert Wyatt,
Kevin Ayers, Mike Ratledge, Hugh Hopper, Daevid Allen and others no
released on red vinyl

Promotion across social media platformsAdvertising in Record Collector and Shindig

Following the release of Collision and Coalescence, Slovakian label mappa commits to the duo Grykë Pyje, releasing their third LP "Squirlich Stroll". Maintaining the fabled tone of their debut on the label, Jani Hirvonen (Uton) and Johannes Schebler (Baldruin) dig deeper into the sonic vein of myth and fabric of yonder. The music in "Squirlich Stroll" unravels as a yarn brought back from a wild voyage.

On uncharted areas of medieval maps where potential dangers were thought to exist, the inscription "Here be dragons" was used to warn as much as to tempt explorers willing to cross limits. Myth awaited them as a blank page of dormant territory, yet also to be proved unlike and reinvented. In such pliable borders, wonder had the favorable conditions to blend experience and imagination, crafting creatures with an eye instead of a bellybutton, arms instead of ears and ears instead of fingers, hypnotizing spirals where a mouth should have been. These chimeras, though fictitious, allowed explorers to express their delusions along with their fears. "Here be dreams", we hear nightmares. Here be mushrooms the size of pyramids that sing lullabies for mountains. Here be talking roads that lead to volcanoes throats and spit you back to flight. Here be art of bending trees into braided bridges like in Meghalaya, and the time gap between seed and living ruins.

Let that be the compass, the astrolabe. Yet, the music in Squirlich Stroll comes with these journeys already embraced, unraveling as a story told by wanderers visiting town, nourishing fantasy. The sonic language and diction employed here are crystal clear. Sounds are sharp and pure. Growls, howls, shrieks, tingles, rattles, moans, excretions and even hymns sung by landscape and creatures alike do not run over each other. There is no chaos, but ambience, cohabitation. The duo masters dramaturgy, providing every voice with focused turns and character, guarding their parley with caution and care, convoking them mainly through soothing synth melodies that enable an analgesic, sedative mood. Clusters of sounds gathered are articulated through the album with the inherent luminosity and required stability to accomplish what peaks in, as the title of the final track reads, a new dawn.

Larry Tee and Radio Slave announce The Royal Acadamy Of Fierce. Featuring Justin Vivien Bond and Tobell von Cartier, ‘Fashion Queen / Black Pussy’s Revenge’ drops in March.

Founded by US icon Larry Tee and Rekids label boss Radio Slave, The Royal Academy Of Fierce is a project inspired by underground drag culture and the unmistakable sound of early nineties New York house. Featuring Broadway star Justin Vivien Bond and drag sensation Tobell von Cartier, the first release from the project channels this raucous energy across a ferocious pair of club-ready tracks.

Best known for writing the smash ‘Supermodel (You Better Work)’ for RuPaul, as well as a discography that includes seminal late 80s house cuts on Funtone and Quark alongside pivotal work with Princess Superstar, Scissor Sisters, Erasure’s Andy Bell, and Peaches, Larry Tee’s rep goes way beyond his coining of the ‘electroclash’ genre in the early 2000s. A literal party starter for decades, nights like Love Machine (NY), Super Electric Party Machine (London) and KRANK (Berlin), Tee’s a genuine cultural institution.

Evergreen (Tim Reaper remix)
Putting his inimitable Jungle spin on the sleeper hit ‘Evergreen’ from Akuratyde’s ‘Home Movies’ LP, Tim Reaper does what he does best. Retrofitting the original’s Amen and Helicopter breaks all the way back to 1994 and shifting the musical elements in increasingly minor directions, Tim Reaper once again plonks us in the middle of a dizzying past-present-future kaleidoscope and gives us an extra spin for good luck.


