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Black Truffle is pleased to announce the first vinyl reissue of Trancedance, a wild slice of Swedish Afro-fusion from Christer Bothén, originally released in 1984. A major figure in Swedish jazz and improvised music since the 1970s, often heard on bass clarinet and tenor sax, Bothen studied doso n’koni (the large six-stringed ‘hunter’s harp’ of the Wasulu) in Mali in 1971-2 before turning to the guinbri (the three-stringed lute of the Gnawa/Gnauoua) in Marakesh later in the decade. In between, he performed extensively with Don Cherry during his Organic Music Society period and taught Cherry the doso n’koni. In the later 70s and 80s he worked with the most important figures in the distinctive Swedish jazz-rock-world fusion scene, joining Archimedes Badkar for their African-influenced Tre and participating in Bengt Berger’s legendary Bitter Funeral Beer Band. Many of the musicians who played on the Bitter Funeral Beer Band’s ECM LP (including Berger on drums, Anita Livstrand on voice and percussion and Tord Bengstsson on piano, violin and guitar) joined Bothén for one of the sessions that produced Trancedance, the first release under his own name, dedicated to his compositions. The other session introduced his seven-piece group Bolon Bata, heard on the second track of each side. The title track opens the album with the rubbery buzzing strings of the doso n’goni playing a hypnotic ten beat pattern, soon joined by bass and piano before the entire nine-piece group kicks in with a rollicking Afro-jazz workout, Berger’s drums driving an intricate, winding melodic line played by the horns with Mattias Helden’s cello throwing in pizzicato slides and smears. Bothén then takes centre stage on tenor sax, soloing with a wide, vibrating tone and moving seamlessly from soaring melodies to guttural stutters. After a return to the composed horn lines and a solo from Elsie Petrén on alto sax, the piece builds to an ecstatic conclusion of yelping voices and handclaps, gradually simmering down to return to the solo doso n’koni where it began.

The hypnotic sounds of the hunter’s harp carries over to ‘Mimouna’, where it is joined by Bothen’s overdubbed guinbri. The piece develops into a haunting whispered and sung invocation, gradually building momentum until the organic textures of strings, voices, and hand percussion are ruptured by Lennart Söderlund’s distorted guitar, which brings an unmistakable touch of 1984 to the otherwise timeless sound. Joined by chicken scratch guitar and increasingly dominated by the insistent clang of three of Bolon Bata’s members on karqab (a kind of cast-iron castanet), the grove develops frenetically.

The B side opens with the multi-part epic ‘9+10 Moving Pictures for the Ear’, at over 16 minutes the record’s longest piece. Though Bothen is heard only on horns on this piece, the hypnotic repeating bass line carries on the first side’s link to African musical traditions. Using an expanded 16-piece ensemble, the music balances untethered improvisation with carefully arranged passages of knotty ensemble playing that at points suggest Mingus, Moacir Santos or some of the ambitious post-free work being done in the same years by figures like David Murray or Henry Threadgill. The piece ends with a triumphant passage of looping unison melody reminiscent of the Scandinavian folk explorations of Arbete och Fritid (whose Kjell Westling is heard on bass clarinet and soprano sax here). The sound of Bjorn Lundqvist’s fretless bass introduces the odd left turn made by the record’s final track, a spaced-out expedition into bluesy horn lines and distant guitar atmospherics set to a semi-reggae beat, perfumed by the core Bolon Bata group and bearing the appropriate title of ‘The Horizon Stroller’. A must for fans of the Swedish scene around groups like Arbete och Fritid and Archimedes Badkar, as well as any listener who has been seduced by Louis Moholo’s Spirits Rejoice!, The Brotherhood of Breath, or, more recently, the guinbri grooves of Natural Information Society, Trancedance is a lost classic ripe for rediscovery.

Pressed on dark green BioVinyl housed in a gatefold cover.Cover and gatefold artwork by Scottish artist Paul Scott Canavan (Dungeons & Dragons, Magic: The Gathering). Includes 12" art card of original artwork. Uncover the secrets of the Scottish Highlands with this beautiful vinyl release of "A Highland Song", brought to you by Lost In Cult in collaboration with Black Screen Records and Inkle Studios. Moira McKinnon has never seen the sea. Tired of her life of seclusion, she runs away from home in search of adventure. A lighthouse can be seen in the distance, but to reach it she must overcome a beautiful yet perilous journey across the Scottish Highlands. This authentic Scottish score is comprised of a suite of hauntingly beautiful original tracks by Laurence Chapman (Heaven's Vault, Total War) complemented by iconic hits from Scottish folk industry legends TALISK and Fourth Moon that provide a rapturous, virtuosic sense of rhythm to Moira's great journey through a wilderness of paths, peaks, dangers and song. This record comes in luscious dark green eco-friendly BioVinyl and features beautiful artwork from Scottish artist Paul Scott Canavan, known for his work on Magic: The Gathering and Dungeons & Dragons. Paul has developed a beautiful piece of cover art showing Moira gazing out at the game's iconic lighthouse, as well as a breathtaking gatefold view of an authentic interpretation of Scottish scenery. Take in the view in your own time with a 12" art print to frame on your wall.

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.

Solo Throat is the first solo LP from vocalist, composer and movement artist Elaine Mitchener. Drawing on the work of African-American and African-Caribbean poets Edward Kamau Brathwaite, Aimé Césaire, Una Marson and N. H. Pritchard, these twelve new vocal compositions disrupt semantic sense, play with the margins of lyrical translation, and give rise to new voicings. Elaine Mitchener is a veteran of vocal expression in the global Black Avant Garde, traversing free improvisation, cross-disciplinary music theatre and contemporary composition with clarity and joy. Most recently, Mitchener has been improvising and composing with the written word as source material - challenging classical ensembles with her piece (“the/e so/ou/nd be/t/ween”), and commissioning composers Matana Roberts, Jason Yarde and George Lewis to respond to the work of Sylvia Wynter (“On Being Human as Praxis”, Donaueschinger Musiktage, 2020). Her performance of Umbra poet N.H Pritchard’s text FR/OG at OTO in 2021 was a revelation - a solo vocal recasting of the powerful visual-material form that Pritchard uses to disrupt semantic ‘sense’. Building on this performance, Solo Throat takes the work of Pritchard alongside poets Edward Kamau Brathwaite, Aimé Césaire and Una Marson as its source material. Its compositions are a loose translation - a carrying from text to voice which holds multiplicity and celebrates the transformative power of literary possibility. Surrendered to the spacing and repetition of consonants and vowels, Michener’s exceptional phonetic freedom gives rise to a sensuous experience which intensifies the roles of rhythm, timbre and breath in expressing meaning. Solo Throat comes together as much through difference as similarity. Mitchener’s own solo improvisations sit alongside the work of Brathwaite, Césaire, Marson and Pritchard, forming a constellation of unlikely alignments which make no aesthetic conclusion. Instead, Solo Throat is a site of encounter, an irreducibly plural de-composition of words into a heterogeneous assemblage of sounds and impulses, emphasising what Anthony Reed calls, “the play on and the surplus of margins of lyrical translation to resituate other pathways of expression”. Just as the poets cited use white space to complicate our act of reading, so Mitchener utilises silence and multiphonics to complicate the act of voicing and the way we listen. Genre: Experimental / Vocal / Poetry

