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The Belgian minimal synth band's three releases – a cassette and two vinyl EPs – were all titled »Against The Dark Trees Beyond«. This compilation collects the songs from these records.

"They were interesting times, the early eighties. Against a backdrop of cold war and economic crises, the DIY attitude of the earlier punk movement had spawned near countless new genres where artists and bands broke the three-chord guitar mould and experimented with new content matter, singular song structures and – in many cases – new instruments. Synthesizers became affordable and were no longer the sole privilege of rock millionaires. All around the globe, musical creativity boomed as never before, and Belgium was no exception: Digital Dance, Snowy Red, The Names, Pseudocode, Marine, 1000 Ohm, De Kommeniste, M.Bryo & D.M.T., De Brassers, Struggler, Siglo XX are but a few legendary names of bands and artists who started making a name for themselves.

In Leuven, things were happening as well. Until then, the music scene in this rather provincial town had been dominated by straightforward rock and blues acts. Not for much longer, though: in places like Arno'z and (later) The Gladhouse, where young budding artists met with kindred spirits, bands were often formed on the spot and, more importantly, started to make ripples.

Ludo Camberlin and Karel 'Bam' Saelemaekers already had a certain track record in Leuven's burgeoning music microcosm. But what they shared would become the cornerstone of A Blaze Colour (Against The Dark Trees Beyond): a fascination for new forms and instruments, a penchant for sonic adventure and a profound love for gripping songs. The full band name, by the way, was inspired by a phrase from the Irish-American novelist J.P. Donleavy, a writer who belongs in the definitely-worth-checking-out section.

After appearing on the first No Big Business LP (1981) with the instrumental 'Fisk', A Blaze Colour's first proper release, as was so often the case in those days, was a self-produced cassette. The music – which would later be dubbed 'minimal' – was characterized by the use of basic rhythm machines (Boss Dr. 55, mainly) and analog synthesizers (for the synth geeks: Korg Delta and MS20, Roland SH-2 and Jupiter IV, and the infamous Casio VL-1). Camberlin’s vocals, meanwhile, displayed an aloofness totally in sync with the zeitgeist. Equally important, though: all five tracks on this cassette were bona fide songs with a clear sense of structure, aided by a sonic mastery that demonstrated a high level of experience: 'Means To An End' started out as a proto-industrial track before bursting out into a moroderesque finale. The remix of 'Fisk' was as sprightly as the next river salmon, while 'Or Lie Again' proved the perfect soundtrack to a nightly walk through wet deserted streets. On the other hand, 'Through With Life', rife with disturbing sound effects countered by a slow portamento, could have been a prize track on a post punk 'Lamb Lies Down On Broadway'. And in true dramatic fashion, 'Follow The Signs' was the perfect ending of this five-song cycle: a driving sequencer and gripping chord progression coupled with a simple but powerful vocal line. Considering the limited technical means the duo was working with, this was no less than a triumph.

A few months later, the band released a seven-inch single on its own ABLACO label. 'Dark Trees Beyond', a quirky pop song, was coupled with 'Addict Of Time', a dark and brooding spoken word piece. Not the kind of single to storm hit parades, but it didn't go unnoticed. The Minny Pops' Wally van Middendorp, who had founded the Plurex label in 1978, invited A Blaze Colour to his studio in the Netherlands, to record an EP. It would prove to be a massive step forward: recording in a semi-professional studio offered great possibilities, the recently acquired TR-808 drum machine allowed for a broader rhythm palette, and the three new tracks (next to the re-recording of 'Through With Life') showed a band on the top of their game: 'The New Ones' was a wry and haunting song built around a live drum loop and an ominous bass pattern, while 'Nowhere Else' was a near-pop track with very un-minimal vocal harmonies. And it's a mystery why 'Altitude' – another instrumental – was never used in a stylized, high-profile detective soundtrack.

Another song from these sessions, the revved-up 'Cold As Ever' turned up on the high-profile Plurex "Hours" compilation, where it shone brightly, next to songs of a.o. X-Mal Deutschland, Nasmak, Minny Pops and Section XXV.

Meanwhile, Camberlin had already carved out a bit of a reputation for himself as a producer, while Saelemaekers was a respected graphic designer. It remains uncertain if this played a big part in the end of A Blaze Colour, but the fact remains: as studio recordings go, 'The Ultimate Fight' on the "No Big Business 2" compilation, was to be their swan song. What a way to go, though: maybe their best song ever, this was a synthetic bastard funk groove, complete with shout-out chorus and punch-drunk middle-eight. It shut a door, for sure, but it did so with a resounding bang.

So there it is and there it was. Short, sweet, visionary, pioneering and highly influential. And as anybody listening to this first ever compilation will be able to assess probably one of the most colourful electronic acts of its time.

On a more a personal note, A Blaze Colour proved to be instrumental in my own coming of age as a lyric writer, when Ludo and Bam graciously adopted some of my earlier writings, warts and all. To hear them translated into songs was no less than magic, and it certainly gave me the confidence to start our own band a bit later. And the magic continued when Ludo became our producer and Bam designed our record sleeves. But that’s another story, obviously. Because this is the place and the time to dive back into the wondrous world of A Blaze Colour!"

Bart Azijn (Aimless Device)

Needwant Records arrive with the latest in their ever-evolving roster showcasing the sounds of underground city life, proudly presenting label newcomer NATE08's kaleidoscopic debut LP, 'Furaha'.

London-based label Needwant Records have been tirelessly advancing dance music's esoteric fringes for well over a decade, with their immaculately curated catalogue routinely moving dancers and garnering respect and plays from the industry's most revered tastemakers. Here, the newest recruit to the label's glittering line-up, Mumbai-based musician, producer, and DJ, NATE08 brings forth his breathtaking inaugural album.

Equally adept as a producer, session bass player, and genre-spanning selector, Nathan Thomas has become an irrepressible force in India’s blossoming underground music scene. The Mumbai-based musician’s solo project, NATE08, treads the groove-oriented territories of funk, r&b, and house – with his elegantly spun productions firmly rooted in dance music's glorious heritage while imbued with a future-facing production gloss.

