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The co-curated Air Texture Compilation series returns with two Brooklyn based selectors.

As the cost of living in Manhattan proper moved artist minded migration patterns further afield, places like East Williamsburg, Bushwick, and Ridgewood became post-cultural centers in a way, with producer after producer gaining international recognition in the last 10+ years. New clubs such as Nowadays, Knockdown Center, and Elsewhere furthered the momentum, anchored by first mover Bossa Nova, and important festivals like Mutual Dreaming and Dweller came soon after.

Collectively, the stage was set for a beautiful moment in electronic music history, still unfolding, and maybe something that could only happen in the States in a place like Brooklyn.

Spanish singer-songwriter Rosalia is back with her third studio album and one that is a hugely conceptual and experimental affair. She herself describes it as "her most personal and confessional album" and that is embodied by the lead single, 'Saoko', which celebrates transformation and change. It is an album of pop leaning, reggeaton inspired sounds and plenty of nods to dembow, champeta, flamenco, bachata, hip-hop and piano melodies. The artist's own fierceness and unapologetically brave attitude helps make this the force that it is.

Nightports is based on a simple but unbreakable rule of restriction: only sounds produced by the featured musician can be used. Nothing else. These sounds can be transformed, distorted, translated, processed and reprocessed, stretched, cut, ordered and reordered without limitation. Nightports w/ Tom Herbert is the third in a series of albums from musician-producers Adam Martin and Mark Slater to be released on The Leaf Label, following 2018's Nightports w/ Matthew Bourne and 2020's Nightports w/ Betamax. Tom Herbert made his name as the bass player in Mercury Music Prize-nominated bands Polar Bear and The Invisible, and has become an in-demand collaborator and session musician, including work with Adele, Lana Del Rey and most recently The Smile. Having honed his craft holding the low-end down in some of the most forward-thinking British groups of recent times, and also appearing on some the biggest tracks of the last twenty years, Nightports w/ Tom Herbert brings Herbert's command of the double bass into the spotlight.

Passarani debuts on Aus with his sixth studio album, The Wildlife Of The Quieter Ones. Marco's discography boasts releases on Libertine, Running Back, Peacefrog and Numbers, the diversity between each label show his versatility as as a producer, he’s seamlessly moved with the times and glides through each era with a zesty take on a timeless sound, his credentials speak for themselves and here you see a well seasoned producer at the top of his game

Delirium 17 by Silver Zone aka Marco Repetto & Stefan Riesen in the rebound.

It's the first official re-issue after 1994!

Composer, producer, multi-instrumentalist and co-founder of Black
Rebel Motorcycle Club, Robert Levon Been, announces his forthcoming
album, ‘Original Songs From The Card Counter’.

Levon Been composed several original songs as well as a majority of the
score for writer and director Paul Schrader’s new film, ‘The Card
Counter’, starring Oscar Isaac, Tiffany Haddish, Tye Sheridan, Willem
Dafoe and executive produced by Martin Scorsese.

“Ironically this entire project began by working the last scene of the film
first,” says Levon Been. “Paul had reached out asking if I would write an
original song for a very intimate final scene he had been struggling with.
As tempting as the concept was, I must admit that kind of composing is
also my biggest fear - to write directly to picture with such precision that
it takes over the narrative in a substantial way, which I knew Paul never
shies away from. It also turned me into a nervous wreck because I know
just how easy it is to quickly ruin a movie with merely a single lyric at the
wrong time. Thankfully for ‘Mercy Of Man’, I had S.G. Goodman there in
NY singing with me to help experiment with how to create a fairly
unconventional duet of sorts that is intended to evoke the emotions of
the two characters in that final scene.”

‘The Card Counter’ marks the fifth collaboration between Schrader and
Scorsese, who previously worked together on ‘Taxi Driver’, ‘Raging Bull’,
‘The Last Temptation of Christ’ and ‘Bringing Out the Dead’.

