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The prolific German duo are back with a new 7' release, following up their last EP "Sofea", which included a remix by Dj Spinna. The A Side features the banger "You Got It Baby", a revamped & boosted interpretation of the original version, previously released only on CD in 2009, and available for the 1st time on vinyl. This song really established the "Modern Funk" sound, and solidified First Touch as pioneers of the movement. The B Side "Crampjuice" oscillates between Funk & Electro vibes, with thumping drums and the classic First Touch aesthetics; refined and sophisticated grooves. A 7" that will never leave the bag.

Soul/Disco/Funk single here for the first time ever on vinyl!
The independent label Six Nine Records Ltd. UK, based in Newcastle upon Tyne, proudly presents Winfree and the king of remixing - Yuki “TGroove” Takahashi.
David Winfree is an American singer, songwriter, musician, producer, and talkbox artist. Born in Toledo, Ohio, Winfree has collaborated with
artists from all around the globe including those from France, Japan,
Ireland, Chile, and the Philippines. In 2002, "One On One", written by
Winfree, was recorded by the R&B icon Keith Sweat. "One On One" was also featured on the soundtrack to the 2002 movie, "The Transporter."
We are proud to now release his latest collaboration with Japanese mixer and producer Yuki "T-Groove" Takahashi, "The Best (T-Groove Remix)" B/W "I Love The Way", which is taken from the previously CD/digital only album "Gotham City". "The Best (T-Groove Remix)" is a succulent slice of vocoder dancefloor kingship, T-Groove's remix lifts it into boogie-funk / disco heaven!
Definitely not to be missed as it is a limited UK press with small hole
and full colour printed picture cover!

Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.

Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization.

These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7" vinyl, and flexi–discs.

Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.

Note: The track “Days Man” by Yoshio Ojima is only available on the LP and Cassette versions.

Marc Bolan’s passions included the blues, soul, rock ‘n’ roll, hard rock and disco-soul, and his intent to explore these genres are all visited on this collection of classic album tracks and singles. His influences – Jimi Hendrix, Eric Clapton/Cream and Bob Dylan are all apparent amongst the material on Shadowhead, but the music here is unique.
Bolan’s creative fire produced a phenomenal catalogue of work: the material on this album was recorded over five
years (1972 – 1976), in seven studios, in five countries.
This record provides insights into Bolan’s creative process whilst keeping the essence of the music in its classic
form. Shadowhead showcases the development of tracks such as Precious Star and Groove A Little, and a track that
made its public debut on the CD release, Blues Jam (Dreamy Lady Session). Other tracks reveal many of the
instruments and sounds from the master tapes to enable the working processes to be more clearly understood.
This release marks the first time that this collection has been issued on vinyl.

a 1. Midnight [master version]
[b] 2. Rapids [working version]
[c] 3. Hang-Ups [master version]
[d] 4. Do You Wanna Dance [master version]
[e] 5. Baby Boomerang [master version]
[f] 6. Truck On (Tyke) [master version]
[g] 7. Blues Jam [Dreamy Lady Session] [jam]
[h] 8. London Boys [master version]
[i] 1. Lady [master version]
[j] 2. Buick Mackane [master version]
[k] 3. Stand By Me [working version]
[l] 4. Precious Star [working version]
[m] 5. Fast Blues (Easy Action) [master version]
[n] 6. Dreamy Lady [master version]
[working version]

Quattrovalvole is the future/past/disco/drive project designed by Joone and Miss Zagato. Four on the floor Italo-disco, glossy 80s new wave pick us up in this afterdark lifestyle EP. The title track ‘Into the Night’ is a curb crawler’s seduction. Dedicated to the leather hand-notated black book, our dial up lover calls with arpeggiators demanding, then teasing like feathers over the phone. Big chords push us to drive fast, ready for what we long for.

B-side ‘Too Many Lights’ squeezes us, just what we need when broken glass is swept up from the disco floor. Tame drums and retro claps dictate, as the chords are stargazing with Miss Zagato’s vocals. They preside over the party, with potions of bliss and intoxication, we are invited intimately into this dream life.

Joone’s ‘Into The Night’ remix takes us into the future, driving at the wheel of an alcantara suede upgraded Ferrari 308 Vetroresina. The layers of well-informed 80s synth wave sends us into another dimension.

These are three high class disco tunes with real song craft at their heart.

Harry Bertoia's Glowing Sounds LP contains three versions of the same composition, each transferred at different tape speeds in accordance with the artist's instructions. This is the third LP to be released from Bertoia's extensive tape archive and it's the first, of many, to be released using instructions left behind by the artist himself.

Bertoia wrote the concept for this Glowing Sounds LP on a note in 1975 and slipped it into the master tape case where it sat unread for 45 years. The idea was simple, transfer the original recording at its original speed and two slower speeds. Bertoia noticed that the results, however, were profound.

Recorded on January 20, 1975 using two large gongs, Glowing Sounds is one of the most powerfully minimal recordings yet discovered in Bertoia's collection. The artist's note left with the tape indicated that it was recorded at a speed of 15 IPS (inches per second) but slowing it down to speeds of 7.5 IPS and 3.25 IPS were quite effective for enhanced playback. Side A features the original 15 IPS recording and the 50% slower 7.5 IPS recording. Side B features a 20 minute, ultra-slow version at 3.25 IPS.

Long, deep drones and powerful overtones define the sound of this recording. Comparison of the three speeds provides a revealing magnification of Bertoia's gongs, overtones and the artist's inventive approach to performance, composition and recording.

