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$ (Original Motion Picture Soundtrack) is the soundtrack to the 1971 movie of the same name. The soundtrack was composed and produced by Jazz legend Quincy Jones and includes performances from Roberta Flack, Little Richard and Doug Kershaw. This version will be the first repressing since 2002, and will be pressed the color of money on mint green vinyl.

Martina Topley Bird’s new studio album ‘Forever I Wait’, features collaborations and arrangements from Robert Del Naja of Massive Attack, Euan Dickenson, Rich Morel, Christoffer Berg, Benjamin Boeldt and Tiadiad.

'Forever I Wait' is Topley-Bird’s fourth long awaited studio album and her very first self-produced and curated piece of work to date. The album, set for a digital release on September 10th, with a vinyl LP available to pre-order now, captures an extensive journey confronting, exploring, analysing and reflecting on the devastating fragilities of life as it ultimately seeks to make peace with what life is.

A sentient and sensual presence framed Tricky’s trip-hop pioneering white label debut release, Aftermath. Hauntingly unique and immediately recognisable, that voice became the defining timbre of a new music movement. Behind this voice was mysteriously soft-spoken, London-born Martina Topley-Bird, whose exquisite voice came to inspire and infuse other pioneering artists across all genres.

“It’s a trip through different emotional states and frequencies, mostly dark, from insecurity and desire, all the way through to serenity and acceptance with themes that resonate from my young teens all the way through till today. Things that I’ve seen and things I’ve felt and worked through, although sometimes I sense them trying to return”

“Forever I Wait”, as the title alludes, was written and re-written over a long period of time.

“I had to change my way of relating to music and the music industry in order to make the record I wanted to make.…and that took time. And I took the time I needed. I started in London, moved and lived in America for the first time in my life, then briefly moved back to London and finished the record in Spain.”

“After trying to work on a new record for a couple of years, I came to a realisation that in order to move forward I had to separate the concept and vision I had for this record from me as a person. I had to shift my perspective. That was a big personal win and the beginning of “Forever I Wait.”

'Forever I Wait' leans on a multitude of tense sounds, dubby atmospherics and natural instrumentation to demand the listeners attention leading to over two decades of observations, experiences and musical sacrifices. It is a bi-product of the new perspective featuring carefully selected and tailored supporting arrangements from a handful of collaborators including Robert del Naja (Massive Attack), Rich Morel (Deep Dish), Christoffer Berg (Fever Ray) and Benjamin Boeldt (Adventure).

A truthful expression of desire and heartache “Forever I Wait “Is Topley Bird’s most precise and accurate album to date.

Zeitgeber is a project that sees Lucy and Speedy J exploring roots and limits. The duo have both indulged their experimental sides from time to time. Perhaps most notably Speedy J with his mid-'90s run on Novamute, and Lucy on his 2011 full-length for Stroboscopic Artefacts. But Zeitgeber is something more, with two artists pushing each other to go further. SA018 is a single that gives only a slight hint as to what is to come in the shape of a complete LP. 'Body Out' is floor-ready techno with a twist. The textures that lie beneath feel like they're just as important (if not more), slithering and twittering away in constant dialogue with the just-slightly-off-the-grid beat. 'Body In' is the inverse of the A-side, a slow-moving chorus of indescribable ambience. As a precursor to the forthcoming album, it's a perfect taster of the uncompromising sounds yet to be heard. - Zeitgeber is a new project run by Lucy (Stroboscopic Artefacts' label head) and Speedy J (Electric Deluxe's boss). ' - 'Body Out Body In' is the Single that precedes Zeitgeber upcoming Album.

It is with undoubted excitement that Stroboscopic Artefacts can present the new release from Irish duo Lakker as SA019.




This comes hot on the heels of Lakker's recent work for the label through the dark trappings of Monad XIV. 'Harbour' could imagine a vessel out to sea, battling a tempest. Heavily distorted rhythms build like the swirl of a storm, a distress signal popping on, radio distortion. As implosion seems near a moment of calm sets in and a less maniacal beat assumes control. But the unpredictable hammers resume once more, thumping above a sheet of glinting and sharp precipitation. The storm eventually ceases, abruptly, and the 'Harbour' is left still. 'eeAea' is a different experience. It is based on surer footing, concrete beneath the limbs. A thump, incessant, pounds in the background, giving clarity to a winding sigh and dissonant percussion. Yet there remains melody in the madness, with beautiful hi ends peeking through the atmosphere and a strut which surges towards conclusion. The conclusion ends (unresolved) at 'Valentina Lane'. It is a street of mystery, set upon a gas of syncopated flashes and airy scrapes. An uncomfortable synthesiser hums in the background, darting high and interjecting low. And it meanders thence, pausing for the odd moment of reflection. It is as deliberate as 'Harbour' is chaotic; it is a tight, cogent finale.

His partnership with the label has already resulted in a collaboration with Modern Heads, as well as one of the first entries in the Monad series, and now a fascinating new EP that showcases his talent for testing the limits of perception.
Alistair Wells is a producer whose current work is synonymous with a kind of benevolent intensity: he excels at sculpting tonally rich and percussively complex tracks that seem to both enlighten and confront. Under his most well-known alias as Perc, he has established a deep roster on his Perc Trax label to carry out a similar-minded program, and has built up a formidable arsenal of EPs and singles in the wake of enigmatic LPs like 2011's Wicker & Steel. His 'eclectic-yet disciplined' methodology practically guaranteed he would eventually come into the orbit of Stroboscopic Artefacts. His partnership with the label has already resulted in a collaboration with Modern Heads, as well as one of the first entries in the Monad series, and now a fascinating new EP that showcases his talent for testing the limits of perception.