Robert Levon Been is a producer, composer, singer songwriter and
founding member of the band, Black Rebel Motorcycle Club, with whom
he has released eight albums and toured the world with since 2001. With
a dedicated following across Europe, the US, Australia and Asia, their
record ‘Howl’ has ranked many top album lists.

In 2013, Black Rebel Motorcycle Club were featured in Dave Grohl’s
Grammy-winning documentary, ‘Sound City’. 2021 marks the 20th
anniversary of the release of Black Rebel Motorcycle Club’s self-titled
first album.

Robert is currently producing and writing for multiple projects, dividing
his time between Los Angeles and Vienna.

Gatefold LP, with initial copies featuring spot gloss on sleeve. (Once this
format has sold out, a standard gatefold sleeve edition - EPZTC001LPR
- will be made available.)

“Thunderous, and yet somehow also reflective, this album offers a haunting dialogue between the musicians. Betamax drives the music with motoric rhythm, while Bell is seemingly searching for something more sophisticated.”

London’s avant-garde, attempted to master in his youth the delicate art of the Shakuhachi - the infamously difficult-to-play bamboo flute that whiffs of a certain Japanese Zen aroma. After many years of travelling south east Asia in the 70s, seeking out the teachings of many flute and reed traditions, Clive Bell eventually gave up his quest and returned to London exhausted and confused. Horrified by the omnipresent egos of popular music, he was drawn back towards the dark currents of London’s free-improv gutter, where upon he was encouraged by his peers to live in a squat, and participate in abrasive noise experiments typical of the London improvising epidemic that persisted throughout the 80s.

Whilst immersed by this subculture, Bell was to bear his only child that we know of to this day - Maxwell Hallett, later to be known as ‘Betamax’. Bell immediately refused to teach any music to Betamax, hoping greater things and opportunities might lead Max away to a more financially comfortable and spiritually rewarding occupation. Alas Clive was unable to protect his son from the strong seductive forces of London’s prevalent musical subcultures.

LP with printed insert. Trance Plantations is the new brainchild of Nathan Daems (Black Flower, Echoes of Zoo) and Falk Schrauwen (Echoes of Zoo).They draw on tribal and spiritual music from all over the world and launch them into the cosmos through their electro-acoustic mix.

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

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

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

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

‘The record is inspired by the idea of humanity’s ever-increasing entanglement with technology and artificial intelligence, balancing fears and moral concerns with the possibilities of evolution’s next phase’

A new Soccer96 album is a chance for Danalogue (Dan Leavers) and Betamax (Maxwell Hallett) to return to something of a spiritual creative home. Between them, the keyboardist and drummer have become synonymous with the thriving London jazz scene and, in their mind-bending incarnation as the astral synths-and-drums pairing, they’ve traversed stylistic worlds. Over nearly a decade, the duo have metamorphosed from a DIY outfit whose rough-edged recordings hit with a punk spirit, to cosmic dreamers that use sound to travel the reaches of the mind.

First single Dopamine features Nuha Ruby Ra on vocals who sings from the perspective of human and machine throughout the track. This concept overlaps with the music seamlessly, forming a meeting point between technological and human exploration.

Dialogues between the band and Nuha crystallised a shared vision of a future where humans and artificial intelligence are entangled in a codependent relationship based on the giving and receiving of pleasure hormones, the robots only source of dopamine is to receive it from humans, and the humans’ ability to unleash the monsters of the worst of human emotion.

Danalogue and Nuha sing together ‘It’s a Long Way down’ .. the feeling of jumping from the cliff of our current state as humans and ‘free-falling’ into the unknown of robot-human intertwining. By the outro they are pleading with each other over their dopamine co-dependency, in terms of both giving and receiving the hit. "Dependency leads to free-falling integration, a moment of freefall into robotic consciousness. Humans and machines are locked in a dance of addiction." explains Betamax.

Soccer96 has always been a vessel for Danalogue and Betamax to find clear water from their multitude of other collaborations, their most notable being as two-thirds of The Comet Is Coming alongside Shabaka Hutchings. Danalogue’s other recent production credits include Snapped Ankles and Calabashed, whilst Betamax has been making music with Champagne Dub and Coma World.