Bio:
Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's 'Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term 'regret pop' to describe the music they made on the 'Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach. Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here." Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing. Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. 'Real Thing' is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. "Are you the real thing?" Laura Colwell questions in the song's repeated refrain. "Honey I'm the real thing," she answers back. They've called this one their 'prom' record; a sincere, alive-in-the-moment snapshot of the heady rush of love. "The prom idea started as a mood for us to arrange and shape the music to, which we hadn't done before," the band explains. " Prom isn't all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss - all the highs and all the lows." It's in both those highs and lows where Somewhere comes alive. Laura Colwell's voice is mesmerising throughout, and while the record is a document of falling in love, there's still room for her to wilt and linger, the vibrancy of the production creating beautiful contrasts for her voice to pull us through. Opening track 'Bad With Time' sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. "I didn't mean what I said," Colwell sings. "But I wanted you to think I did." Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

Over the course of two decades The Body - Lee Buford and Chip
King - have consistently challenged assumptions and defied
categorization, redefining what it means to be a heavy band.
On ‘I’ve Seen All I Need To See’, they test the boundaries of the
studio to explore the extremes and microtonality of distortion to
find its maximal impact.
Their most incisively bleak album to date, a towering monolith of
noise, Buford’s booming, resolute drums paired with King’s
obliterated guitar and howl.
Course, bristling distortion contorts every instrument, with
samples of spoken word, cymbals, toms and King’s already
noxious tone emerging from layers of feedback.
Features guests Ben Eberle (Sandworm) and Chrissy Wolpert
(Assembly of Light Choir).
Recorded with long time engineer Seth Manchester at Machines
with Magnets (Lightning Bolt, Battles, Daughters) and mastered by
Matt Colton (Sumac, Brian Eno, Uniform, Sunn O)))).
Available on CD, metallic silver vinyl and black vinyl. LP formats
include digital download code.
The Body have collaborated with many, including Full Of Hell,
Thou, Uniform and Bummer.
“The distortion has this ability to envelope you, and not push you
away. It has this strange kind of beautiful timbre... once you give
into the sheer power of it, and let it take you on a ride then it
becomes this whole other kind of sonic experience.” - Matt Colton
The Body have continued to mould their sound into something
even more devastating, gorgeous and terrifying... As a whole, The
Body’s discography is, and will continue to be, without peer.” -
Metal Injection “Some of the most captivating heavy music around right now.” - Rolling Stone

Demon Records presents the first part of His Dark Materials – now a major TV series.
In this BBC Radio full-cast dramatisation of Northern Lights, 11-year-old Lyra discovers dark forces at work involving kidnapped children and a mysterious substance called ‘Dust’. This thrilling adaptation stars Lulu Popplewell as Lyra, Terence Stamp as Lord Asriel, Emma Fielding as Mrs Coulter, Bill Paterson as the Master, and Kenneth Cranham as Farder Coram, with a large supporting cast.
A lavish gatefold sleeve features Dust-inspired illustrations, spectacularly realised in metallic copper ink, plus full cast and production details and exclusive sleeve notes by Philip Pullman himself. This gripping drama is presented on three heavyweight 180g discs of Daemonic Dustburst splatter vinyl.
Philip Pullman’s bestselling trilogy of children’s books, which has sold more than 19 million copies worldwide, is now the inspiration for the major HBO/BBC TV series His Dark Materials.

Demon Records presents the second part of His Dark Materials – now a major TV series.
In this BBC Radio full-cast dramatisation of The Subtle Knife Will finds an opening into the haunted world of Cittàgazze - where daemon-destroying Spectres roam – and meets Lyra for the first time. This thrilling adaptation stars Daniel Anthony as Will, Lulu Popplewell as Lyra, Emma Fielding as Mrs Coulter, Tracy-Ann Oberman as Serafina Pekkala, and Peter Marinker as Lee Scorseby, with a large supporting cast.
A lavish gatefold sleeve features Dust-inspired illustrations, spectacularly realised in metallic copper ink, plus full cast and production details and exclusive sleeve notes by Philip Pullman himself. This gripping drama is presented on three heavyweight 180g discs of Daemonic Dustburst splatter vinyl.
Philip Pullman’s bestselling trilogy of children’s books, which has sold more than 19 million copies worldwide, is now the inspiration for the major HBO/BBC TV series His Dark Materials.

Demon Records presents the third and final part of His Dark Materials – now a major TV series.
In this BBC Radio full-cast dramatisation of The Amber Spyglass the young adventurers Lyra and Will must find each other and journey into the World of the Dead. This thrilling adaptation stars Lulu Popplewell as Lyra, Daniel Anthony as Will, Emma Fielding as Mrs Coulter, Tracy-Ann Oberman as Serafina Pekkala, and Terence Stamp as Lord Asriel, with a large supporting cast.
A lavish gatefold sleeve features Dust-inspired illustrations, spectacularly realised in metallic copper ink, plus full cast and production details and exclusive sleeve notes by Philip Pullman himself. This gripping drama is presented on three heavyweight 180g discs of Daemonic Dustburst splatter vinyl.
Philip Pullman’s bestselling trilogy of children’s books, which has sold more than 19 million copies worldwide, is now the inspiration for the major HBO/BBC TV series His Dark Materials.

Perhaps best known as the upside-down, guitar-wielding frontman of psych-legends The Entrance Band, and solo albums released under the ENTRANCE moniker, notably 2004's country blues epic Wandering Stranger (Fat Possum) , 2006's self-released cult classic, Prayer of Death ( which led to the formation of The Entrance Band) , and most recently 2017's Book of Changes (Thrill Jockey), Blakeslee has typically used his own name to release his most experimental and confounding records. Postcards From The Edge is no exception. Nearly two decades into a lifer's voyage of shapeshifting through shadowy realms of the American underground, Guy Blakeslee, poses these and other conundrums on his dramatic new album, Postcards From The Edge (Entrance Records). Recorded in New Orleans at the house studio of Preservation Hall Jazz Band, with former Sonic Ranch engineer and producer, Enrique Tena Padilla (Oh Sees, Wand), and featuring appearances from singers Lael Neale, Hale May, Rachel Fannan, and drummer Derek James of The Entrance Band, Postcards From The Edge is electrified by the spirit of sonic experimentation, and the fervent desire to chart a map into unknown territory. Across the record's seven tracks, Blakeslee's questing lyrics teem with stormy emotion, his plaintive voice finding succour in richly-textured melodies that soar over lushly-produced soundscapes, always on the verge of collapse. A wandering soul who has spent the better part of his musical life on the road, Blakeslee, a Baltimore native and LA transplant currently residing in the wilds of Virginia, has supported the likes of Spiritualized, Beach House, Cat Power, Mazzy Star, Interpol, and Father John Misty to name a few. "Seven tracks of questioning, tremulous, occasionally beautiful gospel-psych" - Uncut Magazine

For the Perth group, creativity and production hasn’t stopped in 2020. Despite
much of this year’s tour plans being put on pause, Psychedelic Porn Crumpets have used their time off road to continue preparing themselves for the release of their fourth studio release, and an eventual blistering return to stages
around the world with a heavy-hitter of an album primed for the live space.
Psychedelic Porn Crumpets have already given fans an early taste of the forthcoming SHYGA! era, with ‘Mr. Prism’ in August. The creation of SHYGA! The
Sunlight Mound, especially off the back of 2019’s huge LP And Now For The
Whatchamacallit, came together in a different environment for McEwan and
the results speak to the band’s evolution and McEwan’s evolution as a songwriter.
“For the first time in a long time I was home without any tours booked, no
work, no deadlines and I felt free to create. My writing process became ritualistic; every morning starting with a small walk to the local bottle shop at 11am
and writing whatever flowed, allowing myself to design in all styles without
boundaries, and not trying to theme the album early on. I haven’t had the luxury of writing this way since the first record, which I spent almost a year working
on. It felt like I was myself again, creating without opinion or constraints. I was
gliding through weeks with a day seeming to pass.