2024 Repress

Imagine a held-up-in-traffic Wayne Shorter arriving late to a Weather Report studio session and Joe Zawinul, Victor Bailey, and Omar Hakim filling in the time by jamming on a grooving house cut. Had that happened, it might have sounded a little bit like “It Never Stops,” one of two ultra-fresh tracks on Kaidi Tatham's Yore debut. Jazz and house are obviously distinct genres, yet as this irresistible cut makes clear swing is common to both. The other track, the cerebrally titled “One for the Brain,” locates itself closer to house music proper but is no less appealing for doing so.
Given the jazzy vibe of “It Never Stops,” it's fitting that Benji B once deemed Tatham the "Herbie Hancock of the United Kingdom.” Regarded as one of the originators of the Broken Beat sound, the UK-based multi-instrumentalist has worked with many an artist, from Bugz In The Attic and The Herbaliser to DJ Jazzy Jeff, and his session work credits list Slum Village, Amy Winehouse, Soul II Soul, and others. His own discography includes EPs and releases for labels such as 2000 Black, First World Records, Theo Parrish's Sound Signature, Eglo Records, and now, of course, Yore.


“It Never Stops” rolls in on a wave of silky synthesizer textures and percolating precision with a tight, funky groove that instantly pulls you into its velvety world. Triangles, electric bass, and clavinet add collective radiance to the material as the tune struts its way into your psyche. As if to make the jazz connection even more explicit, Tatham works an acoustic piano solo into the cut's second half before shifting focus back to the groove for the coda. “One for the Brain,” by comparison, digs into its chugging house pulse with fervour whilst also sweetening the arrangement with painterly synth flourishes. This one charges with breathless determination and like “It Never Stops” nods in jazz's direction with the inclusion of a freewheeling piano solo. Every minute and second on this strictly limited 12“ release seem's meaningful. No Represses / Limited 200 Copies.

'One Deep River' is Mark's sixth consecutive studio album to be recorded at his British Grove Studios and his first since 2018's 'Down The Road Wherever.' When Covid restrictions eased, Mark reconvened at BG with longtime band members and collaborators such as Guy Fletcher, Danny Cummings, Richard Bennett, Glenn Worf, Jim Cox and others, with the addition of first-time contributor Greg Leisz on pedal and lap steel and acoustic guitar.

Says Mark of the new album, which he co-produced with longtime confidant Fletcher: "It was back to the old-fashioned idea of a band making a record together in the room, which maybe in the more youth-oriented side of the industry has become quite rare, because everyone uses loads of technology. We do too, but what we do is we combine the old and the new. If it works, I use it.

"With these songs, you can see them coming together very quickly, with a band like this. You're in a game where you're making the thing and it's happening whether you like it or not. You could push the pace, but I try and give myself a little bit more breathing room. The fatal thing a lot of the time would be to want to rush everything. Something creative always happens by not panicking."

Of the track 'Ahead Of The Game,' Mark adds: "That all goes back to bands playing live. In some way, I was thinking about Nashville, because when I first went out there, it must have been in the early '80s and all the bands in the bars downtown were playing the hits. And that's fine. What I was trying to say is that's an achievement to actually get to a place where you've got employment, and you've got yourself a gig. I mean, statistically, what are the odds of making it? If you stopped to think about that, you'd hardly take a step further, would you?"

A humanity-reminding suite of miracle moments, Someone Like Me unites a geographically unbound cast of real people in pursuit of a meaningful connection. Taping their lived experience in economic studios in quiet English counties, Pacific Northwest woodland retreats and the big city bustle of Sydney and Los Angeles, these kindred spirits rendered sheer beauty in the process. Custom pressed folk songs of love, loss and the lord saviour.

Illuminating minor works from seasoned players such as former Syndicate Of Sound chart-topper Sharkey and late-era Canned Heat lynchpin James Thornbury, the collection simultaneously honours the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realised her loose bubblegum rocker on campus time, while U.S. Navy recruit Fred Potts cut his unconditionally serene ballad remotely stationed on a Spanish naval base. Spartan production continues to reign with Jon Betmead’s hair-raising gospel, howling into infinite space, and Goldrust’s stripped back garden hymn.

Throughout the hour-long reflection, faith has an intermittent yet revelatory presence, most overtly with the divine choral soul of Seventh-day Adventist quartet Remnant. More subtly, Gary Ramey and Jim Kennedy both turned to song in their spiritual quests, offering their all to a universal power. An irrefutable compilation cornerstone, the National Office For Black Catholics showcased Charles Murphy’s lionhearted account of the Black experience at a 1971 concert. Five years earlier, high school seniors The Superwomen would use their hauntingly angelic harmonies to address racial inequity with a breathless take on ‘Lowlands’.

Reaching the furthest corners, Someone Like Me secures the inaugural licence of three homespun masterpieces. Discovered by fluke in the digital haystacks of Youtube and Soundcloud, Jim Huxley’s bedroom pop earworm melds peacefully into Charlie Webster’s synthesized reverie. Meanwhile, Hollywood’s John Agostino introduces us to the bizarre world of tax scam records, with the artist only now learning that his tender psych-folk demos were leaked via a 1977 bootleg.

Compiled and lovingly restored by armchair digger Mikey Young (Eddy Current Suppression Ring/The Green Child), Someone Like Me pays due service to seventeen rarefied journals of truth and devotion. Adorned with visual artist Chris Fallon’s figure and flora dream extractions, the uniting songbook is further detailed by expansive track-by-track liner notes and a forward from San Franciscan poet Rod Roland.

Black Tusk kennen sich schon lange. Gitarrist Andrew Fidler und Schlagzeuger James May sind beide in den Sümpfen von Savannah, Georgia, aufgewachsen, wo sie seit 19 Jahren gemeinsam auf die Pauke hauen.
Obwohl sie oft in einem Atemzug mit Baroness und Kylesa genannt werden, sind Black Tusk ein ganz anderes Kaliber. Diese Sumpfmonster haben sich nie weit von ihren Wurzeln im Metal, Sludge und Punk entfernt, obwohl sie auf ihrem letzten Album nach dem Tod von Bassist Jonathan Athon darum kämpfen mussten, weiter zu bestehen.
The Way Forward ist das Ergebnis des gewonnenen Kampfes. Das Album stürmt mit neuer Besetzung (zu der auch die ehemaligen Mitstreiter Chris "Scary" Adams und Bassist Derek Lynch gehören) direkt nach vorne. Gemeinsam bahnt sich die Band einen Weg in die Zukunft, indem sie sich auf das verlassen, was Black Tusk am besten kann. Die Leadsingle "Brushfire" kommt mit einem fiesen, hässlichen, mit den Füßen stampfenden Riff daher. Der raue und ruppige Gesang lässt die Boxen durch "Dance on Your Grave" trampeln, während "Breath of Life" mit erhobener Faust lostrommelt, als ob ein Gewitter rollt und kracht.