Title track 'Furaha' blissfully sets the tone for what's to follow, with dextrous Latin guitar gliding over intricate percussive waves as heavenly chords fill the sun-kissed panorama. Upping the energy just a touch, Azamaan Hoyvoy's honeyed vocal enlivens the summer haze of 'Trigger Fool', arriving over evocative chords and laser tight four/four rhythms to create a stunning slice of low-slung future house deepness.

The funk-flecked bump of 'Bunker' sees Nathan's bass mastery arrive in full force, with spirited slaps propelling misty chords and sublime guitar licks across a loose-limbed beat. Continuing the horizontal sensations, the captivating chord progressions of 'Hold Up' soar over thick, rolling bass notes and shimmering synth swells.

Lead single 'Sunrise Sundown' is a stunning example of NATE08's organically spun deep house prowess, with Jitwam's soul-drenched vocals cascading over succulent chords and dancing synth melodies as smokey beats and pulsating bass cement the heads-down groove. Next, hypnotic fusion guitar refrains soar over lively percussion and gentle pads for a life-affirming Balearic voyage, maintaining the carefree spirit while enlivening the senses as the arrangement heads for the horizon.

The 'Let's Go To Ibar' interlude makes way for the mesmerising deep house flex of 'Want You', where Megan Murray's yearning vocal provides the seductive hook as acidic bass notes bounce over glistening chords and propulsive beats. A prime example of NATE08's futurist intentions arrives in the form of r&b-meets-house hybrid 'Feel It', with Lojal's striking performance flitting between searing soul and street-ready swagger powers over an intoxicating, organ-infused bed.

The forward-thinking two-step rhythm of 'Cold Muse' sees broken drums drive emotion-heavy chords and bewitching guitar licks over sensual bass, before closing track 'Primrose' sees the album home with a fitting flourish. Here, Naisha's heartfelt vocals sail across an ocean of glassy chords and staccato synths, with kinetically charged congas enlivening the groove as the magnetic bass adds body to the celestial instrumentation.

MASK unveil the final entry in its untitled release series.
Berlin-based label MASK records has become known for releasing a string of vinyl-only EP’s by unnamed producers which have seen the support of respected artists such as Jimpster, DJ Bone, Ben Sims,
Santiago Salazar, Laurent Garnier, Ryan Elliot, Marcel Dettmann, and the Blessed Madonna amongst others. Now, the tenth and final instalment of the series consists of an eclectic collection of techno and house cuts, all recorded on tape during an analog live session in the artist’s studio.
The A1 eases you into the record through glitchy textures, swelling synths and broken beats before the A2 gets you into a rapturous tracky groove offset by lo-fi vocals and dreamy pads. The A3 takes a darker turn through hypnotic drums and a droning bass, readying the listener for the B-Side which continues this raw energy.
The B1 picks up the pace with energetic drums and clean ride cymbals while the B2 incorporates floaty arps and a tantalising repeating vocal. ‘B3’ closes out the release with a retro 80s synth feel, putting a wrap on yet another incredible vinyl EP by this exciting underground label.

Rui Fradinho has been DJing and record collecting since the age of 15, having played drums and keyboards on several different projects and starting his electronic music production journey in 2001, when he made his first ever original track – A Bright Future (release number 1 on the label).

Lover of music of all sorts, Rui’s musical base stems across different genres, including House, Drum N Bass, Hip Hop, Footwork, Bass Music, having more recently nurtured a deeper devoted passion for all things Jazz, Fusion and Broken Beat / Nu Jazz.
There are undeniable major influences from Jazz, Soul, Funk, Latin, African, Brazilian and Global music on his productions and Rui has released remixes for several artists on several labels such as Str4ta for Colin Curtis Presents, Nimbus Sextet for Acid Jazz, Luiz Gabriel Lopes for Da Lata Music, Momenta for Lazy Robot Records, Various artists for MJDC – Modern Jazz Dance Classics, David Borsu for Broadcite, Makala for Orrua Diskak and Ray Lugo for Ammonite Records.

Highlights of his DJ career include a 6 year residency at Sociedade Anonima club in Portugal, then Bicaense Café and Lux Club in Lisboa. Earlier in 2017, he did a stint on London’s Back2BackFM, playing at Dalston’s Club Makossa, the BBE Store in East London, closing the Chill Out Gardens stage in Portugal’s Boom Festival 2018, DJ’ed at Gilles Paterson’s first edition of We Out Here festival, currently guests at Birmingham’s Bruk Up Broken Beat night and opened the Portuguese festival LisbOn - Jardim Sonoro in 2022.

2TUF4U Records are proud to present UNDENIABLE GROOVES PT.6, the long awaited and fresh segment from the new series of Hot Garage Vybes, consisting of previously unreleased material from the likes of GUNGO PEAS (Alex De Joncaire from Switzerland & Karl “Tuff Enuff” Brown), from Santiago Chile debuting his 1 st release on the label HITCH 93. Flipping over on the B-sides, TUFF JAM feat. Pepper Mashey Remixed by UK DUBZZ aka Karl Brown and rounding off with the Bournemouth talent of DYNAMIC ESSENCE, all built for Underground Garage consumption. Watch out for the next series of releases soon to follow.

LOCUS unveil the second instalment in their VA series ‘LOCUS Trax’ with fresh material from Mathijs Smit, LaRosa, BODJ, and Nolga.

Continuing to quickly grow as one of the most-loved emerging labels in the game, LOCUS looks set to go from strength-to-strength throughout the remainder of 2022 as the FUSE family builds yet another label offering quality and consistent material from across the house sphere. Having launched their new various artist series LOCUS Trax earlier this year, TBC welcomes the arrival of the sophomore offering with four fresh productions as Groningen’s Mathijs Smit, Brooklyn’s LaRosa, Athens’ BODJ and Manchester’s Nolga all make label debuts.

Mathijs Smit’s ‘Green Hill’ is a slinking cut guided primed for peak time fun as slinking acid tinged low-ends meet playful samples and sweeping pads, while ‘Amelia’s Groove’ sees LaRosa work shuffling drums amongst warped vocals and rich melodies. Next, BODJ veers towards spacey sythns and colourful electronic motifs across ‘Back To Party City’, before Nolga lays down woozy chords on top of a no-nonsense bassline to close the show.