Gatefold black 180 gram 2LP+CD & LP-Booklett

Nonesuch releases a remastered, special edition of the 2005 record Our New Orleans for the first time on vinyl. The two-LP set, also available digitally, includes five previously unreleased tracks: ‘Do You Know What It Means’, by Davell Crawford; ‘Let's Work Together’, by Buckwheat Zydeco and Ry Cooder; ‘Crescent City Serenade’, by Dr. Michael White; ‘Walking By the River’, by Dr. John; and ‘Do You Know What It Means’, by The Wardell Quezergue Orchestra featuring Donald Harrison.

The $1.5 million raised from the 2005 release went toward providing housing in partnership with low-income musicians and others through the New Orleans Habitat Musicians’ Village, a concept that was developed by New Orleans Area Habitat for Humanity, working with Branford Marsalis and Harry Connick, Jr. Habitat–built homes in the village now provide musicians and others of modest means the opportunity to buy decent, affordable housing. The centerpiece of the village is the Ellis Marsalis Center for Music, dedicated to celebrating the music and musicians of New Orleans and to the education and development of homeowners and others who live nearby.

For Our New Orleans, many of the Crescent City’s best-known musicians recorded songs that are integral to their lives and that express their feelings about the city and the trauma of Katrina. The album was made swiftly and simply, over the course of a month, in one-day sessions across the country. Nick Spitzer, host of public radio’s New Orleans–based American Routes, contributed liner notes to the record, as did Pulitzer Prize–winning author Richard Ford, also a Crescent City resident. Other producers who made enormous contributions include Mark Bingham, Ry Cooder, Joel and Adam Dorn, Steve Epstein, Joe Henry, Doug Petty, Matt Sakakeeny, and Hal Willner.

Nonesuch’s parent company – Warner Records, part of the Warner Music Group – donated all production costs for Our New Orleans as part of the Group’s larger efforts on behalf of hurricane victims on the Gulf Coast. Many others involved in creating the album also generously donated their time and services.

Nonesuch President David Bither recalls, “What was most remarkable to me was the immediate response of the musicians. Many were in New Orleans when Katrina struck. Many lost everything they owned including even the musical instruments that are their livelihood. Yet they responded within days to the question of whether they might participate in this project. The emotion and the power of Our New Orleans come both from their anguish and from their incredible generosity.”

And the label’s Chairman Emeritus Bob Hurwitz said, “When we pick up a CD booklet, we usually skip over the page that says, ‘Special thanks to…’, but in the case of Our New Orleans, it is, after the listing of the musician’s names, the most important part of this package. Everyone wanted to help – studios that insisted on contributing free time, caterers, photographers and videographers, instrument rentals, producers, engineers – every step down the line, people gave, not only their profits, but absorbed all of their costs. It was an incredible outpouring of generosity.”

“Our New Orleans is a testament to the power of music to heal and provide a sense of community,” said Marguerite Oestreicher, Executive Director of New Orleans Area Habitat for Humanity. “Musicians helped the city heal after Hurricane Katrina, and Musicians’ Village helped them come home. We’re grateful to Nonesuch and everyone who worked on this album. This year has brought new challenges to everyone, but especially to our culture-bearers. This re-release could not be more timely.”

Parisian label Chuwanaga proudly presents the first opus of its new 12inch series, starting with the brand new EP of Koji Ono: Ricochet / Maloja Pass. Recorded during a short week-end in Paris, it is the result of a true collaboration by a team of musicians who wanted to bring a modern twist to a classic and timeless sound, staying true to the original late seventies/early eigthies dance music spirit and the passion of Chuwanaga for the original Britfunk.
On bass, you’ll hear Lester Batchelor aka LB from Atmosfear, the legendary British JazzFunk band best known for their En Transe LP and the classic track « Dancing In Outerspace». Killing it on the drums, Roy Mistry is their 2020 official drummer. Recording together in Studio Delta, with Koji playing almost all the other instruments, from keys to guitars to percussions, they all had a blast collaborating on these two new tracks. Add a blazing Rhodes solo by Jean-Michel Bernard on « Maloja Pass », some precious magic from producers Seiji Ono & Saint-James, a great dose of savoir-faire by sound engineer David Cukier aka Greita (Disques Flegon)… And you end up with two killer tunes ready to blast their way through your speakers.
On both tracks, you’ll immediately recognize Koji Ono’s touch – as found on his previous Incognito EP : simple but uplifting melodies on synthetizers, sparkling guitars and a certain playfulness in the arrangements. On side A, « Ricochet » sounds like an irresistible mid-tempo boogie banger. On B side, the uptempo « Maloja Pass » is faster paced and bursts with energy, giving the listener an irresistible urge to travel endlessly through the night.

Malian music is arguably deeper, more sophisticated and lyrical than any other form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a selection of songs from across the country.

Compiled by Vik Sohonie & Dave 'Mr Bongo’ Buttle, the story of this release began in 2015 when Dave happened upon the Soul Bonanza blog. A treasure chest of rare finds from around the world! One mix in particular stood out and totally enthralled Dave - le monde à change: a tribute to mali 1970 - 1991. He already knew of Malian legends such as the Rail Band, Salif Keita, & Les Ambassadeurs du Motel de Bamako, but this mix was something else! Deep & culled from the collections of some of the heaviest African music collectors in the world; legends like Vik Sohonie, Hidehito Morimoto, Philippe Noel, Gregoire Villanova, and Rickard Masip. Dave immediately contacted Vik and a journey of discovery tracking down the rights-holders began. He also turned to the font of Malian music knowledge; Florent Mazzoleni. Florent has written the definitive book about Malian music – 'Musiques modernes et traditionnelles du Mali’. He proposed some incredible tracks to include and provided the back bone of the sleeve notes and photos that are used in the album. No Malian album would be complete without a striking front cover photo, and ours is sourced from the late great Malian photographer Malick Sidibé.