“Through collaborating with various artists and developing our own sonic language, it feels like we have created a sound of our own,” says Danalogue. “Now we think less literally and take more liberties to not necessarily sound like a duo. It’s more like a production team that can be augmented or stripped back depending on what the music calls for.”

Dopamine, though, sees the pair back together once again, incubating their findings of the past two years and moving Soccer96 into new territories. The record is maybe darker in some senses than what they’ve put out before; it’s inspired by the idea of transhumanism and humanity’s ever-increasing entanglement with technology and artificial intelligence It balances fears and moral concerns with the possibilities of evolution’s next phase. “The LP title Dopamine refers to the type of neurotransmitter associated with pleasure, that enables technology to hack into our minds and control us, creating addiction, dependency,” Betamax explains.

Dopamine began life as a sonic reaction to the graphic novels of ‘Moebius’ Jean Giraud. The duo then started swapping reel-to-reel tape ideas through each other’s letterboxes in lockdown, before eventually convening in the studio and displaying one of the revered French artist’s images in the middle of the studio for inspiration.

“All musical decisions would centre around this image,” Betamax says. “It was a depiction of a cosmic traveller gazing across a desert at a sort of crystal city. If the music was resonating with the image then we knew we were on the right path. We are both glad there is a lot of emotional warmth underpinning the whole thing. We are trying to connect with the human essence at all times.”

Transmeridian is the first album from Departure Lounge (ex-Bella Union) in 19 years. It features all four original members plus a guest appearance from legendary REM guitarist, Peter Buck, one of many long-standing admirers of a band that embodied a lost age of reflective, experimental pop music coming to the fore at the turn of the Millennium alongside The Beta Band, Tunng, Boards Of Canada and Gorky’s Zygotic Mynci.

The surprise new album, named after the defunct ‘golden age of aviation’ cargo airline for which singer/guitarist Tim Keegan’s dad was chief pilot, is released on Violette Records (formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett ) on digital and vinyl formats on Fri 26 March 2021.
Originally scooped up by Simon Raymonde’s Bella Union label (labelmates with John Grant’s Czars) following the self-funded release of their debut album Out Of Here (1999), Departure Lounge’s sophomore outing, Too Late To Die Young (2002) was equally acclaimed and was honoured as the first ever Album Of The Week on the emergent BBC 6 Music. The band toured extensively in the UK, Europe and the US, including outings with The Go-Betweens, Morcheeba, Paul Heaton and Robyn Hitchcock, peers whose stylistic contrasts reflect the eclectic nature of Departure Lounge themselves.