The ominously titled opener "Death of Rebirth" - a title hinting at some form of hellish repetition - starts things off with a sense of dark premonition. Yet, in signature Perc style, that aura of uneasiness beckons listeners to explore further rather than to flee from it: in this context, the reliable 4/4 kick drum throb is the only means of orienting oneself or angling through a glassy and metallic labyrinth where foreign objects conspire to make previously unimagined percussive noises. "Negative Space" is a variation upon this theme of trying to maintain focus within a foreign environment bristling with strange enticements and potential dangers: with the kick pattern from the previous pice still acting as a trusty guide, new sound forms arise at every turn: a novel sort of hybridized piano / gamelan tone, a shuddering assembly line, and snaking delay feedbacks. Like dub music meant to be listened to in a hall of mirrors, "Negative Space" induces a heady feeling of multiplying realities.

The closing "Ma", if translated into Japanese, can mean "space / pause" and thus acts as a nice complement to "Negative Space." However, this massive, side-long audio force field dispenses with the previous tracks' steady pulse, and suggests a rigorous act of ritual contemplation taking place in the midst of phenomenal chaos and challenging blows to the body. "Ma" succeeds in modernizing the industrial-era rhythmic invocations of artists like Z'ev, achieving an almost classical solemnity without sacrificing Perc's usual love for cleverly maniuplated electricity. Altogeher, 'Ma' is an eye-opening, ear-infliltrating statement that will warp your understandings of time and space in a most exquisite way.

Whereas many electronic producers aim at being the most prolific in their genre, or the most extreme, Lucy and Rrose have wisely chosen to be the most consistently curiosity-provoking representatives of their craft.


Whereas many electronic producers aim at being the most prolific in their genre, or the most extreme, Lucy and Rrose have wisely chosen to be the most consistently curiosity-provoking representatives of their craft. Their decision to team up as a production duo for the newest Stroboscopic Artefacts EP may have seemed inevitable, given their shared responsibility for shifting techno's focus towards the facilitation of profound psycho-acoustic effects. And yet, even those who saw this coming will still be in for a wild ride.

Lucy's skill as a studio technician - displayed capably over his trilogy of full-length albums - has always been enhanced by his skill as a storyteller and as an artist with reverence towards myths and the pull of the unknown. This sonic personality is a perfect complement to the scientific severity of Rrose, for whom the electronic pulse beat and subsonic massage permit entry to a febrile psychic landscape whose contents are never entirely what the individual listener might expect or be prepared for.

As with both of the artists' solo offerings, these recordings feel as much like the branching off point for new creative acts rather than as objects to be passively enjoyed. As such, the opening "Chloroform" is a somewhat ironic title for a piece that is anything but anesthetic: at high volumes, its monstrous low-end surge and prickly, scintillating sonic ephemera are very likely to bring attention to otherwise imperceptible phenomena. "Peeling" continues in this style with a more urgent tempo, developing its own cascade of sensory impressions from seemingly unstable deep-bass loops, injections of intentional surface noise, and pitch-shifted / harmonizer-effected phantom phrases.

"Stained Glass," maybe the most straight-ahead piece on the record, is still a potent distortion of the mundane primed with shivering bell tones, tamed feedback and hints of speaker cones fraying. The climactic "Foil Gardens" is an elegant study in harmonics whose time-dissolving ability nods to the works of composers like Charlemagne Palestine or Eliane Radigue, without being a pure homage to either. The undertow of distortion beneath the glistening tone waves, in particular, provides a distinct update to the legacy of so-called
tonal 'minimalism'.

The end result here is a record that feels uncannily lifelike: an organism that always seems on the verge of a heuristic breakthrough, and whose full potential may not even be known by its creators.

Words by Thomas Bey William Bailey

Hot on the heels of his preliminary EP on Stroboscopic Artefacts, Embryo, which paved the way to the present album, and two years after the landing of his 2016-released inaugural LP, Montagne Trasparenti, Mannequin helmsman Alessandro Adriani returns with his highly anticipated full-length debut for SA, Morphic Dreams. Throughout eleven cuts painstakingly executed but lacking not an iota of the fresh, spontaneous oomph that made his sound stand out of the crowd of techno producers to have emerged over the past decade, Adriani lays the foundations to a suspended sound imaginarium, governed by its own rules and principles of gravity. Revolving around the notions of sublimation and quest for inner balance, Morphic Dreams is comprised of four distinct sequences, conceived and designed as reflections of four mental states, each of them linked to the four alchemical elements i.e. Water, Earth, Air and Fire here represented by the A, B, C and D-sides. Fluid and enveloping, the A-side bathes the listener in some zero-G uterine vortex, pitching and rolling from the slo-burning exotic sensuality and tribal spell of The Tropical Year to the trunk-bending, arpeggiated fast-track pulse of Storm Trees, through Raindances feverish electro swing. Entering a further abrasive, minerally rich phase, the B-side unleashes Adrianis dark side with optimum conviction. Deeply anchored in earthly materiality, this new evolution stage starts off to the frantic Italo bass of Dissolving Images, rushing headlong into a kaleidoscopic maelstrom of fractured reflections and nasty Giallo-like ambience. The delirious body stretch sequence then rather abruptly swerves onto a calmer flux with Dust/Mist, a much enticingly hip-swaying collaboration with Simon Crab, ex-member of the seminal 80s UK industrial-experimental band Bourbonese Qualk, before Casting The Runes engulfs us into a tormented world of swollen eeriness and disquieting esoterism. Back to a widescreen showcase of droney distortions, nasty acid swashes and other quirky drum programming, Hors De Combat opens a new chapter, shortly followed by the playful bass intricacies and modular jeu-de-piste of Invisible Seekers, featuring Avian affiliate and longtime friend Shawn OSullivan. A further mind-expanding piece, C-side closer Crow deploys its blackened wings wide and high as a chaos of martial percussions and liquefying synths slivers crash past the red-hot skyline. A fluttering melodic interlude, Things About To Disappear blazes a clean trail for Make Words Split And Crack to flourish, slowly but surely blooming into a nonstop grandiose twelve minute-shy finale geared up with the stirring cacophonic force of a Ligetian symphony and something of an epic-scale Kubrickian soundtrack.