140g LP, High UV Gloss Gatefold Jacket and 60cm double-sided fold-out poster.. it's a big release! TIP!

Raised across multiple cities, Amaarae’s music reflects a life split between New Jersey, Atlanta and Accra. As indebted to raw Southern rap as it is dancehall, her work also holds echoes of glossy mall rock and bubblegum pop. Embraced and endorsed by the Nigerian Alté scene as it was exploding into action several years ago, THE ANGEL YOU DON’T KNOW is an exuberant opening statement from Amaarae, anchoring her sound in her heritage and myriad influences, channelled through female empowerment. Whilst working on the record, Amaarae’s
reference points ranged from Paul Wall to Meat Puppets, reflected in the kaleidoscopic vision of the album, effortlessly jumping from the country trap of FANCY to an Afro-house comedown in 3AM. The vinyl release of TAYDK is packaged in a UV gloss gatefold sleeve with double- sided poster insert. It features an exclusive remix of FANCY, featuring London rap royalty Bree Runway.

Press:
"The future of Afro-pop” New Yorker “An instant classic” The Guardian
“One of the most compelling new acts on any continent” Pitchfork

Following their debut Glastonbury Festival performance, Broadside Hacks in collaboration with British Underground today announce the UK premiere of The Broadside Hack; a new documentary telling the story of the young vanguard of UK artists sharing radical interpretations, proto-feminist narratives and queer histories through the lens of British traditional folk song. An accompanying live album of the songs performed in the film will also be released in December on LP and digitally. Having enjoyed its US premiere at SXSW in March, The Broadside Hack is a short music documentary produced by British Underground, created with the aid of a grant from Arts Council England and PRS Foundation. Directed by Crispin Parry and filmed by The Northern Cowboys, It explores the influence of traditional folk songs on a new generation of musicians, filmed just as the UK was emerging from the dark days of the pandemic. The documentary was made in collaboration with music collective Broadside Hacks and features influential artists and groups from the new folk scene, including Rough Trade signees caroline, former Goat Girl bassist Naima Bock, whose acclaimed album Giant Palm was released on Sub Pop earlier this year, Shovel Dance Collective, Thyrsis, Broadside Hacks and Boss Morris. Discovering a fresh vitality in the tunes and new histories in the stories they tell, the film includes conversations, dances and intimate performances filmed at Peter Gabriel’s Real World Studios in Box, Wiltshire between 17th and 19th August 2021. The live concert and screening of The Broadside Hack arguably marks the close of the first chapter in the story of the UK’s new folk scene; a story in which Broadside Hacks has been central. Initially formed as a folk night, the pandemic forced it to change its shape, morphing into a collective of young, like-minded musicians who met to play folk music in South London. “An adventurous exploration of traditional music by the young and folk curious” - The Times // “All your favourite players in one Sunday League team” - Loud And Quiet // "The band play old folk songs, those so old their authors have been lost in time, and inject in them such life, depth and emotion that it's extremely affecting" - The Quietus // Side 1 A1 Boss Morris - Up The Hill A2 Interview Shovel Dance Collective - ‘A Collective Authoring of History’ A3 Shovel Dance Collective - The Bold Fisherman / My Husband Has No Courage In Him A4 [Interview] Thyrsis - ‘Collaboration Across Space and Time’ A5 Thyrsis - Single Sailor A6 [Interview] Naima Bock (Broadside Hacks) - ‘Retracing Beginnings’ A7 Broadside Hacks - Gently Johnny. Side 2 B1 Shovel Dance Collective - Merrily Kissed the Quaker B2 [Interview] Shovel Dance Collective - ‘Queering Folk Songs of the Past’ B3 Thyrsis - Godstow Bridge B4 [Interview] Naima Bock (Broadside Hacks) - ‘The Broadside Hacks Folk Club’ B5 Broadside Hacks - Rain and Snow B6 Boss Morris - Young Collins

Acclaimed Brooklyn artist Bird Streets has returned with Lagoon, an album about separation, rumination, regret, and recurrence. For his second album under the Bird Streets name, John Brodeur has widely expanded on the project’s collaborative foundation, enlisting production b Patrick Sansone (Wilco), Michael Lockwood (Aimee Mann, Fiona Apple), and Zach Jones (Sting) and Oscar Albis Rodriguez (A Great Big World), plus guest appearances from the likes of Aimee Mann, Ed Harcourt, John Davis (Superdrag), Jody Stephens (Big Star), and an array of top-shelf session players. With mixing split between Sansone and Grammy winner Michael Brauer (Coldplay, John Mayer), and mastering by Grammy nominee Pete Lyman (Brandi Carlile, Chris Stapleton), Lagoon is an enormous step forward from an artist who has been hailed or his evocative storytelling and keen attention to craft. Producer and multi-instrumentalist Patrick Sansone helmed sessions in Nashville (“Burnout”, “Leave No Trace”, the bossa-flavored “The Document”) and later in Memphis, where he and Brodeur were joined by John Davis on guitar and Jody Stephens on drums, forming a power-pop fantasy band of sorts. (“Machine”, “Go Free”, and wistful “SF 1993” come from the Memphis dates.) Back in Brooklyn, Brodeur cut several tracks with the production team of Zach Jones and Oscar Albis Rodriguez, including “Ambulance,” the catchy AM Gold of “Let You Down,” and the Last Waltz-styled soul-rock of “Disappearing Act.” When the pandemic threw a wrench in the works, Brodeur turned to Los Angeles-based producer Michael Lockwood to remotely helm Lagoon’s final stretch. Track listing: Sleeper Agent; Machine; Burnout; The Document; Let You Down; Leave No Trace; SF 1993; Ambulance; Disappearing Act; On Fire; Unkind; Go Free

Nach triumphalen Auftritten der außergewöhnlichen Metal-Newcommer Brothers Of Metal beim Sweden Rock Festival und bei den deutschen Rockharz & Rock Am Stück Festivals folgte im Januar 2020 der Release des heiß-ersehnten zweiten Albums „Emblas Saga“.
Mit diesem Album setzten die Schweden ihren Siegeszug mit Charteinstiegen in mehreren Ländern und ausverkauften Shows auf der dazugehörigen Co-Headlining Tour fort. Top 10 der Albumcharts in Deutschland, Platz 4 in Schweden (physische Verkäufe), Top 20 und dabei drei Wochen in den Schweizer Albumcharts, sind nur einige Highlights die belegen, dass Brothers Of Metal die Band der Stunde sind.