Calling a halt in late 2002, citing family and geographical reasons (drummer Lindsay lives in Nashville, where their second album Jetlag Dreams (2001) was recorded), the four members remained firm friends and occasional collaborators, before reuniting in late 2019 for shows at The Green Door Store, Brighton and The Lexington, London, ostensibly to support the digital reissues of their first three cult-classic albums. With no plans other than to make some new music, the next day they set off for Middle Farm Studios, Devon.
Tim Keegan (vocals/guitar), Chris Anderson (lead guitars/keyboards/bass), Lindsay Jamieson(drums/keyboards) and Jake Kyle (bass/guitar/drums) channelled their evident joy at being back together into a complete 13-track album, largely conceived and recorded in just one 24-hour session in the company of studio owner and co-producer, Peter Miles. Ranging from soulful Americana to piano and mellotron-fuelled melancholia via pastoral musings on the nature of post-youth and eerie Spaghetti Western-tinged instrumentals, the next leg on the Departure Lounge journey is a multi-mood expression of pure artistic freedom.
The ‘leak’ of instrumental track Al Aire Libre (remixed by Parisian groovemeister Kid Loco) in October 2020 gave little away as to what fans could expect from a new Departure Lounge record, the track going gracefully everywhere and nowhere on a whistled Latino breeze. First single proper, Mercury In Retrograde, covered in the twinkling lights of a music box Casio CZ101 melody, turned the clock back - this was an old live favourite that never got past the studio door. Unfinished business brought to a happy conclusion, the single returned Keegan’s honest and distinctive lyrical voice back to British music at just the time listeners needed it.
It was an emotional thread, rather than one musical style, which gave the first three Departure Lounge albums their coherence. The songs told the story of the band. Transmeridian has the same sense of deeply connected musical energy. The purring, campfire acoustica of Timber and So Long bear no obvious resemblance to the ethereal, end-of-the-evening, piano-led interlude Paging Marco Polo, whilst the quasi-glam stomp of Mr Friendly would normally have no business sharing space with the strange, spacey Gurnard Pines (named after an abandoned holiday camp on the Isle Of Wight). Yet the journey’s ebb and flow, accelerations and pauses make for compelling, grown-up listening. Australia, showcasing the chiming Rickenbacker 12-string of Athens, GA’s finest guitar slinger, leaves no doubt that Departure Lounge’s pop sensibilities also remain solidly intact.
These four friends from different musical backgrounds came together originally with the stated aim of ‘creating music to soothe the troubled soul’. Citing their love of (and placing on record their debt to) influences including Robert Wyatt, Nick Drake, Talk Talk, Lou Reed, Arvo Pärt and Cocteau Twins, the band’s diversity of taste is reflected in the music they create.
Transmeridian is only the second full-length LP released by Violette Records, formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett as a platform for Head’s work and developing into a respected independent label as well as multi-disciplinary event organiser, drawing in outsiders working in music, literature, art and design. The label continues to host live events whenever possible and recently initiated an ELP (halfway between and EP and an LP) vinyl series, putting out acclaimed releases by The Pistachio Kid and Studio Electrophonique.

Manni Dee returns to Perc Trax for the release of 'A Low Level Love', his second full album following on from 'The Residue' released in 2018 by Berlin techno institution Tresor. Manni opened his Perc Trax account back in 2017 with his 'Throbs Of Discontent' 12" which featured his breakout hit 'London Isn't England' and since then he's become Perc Trax regular releasing his recent 'Everyone's Replaceable Now' 12" plus his 'Gulabi Gang' contribution to first of the 'Forever' various artists series. During this time Manni has gone from a cult UK favourite to being internationally recognised, performing all around the world.

On 'A Low Level Love' Manni expands on both his previous album and his recent run of Perc Trax releases, mixing his trademark club techno rhythms with broken beat and non-dance floor outings. 'No More Heroes' and 'You Don't Always Get What You Want' see Manni at his most melodic and introspective, whilst the storm of kick drums on 'Closer' shows a new intensity and aggression to Manni's music even when compared to the heaviest of his previous releases.

Guest slots and collaborations can often detract from the artistic vision of an album, but Manni chooses his co-conspirators well, with vocalist Sylph adding a human element to album opener 'Persist & Change' and London acid techno legend Chris Liberator providing both vocals and some of the inspiration for club hit in waiting 'London In My System'.

'A Low Level Love' will be released by Perc Trax on 17th June on 2 x 12" vinyl, CD and digital. The album was mastered by Matt Colton at Metropolis, London. The front cover photography was taken by Bruna Kazinoti and design was handled by Adult Art Club.