Home Movies (Wardown remix)
Wardown, (AKA Pete Technimatic), makes his first appearance following the bombshell 2020 ‘Wardown’ LP, turning his attention to Akuratyde & Whytwo’s track ‘Home Movies’. With shoegazing guitar howls, staccato bells & synthesised marimbas lovingly draped over classic breaks which, in turn, are chopped into unusual time signatures. Wardown once again strikes the gauzy middle ground between melancholy and euphoria that saturated his LP, accentuating the blurry, VHS atmosphere of the original ‘Home Movies’.

We finally made it: BEWITH100LP! And what better way for a re-issue label to celebrate such a landmark catalogue number than to give it to a record of new music. We couldn’t resist when the artist is Official Be With Family Member Kenny Dickenson and when the music is his lovely, lovely score to French-Vietnamese artist Mai Hua's 2020 documentary film “Les Rivières”. If you enjoy the more minimal, intimate piano of the likes of Nils Frahm or John Carroll Kirby’s solo work, you’re certain to fall for this beautiful album.

Taking six years to make, Mai’s film explores what happened when she brought her dying grandmother to France, pulling together four generations of women from the same family. Kenny’s score accompanies all the pretty things, sad things, dirty, beautiful, happy, broken and reborn moments of these women’s experiences.

The whole score is built around delicate, sparkling piano motifs. At times they’re joined by cello and complemented with ambient chords and other flourishes. It’s a very particular palette that Kenny and Mai established early on, as Kenny explains: “We had agreed on a particular sonic aesthetic early on in the process - to use specific and relatively minimal instrumentation, reflecting the intimacy of the picture. So piano and cello were quite prominent in instructing a sense of space and immediacy. Until I had to get the junkyard percussion out… ”

When it comes to describing the end results, Kenny’s happy to wear his influences on his sleeve:

“When the director and I sat down for the creative meetings early in the process, we watched ‘Wolf Children’, a Japanese animation film by Mamoru Hosoda. The amazing soundtrack by Masakatsu Takagi was a launching point for me and thereafter I leaned into more modern classical composers - Reich, Sakamoto, Glass as well as Jon Hassell’s Fourth World output. Richard Reed Parry’s ‘Music for Heart and Breath’ was a good early touchstone for me and Mark Hollis’ sparse, considered and deliberate approach was a constant presence. Also labels like Ghostly, ASIP and the ubiquitous Erased Tapes should probably get a nod here too…”

We’d even suggest there’s the occasional Yann Tiersen moment in there too.

Out of sheer necessity the collaboration between Kenny and Mai continued beyond this initial creative direction. With Kenny speaking neither French nor Vietnamese, Mai acted as translator, a process that naturally lead to discussing the film beyond just what was being said in the footage. Mai herself explains just how successful this relationship felt to her: “Music plays a very important role in all my work, particularly in Les Rivières. I cried every time Kenny sent me a new composition. I felt understood in a way that words cannot describe. It was absolutely magical and I am so happy if this music can make your soul vibrate too.”

Kenny composed much of the music in London, at the same time that Mai was shooting and editing. As the film took shape and the music also evolved, another challenge presented itself when Kenny relocated to Los Angeles part way through, resulting in Arnulf Lindners beautiful cello taking on new shapes- multi sampled, played and manipulated by Kenny into new compositions.

What Kenny has put together for the film score release is definitely a “soundtrack LP”, with the music arranged to work as a proper album in its own right that should be listened to from start to finish. Indeed the album also includes a new piece “Pour Marthe” that Kenny composed in memory of Mai’s grandmother who died after the film was finished.

Kenny’s personal highlight is also ours: “When I listen back to the album as a whole now, I never want part II of the Trilogy (Belles Larmes) to end. I have fond memories of recording it and I love how the dynamic of the piece gradually evolves from falling on the ‘1 and the 3’ to the ‘1 and the 2’. It’s so short and sweet, I keep wanting it to last for longer. But it’s kind of perfect as it is.”

Pretty much our sentiment for the album as a whole.

Running a record label means we often get asked advice about pressing a record. In this case the music was too good not to offer to release it ourselves. To Kenny, having the Les Rivières score on vinyl also feels like the final part of the project.