On this album you will find well-known artists sitting next to rarer discoveries. The Rail Band, who are one of the best known of all the big bands in Mali, gave us the stars Mory Kanté and Salif Keita. Les Amabassedeurs du Motel de Bamako were another big act that had Idrissa Soumaoro, Kanté Manfila, and for a while Salif Keita in their ranks. Sometimes Salif would play in both bands in one night, quite a feat considering the bands were fierce rivals. As an albino Salif has had to face considerable prejudice from society, focusing on his musical career to help overcome this.

A major discovery on the album has been Idrissa Soumaoro et L'Eclipse de L’Ija. L'Eclipse de l'Institut des Jeunes Aveugles was a Blind teenagers institute and their record was produced by the German association that took care of blind Malian teenagers in Bamako. It was never properly released commercially and was the first recordings by the legends of Malian music Idrissa Soumaoro, Amadou Bagayoko and Mariam Doumbia. Amadou & Mariam later got married and became household stars, including making an album with Manu Chao.

This album is a concerted global effort to showcase the most vital cornerstone of Malian culture in an attempt to preserve its reputation in the face of its current, grim reality. We hope our highlights of Mali's rich history of musical innovation will serve as a starting point for reclaiming an image tainted by unnecessary conflict. May peace and music return to Mali soon.

On their Night Dreamer debut, Sarathy Korwar and his allstar “UPAJ Collective” gain brand new ground in their mission to rebalance spiritual jazz with authentic Indian classical music. “UPAJ” means “to improvise” inHindi, and recording direct-to-disc at Artone Studios with almost no preconceived directions, they truly capture the “spirit of spontaneous improvisation”, as Sarathy puts it, like never before.


Sarathy Korwar 2020

"Recording in one take, direct-to-disc is a unique scenario to be in. I feel very blessed to be presented this opportunity. I decided very early on that in order to make the best use of this scenario, the music had to be completely improvised and spontaneous. That is the only true way to record within the limitations of one take. No regrets, no mistakes, no fear and no judgement. These were the ideals. In a way, this was about creating a utopian vision of a world I would like to live in. A microcosm of the ideals that I would like to live by, in the recording studio. The vision of going into the studio with this in mind, was more important than the resulting music we created. Process over product.

Before the session we did some collective breathing exercises that I have learnt from my mother (who is a pranayama practitioner/teacher) and Wim Hof. I believe this helps centre the focus of the group and balances the mind, making it most receptive to new sounds and inspiration.

The song So said Said is a tribute to Edward Said. Intimate Enemy, a tip of the hat to the book of the same name by Ashis Nandy (Intimate Enemy: Loss and recovery of self under colonialism). A cover of Flight IC408 by State Of Bengal is on Side B, as I am a massive fan of the band. Elephant Hangover is the imagery that the tune conjures for me personally on listening to it. A beautiful remix by the brilliant Osunlade of So said Said is on side D.

Thank you to the gifted musicians - Al, Tamar, Achuthan and Giuliano for trusting and letting go. I am lucky to spend time with you."

(LP + 12 page booklet) This ancient psychedelic folk with jazzy improvisations from the North West of Greece is unique and will touch your soul so deeply that epirotika aficionados always remember the place and the moment when they got to know this hypnotic and mes-merising music. In a similar way to the music of Alice Coltrane or Mulatu Astatke, it can take you out of the here and now - the pure beauty of the magical epirotika sound can make your mind drift off to otherworldly places.

At last, a vinyl re-press of the hard-to-find Classic New Beat tracks from N9 !

For years, the vinyl 12 inches from the French Techno-house & New Beat label N9 were nearly impossible to find, and devoted Oldschool Fans kept asking for represses.
Thanks to a joint venture with fellow Belgian label Fenix Fire Records, the wait is over!

Here’s a deluxe 2x12' compilation, on 180g marbled red vinyl in a beautiful gatefold package.

With 11 tracks spanning from the origins in 1990 to the rebirth since 2005, N9's most wanted releases are here, remastered by French sonic wizard André Dalcan, ready to get turntables at the right 33+8 mood, and get the white glove raised again!

There are few genres in which German artists play such a central pioneering role as they do in electronic music, be it techno, electropop, trance or rave. At the frontline for many years were Kraftwerk and U96, two absolute trailblazers of this musical direction. While Kraftwerk wrote international music history mainly in the 1970s with cult albums such as Autobahn (1974), Radio-Aktivität (1975), Trans Europa Express (1977) and Die Mensch-Maschine (1978), U96 had a profound influence on the global pop music, rave and techno scene of the 1990s with hits such as ‘Das Boot’, ‘Love Sees No Colour’, ‘Night In Motion’ and ‘Heaven’. Transhuman, scheduled for release on UNLTD Recordings on 30th October 2020, will feature a spectacular collaboration between U96 (Ingo Hauss

& Hayo Lewerentz) and Wolfgang Flür, Kraftwerk’s drummer in the years between 1972 and 1987 and therefore involved in the most seminal albums by the group from Düsseldorf.

This remarkable cooperation was first announced and implemented by two joint numbers on U96’s 2018 offering Reboot. Transhuman sees U96 and Wolfgang Flür develop their creative exchange across a full album, creating fascinating sonic worlds. The title song ‘Transhuman’ and an updated version of ‘Zukunftsmusik (Radiophonique)’ will be released as lead singles, including, as we’ve come to expect from U96, experimental video clips. That New York record label Radikal Records immediately secured the rights to the album for the US and Canada points to major interest in this project, not only on these shores but also across the Atlantic.