Black Tusk kennen sich schon lange. Gitarrist Andrew Fidler und Schlagzeuger James May sind beide in den Sümpfen von Savannah, Georgia, aufgewachsen, wo sie seit 19 Jahren gemeinsam auf die Pauke hauen.
Obwohl sie oft in einem Atemzug mit Baroness und Kylesa genannt werden, sind Black Tusk ein ganz anderes Kaliber. Diese Sumpfmonster haben sich nie weit von ihren Wurzeln im Metal, Sludge und Punk entfernt, obwohl sie auf ihrem letzten Album nach dem Tod von Bassist Jonathan Athon darum kämpfen mussten, weiter zu bestehen.
The Way Forward ist das Ergebnis des gewonnenen Kampfes. Das Album stürmt mit neuer Besetzung (zu der auch die ehemaligen Mitstreiter Chris "Scary" Adams und Bassist Derek Lynch gehören) direkt nach vorne. Gemeinsam bahnt sich die Band einen Weg in die Zukunft, indem sie sich auf das verlassen, was Black Tusk am besten kann. Die Leadsingle "Brushfire" kommt mit einem fiesen, hässlichen, mit den Füßen stampfenden Riff daher. Der raue und ruppige Gesang lässt die Boxen durch "Dance on Your Grave" trampeln, während "Breath of Life" mit erhobener Faust lostrommelt, als ob ein Gewitter rollt und kracht.

This 1997 compilation collects three of Entombed's classic EPs in full (namely, 1991's Crawl, 1992's Stranger Aeons and 1994's Out Of Hand) alongside some other rarities and unreleased gems. Featuring a diverse array of covers of bands like Repulsion, Kiss, Unsane and Roky Erickson alongside the band's own material, this compilation gives a great insight into the myriad of influences that went into creating Entombed's unique sound.

Remastered re-issue of this now classic work of Ambient / Dungeon Synth. Conceived in late 2002 as a soundtrack for one of the most sinister, dark, brutal and morbid periods of European history, the Dark Ages. Diving deep into Medieval works on witchcraft, demonology and theology, as well as the works of modern authors exploring all the aspects of that epoch, Roman Saenko (of Drudkh and Hate Forest) wanted to explore all shades of the Middle Ages. Bringing forth images, details and landscapes of that era into the modern world using a minimalistic yet very poignant pallet of sounds. Artwork by Heresie Studio.

limited repress available! *gatefold sleeve + insert, regular 120g black vinyl!0 Through the recent years of lockdowns and silence and having too much time to think, Tex Perkins always found solace in the company of song. Having his friend Matt Walker as a co-writer-conspirator, Perkins revelled in the experience which prompted the forming and recording of the first Fat Rubber Band album at Walker & #39's Stovepipe Studios with bassist Steve Hadley, drummer Roger Bergodaz and percussionist Evan Richards. After such an affirmative and creative experience Perkins was itching to commence work on what has become the band's second album, Other World. "The first Fat Rubber Band album was kind of deliberately a little ragged. A bit fuzzy around the edges" said Perkins. "There is a certain maturity that we now possess where ideas can be realised and take form very quickly. We've become a real band. I think what you heard on the first album is the band being formed." While he's played with many musicians, finding true collaborators is something that Perkins treasures. During the lockdowns, he pondered whether he would ever have that day-to-day musician experience again. With The Fat Rubber Band it's not just another grouping of musicians playing music together, but a gathering that is very much about the head, heart and soul and something he is clearly grateful for. "Roger Bergodaz was incredible. His drum kit was in the control room and he engineered the record and played drums pretty much at the same time! He constantly created the surroundings where an enthusiastic and positive atmosphere always prevailed. We never came away empty handed. I loved making this record so much," Perkins says, "because fucking magic happened. Yes, that's right, magic or how about alchemy? (A medieval science with a mysterious process that seeks to turn base metals into Gold.) Well, I dunno about gold, but I witnessed ideas, thoughts, whims and imaginings transmute almost effortlessly into living breathing songs with a soul and a heartbeat and even their own private history every time we went into the studio for this recording. Actually, no, magic is better." Perkins explains "This magic came about with the help of over 4O years of experience from each of the Fat Rubber band members. They're all truly great players and they're all really generous collaborators, so I guess what I'm saying is, it doesn't matter what happens from here. I'm very aware these days, with 100s of new releases each week, it's harder than ever to get people to give a shit about a new album from anybody, let alone from a bunch of hairy blokes in their 50s from Australia fronted by a dude that's been around since the early eighties named Tex. Actually, I can't believe you're still reading this! But you know it doesn't really matter, I've seen the magic."

Stop. Breathe. Reload. And dive into "El Paso, Elsewhere: The Album". Black Screen Records, Lost In Cult Records and Strange Scaffold are teaming up to bring the original songs of RJ Lake and LAKE SAVAGE to life on glorious vinyl. "El Paso, Elsewhere: The Album" takes aim at the key songs that punctuate the game's dark and introspective journey through haunted hallways - with heavy doses of hip-hop, electronica and Trace-Wave coalescing into a pellucid vision of influences and a deeply entrenched sense of identity, akin to the works of seminal hip-hop artists such as Kendrick Lamar and Open Mike Eagle. All tied together within the beautiful gold foil cover artwork by Bri Neumann. RJ Lake shared some of their thoughts going into the creation of this album: "Months before the first thing I ever started working on with Nelson Dog Airport Game (that's not the actual title, but it might as well be) even came out, he asked me if I knew anyone who could make a horror game. I knew a guy. A few months in, we did a touch-base about the music and mutually agreed that none of it at that point was totally working. It was good (look, I'm not going to put myself down here; even back in 2020, it kicked ass) but it wasn't RIGHT. He gave me a bunch of reference materials and kept pointing to them and saying: 'Okay, but these? These are RIGHT. These have the juice we want.' The thing every single song he showed me had in common, was that every one of them had vocals. After some back and forth, we both agreed: 'El Paso, Elsewhere' had to be a rap record as much as it had to be a game. So, three and a half years later, here we are. This is probably the most lavishly mixed thing I've ever made, full of weird, intricate beats, layered vocals from both myself and Nelson, lyrics that go everywhere from bleak to so-party-that-you'll-die to totally ridiculous, loads and loads of genre switch-ups, and absolutely zero subtlety. For 'El Paso, Elsewhere', I made a full score, but that's not what this is. This vinyl is a fucking album and it's sequenced like one. Play it loud!" Alongside the LP, explore what happens after the events of "El Paso, Elsewhere" within the diaries of James Savage - an exclusive in-world archive of the thoughts and feelings directly from the heart and soul of our protagonist within the liner notes. As well as a 5-page excerpt from the "El Paso, Elsewhere" original script and never before seen concept art by Demente Animation Studio.