“It’s a beautiful thing to have it on vinyl. It’s quite an intimate soundtrack so there’s something really perfect about being able to listen to it on that format. When I was a kid, my Uncle Pat who used to work at Woolworths would visit and bring random records from their record department over to us. I can remember listening to “Theme From Exodus” by Ernest Gold. I had no idea what it was about but the imagery it conjured up when listening to that record was just mind blowing to me at that age. Soundtracks can have their own life on vinyl I think, and removed from their original context is this unique format for reinvention. So I’m excited that people who haven’t (and have for that matter) seen the film can have that experience.”

This might not be a re-issue, but the Les Rivières film score album has still been given the full Be With treatment. The vinyl has been mastered by Simon Francis (under Kenny’s ever-watchful eye/ear, of course), cut by Pete Norman and pressed at Record Industry. The sleeve follows the film’s poster and other promotional material, including Lucile Gomez’s almost magical illustration.

We’re under no illusions that many people reading this will have seen “Les Rivières”, but that doesn’t really matter when it comes to listening to the score. Just on its own, Kenny’s music still captures the robustness and the delicacy of lives lived.

Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and
salient, these themes echo throughout the fifth album from Midlake, their first since ‘Antiphon’
in 2013.
 From the cover to the title and beyond, a longing to reconnect with that which seems lost and
seek purpose in its passing sits at the record’s core. The cover star is keyboardist/flautist Jesse
Chandler’s father, who, tragically, passed away in 2018. As singer Eric Pulido explains, “He
was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I
reference it in a song. He said, ‘Hey, Jesse, you need to get the band back together.’ I didn’t
take that lightly.”
 A desire to commune with the past and connect with present, lived experience asserts itself
from the opening of the album. ‘Bethel Woods’ sustains and develops that reconnection,
evoking the steadfast and contemplative urgency of ‘The Trials of Van Occupanther’ to back a
lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars
and atmospheric noise effects extend a sonic scope further developed by ‘Glistening,’ where
arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce
themselves and reach out into fresh territory with a richly intuitive dynamism, honouring their
past as a seedbed of possibility.
 Elsewhere, the prog-enhanced funk-rock of ‘Gone’ seeks to find hope in relationships that
seem fragile. The ELO-esque ‘Meanwhile…’ draws inspiration from what happened when
Midlake paused after ‘Antiphon’, developing universal resonance as a song about the beautiful
growths that can emerge from the cracks and gaps between things. ‘Dawning’ draws on 1970s
soft-rock stylings for another song searching for hope, its keyboard line reaching out towards
an uncertain future while everything seems to collapse around it; ‘The End’ reflects on the
difficulties of partings.
 On-hand was new collaborator John Congleton, who produced, engineered and mixed the
album, marking Midlake’s first record with an outside producer. “I can’t say enough just how
much his influence brought our music to another sonic place than we would have,” says Pulido.
“I don’t want to record without a producer again. Part of that is the health of the band, because
as you get older you get more opinionated and you kind of need that person who says, ‘No, it’s
going to be this way!’ It’s hard to do that with your friends.”
 The result is a powerful, warming expression of resolve and renewal for Midlake, opening up
new futures for the band and honouring their storied history. Formed in the small town of
Denton, with roots in the University of North Texas College of Music, Midlake delivered an
auspicious debut with 2004’s ‘Bamnan and Slivercork’. For the follow-up, they looked further
afield and deeper within to deliver 2006’s wondrous ‘The Trials of Van Occupanther’, a modern
classic pitched between 1871, 1971 and somewhere out of time: between Henry David
Thoreau and Neil Young’s ‘After the Gold Rush’, between 1970s Laurel Canyon thinking and a
longing for something more mysterious.
 Confidence bolstered by a growing fanbase and a developed sense of their own far-reaching
abilities, Midlake - a band acutely attuned to seasonal shifts - then embraced change. In 2010,
they visited darker psych-folk thickets for ‘The Courage of Others’ and backed John Grant on
his lustrously spiky breakthrough album, ‘Queen of Denmark’. When singer Tim Smith departed
Midlake in 2012, Pulido stepped up to the lead vocal role for 2013’s freshly exploratory
‘Antiphon’, teasing out singular routes through vintage electric-folk pastures.
 In reuniting, the bandmates were adamant that Midlake needed their absolute focus. The result
is an album of tremendously engaged thematic and sonic reach with a warm, wise sense of
intimacy at its heart: an album to break bread and commune with, honour the past and travel
onwards with. In ‘Bethel Woods’, Pulido sings of gathering seeds. On ‘For the Sake of Bethel
Woods’, those seeds are lovingly nurtured, taking rich and spectacular bloom.
 LP pressed on 180g vinyl in a gatefold sleeve printed on matt card and printed inner sleeve
with lyrics and digital download card.

Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and
salient, these themes echo throughout the fifth album from Midlake, their first since ‘Antiphon’
in 2013.
 From the cover to the title and beyond, a longing to reconnect with that which seems lost and
seek purpose in its passing sits at the record’s core. The cover star is keyboardist/flautist Jesse
Chandler’s father, who, tragically, passed away in 2018. As singer Eric Pulido explains, “He
was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I
reference it in a song. He said, ‘Hey, Jesse, you need to get the band back together.’ I didn’t
take that lightly.”
 A desire to commune with the past and connect with present, lived experience asserts itself
from the opening of the album. ‘Bethel Woods’ sustains and develops that reconnection,
evoking the steadfast and contemplative urgency of ‘The Trials of Van Occupanther’ to back a
lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars
and atmospheric noise effects extend a sonic scope further developed by ‘Glistening,’ where
arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce
themselves and reach out into fresh territory with a richly intuitive dynamism, honouring their
past as a seedbed of possibility.
 Elsewhere, the prog-enhanced funk-rock of ‘Gone’ seeks to find hope in relationships that
seem fragile. The ELO-esque ‘Meanwhile…’ draws inspiration from what happened when
Midlake paused after ‘Antiphon’, developing universal resonance as a song about the beautiful
growths that can emerge from the cracks and gaps between things. ‘Dawning’ draws on 1970s
soft-rock stylings for another song searching for hope, its keyboard line reaching out towards
an uncertain future while everything seems to collapse around it; ‘The End’ reflects on the
difficulties of partings.
 On-hand was new collaborator John Congleton, who produced, engineered and mixed the
album, marking Midlake’s first record with an outside producer. “I can’t say enough just how
much his influence brought our music to another sonic place than we would have,” says Pulido.
“I don’t want to record without a producer again. Part of that is the health of the band, because
as you get older you get more opinionated and you kind of need that person who says, ‘No, it’s
going to be this way!’ It’s hard to do that with your friends.”
 The result is a powerful, warming expression of resolve and renewal for Midlake, opening up
new futures for the band and honouring their storied history. Formed in the small town of
Denton, with roots in the University of North Texas College of Music, Midlake delivered an
auspicious debut with 2004’s ‘Bamnan and Slivercork’. For the follow-up, they looked further
afield and deeper within to deliver 2006’s wondrous ‘The Trials of Van Occupanther’, a modern
classic pitched between 1871, 1971 and somewhere out of time: between Henry David
Thoreau and Neil Young’s ‘After the Gold Rush’, between 1970s Laurel Canyon thinking and a
longing for something more mysterious.
 Confidence bolstered by a growing fanbase and a developed sense of their own far-reaching
abilities, Midlake - a band acutely attuned to seasonal shifts - then embraced change. In 2010,
they visited darker psych-folk thickets for ‘The Courage of Others’ and backed John Grant on
his lustrously spiky breakthrough album, ‘Queen of Denmark’. When singer Tim Smith departed
Midlake in 2012, Pulido stepped up to the lead vocal role for 2013’s freshly exploratory
‘Antiphon’, teasing out singular routes through vintage electric-folk pastures.
 In reuniting, the bandmates were adamant that Midlake needed their absolute focus. The result
is an album of tremendously engaged thematic and sonic reach with a warm, wise sense of
intimacy at its heart: an album to break bread and commune with, honour the past and travel
onwards with. In ‘Bethel Woods’, Pulido sings of gathering seeds. On ‘For the Sake of Bethel
Woods’, those seeds are lovingly nurtured, taking rich and spectacular bloom.
 LP pressed on 180g vinyl in a gatefold sleeve printed on matt card and printed inner sleeve
with lyrics and digital download card.