“Transhuman is a stylistic mélange of our different histories,” describe Wolfgang Flür and U96 masterminds Hauss and Lewerentz an offering that is spectacular in many respects, featuring, along with typical U96 tracks such as ‘Clone’ and ‘Specimen’, numbers such as ‘Transhuman’, ‘Planet In Fever’ and ‘Sexersizer’ that are inspired by Flür’s past. Notably, the content has been reduced to the sheer basics, in other words: sparingly used associative statements with deep, but at times also playful and mysterious messages that the listener feels rather than consciously registers. The lyrics are about the transformation of people through technology and our massive interference in life on our planet. Hauss: “Pieces like ‘Zukunftsmusik’ and ‘Transhuman’ don’t tell a story in the classic sense, they articulate emotions and associations in very few words, bringing to mind recordings such as Radio-Aktivität, Autobahn and Die Mensch-Maschine. In addition Transhuman, features a number of melodies created on the basis of computer algorithms, in other words fractal music which takes us even further back in history, to Klaus Schulze, Stockhausen, the electronics laboratories of the fifties and sixties and the musique concrete compositional technique.”

After the heaviest of years, it should be time to take a little weight off with the playful sounds of The Person. Mapping its own Bermuda Triangle between dub-pop, sugary synthwave and Balearic boogie, ‘Tide Life’ transports Compass Point to Soggy Bottom, providing maximum fun, sun and bitmap escapism.

The eagle-eared may recognise The Person from the aspirational Italo-rockers Steaming Jeans, whose chalet-ready romp on Bordello A Parigi scored a Winter Olympic gold back in early 2020. Now left to her own devices, Minna Wight swaps the slopes for a jet ski and takes a Wave Race from Summer Bay to Monkey Island across 11 cuts of vintage oddball pop.

Whether she’s borrowing Brenda’s Beach Balls for the dubby daydream of ‘Snail Cafe’ and ‘The Place’, serving lost library cues to SNES club scenes on ‘Barry R Reef’ and ‘Elastic Shoes’ or spinning high school slow jams into synth soul ballads like ‘Nice Feeling’, Minna disguises serious musicianship behind a naive aesthetic. Disarmed by charm, we’re powerless to resist her tidal pull.
Patrick Ryder

The 1975 will release their highly-anticipated second album 'I like it when you sleep, for you are so beautiful yet so unaware of it' The follow-up to the quartet's million-selling self-titled debut. It is a bold and brilliant record made up of infectious pop hooks and sprawling electro sonics, an ambitious stride forward for one of the UK's most exciting young bands. The album will be released on standard CD and double, heavyweight LP in gatefold sleeve. Both contain 28pg, full colour booklets and the LP comes with a download card. The CD is packaged in a standard jewel case. 4* Q album review and Q cover confirmed. The ban will emabark on a SOLD OUT UK tour in March.There will be outdoor advertisng and the band will be performing on Saturday Night Live and also in the Radio1 Live Lounge

"Don't Turn Me From Your Door" - John Lee Hooker (g, voc), Earl Hooker, Eddie Kirkland (g), a.o

John Lee Hooker is not only a mystery but also an interesting man to study. Some, like the author Jacques Demêtre called the musician from Mississippi »the most raw and African of all blues players from a musical point of view«, while the critic Net Hentoff was awestruck by Hooker’s unfiltered power of expression that could scare the pants off a listener taken unawares. The numbers on this LP bear witness to the fact that Hooker’s musical language could stir one’s emotions deeply, even without the meaty 'boom boom'. Each title is like a raw diamond, which is intentionally uncut and is to be perceived with directness. With a stutter and a slur in his speech, the singer declaims his song over a twangy guitar, which is driven along by the rhythmic meter. A final farewell is taken sluggishly and sullenly in the forthright text of "You Lost A Good Man", and even a song without words ("Misbelieving Baby") ponders a question in a purely instrumental monologue. Apart from a dash of boogie ("Pouring Down Rain") Hooker avoids all manner of sweet sounds and harmonies. He remains austerely raw, mercilessly honest, occasionally unforgiving and denies all thoughts of any kind regarding going 'back to the roots'. This sound IS the root of it all.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue.

All royalties and mechanical rights have been paid.

Recording: 1953 in Cincinnati (OH) and July 1961 in Miami (FL)

Production: Henry Stone

official re-issue / 180 grams

Holy-grail private-press "Attack Of The Boogie" from 1984 by Andrew Kitchen very own Chicago artists who represented and still represent the most underground side of Chicago dance music as a worldwide inspirational and always forward-thinking scene. The official reissue comes courtesy of Andrew Kitchen himself via Seminato (Strictly Groove) with the help of other two cutting edge artists like Pepper Gomez still from Chicago and DJ Rocca from Italy. Fully restored reissue now available for you.

THESE BOOTS ARE MADE FOR WALKING 1970

Issued on 7" vinyl for the first time, this is a licensed release of the song extracted from the "Skinhead Moonstomp" LP on Trojan Records in 1970, 50 years ago.

This is a cracking Boss Reggae cover of Nancy Sinatra's mega hit and a huge early Reggae anthem.

Incredibly this very much in demand song has never been released on 7" vinyl up to now!

THAT IS NICE 1971 - That is Nice has only been available on the "Skinhead Moonstomp" Special Edition CD.

This is a Symarip original and it is the complete opposite of "These Boots Are Made For Walking".

Here the gritty voice of Roy Ellis serves admirably the sad, pensive melody and simple lyrics of this melancholic love ballad. Simply beautiful.

A very rare gem and a perfect finish to this outstanding double sider single.

Miles in Tokyo is a live album recorded on July 14, 1964, by the Miles Davis Quintet (featuring Sam Rivers, Ron Carter, Herbie Hancock and Tony Williams) at the Tokyo Kōsei Nenkin Kaikan, Shinjuku, Tokyo, Japan. It is the first recording of Davis in Japan and the only album to showcase an early incarnation of his Second Great Quintet featuring Sam Rivers on tenor saxophone, following George Coleman’s departure. After this, Wayne Shorter’s appointment completed the classic line-up which recorded such albums as ESP and Miles Smiles, through to Miles in the Sky. The legendary Miles in Tokyo album is now available on vinyl in Europe for the first time. The heavyweight gatefold contains a 4 page-booklet glued inside, like the original
1969 Japanese LP version.

180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE WITH 4 PAGE BOOKLET
• FOR THE FIRST TIME AVAILABLE ON VINYL IN EUROPE
• RECORDED IN 1964 AT THE TOKYO KŌSEI
NENKIN KAIKAN, SHINJUKU, TOKYO
• THE MILES DAVIS QUINTET FEATURING SAM RIVERS, RON CARTER, HERBIE HANCOCK
AND TONY WILLIAMS

10th Anniversary reissue of Cloud Nothings acclaimed and beloved debut album.
Clear w/ Opaque Light Blue Marble LP - Uncoated Jacket with Spot UV Gloss on Cover Photo, w/ download card.