Employing a vast array of advanced vocal and instrumental techniques, Broken Gargoyles is arguably Galas" most intellectually, sonically and viscerally formidable work to date. The album finds the visionary artist deftly probing the weaving, warping transformation on the nervous systems of her post-traumatic soldiers and dying diseas ed. Composed in 2020 during the beginning of the Covid-19 pandemic, the first presentation of Broken Gargoyles featured verses by German poet Georg Heym, "Das Fieberspital" and "Die Dämonen der Stadt." The work was finalized in 2020 in collaboration with the artist and sound designer Daniel Neumann. In "Das Fieberspital" Heym describes the horrific state of people suffering from yellow fever who live in paralyzing fear of death and swirling delirium owing to their brutal treatment and isolation in medical wards in early 20th-century Germany. "Die Dämonen der Stadt" also addresses such grim portents of World War I; in this poem, the god Baal observes (like a gargoyle) a town from a rooftop of a city block at nighttime and lets a street burn down during dawn. The final incarnation of the work was played as a sound installation at the Kapellen Leprosarium (Leper"s Sanctuary) in Hanover, Germany

Classic Black Vinyl repress in soon note new price. LP with DL card. “a songwriter testing the limits of her sound and redefining herself in the process” - Pitchfork // “Rundle’s voice floats above the seething morass, graceful and triumphant, an angel welcoming the apocalypse” Stereogum // The cover to Emma Ruth Rundle’s fourth solo record, On Dark Horses, bears a blurry photo of the songwriter obscuring her face with a large toy horse with broken legs. The photo suggests something candid but also hidden, graceful but also fractured a fitting portrait for an artist who has established a career by vacillating between shrouding herself in mystery and exposing her wounds to the world. The first peek behind the curtain came with her Sargent House debut Some Heavy Ocean, where layers of distortion were excised in favor of acoustic guitar and Rundle’s beguiling vocals. There was a distinct difference by the time Rundle released Marked For Death, a stark and deeply personal meditation on mortality and self-destructive behavior. Her entire musical trajectory from the cinematic instrumentals of Red Sparowes to the lush haze of Marriages and onward through her solo career seems like a gradual disclosure of intimate secrets. With On Dark Horses, Rundle doesn’t shy away from uncomfortable realities or retreat into a private world, but it does capture an artist who has survived their personal nadir and come out stronger on the other side. Taking the full arrangements of Marked For Death on the road demanded a backing band, which Rundle pieced together from tour companions first Dylan Nadon from Wovenhand and Git Some and later Evan Patterson and Todd Cook from Jaye Jayle. Rundle’s budding romance with Patterson prompted a move to Louisville, Kentucky, which not only amplified the equestrian themes of the record but also yielded a new writing process. “This the first time I haven’t played all the guitars on my own record,” Rundle says of Patterson’s contributions to the writing process. “It was stressful letting go but it was also rewarding.” The collaboration worked both ways, with Rundle contributing to Jaye Jayle’s No Trails and Other Unholy Paths. That album’s “Marry Us” mirrors On Dark Horses’ “Light Song”, with the union of Rundle’s siren vocals and Patterson’s poised baritone conjuring a dizzying and feverish update on the duets of Johnny Cash and June Carter. The eight tracks of On Dark Horses capture the evolution of Rundle as an artist, with vestigial traces of the savvy guitar work of Electric Guitar: One, the siren song beauty of Some Heavy Ocean, and the amplified urgency of Marked For Death all factoring into the album’s rich tapestry. Rundle arrives at the end of the album with an ode to a traumatized and heartbroken friend on the grand and triumphant “You Don’t Have To Cry”. After laboring over the majority of the material for the album, she wrote the finale in one sitting, describing its easy birth as a gift from the gods. It’s a fitting closer, a song announcing Rundle’s newfound hope and reminding us to take control during our darkest moments instead of succumbing to them. Track Listing: 1 Fever Dreams 2 Control 3 Darkhorse 4 Races 5 Dead Set Eyes 6 Light Song 7 Apathy on the Indiana Border 8 You Don’t Have to Cry

Repress!

Uno Melodic was the brainchild of the legendary Roy Ayers. At the height of his career in the early 80s, Roy established Uno Melodic to explore working as a writer, musician, producer and record label owner with complete control over his creative ideas. Roy brought artists and musicians to the label invaluable to him at Polydor and in whom he saw potential to make more great records. Between 1980 and 1983 Uno Melodic released records that went onto become definitive of their time, classics that became much sought after. The label and its signature releases are part of the Roy Ayers legacy, the best of which Expansion have assembled here on remastered double LP.
Sylvia Striplin, Eighties Ladies and Ethel Beatty represent the soul, disco, two step and boogie sides of Uno Melodic, Bobbi Humphrey, Justo Almario and Roy himself the masters of jazz fusion at the label. The album concludes with the spoken words of Rick Holmes on one of the label's biggest ever release on the label.

Bongos, bouzouki and Farfisa organ galore ! The explosive cocktail of rock'n'roll and traditional Tsifteteli hailing from 1960's Greece is still alive thanks to Deli Teli : the Marseille-based quartet performs a string of forgotten hits that once set Athens on fire, with a contagious energy and a subtle dose of Mediterranean drama.

Half a century ago, while French seasiders would dance to « Yéyé » sounds and dig the Beatles or Pink Floyd, a whole other scene was happening further along the coastline. Notably, Greek artists were a huge influence beyond the Mediterranean cradle ; Aris San's version of « Boum Pam » (a.k.a. « Bros Gremos Kai Piso Rema »), brilliantly interpreted by Deli Teli on this record, was a n°1 hit from Southern Europe to the tip of India ! Far from being an exclusive Greek sound, Tsifteteli music has travelled through borders for centuries and means « double string » in Turkish. In the 1960's, it mixed with rock'n'roll, surf and Latin-american influences, and gave birth to the typical « Laïko » sound.