Remastered 15 year Anniversary edition of Jenny
Lewis’s first solo album from 2006. The album
comes with all-new gatefold packaging featuring
never-before-seen photos by Autumn de Wilde.
 Known and loved by many as the frontwoman of
Rilo Kiley, Jenny’s vocal and songwriting gifts have
continued to blossom at a rapid rate since that
band’s first album in 2000. This may be her solo
debut but there’s nothing virginal about it.
 The album was lovingly crafted together during
short spurts of recording activity in the San
Fernando valley, Portland, Oregon and Lincoln,
Nebraska - due to the shared production duties of
celebrated finger-picking guitar prodigy M. Ward
and Nebraska’s resident production genius Mike
Mogis.
 The magnificent backing vocals come courtesy of
gospel singers Chandra and Leigh Watson (the
Watson Twins). Talented friends were roped in
between tours and recording sessions and standout track a cover of the Travelling Wilbury’s ‘handle
with care’ - with its phenomenal sing-a-long
crescendo features vocals shared equally by
Jenny, M. Ward, Conor Oberst and Ben Gibbard.

Akira Ifukube Returns! It's 1996 AD and Toho decide to freeze their Godzilla franchise, so what better way to go out with than a nuclear meltdown, which happens in GODZILLA VS. DESTOROYAH. Directed by Takao Okawara, the epic kaiju flick has Godzilla deadlier than ever before, with the absorption of uranium sending the temperature of his nuclear reactor heart soaring, which will ignite Earth's atmosphere and kill everybody when it explodes. Oh, and there's also another kaiju on the loose, the prehistoric mutation Destoroyah. It never rains but it pours!

Returning to score GODZILLA VS. DESTOROYAH was Akira Ifukube, the man who created the Big G's sound in 1954. Fittingly, for his final film, he got to lay Godzilla to rest once again, but first brought back several of his older pieces for the mayhem, including the original Godzilla theme, with another repurposed for the amazing new Super-X3. Destoroyah also receives a terrifying theme with powerful brass, but even his strength isn't enough for Godzilla's awesome force. But with that comes the death of the Big G, and Ifukube composes a beautiful requiem for his final scene. The king is dead. Long live the king! (Charlie Brigden)

Composed by Akira Ifukube
Artwork by Wes Benscoter
Manufactured in Czech Republic

"Beyond the Permafrost" is a tightly played, thrashy as hell, and damn tuneful album. The disc combines classic thrash with a bit of melodic death and black metal, and a NWOBHM undercurrent, all of which is given a modern (though not glossy) production. An added twist are the scruffy and snarling (kind of like a CARCASS-y "Heartwork" era crossed with black metal) vocals of Chance Garrette. The guy strikes the balance between a truly sinister aura and good 'ole evil fun. Some death growls are smartly utilized as well. Count "Beyond the Permafrost" as one of those albums that just feels right. Hell bent and upping the irons, SKELETONWITCH gets "it" right on every single one of these smoking tracks. I'll even go out on a limb by saying that from the standpoint of talent and urgency of approach, SKELETONWITCH reminds me a little of THE BLACK DAHLIA MURDER when they first began their ascent. Crank this one really, really loud. - BLABBERMOUTH

In 1972, Australia’s Albert Falzon made a film that would forever change the way the world thought about surfing. The film was Morning of the Earth. For many people it was the very first time they came to recognise surfing as a complete lifestyle. This recognition, coupled with mind-blowing, innovative surfing made the film a classic that has remained vital for over 50 years. Albe’s portrayal of all things pure and simple influenced generations, and passed on an enduring sprit to our Australian culture, our music, and our lifestyle.

Morning Of The Earth’s ethos of soul and spirit in surfing representing surfing as a lifestyle rather than a commercial entity. Not only did it show that these opportunities were open to everybody on their own doorstep, but it also showed for the first time the new exotic frontiers of Indonesia and Hawaii, in which you could further your adventures that encompassed the realm of spirituality and soulfulness.

Morning of the Earth took a unique approach to music. G Wayne Thomas’s selection of performers, songs and songwriters along with his own writing and performance created a warm blend of country soul and pop that helps carry the film to an esoteric level. For the first time, music was not treated as a background or incidental to the vision on the screen. The music was the narrator, with each track played in its entirety. The original soundtrack produced the Australian #1 single Open Up Your Heart and was the first Australian soundtrack to achieve gold sales. It was also recently included in the 100 Best Australian Albums.

The movie and the soundtrack have gone on to become legendary within the Australian surf history so we will be re-issuing the original 12 track soundtrack on black vinyl to commemorate the 50th Anniversary.

These recordings, made in 2001 in the weeks before September 11, constitute a unique historical document. They are spoken-word adaptations of scenes taken from Destroy All Monsters, the first book by acclaimed writer and 'pop culture alchemist' Ken Hollings. A multistranded postmodern epic, Destroy All Monsters offers a radical retelling of Desert Storm, America's military operation targeting Iraq, using imagery derived from MTV videos, CNN news reports, Japanese kaiju movies and anime, Hong Kong action flicks and tales of alien abduction. The book's entire narrative nervously unfolds in an unstable of world of terror monsters, wrecked cities and dangerously tall buildings: where an event like 9/11 is inevitable. The book was officially launched on September 13, but distribution in the United States was delayed when ports on the Eastern Seaboard were closed to shipping post 9/11, leaving copies of the book stranded in the Atlantic. 'Published the very week of the "attacks on America",' Toby Litt wrote at the time, 'Destroy All Monsters is genuinely, spookily prescient…as a progress report on Planet Earth, it seems to have timeslipped onto the front pages.' Lydia Lunch praised it as 'a hallucinogenic spiral into future nightmare', while The Scotsman called it 'mind bending reading.'