With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of »using the studio as a compositional tool« and recorded and released three Dome albums on their own label in the space of 12 months: »Dome« (July 1980), »Dome 2« (October 1980) and »Dome 3« (October 1981). A final fourth album, »Will You Speak this World: Dome 4« was released on the Norwegian Uniton label in May 1983.

These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.

Focus On Nature ist das neue Studioalbum des gefeierten Post-Psych/Independent Singer-Songwriters Nick Saloman und seiner Band The Bevis Frond. Fünfundsiebzig Minuten herrlicher Melodien, die sich zwischen 60er-Jahre-Psych, englischem Folk, den Seattle Art-Punks The Wipers, dem Buzzsaw-Pop von Dinosaur Jr. und Hendrix-esken Erkundungen bewegen. Ihre Musik hat immer etwas spielerisch Englisches an sich. Die Kult-Ikonen, die sicherlich The Lemonheads, Teenage Fanclub, Elliot Smith, Pavement und Dinosaur Jr. beeinflussten, haben eine weitere schräge Mischung aus melodischer, klaviergeführter Melancholie, akustischen Grübeleien, kratzigem Garagen-Rock mit punkigem Einschlag und voller Gitarren-Histrionik produziert. Wie der viel gelobte und äußerst erfolgreiche Vorgänger "Little Eden" befasst sich die neue Platte mit dem Überdruss der Welt, füllt aber eine größere Leinwand aus: Fast Food und globale Erwärmung, gebrochene Herzen und lange Nächte, alltägliche Unsterblichkeit und Gottes Geschenk - all das findet seinen Platz. Es ist wie Townshend in seiner thematischsten Phase; Big Star in all ihrer akustischen Pracht, perfekt ausbalanciert mit der punkigen Garage-Rock-Combo, die auf "Empty" mit Gilmour-Breaks endet, die das Ganze zur Größe erheben. "Sie mischen immer noch Pop, Punk und Psych mit schwindelerregender Wirkung. The Guardian "Selbstreflexion gepaart mit einer reumütigen Bestandsaufnahme des aktuellen Zustands der Nation." Uncut zu Little Eden - Erhältlich auf Ltd Double Purple Vinyl, DL-Karte und/oder als CD im Digisleeve -

Hailing from Brittany, historical center of France's industrial scene and in close proximity to Belgium's infamous rave and EBM innovations, Ekors set out to deliberately blacken and burn the sophisticated sounds emanating from Paris. With releases on Amsterdam's harsh Leyla imprint, fellow French hardcore iconoclast Umwelt's Flesh or Die, and JoeFarr's User Experience, the trio undoubtedly made their name in their lonely redoubt in the timberland, and Rant & Rave is honored to host their theme EP, Forest Killers, as our fifth release.

'Woodchip' conjures nightmares of dead bodies run through a woodchipper rather than more pastoral scenes, its distorted kicks, bone-crushing bass and blasted-apart leads chopping air and anyone unlucky enough to stand in its way. Title track 'Forest Killers' is murderous, the lurching breakbeat and shrapnel percussion approaching like axe falls ever closer until the horror score melody enters, then accelerating frantically as the killers close in. 'Evil Sapp' only seems subdued in comparison, its hammering techno pulse providing scant breathing room as industrial machinery fells nearby trees. Self-explanatory 'Chainsaw Requiem' ups the discomfort as the titular tool buzzes overhead, more Texas Chainsaw Massacre than weekend warrior woodpile work. Amidst squalling leads, ricocheting percussion, fearful blasts of noise, and pounding bass and kicks, Ekors escort us out of the haunted wood, sighs of relief and evil laughs joining in chorus.

Record label boss, producer / DJ, and revered collector Marc Davis returns to his Chi-Talo series with the much-anticipated second volume. A concept of a split EP, taking one ultra-rare Chicago gem and the other a scarce Italian disco record and re-interpreting them for the modern dancefloor aesthetic.

With the first volume, released on Marc’s own Black Pegasus label, now trading hands for considerable amounts of money, round two sees him impart another double dose of digging sorcery for this Mr Bongo 12”.

Marc began his illustrious career in the Windy City in the ‘80s and was one of the first out of Chicago to be recognised for his eclectic approach to DJing. Presenting a global sound palette that took in choice cuts from Brazil, Africa, jazz fusion, house, soul and disco, whilst mixing it together Chicago style. Decades of knowledge and experience that is now distilled down into the Chi-Talo series.

The Italo selection came via a tip from Marc's Swedish friend, Julian Wareing. Hearing the track led Marc down the rabbit hole to secure a copy of this Italo-Disco, album cut oddity by the New Sound Quartet from 1979. The original of 'Bass Construction', measures in at four and a half minutes and is already a feverish funk groover. But Marc saw an opportunity to extend and re-edit the track, keeping in the vein of the original but giving it space to breathe. Tweaking out every last ounce of goodness, Marc locks you into a hypnotic groove for maximum dancefloor deliverance.

The Chicago side is as rare, as the rarest of hens-teeth, only ever existing as a one-off acetate by the band The Saucer Planes. One of the members of the group was the sadly passed-away older brother of Marc’s DJ mentor, Jahmal Anderson. From the very first listen, Marc knew he’d been hooked up with an undiscovered boogie gem. A long-lost track that the world needed to hear. But the project has remained dormant until now, not least due to the fact that the original recording of this low-fi vocal boogie groove is housed on an ever-deteriorating solo acetate. Rescued, restored and given a brand-new lease of life, Marc has turned the track into a low-slung, psychedelic instrumental boogie bounce. Raw, rough and mesmerising, it’s a refreshed relic that is a testament to Chicago’s club sound and swagger.

Whichever side you draw for, this is guaranteed to move bodies as much as it wins over hearts.