With their powerful electric bouzouki (Greek lute) and the distinctive sound of the Farfisa organ, Deli Teli have carved their style while digging through the incredible goldmine of the late 60's and early 70's Tsifteteli/Laïko singles. The 4 musicians met in 2019 with a burning desire to dive into electric sensations – bassist Christos Karypidis used to play oud and keyboardist Arthur Bacon played accordion in most of his former projects – and made the most of 2020's « lockdowns » by building their repertoire and thinking up Deli Teli.

On this mini-album, they also interpret Koko's « Chily Chily », a groovy belly-dance mover ; « Ekso Dertia Kai Kaïmi », an intoxicating and frenetic floor shaker ; « Tsiftetelli 1969 », a cool organ-lead surfing instrumental ; and 2 slightly freer and more psychedelic numbers, « Taksim Deli » (improvisation) and « Bournelis », a creative re-arrangement of 2 tracks by Leonardos Bournelis.

Deli Teli preach a collective, sensual and solar hip-wiggling across the continents and beyond ; they are ready to shake our minds and bodies until we all gel together... Join the « Tsifteteli Club » now !

RUN-D.M.C.'S PATH-BREAKING SELF-TITLED DEBUT BENEFITS FROM DEFINITIVE RESTORATIVE TREATMENT
Mastering Source to Be Determined Closer to Production Date


The impact, influence, and importance of Run-D.M.C.'s self-titled debut – the album that invented hardcore hip-hop and bridged rap, rock, and funk in then-unparalleled ways – cannot be measured. The first full-length record released by Profile Records, the 1984 set permanently changed the sound of music, broadcast streetwise wisdom to every corner of the country, and made the notion of a one-man band a distinct reality. Produced by Russell Simmons and Larry Smith – and bolstered by an incendiary blend of staccato deliveries, stark beats, aggressive exchanges, evocative hooks, and socially conscious messages – Run-D.M.C. still hits listeners in the jaw with the same intensity it did nearly 40 years ago when it could be heard booming from ghetto blasters carried around city blocks nationwide.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g SuperVinyl 33RPM LP is the definitive-sounding version of this groundbreaking work.

Lavinia Meijer is a pioneering and exciting musician and composer, and one of the most important harpists of her generation. Known for her passion in broadening the possibilities of the harp – both in terms of sound and appeal
– she’s garnered worldwide critical acclaim for her intelligent, inventive interpretations of both orchestral repertoire and more contemporary music, playing alongside the likes of Philip Glass and Ólafur Arnalds, and performing works by Radiohead in classical venues.

Four years in the making,AreYou Still Somewhere? sees Meijer combine original compositions with her long stated dream of interpreting modern composers and musicians for harp. Works by Ryuichi Sakamoto, Ólafur Arnalds, and Alexandra Streliski all feature, as do collaborations with Dutch pianist Pieter de Graaf and punk legend Iggy Pop.

Are You Still Somewhere? concerns self-reflection and inner growth, topics that have come to the fore over the last couple of years. Family too; looking back, longing, and living with one’s regrets are raked over in ‘Mom & Dad’, a track that features spoken word poetry from Iggy Pop. The 2022 Edison Award-winning album Are You Still Somewhere? includes a 4-page booklet.

Hailing from Queens, NY, the original members of Onyx were discovered by the legendary Jam Master Jay of Run-D.M.C Onyx released their ninth studio album, Onyx Versus Everybody. Almost 30 years since their debut, Onyx still have raw energy, undeniable boldness and their pulse on the culture. The 10-track LP is a cohesive body of work that is full of street tales featuring appearances by Big Twin, Ricky Bats, Harrd Luck and Termanology. If you're a diehard fan of Onyx, this is one of the group's best projects in their legendary career. According to Sticky Fingaz, the album was completed in just two weeks thanks, in part, to the group's new songwriting process. "We didn't really write anything," he recalls. "We wrote a little bit but you know, we got a new technique where we just vibe and get on it. We recorded everything in the Batcave. That's Fredro's studio." Fredro says their classic "Last Dayz" from their sophomore album, was the inspiration behind the production on their new album. "'Last Dayz' is a Hip Hop classic beat you know? It was in 8 Mile and that made it even more legendary so I wanted to get the vibe on the album," he says. "I know what I know when it comes to making beats and my style never changed. That's why it sounds like 1996 because I didn't change the way I make my beats. When it comes to producing, Fredro claims to have the hardest tracks in the game and he brought that same energy to the new album. "I don't get nothing from a beat machine," he added. "I don't even use a hi-hat. I got my own drums. I play my own drums. My shit is dirty. I need it to be dirty. My shit is filthy. I got the nastiest, grimest, beats in Hip Hop." With their signature hardcore lyricism and gritty production, Onyx Vs Everybody makes a strong case for being named among the best albums of 2022 so far, but that isn't the recognition they seek. "Onyx Vs Everybody is the hottest, grimmest, dirtiest album of the year," Sticky Fingaz boasts. "I don't want the best album of the year. They can have that. This is the grimmest album of the year." Coming off a Versuz beating Cypress Hill at the forum in LA and now on a international tour, for fans of Cypress Hill, Public Enemy, Run DMC