In the summer of 2001, Ken Hollings was approached by sound designer and electronic music composer Simon James, who wanted to create an audio adaptation of scenes from the novel to share with subscribers to a spoken word channel launched by totallyradio. The idea was to record Ken reading his own words and then embed them in a soundscape that evoked the fragmented complexity of the original text. Ken concentrated on a small handful of threads from the overall narrative, while Simon directed and engineered the final recording. This resulted in the two sequences of words, sounds and electronic tonalities contained on this audiocassette: an unsettling portrait of people about to be overtaken by events.

In October 2001, having just got married in London, Ken and Rachel Hollings went to New York for their honeymoon, just as they had originally planned. They spent an unforgettable week in a city struggling to recover from the seismic changes that had just taken place while a sudden wave of anthrax attacks on government and media offices filled the news cycles. Rachel took a photograph of Ken at Ground Zero, where crowds of onlookers continued to gather, and the air still smelled of burning.

Ken Hollings is a writer and broadcaster whose main concern is the relationship between culture and technology. He has written and presented numerous critically acclaimed features for BBC Radio 3, BBC Radio 4 and Resonance 104.4 FM His other books include Welcome to Mars, The Bright Labyrinth, The Space Oracle and Inferno all available from Strange Attractor/MIT Press. His latest book, Purgatory, is due from Strange Attractor in Spring 2022.

Simon James is a producer, musician and sound designer based in Brighton, UK, whose work combines electronic sources with field recording techniques and sound treatments, using sound to transport the listener to fantastical audio worlds. Simon's latest release, Electro Smog, collects electromagnetic field recordings from Shenzhen's electronic markets, recorded while he was in China at the invitation of Musicity and The British Council.

The Destroy All Monsters audio adaptations marked the first occasion Ken and Simon worked together – subsequently they collaborated on the 12-part series Welcome to Mars for Resonance 104.4 FM and Connecting, an audio portrait of the original 'phone phreaks', for BBC Radio 3. In 2021 they teamed up again to make Fast Forward, a six-part documentary series for Kasperksy Lab.

It’s likely that Dave East was both ready and willing to lock in for a full-length Harry Fraud produced album well before he heard Fraud’s work with Jim Jones (The Fraud Department) and Benny the Butcher (The Plugs I Met 2). But it’s just as likely that the synergy and flawless execution of those projects couldn’t have hurt East’s inclination. Fraud shows up for East on HOFFA the same way he did for Jones and Benny, finding a sturdy balance between moody synth lines, obscure rock samples, and ’90s-hip-hop drum patterns to act as an idyllic backdrop for East’s hand-to-hand street-life memories, basketball references, and straight-faced acknowledgment of the way drugs have affected his own family. Fellow barsmiths Jim Jones, G Herbo, Benny the Butcher, and Curren$y round out the features, but longtime Dave East fans might be most excited to hear a new verse from Kiing Shooter, the Queens-hailing Dave East associate who passed away in 2020 following complications from COVID-19.

'Yet today is all we have In silence she speaks The rivers below Valleys and peaks As a pale shelter once cherished The shadows we mourn Have all but perished '

'A Pale Shelter' is a trio collaboration between zake, City of Dawn, and Ossa. Two tracks feature close friend Benoît Pioulard. Mastered by Rafael Anton Irisarri.

Strut present a definitive vinyl edition of the groundbreaking compilation 'Nigeria 70'. Originally released in 2001, the collection set the benchmark for a new generation of archive labels and releases mining the vaults for rare Afro funk and Afro jazz fusions and helped to paint the wider picture of the 1970s Lagos scene beyond Fela Kuti's catalogue for a legion of soul, funk and dance music enthusiasts. This definitive reissue features the original LP remastered and pressed on 180g triple vinyl in a gatefold sleeve.
Narrated by Wunmi with commentary by the late Nigerian academic "Elder" Steve Rhodes, this one-hour piece is an essential snapshot of the 1970s Lagos scene and the cultural and political context from many of the key players of the time. It includes interviews with Ginger Baker, Fela Kuti, Ebenezer Obey, Segun Bucknor, Joni Haastrup of Monomono and many more.

- 2021 repress / generic sleeve -

In honor of the April full moon, 2016.

Supported by Claudio PRC, Svreca, Oscar Mulero, Antonio de Angelis, Arnaud le Texier, Ben Buitendijk, Giorgio Gigli, Exium, Iori, Kwartz, Rasmus Hedlund, Reggy van Oers, Samuli Kemppi, Stefan Vincent, Stephanie Sykes, Takaaki Itoh, Vilix, Eric Cloutier, Brando Lupi, Felix Lorusso, Sam KDC, Conrad van Orton, Periskop.