It’s been 10 years since the release of Turning On, Cloud Nothings’ debut album. Singer-songwriter Dylan Baldi was just 18 years old when he began recording the album, creating each track in his parents’ basement in Cleveland, Ohio. Over one winter, Baldi produced an album of taut, lo-fi guitar-pop songs, playing each instrument himself. His music gained traction in the increasingly popular music blog circuit, allowing Baldi to book his first shows in new places, like New York City. He gathered a band together to play live, and Cloud Nothings were on their way.

The band has accomplished a great deal since Turning On, signing to Carpark Records, releasing seven albums, and headlining numerous international tours. Yet, their debut isn’t dusted over in the band’s history. Turning On still remains the stripped-back core of Cloud Nothings style: raw and grungy, filled with catchy earworms that are surprisingly pop. The album carries all the stored potential of someone ready to venture off into the world, a feeling that bursts with energy even 10 years later.

All the tracks on Turning On are eruptive and restless, its lo-fi quality embodying the desperate need to record an idea by any means necessary. Songs like “Hey Cool Kid” encapsulate Baldi’s talent for churning, hook-filled guitar. The vocals on songs like “Can’t Stay Awake” are distorted, with scattered lyrics that echo the angst of a teenage diary. As a whole, the album delivers dissonance and edge, without sacrificing the authentic romanticism of someone who is on the verge of something big and doesn’t know it yet.

ENDLICH....das Live-Album der Bluegrass/Folk-Helden mit 17 Songs! Vor über 6 Jahren entdeckten wir die vier Gentlemen von THE DEAD SOUTH aus Regina, Saskatchewan während der Canadian Music Week in Toronto sehr spät am Abend in einem eher spärlich gefüllten Club. Unsere Begeisterung wurde von einer Vertragsunterzeichnung begleitet und so veröffentlichten wir im November 2014 ihr Debütalbum "Good Company". Natürlich sind wir ziemlich stolz, dass wir eine Indie- Erfolgsgeschichte mit der Band schreiben konnten, die nun mit einem Doppel-Live- Album namens "Served Live" gefeiert wird. Natürlich ist die Idee nicht ganz neu, aber wenn es bei einer Band doch Sinn macht, dann bei The Dead South, denn ihre Live-Shows sind schon jetzt recht legendär und vor allem auf der Bühne zeigen sich ihre Stärken, die doch recht schwer auf einem Studioalbum zur Geltung kommen: unbändige Spielfreude, eine genre-sprengende Live-Dynamik, eine gute Prise Humor sowie ein sich gegenseitiges Pushen sind nur einige Attribute, die mir gerade so einfallen wollen. Die "Die-Hard-Fans" der Band werden natürlich nicht 100%ig zufrieden sein, da trotz lediglich drei Studioalben sicher der eine oder andere Song fehlt - mir vor allem _ÇÜGunslinger's Glory', aber dieser ist halt auch sehr lang. Auch sind einige ihrer Cover- Versionen von Bands wie den Animals, The Decemberists oder diverse Tradionals Teil ihrer Live-Sets, aber hier sollten es halt nur eigene Songs auf die Platten bzw. CDs schaffen. Die 17 Songs auf "Served Live" wurden auf 17 verschiedenen Shows mitgeschnitten, denn die Band wollte so vielen Fans wie möglich ein kleines Dankeschön sagen, aber leider hat Covid-19 diesem Unterfangen einen für uns bedeutenden Strich durch die berühmte Rechnung gemacht und es fehlen jegliche Deutschland-Shows, wohingegen USA (L.A., Seattle, Portland, Boston, Atlanta, Denver, NY), GB (Manchester, London, Newcastle, Portsmouth, Belfast, Dublin) und ihre Heimat Kanada (Edmonton, Halifax, Montreal) vertreten sind. "Served Live" ein unglaublich energetisches und authentisches Live-Dokument, das auch hiesigen Fans von The Dead South sehr viel Freude bereiten wird und ein warmes Trostpflaster für die Zeit des Wartens auf die nächste Tour.

incl. 12 pages booklet

Along with the publishing of the complete soundtrack of Grandia, Wayô Records is trilled to announced this official tribute album celebrating 30 years of music by Japanese video game composer legend Noriyuki Iwadare. From Grandia, Lunar to Langrisser and beyond, get ready to embark on a journey of sounds, filled with nostalgia and discovery!

Wayô Records presents you a brand new album featuring some of his most memorable and iconic melodies, beautifully arranged for violin and piano. Performed by multi-award-winning superstar pianist Benyamin Nuss, international concert violinist Shauno Isomura, and arranged by renowned composers including Michiru Oshima (ICO, Fullmetal Alchemist), Eric Roth (A New World: intimate music from FINAL FANTASY, Distant World: music from FINAL FANTASY) and many more. Also included in the album, a world premiere track Overcome composed especially for this album by Noriyuki Iwadare himself.

'Leone' is the first meeting of electric guitarists Loren Connors and Oren Ambarchi. It's somewhat surprising it's taken this long as these two are connected by ongoing collaborators, like Jim O'Rourke and Keiji Haino. Connors, for more than 40 years, developed an iconic sound tethered to radical permutations of the blues. Ambarchi's own multi-decade transfiguration of the guitar inhabits a rarefied realm of abstracted tones and dissonance pitched between improvisation and composition. This album, like its title, is a sum of parts: solo performances by Connors and Ambarchi bookend a duo. On 'Lorn,' Connors unravels an aggressive ternary form, with an opening section wrapped in distortion and extreme phasing that contrasts against ghostly, distant single notes. Ambarchi's 'Nor,' supplants a guitar performance with melodic, shifting organ-like tones that are swallowed into a fluttering, glitchy squall. On 'Ronnel,' the duo, each audio landscape created by the two slowly rotates and overlaps the other, as if each is drawing the others' portrait on opposite sides of a translucent sheet. Recorded November 2017 by Bob Bellerue at the Issue Project Room. Mixed and mastered by Joe Talia and cut by Carl Saff. Cover illustration by Marissa Huber. Edition of 500; includes download.