I'm talkin' about Beatmasters, but not the late 80s crew that saw collaborations with the Cookie Crew etc, I'm talking about the legendary Bristol beatmaster Boca 45 who has mastered, honed and polished his creative techniques and his distillation of beat making over the last 25+ years. Born out of hip hop and rooted firmly in the Bristol scene of Massive, Wild Bunch, and Portishead, Boca 45 aka Scott Hendy has successfully navigated an ever changing musical landscape with an unwavering connection and honest adherence to those very roots and ethics. It's what makes Bristol such a special place for art of all forms in the city, a DIY, earthy and passionate sound and vision that runs through all the artists that call Bristol home.
And so it continues with Boca's only 45 release this year in ‘22. It’s strictly Limited to 300 copies on High Quality Yellow wax with each copy stamped & numbered.
On this Bomb Donut he teams up with NYC Native Tongue OG Bam of The Jungle Brothers on hype vocals duties for 2 dancefloor burners.
The A side '(Do It) Fluid' goes straight for the jugular with an immediate phat rubbery bassline that precedes a beat that charges and swings between 4 to the floor and wild breaks. Everything else within the track is supporting that drum & bass, heaping bucket loads of flavour into the mix. And to make it even more tasty, the arrangement is a clear 'DJs Choice', eminently cut-able, mixable, and double up-able! The intention of this (and the flip) is most definitely to stick 'nasty faces' on everyone on the dancefloor.
So if you weren't already bleeding from a torn jugular from the A side, then the B side is going to do some serious damage to what is left of your vascular system. Picking up the tempo with a heavy-duty breakbeat that drives ever forward, 'Another Dimension' is peppered with fuzzed up riffs, Bam's hype vocals, and spacy flourishes. The result is a blistering dancefloor nugget heavily laden with urgency and vigour that DJs, dancers and breakdancers alike will be seriously wigging and poppin' out to. Ultimately these are classic Boca productions, full of the energy and verve we all know and love, honest, funky, raw, they have it all.
Both tracks are a step up from cut-and-paste, yet that ethic is loud and proud throughout (and has been a trademark of Boca's beats over the years).
It's perfectly reasonable to predict that this 45 will be going straight into the play crates of DJs across the world. And you can quote me on that.

All compositions by Christian Wallumrod. Trondheim Voices is a groundbreaking Norwegian ensemble of improvising vocalists, constantly challenging and changing the framework for how a vocal ensemble can produce sound art. Each singer's individuality, and her timbre combined with the other voices, are in focus, resulting in a unique quality to the groups collective sound. Through their many collaborations with cutting edge composers like Christian Wallumrod, Marilyn Mazur, Jon Balke, Mats Gustavsson and Maja Ratkje, they have made solid statements as developers within vocal and improvised music. Trondheim Voices are exploring and developing new music in the interaction between the singers, the audience, their surroundings and new technology. Christian Wallumrod has worked as a musician and composer since 1992, and he is considered one of the most prominent and influential musicians of his generation in Norway. Following his debut on ECM Records ("No Birch", 1996), he has released a string of albums with Christian Wallumrod Ensemble (CWE) on the same label, all to considerable critical acclaim. The album "Outstairs" (2013) was awarded the Norwegian Grammy's (Spellemannprisen). Brutter (2012), Christian's collaboration with drummer brother Fredrik, has released three albums (Hubro). Hubro is also the home for albums with CWE and Dans Les Arbres, as well as Wallumrod's solo piano records Pianokammer (2015) and Speaksome (2021). Wallumrod has written commissioned works for Ensemble Allegria, Håkon Stene, Oslo Strykekvartett, BOA and Trondheim Jazz Orchestra

Recorded in St. James Norlands church in London in November 1968 and first released in the following year, this work stands as the first solo bass album in the history of Jazz and improvised music. Born in 1934 in San Francisco, Barre Phillips is one the most influential bassists of his generation. In his long career Phillips has played and recorded with almost everyone in the world of Jazz and beyond, a long list of forward thinking music icons including Don Ellis, Bobby Hutcherson, Dave Holland, Archie Shepp, Marion Brown, John Surman, Paul Bley, Evan Parker just to name a few! Originally recorded as part of a 3 hours session this solo tour-de force expresses the true essence of a genius. A multifaceted, kaleidoscopic journey through a myriad of melodic, rhythmic, fretted and bowed lines. In other words: a true master class and a seminal statement from one of the greatest figures in creative music!

"...Not just an improviser of the highest order; but a true sound sculptor capable of drawing from his instrument such a vast array of shapes and colours that his creation is almost a form of visual art for the ears." Jazzwise

Flaminia’s first solo release on 47 features four mesmerizing techno rollers. London-based artist Flaminia makes her solo 47 debut with four sophisticated techno tracks that perfectly balance brooding intensity with dreamlike atmospherics. A producer with EPs on Samurai Music, VSK Series and her own label, Metempsychosis Records, Flaminia builds on her canon of previous work with 47033, adding to the label roster’s growing arsenal of expertly honed dance floor releases. On the A-side, two four-to-the floor heavyweights—”Pure” and “Burn Loudly”—offset bone-shaking kicks with plangent melodies that make these tracks uplifting despite their ferocity. The B-side takes a darker turn; “Back To Zero” is an icy broken beat that shines in its stuttering rhythmic complexity, while the closer, “Dissolved,” is just as foreboding: synths scrape and shatter like shards of glass against a spare and crunchy kick while Flaminia’s voice reverberates in the background. The entire package will be

Monophonics cordially invite you to attend the grand re-opening of the once thriving, once vibrant establishment, the legendary Sage Motel. A place where folks experience the highs and lows of human existence. A place where big dreams and broken hearts live, where people arrive at without ever knowing how they got there. It's where folks find themselves at a crossroads in life. So join us as we examine where the stories are told and experiences unfold.....and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel.

First Word Records is very proud to bring you a brand new album from Takuya Kuroda!

Takuya Kuroda is a highly respected trumpeter and arranger born in Kobe, Japan and based in New York City. 'Midnight Crisp' is Takuya's seventh studio album, entirely self-produced and following 2020's highly acclaimed 'Fly Moon Die Soon', also released on UK label First Word (winner of the Worldwide Award's Label of the Year in 2019). Consisting of six new tracks, this once again sees Takuya displaying his unique hybrid sound, blending soulful jazz, funk, post-bop, fusion and hip hop.

After following the footsteps of his trombonist brother playing in big bands, he relocated to New York to study jazz & contemporary music at The New School in Union Square; a course he graduated from in the mid-noughties. It was here that Takuya met vocalist José James, with whom he worked on the 'Blackmagic' and 'No Beginning No End' projects.