Vice Squad are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI. Since then Vice Squad have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs 'Born In A War' and 'Ignored To Death V2' taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020. The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by 'Cardboard City', the name given to the settlement of homeless people living in cardboard boxes near London's Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism. Vice squad’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. Vice Squad are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to Vice Squad via his sister’s record collection. The first rule of Punk is there are no rules and Vice Squad ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness. The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, 'Battle Of Britain' where Beki's vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people. The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain's hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media - ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too. The penultimate track, 'You Can’t Fool All Of The People' mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style

Vice Squad are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI. Since then Vice Squad have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs 'Born In A War' and 'Ignored To Death V2' taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020. The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by 'Cardboard City', the name given to the settlement of homeless people living in cardboard boxes near London's Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism. Vice squad’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. Vice Squad are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to Vice Squad via his sister’s record collection. The first rule of Punk is there are no rules and Vice Squad ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness. The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, 'Battle Of Britain' where Beki's vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people. The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain's hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media - ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too. The penultimate track, 'You Can’t Fool All Of The People' mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style

For fans of Tall Heights, Sufjan Stevens, & Indie Folk! Steadily building their artistic style and audience for the past seven years, New Jersey based alternative folk band Cold Weather Company carries a diverse sound, rich with harmonies and instrumental builds. The band combines the various writing approaches and influences of its three members, Brian Curry, Jeff Petescia, and Steve Shimchick, to create unique arrangements with intricate layering. Over the past few years, the band has earned over eight million cross-platform digital streams and supported acts such as Tall Heights, Jamestown Revival, and Juke Ross. On their fourth full-length album, Coalescence, Cold Weather Company continues to expand their acoustic-forward, alternative folk sound into new territory. With delicate additions of synths and electronic instruments, as well as a broadened palette of horns, percussion, strings, and harmonies, "Coalescence" explores each song down to its smallest sonic niche. Conceptually, the album revolves around growth by highlighting our capacity to better ourselves and our connections through introspection and reflection. Often occurring cyclically, especially in nature, the idea of growth also inspired the release process for the album which will be split into three parts, each representing a different conceptual facet. "With their spot on songwriting and boisterous melodies, Cold Weather Company is set to follow in the alt-folk leaning sounds of Avett Brothers, Ben Howard George Ezra

Clear Orange Vinyl w/ bone splatter. Limited edition of 300. Linernotes written by Josh Homme. Originally released on CD in 2001 on Josh Hommes own Rekords Rekords-label and now on vinyl for the first time! 20th anniversary! Remastered for the vinyl release. There must be something in the sand of sweltering Palm Desert, a California town that has birthed Kyuss and Queens of the Stone Age, as well as Fatso Jetson. Like Kyuss/QOTSA, Fatso Jetson built a name for themselves by putting their own unique spin on the Sabbath sound, but unlike their counterparts, larger than life singer/guitarist Mario Lalli's true love lies in both jazz (Thelonious Monk, Eric Dolphy) and experimental rock (Frank Zappa, Devo). On paper, this conglomeration of different styles sounds like the perfect recipe for a train wreck, but it somehow all comes together on disc, as evidenced by the trio's 2003 offering, Cruel & Delicious. Issued on old pal Josh Homme's label, Rekords Rekords, the trippy songs perfectly fit the feel of the album's cover (a sun-bleached photo of a long stretch of desert highway), especially such standouts as the saxophone free for all "Drinkin Mode," the melodic "Light Yourself on Fire," the bouncy instrumental "Heavenly Hearse," a barely recognizable cover of the Devo obscurity, "Ton O Luv," and the jazzoid freak-out, "Pig Hat Smokin." Cruel & Delicious is an enjoyable slice of hard rock, well off the beaten path

Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
Best-selling album in jazz history; mastered from the original master tapes by Bernie Grundman
Pressed at Quality Record Pressings using Clarity Vinyl® on a manual Finebilt press
Purest possible pressing and most visually stunning presentation and packaging!
Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history.

Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording — a five-track masterpiece of melancholy mood and melody.

It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wyton Kelly playing piano on "Freddy the Freeloader."

Now Analogue Productions, together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record.

The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick," Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them." Kind of Blue is, in a sense, all melody — and atmosphere.

None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.

Miles remained proud of the album, performing at least two of its tracks — "So What" and "All Blues" — for years after, until his musical path took him in a different direction.

History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.

A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What," "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late '90s.

Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.

When Roberto Carlos Lange, the musician known
as Helado Negro, began writing ‘Far In’
immediately following the release of his acclaimed
2019 ‘This is How You Smile’, he could not have
predicted that we would soon need to learn how to
stay at home and be the stars of our domestic
dancefloors with intimate and online communities.
The titular pair in ‘Gemini and Leo’ stay indoors to
discover each other anew with music recalling
Lange’s youth growing up in South Florida
listening to 80s club songs, and their return
sampled in 90s hip-hop.
Visions past and future meet in a euphoria of
uptempo drums, Jen Wasner’s (Flock of Dimes)
funky bassline, and Opal Hoyt’s (Zenizen) galactic
swirl of warm and steely synths and bright backing
vocals.
What was a prophesying rehearsal for the
musician will, we can hope, soon be our fresh
start, a choice to bring that energy home, or go out
to meet it.

After the international success of Thunderbirds, Gerry and Sylvia Anderson turned their attention to a deadly threat from Mars. Seeking revenge for an attack on their home planet,

the Mysterons plot to use their powers to bring Earth to its knees.

Across 32 episodes broadcast during 1967 – 1968, the series is remarkable for moving away from the more caricatured puppets of previous shows –

they have more realistic body proportions and the storylines are much more violent and darker in tone. Something reflected in the music which has a

more militaristic feel to it although, as always, composer Gray offers up occasional lighter tracks to break up the mood.

The opening narration of each episode sums it up –

"The Mysterons: sworn enemies of Earth. Possessing the ability to recreate an exact likeness of an object or person. But first, they must destroy...

Leading the fight, one man fate has made indestructible. His name: Captain Scarlet."

The Captain Scarlet LP will be sixth album in the series which includes UFO, Supercar, Thunderbirds, Fireball XL5 and Space: 1999.