Nach zwei Alben auf Morr Music erscheint das dritte Album der Münchner ALOA INPUT auf dem Wiener Label SILUH RECORDS. Der versponnen-psychedelische Krautpop-Entwurf mit Independent Folk-Anleihen wird konzeptuell erhöht und darf Liebhabern der Beta Band, Jane Weaver, späten Tame Impala oder Animal Collective nicht entgehen. ALOA INPUT ist im besten Sinne eine Experimental Pop Band. Das dritte Album der Band um Angela Aux, Marcus Grassl und Cico Beck (The Notwist, Joasihno) ist ein Konzeptalbum, hört auf den Namen "Devil's Diamond Memory Collection" und erscheint im Mai 2021. Fünf Jahre sind seit dem letzten Album von Aloa Input, der einstigen Speerspitze des "New Weird Bavaria", vergangen. Eine für die Band ungewöhnlich lange Zeit. Angela Aux, Marcus Grassl und Cico Beck verbrachten sie damit einen endlosen Strom an Demomaterial zu produzieren. Bei Sessions in Ateliers, Kinos und Kellerräumen in München, Mexico City und Montreal entstanden knapp 50 Stücke. Am Ende blieben 14 übrig, die im ersten Konzeptalbum der achtjährigen Bandgeschichte gipfelten. Das Thema? Die ,gefühlte Ewigkeit"! Jedes der 14 Lieder ist aus einer anderen, fiktiven Perspektive aus einem unbestimmten Zeitpunkt in der Zukunft erzählt, eine Rückschau auf die Fetzen unserer Zivilisation. ,Wir wollten eine Platte machen, die wir selber in 20 Jahren anhören würden und sagen, ja: So erschien uns damals die Zukunft". Doch wie lässt man eine Zukunft vor dem inneren Ohr auferstehen, die nur in unseren Gedanken existieren kann? Aloa Input haben auf ,Devil's Diamond Memory Collection" den richtigen Ton getroffen, irgendwo zwischen alienated und alltäglich. "Devil's Diamond Memory Collection" ist der Soundtrack für ein Science-Fiction-Szenario, das nicht als fortschrittsoptimistische Utopie oder bombastische Endzeitvision daherkommt, sondern als geradezu beiläufige Erkenntnis, dass wir längst in unserer Zukunft angekommen sind. 180gr Vinyl in festem Klappcover plus Download Code

LTD PINK PANTHER LP

Nach zwei Alben auf Morr Music erscheint das dritte Album der Münchner ALOA INPUT auf dem Wiener Label SILUH RECORDS. Der versponnen-psychedelische Krautpop-Entwurf mit Independent Folk-Anleihen wird konzeptuell erhöht und darf Liebhabern der Beta Band, Jane Weaver, späten Tame Impala oder Animal Collective nicht entgehen. ALOA INPUT ist im besten Sinne eine Experimental Pop Band. Das dritte Album der Band um Angela Aux, Marcus Grassl und Cico Beck (The Notwist, Joasihno) ist ein Konzeptalbum, hört auf den Namen "Devil's Diamond Memory Collection" und erscheint im Mai 2021. Fünf Jahre sind seit dem letzten Album von Aloa Input, der einstigen Speerspitze des "New Weird Bavaria", vergangen. Eine für die Band ungewöhnlich lange Zeit. Angela Aux, Marcus Grassl und Cico Beck verbrachten sie damit einen endlosen Strom an Demomaterial zu produzieren. Bei Sessions in Ateliers, Kinos und Kellerräumen in München, Mexico City und Montreal entstanden knapp 50 Stücke. Am Ende blieben 14 übrig, die im ersten Konzeptalbum der achtjährigen Bandgeschichte gipfelten. Das Thema? Die ,gefühlte Ewigkeit"! Jedes der 14 Lieder ist aus einer anderen, fiktiven Perspektive aus einem unbestimmten Zeitpunkt in der Zukunft erzählt, eine Rückschau auf die Fetzen unserer Zivilisation. ,Wir wollten eine Platte machen, die wir selber in 20 Jahren anhören würden und sagen, ja: So erschien uns damals die Zukunft". Doch wie lässt man eine Zukunft vor dem inneren Ohr auferstehen, die nur in unseren Gedanken existieren kann? Aloa Input haben auf ,Devil's Diamond Memory Collection" den richtigen Ton getroffen, irgendwo zwischen alienated und alltäglich. "Devil's Diamond Memory Collection" ist der Soundtrack für ein Science-Fiction-Szenario, das nicht als fortschrittsoptimistische Utopie oder bombastische Endzeitvision daherkommt, sondern als geradezu beiläufige Erkenntnis, dass wir längst in unserer Zukunft angekommen sind. 180gr Vinyl in festem Klappcover plus Download Code