Over the course of two decades The Body - Lee Buford and Chip
King - have consistently challenged assumptions and defied
categorization, redefining what it means to be a heavy band.
On ‘I’ve Seen All I Need To See’, they test the boundaries of the
studio to explore the extremes and microtonality of distortion to
find its maximal impact.
Their most incisively bleak album to date, a towering monolith of
noise, Buford’s booming, resolute drums paired with King’s
obliterated guitar and howl.
Course, bristling distortion contorts every instrument, with
samples of spoken word, cymbals, toms and King’s already
noxious tone emerging from layers of feedback.
Features guests Ben Eberle (Sandworm) and Chrissy Wolpert
(Assembly of Light Choir).
Recorded with long time engineer Seth Manchester at Machines
with Magnets (Lightning Bolt, Battles, Daughters) and mastered by
Matt Colton (Sumac, Brian Eno, Uniform, Sunn O)))).
Available on CD, metallic silver vinyl and black vinyl. LP formats
include digital download code.
The Body have collaborated with many, including Full Of Hell,
Thou, Uniform and Bummer.
“The distortion has this ability to envelope you, and not push you
away. It has this strange kind of beautiful timbre... once you give
into the sheer power of it, and let it take you on a ride then it
becomes this whole other kind of sonic experience.” - Matt Colton
The Body have continued to mould their sound into something
even more devastating, gorgeous and terrifying... As a whole, The
Body’s discography is, and will continue to be, without peer.” -
Metal Injection “Some of the most captivating heavy music around right now.” - Rolling Stone

‘Instant Opaque Evening’ is an epic offering from The Underflow, the new trio of Mats Gustafsson, David Grubbs and Rob Mazurek. It makes vast strides on the heels of their self-titled 2019 debut (Corbett vs. Dempsey/Underflow Records) with nearly 90 minutes of intensely focused live performances from January 2020 shows in France, Belgium, Italy and Poland. That tour was a revelation for all three members, experienced as they are, with this still-new group’s freedom to walk onstage each night determined to surprise one another, moving from long instrumental improvisations into and out of songs and covering a terrific amount of ground at each of these concerts.
‘Instant Opaque Evening’ conveys this broad sweep, from the full-tilt electronics of ‘Self-Portrait As Interference Pattern’ and the climax of the seventeen-minute ‘Instant Opaque Evening’ to the inspired, alternate universe chamber music of ‘Planks’ and ‘A Thin Eternity’ and the group’s spontaneous arrangements of three previously recorded songs by Grubbs, ‘Gethsemani Night’, ‘An Optimist Declines’ and ‘Cooler Side Of The Pillow’.
The short version of the long tale of intersecting paths bringing together these three musicians begins in Chicago in the 1990s, with all three active participants in numerous convergences among jazz, free improvisation, experimental rock and more. Both Gustafsson and Mazurek appear as guests on Gastr del Sol albums (‘Upgrade & Afterlife’ and ‘Camoufleur’ respectively; that’s Rob’s cornet taking ‘The Seasons Reverse’ to new heights) and shortly thereafter Grubbs and Gustafsson recorded two duo albums, including the deep minimalism of ‘Apertura’, a talismanic favourite of both musicians.
David Grubbs has played in Gastr del Sol, the Red Krayola and Squirrel Bait and performed with Tony Conrad, Susan Howe, Pauline Oliveros, Will Oldham and many others. He’s the author of the books The Voice in the Headphones, Now that the audience is assembled and Records Ruin the Landscape.
Saxophone player, improviser and composer Mats Gustafsson is known as a solo artist and for international tours and projects with, among many others, Sonic Youth, Merzbow, Jim O’Rourke, Barry Guy, Otomo Yoshihide, Yoshimi, Peter Brötzmann, Neneh Cherry, Christian Marclay, Albert Oehlen, Ken Vandermark and the working groups FIRE!, THE END, LUFT, ANGUISH and Gush, as well as collaborations with contemporary dance, theatre, art, poetry and projects with noise.
Rob Mazurek is a multidisciplinary artist with a focus on electro-acoustic composition, improvisation, performance, painting, sculpture, video, film and installation, who spent much of his creative life in Chicago and then Brazil. He currently lives and works in Marfa, Texas. He leads/co-leads many ensembles of various sizes and shapes including his flagship large ensemble Exploding Star Orchestra, Chicago Underground and São Paulo Underground. He has
collaborated with Bill Dixon, Pharoah Sanders, Roscoe Mitchell, Jeff Parker, Nicole Mitchell, Chad Taylor, Jim O’Rourke, Naná Vasconcelos and many others.

“The Vale” is in immersive electronic album of dark soundtrack work. It’s the first of several Everyday Dust releases scheduled for Castles in Space in 2021.

Everyday Dust is RJ McConnell. Based in Scotland, RJ ditched piano lessons when he realised I had no interest in being an instrumentalist. Instead he wanted to create his own musical works from the ground up. He goes on, “I was much happier working my way through music theory books on my own and applying my learning to my own music. We had a little home studio when I was a child. My Dad was also a musician and was involved in local amateur theatre where he prepared and operated all the sound cues on reel to reel tape. So from an early age I was messing around with tape machines, making tape loops and recording music. For years I tried to make the most interesting tones I could from a Yamaha home keyboard by passing it through my Dad’s guitar pedals, or recording to tape and playing it back at different speeds etc. My first proper synth was the Roland SH101.” He went on to study music and sound for theatre and worked for many years as a theatre composer before branching into larger events and eventually film and documentary work.

The Vale story starts in 2018. RJ again, “I was brought in as composer for an independent horror short that was being filmed in Istanbul. The film was a vampire movie, very atmospheric and beautifully shot. I was aware of being a Scottish composer on a Turkish film and therefore didn’t want to attempt in any way to make anything that sounded traditionally Turkish. I wanted to represent the idea of these ancient beings who had existed in one of the oldest cities in the world for centuries. I wondered how I could imply this “ancient” world with the instruments I had to hand. I recorded various old metal whistles, which were slowed right down to become eerie arcane horn blasts that sounded like they had come from another time. I also recorded lots of melodica, which was again slowed down to sound like wheezing old harmonium drones. I spent another day recording inside an old piano, plucking individual strings and also hammering them percussively with wooden beaters. Using synthesizers and effects as the “glue” to bring these sounds together I started to work on the cues for the film. I had scored most of the film by the time I heard it was being cancelled. The concept and story had been taken over by a streaming site who wanted to make it into a series - with a drastically different tone and style.