It’s incredibly easy to get a remix wrong — as the back catalogues of far too many major labels, whose slapdash commissioning of the latest hot remixer half-guarantees an unsympathetic mangling of the song, can attest. At their best, remixes can make you look at an artist as though positioned from a different angle or using a different camera; sometimes hearing a song in a different context gives it a completely new meaning. “So you take a piece of a vocal…blah” says master remixer David Morales. “That’s a remix? That represents the artist? That doesn’t represent the artist, it represents you.” In the hands of the insensitive a remix is like chucking a song into the washing machine for a 100 extra spins.

In the hands of a master, things are a little more complex. Heavenly was all but founded on the art of the remix; our departed friend Andrew Weatherall remixed the first ever release, and the label has built up an immense catalogue in the intervening years that demonstrates all that is good about the art form.

Assembled on this compilation are twelve sterling examples of the remix, from Hanspeter Lindstrøm’s reading of Doves’ ‘Jetstream’, which turns their glistening pop into Lieutenant Pigeon meets Italo-disco (in a good way), to Andy Votel’s gentle folk-funk version of Halo Maud’s délicieuse ‘Des Bras’. We delve deep into the vaults for Saint Etienne’s ‘Filthy’, Monkey Mafia turning it into a rump-shaking groove perfectly suited to Q-Tee’s rap, while more recently, Flying Mojito Bros, purveyors of Tex-Mex house groove, reimagine Katy J. Pearson as a lonesome Lone Star lover.

Though not purposely themed, beyond being judiciously chosen as the catalogue’s finest gems, there’s a tiny hint of psychedelia about this set that is hard to ignore. Firstly, there are the acid contributions from Gabe Gurnsey, who knows his way around a coruscating bassline, and from Graham Massey, whose impeccable credentials in 808 State are brought to bear on ‘Valleys’, by young turks Working Men’s Club (acid house being modern psychedelia, whether the rock press approves or not).

Jono Ma, meanwhile, flips Night Beats’ amazing ‘Sunday Mourning’ into ‘Warm Leatherette’ on benzos, creating a disorienting glimpse of a dystopian Sunday that most definitely doesn’t include a genteel read of the papers and a nice cup of tea. On the other side of the miasma is Beyond The Wizard’s Sleeve’s redemptive re-interpretation of M. Craft’s ‘Chemical Trails’, which, alongside Boy Azooga’s ‘Face Behind Her Cigarette’ (Mikey Young remix), Gwenno’s ‘Chwlydro’ (R. Seiliog remix) and and Katy J. Pearson’s ‘Take Back The Radio’ (Flying Mojito Bros Refrito Dub), is issued on vinyl for the very first time.


This dozen tracks — each one curated, remixed and delivered with love (and a teensy bit of impertinence) — is just a glimpse into the catalogue of one the UK’s finest indie labels.

In the alternative reality in which I’d prefer to exist, this what Top of the Pops might sound like; or, at the very least, the jukebox in the Korova Milk Bar. Pop disruption at its best.

'Yet today is all we have In silence she speaks The rivers below Valleys and peaks As a pale shelter once cherished The shadows we mourn Have all but perished '

'A Pale Shelter' is a trio collaboration between zake, City of Dawn, and Ossa. Two tracks feature close friend Benoît Pioulard. Mastered by Rafael Anton Irisarri.

Rare and highly sought after in its original format, Os Brazoes self-titled album was originally released on RGE Discos in 1969. It is a psychedelic masterpiece that fuses samba, r'n'b and rock 'n' roll influences using fuzz guitars, synths, percussion, lush vocals and effects.

Os Brazoes formed in Rio de Janeiro in the late 1960's. They backed Gal Costa during her Tropicalia period, yet apparently never recorded in the studio with her. Miguel de Deus, the bands front man, recorded the highly sought after 'Black Soul Brothers' LP in 1977, which became an important record in the 'Black Rio' movement. Mr Bongo released the title track from that LP, on the 'Brazilian Beats: Brooklyn' compilation in 2006 and recently as part of their Brazil 45's re-issue series.

'Os Brazoes' features covers of Gilberto Gil's 'Pega a Voga, Cabeludo' and Jorge Ben and Toquinho's 'Carolina, Carol Bela'


The Mr Bongo LP reissue is manufactured in Japan, presented in a super high quality card sleeve with replica original artwork. The CD is presented in a 4-page digi-pack.

A trademark feature of Fontän is their ability to sound far out into cosmos but still earth-bound. The spacious vibrations in the music seem to come from somewhere hidden deep beneath the moss, a sound travelling through thousand miles of mycelia from tree to tree covering vast areas of forest landscape before shooting out from the leaves through the atmosphere, straight into space.

Fontän pays justice to the term neo psychedelia. It´s easy to grasp the term “psychedelic” but harder to actually produce relevant psychedelic music. This band does just that; the respect for the for the past masters of psychedelia is obvious but Fontän doesn’t make sentimental music – they keep pushing the envelope of what this genre is.

In a parallel universe with the Kosmiche Musik being born in Sweden, this is how the Norse equivalent of Tangerine Dream might have sounded like.