La Fricativa Sonora is the new instrumental project with Jamaican roots formed by members of The Shake It Up’s, The Golden Singles, Begoña Bang-Matu, Mamvt, Ki Sap, Dirty Soul Riders … In November 2020 they release their first LP entitled «Yawina Bobongo». A first album as a presentation letter formed by 10 instrumental themes, where we will find different styles like reggae, ska, dub… with which we will travel to the Jamaica of the 60s and dance like crazy while enjoying the improvisations of Valencian musicians dedicated to the Jamaican-Valencian scene

Great Jamaican sound record that you have to have in your discography.

Limited edition of 250 copies

Sometimes, savagery is the most effective form of communication. For that, there are the Dueling Experts, the dark ninjas behind one of 2020’s most filthy, cohesive, and authentic hip-hop records. A masterclass of verbal carnage and bell-ringing beats that reminds you that if ain’t raw, it’s worthless. You may know Verbal Kent, the battle-scarred Chicago sensei, who has proven his mettle time and time again on wax -- both in his solo albums and in Ugly Heroes. But you’ve never heard him as serrated as he sounds alongside the Ghanian MC, Recognize Ali. Spitting pyroclastic flows over a treasure trove of lo-fi beats excavated from the legendary and mysterious producer, Lord Beatjitzu, the two craftsmen attack with meticulous rhyme schemes and hardbody vocals to spark melees. The beats are so adamantine that they could crush diamonds. Meanwhile, Kent and Ali exhibit a chemistry reminiscent of all-time greats like Billy Danze and Lil Fame of M.O.P., Raekwon and Ghostface, and Rock (Sean Price) and Ruck of the Boot Camp Click. This is the sound of war. Hip-hop to slap the proverbial taste of your mouth. The soundtrack to bloody knuckle brawls and broken glass. Beats that sound like they were dropped on the floor and coated in filth, boasting an almost Beta-like quality while simultaneously exemplifying sampling and chopping in a 90’s RZA-like fashion. This is the second installment "DE2: Sand the Floor

Entwickelt über einen Zeitraum von zwei Jahren, in den auch die Veröffentlichung des 2019 erschienenen Albums ,Stray Fantasies" fiel, liefert das Ehepaar Hollie und Keith Kenniff mit ,In A Deep And Dreamless Sleep" nun ein deutlich schemenhafteres Kapitel ihres Technicolor-Pop-Projekts MINT JULEP ab. Wo das erste Album ein kristallines Gitterwerk definierter Pop-Strukturen trug, stumpft das zweite diese Schärfe ab und macht den Glanz weicher, indem es ein Gleichgewicht zwischen Songkunst und Hollies Solomaterial sowie Keiths Output als Goldmund herstellt. ,In A Deep And Dreamless Sleep" nimmt eine luftigere Form an und verströmt einen schweren Nebel von Shoegaze-Sensibilität, obwohl das ansteckende Pop-Know-How seines Vorgängers fest intakt bleibt. Im Gegensatz zu seinem Titel ist ,In A Deep And Dreamless Sleep" voll von Traumwelt-Neigungen, in denen Wachen und Schlafen, Lieben und Verlassen, Leben und Sterben austauschbar sind. Das Album ist durchdrungen von der sanften Betäubung der aufkommenden Liebe - oder vielleicht ist es die Trauer einer Liebe in ihrem Zwielicht. Oder es ist das Gefühl eines Ehepaares, das seine Liebe vor dem Hintergrund seines geschäftigen Lebens pflegt. ,In A Deep And Dreamless Sleep" ist ein Fenster in eine berauschend romantische Parallelwelt, die die Kenniffs aus analogen Synthesizern, meisterhaftem Sounddesign, nektargetränkten Hooks und luftigen Vocals, die weit in ein Meer von Texturen hinauswaten, erschaffen haben. Sie haben es geschafft, den Wert jahrelanger Rendezvous-Nächte in eine 46-minütige Sammlung von phosphoreszierendem Ambient-Pop zu verwandeln, der ein Gefühl von gekonnter Konsistenz vermittelt, das die beiläufige Entstehung des Albums widerlegt.