“Later that same year I had worked on a project that incorporated the folklore of a celtic water sprite who kept the waterfalls and streams running smoothly so they could turn the mills of the local village. In return the villagers would bring the water sprite bannocks (Scottish flatbreads) each day. I started to daydream about a darker, Lovecraftian twist on this story. Some Ancient One dwelling in the forests and controlling the water - the very life essence of the village - in return for offerings of the soul. The concept was filed away in the back of my mind for some months.

“The following year I was on a flight to visit my friend in Bodrum. He had been the producer and editor on the original disbanded Vampire film, and I found myself thinking about the project again. I wondered if the sound cue files were still on my laptop, which they were. It had been a year since I’d even heard them. Hearing the eldritch folk-tinged sounds of the whistles and plucked strings my mind instantly returned to the idea of the Lovecraftian folk horror story. I started jotting down notes and musical ideas and by the time I landed in Bodrum I already had the album title - The Vale. Having the album concept and prototype ideas to work with was a huge head start in making the album. Although all of the original cues were so dramatically developed and transformed that they really just served as the initial clay on the wheel.

“I used a Doepfer A100 modular synth to create the animalistic yelps, conches and horns that were improvised over the original cues as a response to the arcane “folk” world of the acoustic instruments. This half-acoustic half-modular landscape was the sonic scene-setter I needed to move onto the composition and musical journey of the album. I composed and developed most of the musical parts on an Oberheim Matrix 6 synthesizer. However all the percussion, rhythmic sequences and ornamental synth sounds were created from improvised modular sessions multitrack recorded. A lot of editing later, the soundtrack to the movie in my mind was finally there.

• 180 GRAM AUDIOPHILE VINYL
• DELUXE HEAVYWEIGHT JACKET WITH LEATHER
LOOK LAMINATE
• CRITICALLY ACCLAIMED 1991 SOPHOMORE ALBUM
BY JAY FARRAR, JEFF TWEEDY AND MIKE HEIDORN
• INCLUDING “STILL BE AROUND”, “GUN” AND
“LOOKING FOR A WAY OUT”
• 30TH ANNIVERSARY EDITION OF 1500 INDIVIDUALLY
NUMBERED COPIES ON CRYSTAL CLEAR VINYL

Still Feel Gone (1991) is the second album by American alternative country pioneers Uncle Tupelo. While its predecessor No Depression was filled with uptempo tracks, their follow-up effort showcases a band taking a closer look at the middle ground by acoustic guitars. “Still be Around” and “Looking For A Way Out” are great examples of tracks with high-strung acoustic guitars. On this album, Uncle Tupelo sounds even more powerful than before. And the broader picture of the abilities of Farrar, Tweedy, and Heidom confirms a strong combination. This reissue gives the album the special treatment it deserves. Still Feel Gone is now available as limited edition (only 1500 copies) on crystal clear vinyl. Each album in individually numbered and housed in a deluxe heavyweight jacket with special leather-look laminate finish.

Nach Crazy Rhythms Of Mata Hari, Shake Your Bones, dem Cool Cat Club und Born To Hula! Folgt nun der 5. Teil der DJ-Set Serie auf Stag-O-Lee. Wie auch bei den Vorgängern handelt es sich hier um einen auf 80 Minuten eingedampftes DJ-Set von einem verdienten Recken der Zunft - Keb Darge. Gaz Mayall folgt direkt mit Volume 6. Linernotes: Rockabilly didn't cross my world until the early nineteen eighties at a Dirtbox weekender in Bournemouth, until then I was a pure northern soul boy. I didn't really get stuck into collecting the stuff until a decade later, but when I did what a wonderful world of tunes opened up to me, and I went wild on it. I was very lucky to be doing a record stall in Camden market at the time just across from Boz Boorer and Neil Scott's stall. They along with other serious collectors Dave Vickers, Barney Koumis, Cosmic Keith, Jim Fox, Dave Crozier, and many others taught me all I needed to know. I only ever made one great rockabilly discovery which none of them knew, "Little Bit Lonesome" by Charles Ross, but I was happy enough buying all their recommendations as they were all new and exciting for me. I have done several rockabilly comps before, but sadly the Philippines typhoon in 2013 destroyed my village and forced me to sell the bulk of my collection. Here are some of my favourites that I never got round to putting out before that happened. Two of the aforementioned collectors are no longer with us. I therefore dedicate this comp to Dave Vickers and Cosmic Keith who both had a huge influence on my life and my musical taste.

3LP Neuveröffentlichung mit dem Original 8-Song Debut-Album + 25 unveröffentlichten Bonus Aufnahmen Random colour vinyl - limitiert auf 400 Expl. - incl. 28-Seiten Booklet Zum 30 Jährigen Jubiläum der Vibravoid erscheint nun der Band-Klassiker ,2001" aus dem Jahr 2000 als ,2001 - The Archive Collection" mit unveröffentlichten Aufnahmen aus den Jahren 1990-1996. Das Album ,2001" sollte jeder einmal gehört haben, wer es noch nicht kennt, wird unter Garantie sagen, es handelt sich um ein Top-Aktuelles Album einer ebenso aktuellen Band. Alles was in den letzten 20 Jahren im Rock hip und trendig war, findet man auf ,2001" wieder - bis zu besagter Schallplatte. Die Bandbreite des Albums ist fast wahnwitzig, wäre sie nicht ebenso brillant: Kraut-, Psychedelic -, Acid-, Garage-Rock, Pop und Experimental, Elektro und Ethno angelegt als breit angelegte Bewusstseinserweiterung im härtesten Stereo-Sound!

oralle startet ins neue Jahr mit dem Release seines zweiten Albums „Fonografie“.

2020 gleichte einer Achterbahn für den italienischen Beatmaker Koralle. Seine Heimat Bologna wurde schwer COVID-19 getroffen. Währenddessen war Koralle jedoch produktiver denn je und veröffentlichte bereits acht Singles von „Fonografie“, darunter Kollabos mit Kölner Beatschmied Twit One, Londoner MC & Aktivistin Isatta Sheriff, Houston Rapper Anti Lilly und Turt von den Summers Sons. Die Singles waren ein großer Erfolg und konnten bis dato insgesamt über 2,5 Millionen Streams generieren.

„Fonografie“ besteht aus 16 Tracks mit weiteren Features und wird als digitales Album und auf Vinyl erhältlich sein.