A Colourful Storm begins 2024 with a luxurious suite of daydreaming introspection courtesy of Unchained, the longstanding solo project of Nathaniel Davis who was last seen on vinyl in the final Blackest Ever Black release. Recorded at home between 2020 and 2023, Gabbeh is the latest expression of Davis's guitar-based instrumental musings and represents a stylistic evolution of his self-released noise tapes and CD-Rs into romantic, bossa nova-influenced melody-making. He wrote the tracks sporadically, with minimal instrumentation and intervention. Electric guitar, bass improvisations and rhythms from an old drum machine are layered and given new life, the space between them softly breathing with minutiae of the everyday: the buzz of cicadas, the passing of cars, the whistling of passersby. The psychogeography of Grenoble, Davis' home since 2018, played a conscious role in the weaving of Gabbeh's fabric: "I think certain songs reflect, in ways, Grenoble's natural surroundings. 'Drac' is named after the river that flows from the mountains down to the city… 'Dru' is the name of a well-known peak near Chamonix". Opener 'Largo' sets the mood, its primitive samba rhythm concealed by a cloud of saudade. The bebop sensibility follows suit, the tension between its angular picks and percussive shuffle a wondrous balancing act, while the intoxicating sway of 'Rambler' is perhaps the most poignant expression of longing and loss we've heard in recent years. Highly recommended for fans of Durutti Column, Maurice Feebank, Toninho Horta.

Godzilla returns once more to face the combined might of Japan's most extraordinary scientists in the second picture of the Millennium-era: GODZILLA VS. MEGAGUIRUS. Looking for new ways to defeat the Big G, the JSDF invent an incredible new weapon called Dimension Tide, which creates a miniature black hole that will transport Godzilla far away from Earth. However, a byproduct of weapon testing leads to thousands of winged insects invading Tokyo and attacking Godzilla. The Big G fights back, but their new queen appears, now kaiju-sized due to Godzilla's atomic breath. A thrilling battle then occurs as Godzilla goes head-to-head with Megaguirus while the JSDF frantically works to disappear both monsters forever.

GODZILLA VS. MEGAGUIRUS saw the introduction of composer Michiru Oshima into the franchise with a fantastic score that built on previous Toho musical traditions with a view to the future. While using music composed by the great Akira Ifukube for two sequences, Oshima also unveiled her own theme for Godzilla. First heard in a slow and foreboding mode, it's quickly unleashed in gigantic low tones, as terrifying and inevitable as the Big G himself. Soaring heroic material represents the JSDF and their advanced Griffon aircraft, while powerful brass is used for the threat of Megaguirus. Cementing Oshima's reputation as a great composer, GODZILLA VS. MEGAGUIRUS is a classic of kaiju musical mayhem. - Charlie Brigden

Composed by Michiru Oshima
Artwork by Attack Peter
Manufactured in Czech Republic

Inimitable post-rock outsiders A Burial At Sea return with `Close To Home', a soaring sonic love letter to the places and people that shaped them, the collective's first new music since the eponymous debut full-length in 2020, `Close To Home' is a breathtaking evolution of their unique, brass-led blend of shoegaze, math-metal and blissed out afro-jazz that draws inspiration, influence and insight from the rich Gaelic cultural heritage of their Irish homeland. First making waves in 2018 with unbridled bombastic creativity of `_And The Sum Of Its Parts' EP, A Burial At Sea turned the traditionally austere post-rock frown upside down. Quickly catching the attention of like-minded, international genre-benders And So I Watch You From Afar (ASIWYFA), This Will Destroy You ,Caspian and Some Become Hollow Tubes (Godspeed You! Black Emperor), the band subsequently spent months on tour in support, honing their incendiary craft and gaining a loyal fan base across Europe in the process. Despite being landlocked by forces outside of their control, A Burial At Sea continued their adventure by looking inwards to produce `Close To Home': a staggering refinement of the band's already singular instrumental sound. The confidence, experience and sheer musical assuredness behind this album renders any generic labels of post rock immediately obsolete. `Close To Home' proves without a doubt that A Burial At Sea are indeed more than the sum of their parts; positioning the band on the crest of a truly progressive wave of uplifting, anthemic post-rock. Everything you are NOT edition (single coloured vinyl)!

Inimitable post-rock outsiders A Burial At Sea return with `Close To Home', a soaring sonic love letter to the places and people that shaped them, the collective's first new music since the eponymous debut full-length in 2020, `Close To Home' is a breathtaking evolution of their unique, brass-led blend of shoegaze, math-metal and blissed out afro-jazz that draws inspiration, influence and insight from the rich Gaelic cultural heritage of their Irish homeland. First making waves in 2018 with unbridled bombastic creativity of `_And The Sum Of Its Parts' EP, A Burial At Sea turned the traditionally austere post-rock frown upside down. Quickly catching the attention of like-minded, international genre-benders And So I Watch You From Afar (ASIWYFA), This Will Destroy You ,Caspian and Some Become Hollow Tubes (Godspeed You! Black Emperor), the band subsequently spent months on tour in support, honing their incendiary craft and gaining a loyal fan base across Europe in the process. Despite being landlocked by forces outside of their control, A Burial At Sea continued their adventure by looking inwards to produce `Close To Home': a staggering refinement of the band's already singular instrumental sound. The confidence, experience and sheer musical assuredness behind this album renders any generic labels of post rock immediately obsolete. `Close To Home' proves without a doubt that A Burial At Sea are indeed more than the sum of their parts; positioning the band on the crest of a truly progressive wave of uplifting, anthemic post-rock. Everything you are NOT edition (single coloured vinyl)!

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.

NOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series – and the second to celebrate the ‘90s, NOW – Yearbook 1990; 79 tracks from a fantastic year in Pop! Available on 4CD deluxe book format with 79 tracks , 4CD std digi with 79 tracks and 44 tracks from a fantastic year in Pop, pressed on gorgeous translucent triple orange vinyl. Disc One includes #1s from New Order, New Kids On The Block, Steve Miller Band, and The Beautiful South, as well as Pop smashes from The KLF, The B-52’s, Kylie Minogue, Whitney Houston Kim Appleby, and concluding with the theme from Twin Peaks, Julee Cruise’s ‘Falling’, Chris Isaak with ‘Wicked Game’ and Pet Shop Boys defining ‘Being Boring’. Dance floor-fillers kick off Disc 2 from Deee-Lite with ‘Groove Is In The Heart’, #1s from SNAP!, and from Adamski & Seal plus club classics from Bass-O-Matic and Adventures Of Stevie V with ‘Dirty Cash (Money Talks)’, plus the unexpected collaboration between DNA & Suzanne Vega. Disc 3 opens with the still-breathtaking interpretation of Prince’s ‘Nothing Compares 2 U’ from Sinéad O'Connor. Up next are film related hits; Maria McKee’s ‘Show Me Heaven’, from the ‘Days Of Thunder’ soundtrack, and the ‘Young Guns II’ track ‘Blaze Of Glory’ from Jon Bon Jovi

Experience the Revival of a True Electro Classic

Welcome to the dark, immersive world of Gosub's "Night Mal'ach," now reissued and remastered by Isophlux Records. Originally released in 2007 and revered for its limited run of just 500 black labeled copies, this seminal album from the electro maestro Shad T. Scott is back, sounding fresher and more vital than ever.