Following graduation, Takuya established himself further in the NYC jazz scene, performing with the likes of Akoya Afrobeat and in recent years with DJ Premier's BADDER band. Premier said "The BADDER Band project was put together by my manager, and an agent I've known since the beginning of my Gang Starr career. He said, 'What if you put a band together that revolved around a trumpet player from Japan named Takuya Kuroda? He's got a hip-hop perspective and respect in the jazz field…"

Takuya Kuroda is already incredibly prolific, releasing six albums in the past decade and fortifying a solid reputation in the global jazz scene. 2011 saw the release of Takuya's independently-produced debut album, 'Edge', followed by 'Bitter and High' the following year and 'Six Aces' on P-Vine in 2013. Takuya was signed to the legendary Blue Note Records in 2014 for his album 'Rising Son', as well as appearing on their 2019 cover versions project, 'Blue Note Voyage'. He released his 5th album 'Zigzagger' on Concord in 2016, which also featured Antibalas on a reimagining of the Donald Byrd classic 'Think Twice'.

His last album was the afore-mentioned 'Fly Moon Die Soon' on First Word, which received plays and support from the likes of Pitchfork, Earmilk, Bandcamp Weekly, Worldwide FM, All About Jazz, Apple Music, Tidal, Stereogum, Treble, Brooklyn Vegan, FIP (France), Tony Minvielle, Jazz FM, Huey Morgan (BBC 6 Music), BBC Radio 3, Novena Carmel, KCRW and tons more DJs, tastemakers, selectors, radio stations, bloggers & magazines.

The new project 'Midnight Crisp' will be released October 21st 2022 on vinyl, CD and digital, worldwide via First Word Records.

IDLES return with their new album, ‘CRAWLER’, an album of reflection and healing
amid a worldwide pandemic that stretched the planet’s collective mental and physical
health to the breaking point.
 Frontman Joe Talbot says: “We want people who’ve gone through trauma,
heartbreak, and loss to feel like they’re not alone, and also how it is possible to
reclaim joy from those experiences.” IDLES albums have always been anchored by
these overarching themes, but the ability of the band to juxtapose beauty and rage
with humour and drama has never felt more satisfying than on ‘CRAWLER’.
 These stories are vividly brought to life through IDLES’ most soul-stirring music to
date, recorded with co-producers Kenny Beats (Vince Staples, Freddie Gibbs) and
IDLES guitarist Mark Bowen.
 Previous album ‘Ultra Mono’ was Number 1 album in the UK, with over 35k sales
week one.
 Huge 2022 January UK tour including five Brixton Academy dates, three at Glasgow
Barrowlands, two at Manchester Warehouse and more. Over 20k UK tickets sold in
the first hour of release.
 Three high budget music videos, written and directed by LOOSE (Lucy Hickling,
Stink Films).
 CD in digipak packaging.
 Deluxe LP mastered at half-speed (45rpm), pressed on deluxe heavyweight 180g
black double vinyl and housed in a gatefold jacket with printed inner sleeves.
 Eco-Mix coloured vinyl LP housed in a single-sleeve jacket and printed inner sleeve.
Eco-Mix vinyl production uses leftover wax that’s already in the factory, meaning
each record is different and the colour is completely random and unique.
 Standard black vinyl LP housed in a single-sleeve jacket and printed inner sleeve.

Pianist, drummer, composer and producer Hamish Balfour presents jazz funk, soul and electronic music, bridging the gap from classic Blue Note to Warp via Sonar Kollektiv on Running Colours, his electrifying debut album for London's Shapes of Rhythm Records.

Praised by Jazzwise for hissolo flourishes and sidestepping harmonies, Hamish Balfour should be a recognisable face to jazz addicts. The go-to keys player has performed and recorded alongside American jazz drumming legend Harvey Mason, Tenderlonious, The Temptations, Odyssey, Faze Action, Yolanda Charles' Project PH, Bassically, Nim Quartet and Yam Who. Popping up not only in the credits of many sought-after albums, but also Channel 4, ITV and BBCprogrammes for his compositions on various shows.

Over the course of eleven tracks, Balfour folds in and explores his influences, with a wide yet highly cohesive and strong palette of sounds, whilst interacting with high caliber guest vocalists such as spoken word artist and broken beat icon, Lyric L(Seiji,Nathan Haines), London Elektricity and Hospital Records' star vocalist Elsa Esmeralda, award-winning and chart-storming singer-songwriter Belle Humble (Freestylers, Paloma Faith) and soul and house mainstay Andre Espeut (Afriquoi,Simbad,Faze Action).

Responsible for all piano, synths, percussion and production on the album, Balfour's musicality shines through, a reminder of how overdue this debut album as leader is. However, in addition to the incredible vocalists, he's joined by some of the UK's finest jazz musicians: James Copus (trumpet), Pete Matin (bass), Laurie Lowe and Saleem Raman (drums) and Rob Updegraff (guitar).

Elsa Esmeralda implores us 'not to be afraid' on lead single and title track Running Colours. A perfect invitation to get stuck into this many layered album. Balfour compliments Esmeralda's soothing vocals with delicate piano intro before Lowe's bruk-easque drums and lead an irresistible groove bedded in warm synths and guitar licks.

Yes or No showcases Loose Lips legend Lyric L contemplating the uncertainty of love over a swinging mid-tempo jazz funk boogie groove propelled by tight drums and Hammond chords, closing with a flying trumpet solo from Copus, weaving around Balfour's nimble keys.

Wealth, featuring singer/songwriter Belle Humble, displays incredible depth and restraint. Humble delivers the enticing vocal with ease, as it slides over the intricate webs of jazz fusion and electronics.

Mogul is arguably Running Colours' curveball. An eastern-inspired whirlwind of all manner of synths and twisting drums which constantly morph throughout. Guitars and trumpets take turns to solo on a track that feels like a series of questions that we never quite get answers to.

Balfour's ability to merge free wheeling jazz and fusion with timeless electronic production and soulful compositions is also apparent on instrumental pieces such as Reflector 28. Here, we find the musicians upbeat, uplifting, progressive and playful, showcasing the keys whilst the bass underpins the groove.