2003 Jahr erschien das elfte Studioalbum von Killing Joke und das erste nach einer Pause von sieben Jahren.
Ihr selbstbetiteltes Debütalbum war zu diesem Zeitpunkt 23 Jahre alt. Zehn Alben später benannten sie
ihr neues Produkt nun erneut nach sich selbst: „Killing Joke 2003“. Ein Name so simpel, dass er besonders
laut daherkommt. Die Drums wurden damals von Foo Fighters-Frontmann Dave Grohl eingespielt. Der
ursprüngliche Plan war es gewesen, die drei Lieblingsdrummer der Band auf dem Album zu vereinen: John
Dolmayan von System of a Down, Danny Carey von Tool und eben Dave Grohl. Letzterer beanspruchte
kurzerhand „das ganze Ding“ für sich, nachdem er die Songs gehört hatte und bestand darauf, unbezahlt
zu arbeiten. Ihr Werk wurde 2005 im Rock Hard Buch zu einem der 500 größten Rock- und Metalalben
aller Zeiten gekührt. Weitere zwei Jahrzehnte später, nach 40 Jahren Bandgeschichte erscheint „Killing
Joke 2003“ jetzt in einer Neuauflage.

Pressed On Sky Blue Vinyl! To say Harry Fraud is on fire is an understatement. In just two years, he has fully produced four projects with Curren$y (The Marina, The OutRunners, Director’s Cut, Bonus Footage), The Plugs I Met 2 with Benny The Butcher, HOFFA with Dave East, and now Borrowed Time with Dark Lo. The new collaborative effort showcases 10 tracks with additional features from AR-Ab, Boldy James and 38 Spesh (on the bonus Flexi Disc version of "Ringing Shots"). The lush production is perfect for Dark Lo’s gritty bars and tales of life on the Philadelphia streets. Facing sentencing for a federal witness tampering charge, Dark Lo has been working relentlessly all year. With the recent release of Charlie Pope with V Don and Extreme Measures with Havoc (of Mobb Deep), Borrowed Time serves as the perfect addition to Dark Lo’s impressive catalog

Tenor saxophonist Timo Lassy, one of Finland's leading jazz artists, is back with a new album release "Trio" on We Jazz Records. The album, to be released on 27 August, introduces Lassy's new combo with bassist Ville Herrala and drummer Jaska Lukkarinen – both We Jazz Records roster artists on their own right.

The new Lassy sound is tight, swinging and funky, led by the strong and riff-ready sax of the tenorman. That being said, the album's sound is not limited to that of the swinging trio. Lassy's new vision also brings in some subtle electronics (played by Lassy, Dalindèo frontman Valtteri Laurell Pöyhönen and Ilmiliekki Quartet pianist Tuomo Prättälä) and lush strings performed by Budapest Art Orchestra as arranged by Finnish artist Marzi Nyman. It's a new sound for Lassy, but one which keeps true to his no-nonsense cookin' on the tenor.

This combination proves to be a winning one on the album, ranging from the more solemn moments on tracks such as "Sunday 20" and "Sointu" to the all out groovers like "Pumping C" and "Subtropical". The basic three sylinders of the band tenor sax, bass and drums, are strong throughout and the strings add air beneath the wings to really lift things off. Electronics are used as a tasty condiment, not taking over the main course but adding to it just right.

"We began the process with the bare bones trio but along the way, the sound started evolving into something else" Lassy explains. "That's how I like to work, anyway, while the trio can take this music to great lengths live, on the album I like to paint a fuller, more colourful picture sonically."

Speaking of painting, the sleeve of the album features the original artwork "Subtropic" by Finnish artist Ilari Hautamäki. "Trio" by Timo Lassy will be released by We Jazz Records as blue and black vinyl editions complete with a heavy duty tip-on sleeve, on CD and digitally. The special BUNDLE version includes the LP with a 7" featuring two non-LP tracks, available with blue LP + blue 7" or as black LP + black 7", bound together in a re-sealable "Japanese styled" sleeve, plus a We Jazz sticker.

The very first live stream on 9128.live broadcast from the studio of Rafael Anton Irisarri, as he and Thomas Meluch (Beno�t Pioulard) pieced together a completely live improvisation, christening the newly created 9128 airwaves and setting the bar for many more live takeovers. With one album between them as Gailes, and profound work individually (also together as Orcas), Rafael and Thomas are masters of the ambient craft, combining intricate field recordings, guitar, pedals, vocals and heady reverb across a 40-minute non-stop immersive listen, split into two 20-minute sides for the inaugural 9128 vinyl release. The 9128 label aims to document significant live performances by artists that previously performed on the 9128.live platform. With recordings initially created for a singular collective listening moment, and often as part of a festival or takeover weekend, label recordings will re-present this music for further listening across various formats that best suit each release. Gailes - Session Two, will be available as a digital download and 12", printed in a reverse-board die-cut sleeve, black vinyl.

Polish production legends Catz ‘n Dogz journey to Club Sweat to drop a double A-side ready to set the rave-craving animals out of their cage, releasing ‘Rendezvous / Nasty’. The duo have creatively crafted a double A-side oozing floor-to-floor elixir, to skillfully entice underground cavern connoisseurs. As those punters find their way to their dancefloor destination they are met with the aptly named ‘Rendezvous’ a tech-house heater that couples deep stomping kickdrums, with underlying techno textures for an insatiable groove that is augmented by the deep yet sensual melodies of R&B vocalist Raymoane.

The pace is turned up a notch on the flip-side, with stank-face inducing textures apropos for the title of ‘Nasty’, a tune that layers the hypnotic and conspicuous vocals of Kiddy Smile over a bounce-loaded bassline with underlying rhythmic drums and sirens to evoke a bustling party atmosphere.

Radio Support: Danny Howard (BBC Radio1), Ben Malone (Kiss FM), TCTS (Kiss FM)

DJ Support: Riva Starr, Todd Terry, Roger Sanchez, severino panzetta, Pirupa, boys noize, Eli Escobar, Tocadisco, Hifi Sean, Tommie Sunshine, Nhan Solo, Kolombo / Olivier Grégoire, Tough Love, Anna Lunoe, Kryder, Lorenzo Borgatti, Funkerman, Pat Lok, Lucati, Martin Ikin, Cut Snake, GAWP, Utah Saints, Vanilla Ace, Das Kapital, Tommy Trash, Sam Divine, Cassimm, Hector Romero.