About the Album:"Night Mal'ach" dives deep into the heart of electro, blending shadowy melodies with moody, brooding soundscapes. This reissue breathes new life into Gosub's iconic tracks like "Forcequit Your Love," "Fuck Satan," "Init Your Mind," and "Populated Data Cells," each meticulously remastered to captivate a new generation of listeners while honoring the purists.

Double LP on recycled & random-coloured "Re-Vinyl" Return to the unwavering wild in Downpour, where you explore new, harsh lands and survive new predators. As time passed, the slugcat has evolved. With five variants of the species - take advantage of various skills that they possess and explore their own personal tales. Black Screen Records, Videocult and Akupara Games are excited to take you an aural journey into the strange land of "Rain World: Downpour". Two LPs pressed on recycled & random-coloured "Re-Vinyl". The soundtrack is housed in a beautiful gatefold sleeve comes with UV spot varnish. The artwork was created by Kelocitta who has also reimagined the vinyl art for "Rain World". The "Rain World: Downpour" soundtrack is a collaborative work that was made possible by James Primate, Lydia Esrig, Intikus, Ongomato, Connor "12LBS" Skidmore and Progfox. A unique piece of music and very interesting mesh of different styles that truly bring the environment of Rain World to life. It's fully enjoyable without the game itself. The songs of "Rain World: Downpour" are a treat to experience, with some themes referencing the original soundtrack, such as "Threat - Waterfront Complex" or "Reflection of the Moon", and some being whole new, entirely original tracks, such as "Breathing Hyometer", "Fragile" and "Sheer Ice Torrent". Once you've experienced the "Rain World" soundtrack and gotten a feel for the style of the artists who worked on the music, "Rain World: Downpour" is an amazing continuation to experience next.

A white convertible drives off into the sunset to the sound of Save you ft. Surahn and its funky, dance-inducing mantra, the first single to herald this road trip to the edge of space. Whether on cathartic beaches (Breath) or a desolate landscape: First Wave, Shades of Black, Who am I, Stars or Ghosts and its conquering lasers, Peter's music transports us into a cinematic world
(Night Road), where the synth-pop of M83 would have fused with the pop-rock of Supertramp and Fleetwood Mac (Burning House ft. Goldilox). A radiant production, wrapped in folk strumming, orchestrated by strings and keyboards with multicoloured diodes. A record that draws on the roots of timeless songwriting, enhanced by a modern, demanding electronic sound. The voice of Surahn (Empire of the Sun) returns to close the album with Open Your Mind and its flower power adlib: the closing credits of this first opus.

Silver with White and Black Marbled. Cold Wave. Nantes, France. Simmering on the edge of an explosion, the songs injects dark and grave moods into an antsy and frenetic weave of relentless buzzing, trembling bass blows, hard stomping drum beats, spiralling synths, and ominously abrasive guitar riffs laced with echoing piercing strains, amid a haunting vocal interplay, layering harrowing baritone broods with dire seething cries to decry, through a resentful sea of anger and judgment, death to another. Cinematic visuals directed by Rom Snare star Yoram Varganyi as a lost soul looking for trouble or, perhaps, friendship with co-stars Dolorès and Alain Mt, on his last night out, whilst an unexpected ending leaves the viewer heartbroken and breathless. A busy urban backdrop sets the stage for an emotional experience where evocative acting and an on-point black leather-clad exterior sync perfectly with the brazen vibes of the soundtrack.

Utopia is an unimaginable alter world that is created by Mastering Black’s universe of sonic escapism.

When I have been overwhelmed with the amount of work that I've been doing in the past years, I have decided that I needed a certain get away - a certain sacred space for me to pursue the reason why I actually signed up for this in the beginning. Music composing that love is!

Earlier this year , during a trip in African island group Cabo Verde, we went to this night excursion to the Viana desert. We have taken some random photos shot some videos of the Moon thru a telescope. That didn’t struck me as an amazing experience yet I was there many distorted feelings in my mind trying to enjoy and forcing myself trying to be in the moment.

So when I have looked at these pictures back on a calmer state when I was home In NL , I've seen the vast amount of breather - a space - enough that is needed in life to let the blood flow in vein the way it’s suppose to flow. Envisioning your life from moon to create clarity - looking to life on earth - to understand what our mistakes are as human beings - or learning from 8 years old’s pure heart - that’s when my 8 year old daughter collaborated with the fist opening track to summarize the main purpose of our life - love or so called Utopia!
- Īlker (October 2023)

Soms is haat het enige waar je over hoort, maar er is in deze wereld meer liefde dan je je ooit kunt voorstellen.

Enigmatic Society is the next offering from the multi-faceted, Grammy-nominated supergroup Dinner Party. Full of opulently intricate instrumentation and a range of sleek R&B to smooth neo-soul vocals, Enigmatic Society is mesmerizing in its entirety.

The album features brilliant performances from the debut Dinner Party crew: Terrace Martin, Robert Glasper, Kamasi Washington and 9th Wonder, with additional help vocalists Phoelix, Arin Ray, Ant Clemons, Tank and producers Sounwave, Hi-Tek and Trevor Lawrence Jr. Enigmatic Society serves as a follow up to the group’s 2020 debut self-titled album and continues as a celebration of Black joy, life, art, and culture, as it pays tribute to the duality that manifests in both the beauty and adversity in Black America. This deep sense of community and family flows throughout the project with the album’s artwork designed by Kamasi Washington’s sister, artist Amani Washington.

The heavyweight trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return with their 12th and most epic release to date, the triple LP With pats on the head, just one too few is evil one too many is good that's all it is. Documenting the entirety of their final performance at the dearly departed Roppongi home of Tokyo underground institution SuperDeluxe in November 2018, the music spread across these six sides splits the difference between the guitar-bass-drums power trio moves and experiments with novel instrumentation that have defined the trio’s decade of working together. Containing some of the most delicate music the three have committed to wax since the gorgeous 12-string acoustic guitar and dulcimer tones of Only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen (BT011), this wide-ranging release also offers up some of their most blistering free rock performances yet.

The side-long opening piece finds Haino on a single snare drum in duet with O’Rourke on unamplified electric guitar, playing in the lovely post-Bailey vein heard on his classic 90s recordings with Henry Kaiser and Mats Gustafsson. Spiky dissonance and ringing harmonics interweave with flowing melodic fragments as Haino single-mindedly explores the resonance of the snare like an untutored Han Bennink. On ‘Right brain, left brain; right, left; right wing, left wing. Just how many combinations can be made from these?’, O’Rourke moves to synth and electronics, joined by Ambarchi on drums, who at first focuses on sizzle cymbals before hypnotic cycles of gentle tom rhythms combine with electronic burbles and flutters to suggest a dream collaboration between Masahiko Togashi and Jean Schwarz. Ambarchi’s percussion is then joined by Haino on wandering, overblown flute, before the man in black switches back to the snare for a bizarre, stuttering drum duet.