Recorded in 1997 in Vienna as part of a workshop named "Greguar" which took place at the University of applied Arts in Vienna, and was produced by the Institute of contemporary Art Vienna. Official re-release!

A guitarist, a composer, a sought-after musical enabler and sideman? Of course, he's all of those things and more, but none of those descriptions really do the seven-time Juno Award-winning musician justice.

Like all of Steve's albums, 'Gone, Long Gone' features brilliant instrumental performances from some of the finest players in roots music. Jeremy Holmes holds everything together on bass with drumming split between Gary Craig and Jay Bellerose (both drummers play together on 'Six Skeletons'), while Kevin McKendree and Chris Gestrin laid down the piano, organ and other keyboards.
Keri Latimer joins in on vocals on two songs, and Steve's old 'Birds of Chicago' band- mate, Allison Russell joined in to sing on a few as did Steve's daughter Casey Dawson. John Prine alumnus Fats Kaplin also dropped in to add some sweet fiddle and mandolin.
'Gone, Long Gone' is just the first of three new albums that Steve created during the lockdown. The next two will come to light over three month intervals throughout 2022. Be on the lookout for a moody, psychedelic pedal steel excursion coming up next!

This album deservedly acquired 'cult status' thanks perhaps to the blend of material and happy assurance of all the soloists. Art Farmer for example is melodic and tuneful on Cool Struttin', helped by Sonny's sympathetic yet urgent chordal backing. The same applies to Jackie McLean, a loyal devotee of Charlie Parker but blessed with his own style. The pianist's solos have finger bustin' moments when the keys seem melded into one homogenous mass. But Sonny also displayed his expertise as a tasteful stylist with a unique approach much admired by Bill Evans. The musicians assembled for this session were produced by Blue Note Records supremo Alfred Lion, and would have been familiar to Clark, on this occasion cast in the role of Leader. Sonny was one of the Jazz label's house pianists called on to back the likes of John Coltrane, Kenny Burrell and Hank Mobley.

“Boot licking, piss drinking, finger frigging, tit tweaking, love biting, arse licking, shit stabbing, motherfucking, spunk loving, ball busting, cock sucking, fist fucking, lip smacking, thirst quenching, cool living, ever giving…”

There’s no fairer introduction to ‘Fist’, Joshua James’ latest contribution to Phantasy, than to advise one simply to prepare themselves. Sampling iconic performance artist, club promoter and designer Leigh Bowery, James connects the expert dancefloor pressure he exacts each weekend as one of London’s best-loved club residents with the unapologetic, defiant legacy of a personal hero. None other than Peaches then takes up the remix mantle for ‘Fist’, intertwining the provocations of two radical performers and connecting three generations of underground queer culture in one sonic menage-a-trois, perhaps the straight-up rudest club record in recent memory.

On the original production, James shifts his sound in a heavier direction still since last summer’s euphoric Amber Rush, which was remixed by labelmate and friend Daniel Avery. A bouncing industrial tilt underscores the heavy-duty production, as Bowery, originally recording alongside Richard Torry in their band Minty, espouses a catalogue of sexual acts - some specialist, all sensational - as James pushes dancers further down into the belly of some revolting rave beast.

A multi-faceted match to Bowery themselves, Peaches continues a decades-long journey dedicated to genre and gender deconstruction with her wild and playful take on ‘Fist’. Dripping in cybernetic club juice, Peaches wraps herself around Bowery’s own teaches on the mic, easily matching his demands as she careens towards a system-rattling techno conclusion.