This highly collectible LP from 1974 is a nonstop salsa dura party album from start to finish, comparable with any of New York's finest like Ray Barretto and Willie Colón from the same era, but with its own unique sound and joyful vibe. Includes the anthems 'Mi Nuevo Ritmo' and 'Alma y Sentimiento/ Soul and Feeling' recorded at different sessions in Colombia and Peru. Presented in its original artwork and pressed on 180g vinyl. The highly collectible LP Alfredo Linares Y Su Salsa Star "Mi Nuevo Ritmo" (1974) is a nonstop salsa dura party album from start to finish, comparable with any of New York's finest like Ray Barretto and Willie Colón from the same era, but with its own unique swinging sound and bright, crisp, joyful vibe. There are plenty of straight up Cuban-roots based salsa tunes, plus some Latin jazz and Latin soul and a bolero. Trumpets, hand claps, loud cowbell, and vigorous vocals all make for a great listen and an even better dance experience. As the track 'La Música Brava' proclaims, "Yo no quiero que pare la música brava!" (I don't want the badass music to stop!). The record is actually a patchwork of different recording sessions made in Peru and Colombia, featuring differing studio sound and musician lineups. Linares had just returned to his adopted home of Medellín from a period spent in Peru and was looking for a record deal. He had brought master tapes with four songs recorded in Lima and was shopping them around in the hopes of securing an album contract. Linares also cut some Colombian sessions which feature Roy "Tayrona" Betancourt as well as Henry Castro and Enrique Fabián. Unfortunately, neither Discos Fuentes nor Sonolux or Codiscos were interested. At that time, vinyl for making records was scarce and over-priced due to the petroleum crisis and hence the labels were reluctant to try out a new artist. "There was nothing to be done. The only company that had vinyl stock was INS. So I did the business with them even though they didn't have a known name in Colombia. The strength of that album made them rather famous." The song 'Mambo Rock' (with 'Estricto Guaguancó' on the B side) came out on a 45rpm record in 1974, and, as Linares recounts it, "two months later the sale was at a very high level. So, partly out of gratitude, I started producing for them. It is from there that my other records and the AfroINS albums came." Unfortunately the master tapes to the LP were lost or destroyed, as with all INS releases, so the best possible vinyl sources and audio restoration has been used for this deluxe reissue.

Formed from the ashes of The Beta Band, The Aliens blazed a trail with two critically acclaimed LP's in the mid to late Noughties - hitting the UK official charts as well as Hollywood film & TV - before mysteriously vanishing from the Humanoid star system.

Hot on the heels of marking their return with the surprising electronica-delia of Electronville The Aliens pre-sent their latest album-length EP and a return to something more familiar for their long time fans. The A-side on Back To Beyond entails the 10 minute drone rock disasterpiece Follow The Son, the melancholy instru-mental sdlmnm strings and the bastard love child of two of their most popular songs in Roxbot. Side B features atmospheric instrumental tingler For Emma, a Robot Man disco mix appropriately titled Reboot Man and finishes with the longer, dirtier, rawer, inbred cousin of fan favourite Magic Man - Majic Man Pre-quel. Something old, something new, something borrowed, something blue… Back To Beyond is like a wedding of The Aliens.

After a dormant decade the mercurial Gordon Anderson AKA Lone Pigeon is on a crusade to release as many of his estimated 10,000 songs as Alienly possible and come to the rescue of the downward spiralling Humanoids of Planet Earth. While The Aliens continue work on their much anticipated new LP the good news is that there’s plenty to keep fans occupied in the meantime.

Original Soundtrack to FEELS GOOD MAN - (US Special Jury Prize for Emerging Filmmaker - Sundance 2020)