For the first trio performance, Haino makes another new addition to his seemingly infinite catalogue of instruments, this time a homemade contraption he refers to as ‘Strings of Dubious Reputation’. Joined by O’Rourke on increasingly spaced-out electric guitar and Ambarchi on skittering percussion, Haino’s wonky, slack strings adds a definite ‘musique brut’ edge to this side-long performance, certainly one of the most enchantingly odd in the trio’s discography. When the group reconvene for the second set, spread out across the final three sides, they seem ready to breathe fire from the first instant. O’Rourke slashes distorted chords on the six-string bass, Ambarchi breaks into his signature irregular caveman thump, and Haino squeals and squawks on heavily delayed oboe before unleashing an overpowering electrical storm when he first picks up the guitar. For over half an hour, the trio pound out one of their most relentless performances, a constantly rearranging kaleidoscope of tortured fuzz guitar, insanely busy bass riffing and propulsive, tumbling drums. A hushed atmosphere initially reigns on the final long piece, given the mournful title ‘There are always things I wish to say but I can only convey them in this language August 6 August 9’. Haino’s clean guitar strumming calls up the shimmering tones of his PSF classic Affection, gradually building to a surging wall of sound, bass and drums lumbering through a roar of jet-engine guitar. Arriving in a deluxe trifold package with photos by Lasse Marhaug alongside inner sleeves with extensive live images, this epic release is perhaps the most remarkable document yet of this unique trio’s stamina and continuing inventiveness.

Third album from Brooklyn, NY singer/songwriter/guitarist/harpist Lizzie No; first album with a label partner Let’s start with this: genre is a construct. To categorize artists might make it easier to organize record stores and playlists but there’s no one term that could define any artist, least of all one like Lizzie No (she/her/they/them). You could say that Lizzie No makes “Americana” music, in that her work pulls from the rhythms and traditions of Blues, Folk, and Country — not unlike the artists to whom she’s most often compared: Allison Russell, Rhiannon Giddens and Adia Victoria — but her collaborations with Brian Dunne, Pom Pom Squad and Domino Kirkie display an undeniable Indie influence that allows No to move frequently and seamlessly between overlapping musical circles. You could say that Lizzie No writes “protest” songs, in that as a Queer, Black woman, her entire existence is a living, breathing, singing protest against a genre and a country that, on their best days, are reluctant to reckon with the very foundations upon which they were built.

Known for weaving together complex rhymes with style, Elzhi has been rapping circles around the competition for more than two decades. After years as a member of iconic group Slum Village, Elzhi’s impressive solo career has included projects produced by acclaimed artists like Black Milk, Georgia Anne Muldrow, Khrysis, and Will Sessions. Now, the Detroit emcee is linking with California beat maestro Oh No for the new collaborative album Heavy Vibrato. A multitalented underground hip-hop luminary, Oh No has built a formidable resume behind the boards, crafting tracks for Mos Def, Freddie Gibbs, MF DOOM, Action Bronson, Talib Kweli, Ab-Soul, Danny Brown, and more. Heavy Vibrato is a thrilling showcase for Elzhi’s lyrical wizardry and cinematic storytelling, as Oh No breathes new life into a compelling tapestry of jazz samples, producing the entire collection. “The only thing you need to absorb this experience is an open mind,” says Elzhi. With guest appearances by Blu and Guilty Simpson, Heavy Vibrato taps into an undeniable frequency.

Impulse’ was a band of Milwaukee, Wisconsin musicians whose members included Michael Reese (Rhodes Piano and background vocals), Cedrick Rupert (Lead and Rhythm guitar), Jeffrey Williamson (Drums and background vocals) and Robin Gregory (Bass and background vocals). They would become a group in their own right with the eventual addition of another local artist John Gee, who joined them as their lead singer. The Impulse musicians formed the backing/touring band for another Milwaukee outfit, a vocal quartet, The Quadraphonics who recorded the solitary 45 single “Betcha If You Check It Out/Prove My Love To You” for the Carl Davis/E. Rodney Jones owned ‘Innovation II’ Record label during 1974. This release would later be nationally distributed by the major Warner Brothers label. With import copies of “Innovation II” single finding their way into the UK the record became popular with the devotees of Blackpool Mecca’s Highland Room.

During 1976 the members of Impulse migrated to Oakland California, they had hoped that, The ‘Quadraphonics’ would join them but instead The Quadraphonics chose to remain in Milwaukee and eventually broke up. It was fellow Brewtown producer/recording artist Harvey Scales who was responsible for inviting ‘Impulse’ to the west coast. Under the auspice of Scales, Impulse recorded their self-titled debut album project at Wally Heider’s Studio in San Francisco. The album was initially offered to Casablanca Records but no firm interest was to materialise, a subsequent approach to Jerry “The Ice Man” Butlers newly formed Chicago label, Fountain Records again failed to secure a release of the album, sadly leaving the project unreleased in the can. In the ensuing years, the former group members have continued with their respective careers, the late John Gee embarked on a solo career, recording the 1980 release “Not Enough Love Makin’/ you Are That Man (Why Don’t You Be That Man)” for Leroy Smith’s Oakland C.A, Pashlo label followed by his 1985 modern favourite “So Good To Me/Just Get On” recorded under the artist name of Jon Pierre Gee on his own newly formed Kandi Inc, Record label. Later Kandi projects included the 1995 Jon Pierre Gee & Touch album and the 2005 Ah’VantSoul cd album project, which featured Jon’s business and real-life partner, Kathryn Hannemann (a.k.a the performing artist Kat Webb).Throughout all the aforementioned projects Jon continued to use and enjoy performing with his former fellow ‘Impulse’ musicians of which the two surviving members Robin Gregory and Michael Reese can still be found jamming to this day in the renowned Milwaukee Restaurant/Coffee House by the name of ‘Coffee Makes You Black’. Sadly, drummer Jeffrey Williamson passed away during 2015 with Coley Jackson coming in to pick up the sticks! Lead and Rhythm guitarist Cedrick Rupert left the group in the 1970’s moving to Lake Charles, LA, sadly, he too passed away in 2020.

The Impulse album project having lain dormant since the 1970’s was resurrected during 2018 when Jon Pierre Gee in conjunction with Stephen Chin of Nice Choice Records (USA) and Soul Junction Records (UK) breathed new life into the project. Beginning with the release of the first of two ‘Impulse’ 45 singles on Jon’s Kandi imprint. Firstly “What’s that Sound/You Changed Me” followed in 2020 by a second 45 “I Really Love You/Get The Funk Off my Back” with all four soul and funk tracks receiving worldwide acclaim. Initial plans for the release of the whole album project had been set in place but we’re unfortunately brought to an unexpected halt with the passing of Jon Pierre in November 2020.

Undetered Soul Junction have finally been able to bring this amazing ‘Impulse’ project to life as a limited vinyl press I’m sure once heard, the old adage of “Good Things Come To Those Who Wait” will certainly ring true, enjoy.