‘.dev’ was yet another collaborative piece from Agoria, aka Sebastien Devaud. As well as Blasé and STS, who returned after featuring on ‘Drift’, Devaud worked with Domino’s Ela Minus, flamenco innovator Niño De Elche, and the unique hip hop delivery of Rome Fortune across the LP, with additional collaborators including Sacha Rudy and Oscar winner (The Sound of Metal), Nicolas Becker.



Sonically, the LP saw Agoria presenting a kaleidoscopic haze of cinematic and evolving electronica that touched on house, techno, electro, hip hop, and beyond but beneath the aesthetics, ‘.dev’ was the work of an artist asking himself questions in order to create worlds out of his answers.



Beyond looking to question the very systems of the traditional album format, his holistic approach to AI and NFT’s within the thematic world of his work were laid out front and centre through the visual and conceptual identity surrounding the album.

Deutsche Grammophon launch a Gold Vinyl Edition of Benny Andersson’s phenomenal global hit album PIANO (from 2017). Legendary ABBA songwriter and co-founder to release career spanning 21-track solo piano album via Deutsche Grammophon The concept is an instrumental piano album, featuring Benny playing songs spanning his entire career, including those from ABBA, songs from his musicals and beautiful, emotional solo work. ‘Piano’ takes listeners on a 21-track journey through his acclaimed and celebrated career as songs from ABBA, his musicals and other solo-compositions are re-interpreted as you have never heard them before, performed unaccompanied by just Benny himself, on his trusted grand piano. The album was recorded with Linn Fijal, engineer and studio manager at his own RMV Studios, on the island of Skeppsholmen, in the heart of his hometown Stockholm.

Tenor saxophonist Timo Lassy, one of Finland's leading jazz artists, is back with a new album release "Trio" on We Jazz Records. The album, to be released on 27 August, introduces Lassy's new combo with bassist Ville Herrala and drummer Jaska Lukkarinen – both We Jazz Records roster artists on their own right.

The new Lassy sound is tight, swinging and funky, led by the strong and riff-ready sax of the tenorman. That being said, the album's sound is not limited to that of the swinging trio. Lassy's new vision also brings in some subtle electronics (played by Lassy, Dalindèo frontman Valtteri Laurell Pöyhönen and Ilmiliekki Quartet pianist Tuomo Prättälä) and lush strings performed by Budapest Art Orchestra as arranged by Finnish artist Marzi Nyman. It's a new sound for Lassy, but one which keeps true to his no-nonsense cookin' on the tenor.

This combination proves to be a winning one on the album, ranging from the more solemn moments on tracks such as "Sunday 20" and "Sointu" to the all out groovers like "Pumping C" and "Subtropical". The basic three sylinders of the band tenor sax, bass and drums, are strong throughout and the strings add air beneath the wings to really lift things off. Electronics are used as a tasty condiment, not taking over the main course but adding to it just right.

"We began the process with the bare bones trio but along the way, the sound started evolving into something else" Lassy explains. "That's how I like to work, anyway, while the trio can take this music to great lengths live, on the album I like to paint a fuller, more colourful picture sonically."

Speaking of painting, the sleeve of the album features the original artwork "Subtropic" by Finnish artist Ilari Hautamäki. "Trio" by Timo Lassy will be released by We Jazz Records as blue and black vinyl editions complete with a heavy duty tip-on sleeve, on CD and digitally. The special BUNDLE version includes the LP with a 7" featuring two non-LP tracks, available with blue LP + blue 7" or as black LP + black 7", bound together in a re-sealable "Japanese styled" sleeve, plus a We Jazz sticker.

Tenor saxophonist Timo Lassy, one of Finland's leading jazz artists, is back with a new album release "Trio" on We Jazz Records. The album, to be released on 27 August, introduces Lassy's new combo with bassist Ville Herrala and drummer Jaska Lukkarinen – both We Jazz Records roster artists on their own right.

The new Lassy sound is tight, swinging and funky, led by the strong and riff-ready sax of the tenorman. That being said, the album's sound is not limited to that of the swinging trio. Lassy's new vision also brings in some subtle electronics (played by Lassy, Dalindèo frontman Valtteri Laurell Pöyhönen and Ilmiliekki Quartet pianist Tuomo Prättälä) and lush strings performed by Budapest Art Orchestra as arranged by Finnish artist Marzi Nyman. It's a new sound for Lassy, but one which keeps true to his no-nonsense cookin' on the tenor.

This combination proves to be a winning one on the album, ranging from the more solemn moments on tracks such as "Sunday 20" and "Sointu" to the all out groovers like "Pumping C" and "Subtropical". The basic three sylinders of the band tenor sax, bass and drums, are strong throughout and the strings add air beneath the wings to really lift things off. Electronics are used as a tasty condiment, not taking over the main course but adding to it just right.

"We began the process with the bare bones trio but along the way, the sound started evolving into something else" Lassy explains. "That's how I like to work, anyway, while the trio can take this music to great lengths live, on the album I like to paint a fuller, more colourful picture sonically."

Speaking of painting, the sleeve of the album features the original artwork "Subtropic" by Finnish artist Ilari Hautamäki. "Trio" by Timo Lassy will be released by We Jazz Records as blue and black vinyl editions complete with a heavy duty tip-on sleeve, on CD and digitally. The special BUNDLE version includes the LP with a 7" featuring two non-LP tracks, available with blue LP + blue 7" or as black LP + black 7", bound together in a re-sealable "Japanese styled" sleeve, plus a We Jazz sticker.