Repress!

The latest mash up from Amerigo Gazaway is a scorcher! You loved 'Fela Soul' and 'Bizarre Tribe', now 'Yasiin Gaye': 13 tracks that perfectly blend Mos Def and Marvin Gaye. feat. Teddy Pendergrass, Talib Kweli, Kanye West, Tami Tarrell and Black Astronauts. Full picture sleeve, double vinyl. Coming next week!

Destroyer ist das dritte Solowerk von DOWNFALL OF GAIAS Peter Wolff. Dieses Mal schließt er sich mit dem niederländischen Folksänger Jens Boogaard von Knifefight und dem Filmemacher Kai Lietzke zusammen, der bereits mit Peter am letzten Albumfilm ,Breath" zusammengearbeitet hat. Der Drang, zu vergessen, irgendwo anders als hierher zu fliehen und irgend jemand anderem außer sich selbst die Schuld zu geben. Das Album erzählt die Geschichte eines schweren Autounfalles, den Jens Borgaard mit ansehen musste, aus den Augen des Verursachers. ,Was als reines Instrumentalprojekt begann, entwickelte sich durch die Hinzufügung von Gesang zu einer persönlichen Erzählung", so Wolff über das Album. ,Destroyer" ist eine Platte, die die düsteren Ambient-Klanglandschaften von Peter Wolff mit der tiefen, warmen Stimme von Jens Borgaard und der unglaublichen Filmarbeit von Kai Lietzke kombiniert, der für das Album wiederum einen kompletten Film produziert hat. Die Kombination des traditionellen Folk-Hintergrunds von Jens Borgaard mit Peter Wolffs Affinität zu düsterer elektronischer Musik sowie mit seinen Post-Metal/Crust-Core Einflüssen erzeugen eine hypnotisierende, einschüchternde Klanglandschaft. File Under: Post Rock, Elektro, Goth, Avandgarde For fans of: Jesu, Ulver, Low Subheim Black / coloured vinyl available

Destroyer ist das dritte Solowerk von DOWNFALL OF GAIAS Peter Wolff. Dieses Mal schließt er sich mit dem niederländischen Folksänger Jens Boogaard von Knifefight und dem Filmemacher Kai Lietzke zusammen, der bereits mit Peter am letzten Albumfilm ,Breath" zusammengearbeitet hat. Der Drang, zu vergessen, irgendwo anders als hierher zu fliehen und irgend jemand anderem außer sich selbst die Schuld zu geben. Das Album erzählt die Geschichte eines schweren Autounfalles, den Jens Borgaard mit ansehen musste, aus den Augen des Verursachers. ,Was als reines Instrumentalprojekt begann, entwickelte sich durch die Hinzufügung von Gesang zu einer persönlichen Erzählung", so Wolff über das Album. ,Destroyer" ist eine Platte, die die düsteren Ambient-Klanglandschaften von Peter Wolff mit der tiefen, warmen Stimme von Jens Borgaard und der unglaublichen Filmarbeit von Kai Lietzke kombiniert, der für das Album wiederum einen kompletten Film produziert hat. Die Kombination des traditionellen Folk-Hintergrunds von Jens Borgaard mit Peter Wolffs Affinität zu düsterer elektronischer Musik sowie mit seinen Post-Metal/Crust-Core Einflüssen erzeugen eine hypnotisierende, einschüchternde Klanglandschaft. File Under: Post Rock, Elektro, Goth, Avandgarde For fans of: Jesu, Ulver, Low Subheim Black / coloured vinyl available

Japanese Jazz legend Tsuyoshi Yamamoto's new album, A Shade Of
Blue, undoubtedly reflects his love of the piano trio, a group configuration that in jazz history began in the 1940s with Nat King Cole and then was developed in the 50s by innovators like Oscar Peterson, Ahmad Jamal, and Bill Evans Yamamoto's highly experienced trio - which has a combined age of 215 years -
features bassist Hiroshi Kagawa and drummer Toshio Osumi.

A Shade Of Blue reveals the three musicians' incredible musical chemistry; listening to the ten tracks they've recorded together, it's as if they breathe, think, and feel as one person; such is the musical empathy between them.

A Shade Of Blue will be released by evosound on MQA-CD, SACD- Hybrid MultiChannel, 180g Double Vinyl LP (audiophile pressing), available on the 27th October 2023.

Black Truffle is pleased to announce the first LP documenting master khene player Sombat Simla, the label’s first collaboration with Japanese sound artist, field recordist, and researcher Yasuhiro Morinaga. Simla is known in Thailand as one of the greatest living players of the khene, the ancient bamboo mouth organ particularly associated with Laos but found throughout East and Southeast Asia. His virtuosic and endlessly inventive renditions of traditional and popular songs have earned him the title ‘the god of khene’, and he is known for his innovative techniques and ability to mimic other instruments and non-musical sound, including, as a writer for the Bangkok Post describes, ‘the sound of a train journey, complete with traffic crossings and the call of barbecue chicken vendors’. Aided by a group of Thai friends, in 2018 Morinaga travelled to the Maha Sarakham province in the Isan region, arranging to meet Simla in a remote spot surrounded by rice fields. Then and there, Morinaga recorded the solo performances heard on the LP’s first side. At Morinaga’s request, Simla began with a rendition of the train song ‘Lot Fay Tay Lang’. Beginning with long tones that seem to mimic a train horn, the performance soon moves into a rapid chugging rhythm, interrupted at points by vocal exclamations and the remarkable timbre Simla produces by singing through the khene. To listeners unfamiliar with Thai music, the pentatonic scales and rhythmic chug of many of the pieces can have surprising echoes of the rawest American blues. The range of Simla’s performance is astonishing, moving from compulsive rhythmic workouts on single chords and rapid-fire runs of single notes to gentle sing-song melodies, and using a fascinating array of techniques, including a rapid tremolo that sometimes sounds almost electronic. Later the same day, Morinaga followed Simla to a cattle shed where he met percussionist Mali Moodsansee to play some molam (folk songs found in Isan and neighbouring Laos), with Pattardon Ekchatree joining in on cymbal. At times, these molam songs have a wistful, romantic character quite different from the solo pieces. Backed up by the propulsive hand drums, Simla again dazzles with his melodic fluidity, rhythmic drive, and wild displays of unorthodox technique. As Morinaga writes, ‘It felt like they had been playing together so long that their breathing was perfectly in sync, and it was like listening to the precision of James Brown’s funk’. Accompanied by extensive liner notes by Morinaga detailing the day of recording, this is a stunning document of a master musician, seamlessly integrating tradition and innovation.

Unfiltered and raw, Basement's colourmeinkindness, cuts with the emotional honesty of a personal diary backed with a flawlessly representative soundtrack. Featuring the iconic Basement songs "Covet" and "Spoiled."