South Of The Sun is Running Colours' laid-back moment with Roy Ayers-type vibrations as bass and drums sit in the pocket (at least to begin with), whilst a Rhodes weaves its magic. Like many of the album's tracks we take a few twists and turns before returning to our main feel-good motif.

Hamish's long awaited debut is sure to exceed the expectations of those who know him already, whilst introducing a whole new audience to his wealth of talent and originality.

The official retrospective on one of Somalia's most famous and beloved private bands, Iftin, and a companion compilation to our Grammy-nominated "Sweet As Broken Dates". Digitized from cassettes recorded between 1982 and 1987 at the legendary Al-Uruba hotel's secret studio and the jams for the masses performed in the basement of Somalia's national theater. Banaadiri rhythms from Somalia's south, Mogadishu's finest vocalists, Dhaanto reggae-like guitar licks, and smoldering brass blend seamlessly with the sounds of Asia, the Middle East, and Africa to form one of rawest, most cosmopolitan eras of music anywhere. Iftin's Mogadishu is where the world's sounds begin and end.

Double LP gatefold with a 12" x 12" poster. Hardcover bookcase CD with 12 page booklet.

First Lady of Song Ella Fitzgerald overcame the challenges of a tumultuous youth through music, her performances with the Chick Webb Orchestra at the Savoy Ballroom and distinctive scat singing leading to early recordings and the 1938 breakthrough, ‘A Tisket A Tasket.’ After recording bebop LPs for Decca, manager Norman Granz launched the Verve label to allow her to broaden her musical horizons, exploring the Great American Songbook. Released in 1960, Ella Wishes You A Swinging Christmas sees her tackle Christmas classics as only Ella can, the lavish orchestration overseen by noted conductor Frank de Vol.

Gems Under The Horizon, the chillout division of Belgium’s Basic Moves returns with its second release this July, comprised of four original cuts from various artists across the globe.
Gems Under The Horizon was launched by Basic Moves label boss
Walrus originally as a Sunday daytime party series aimed at sharing electronic music in the chillout, ambient and downtempo sphere to wind down the weekend. The affiliate imprint was launched in April 2021 with material from Astral Industries artist Sonmi451 and Dylan Thomas Hayes.
Here the label returns with four new tracks welcoming an array
of new artists onto its roster and leading the way is &Apos who delivers ‘Vigo’, a hauntingly beautiful journey through swelling textures, plucked strings ethereal voices and synth modulations. Salamanda’s ‘No Vacation’ follows, the Seoul, South Korea based duo of Uman Therma a.k.a. Sala and Yetsuby a.k.a. Manda turn their focus
towards an amalgamation of gamelan like chimes, metallic percussion, organic drum grooves and flute like synth work.
Ugné & Maria’s ‘Into Orbit’ opens the flip side, as the name would suggest embracing a spaced-out aesthetic with intricately unfolding melodies, cinematic atmospherics, and gritty broken drums. Bogota, Colombia’s Manta Ray then rounds out the release with ‘Mysterious Ways’ as she traverses through off-kilter rhythms, unfurling pads,
choppy scratches, broken vocal cuts and meandering subs.

The 2013 action-adventure game The Last Of Us was originally published in 2013 by Sony Computer Entertainment and was developed by Naughty Dog. The game is played in a third-person perspective and its player controls Joel, a smuggler who is escorting the teenager Ellie across a post-apocalyptic America. The game received critical acclaim, with praise for its narrative, gameplay, visuals, sound design, characterization, depiction of female characters. The Last Of Us became one of the best-selling video grames, selling over 1.3 million units in its first week. The game won multiple Game of the Year awards and has been cited as one of the greatest video games ever made.

The Last Of Us also received acclaim for its score, which was made by composer Gustavo Santaolalla. Santaolalla is also known for his work on Brokeback Mountain and Babel, for which he both won the Academy Award for Best Original Score. The Argentinian composer also created the music for the series Jane The Virgin and Netflix’ Making A Murderer. His soundtrack to The Last Of Us was his first in the video game industry. In 2020, he also returned to compose the music to the sequel, The Last Of Us Part II.

The Last Of Us is available on black vinyl. This 2LP is housed in a deluxe gatefold sleeve, includes printed innersleeves and an

The 2013 action-adventure game The Last Of Us was originally published in 2013 by Sony Computer Entertainment and was developed by Naughty Dog. The game is played in a third-person perspective and its player controls Joel, a smuggler who is escorting the teenager Ellie across a post-apocalyptic America. The game received critical acclaim, with praise for its narrative, gameplay, visuals, sound design, characterization, depiction of female characters. The Last Of Us became one of the best-selling video grames, selling over 1.3 million units in its first week. The game won multiple Game of the Year awards and has been cited as one of the greatest video games ever made.

The Last Of Us also received acclaim for its score, which was made by composer Gustavo Santaolalla. Santaolalla is also known for his work on Brokeback Mountain and Babel, for which he both won the Academy Award for Best Original Score. The Argentinian composer also created the music for the series Jane The Virgin and Netflix’ Making A Murderer. His soundtrack to The Last Of Us was his first in the video game industry. In 2020, he also returned to compose the music to the sequel, The Last Of Us Part II.

The Last Of Us is available on black vinyl. This 2LP is housed in a deluxe gatefold sleeve, includes printed innersleeves and an

Yellow Vinyl

London Records releases remastered and expanded editions of Voice Of The Beehive’s classic debut 1988 album, ‘Let It Bee’ on November 25th.
Formats include a remastered gatefold vinyl edition in transparent honey yellow, and an expanded double CD edition featuring previously unreleased tracks, live versions and demos. All formats feature new liner notes by the band’s very own Tracey Belland.
In the mid 80s, armed with a only a suitcase of songs, Californian sisters Tracey Bryn and Melissa Brooke Belland escaped the American music industry in search of the vibrant British indie scene, finding recently split Madness band member Daniel ‘Woody’ Woodgate, who together with guitarist Mike Jones and bassist Martin Brett would form ‘the Beehive Boys’.
The powerful live chops of the Beehive Boys, combined with the harmonies, energy and stage presence of Tracey and Melissa, made Voice of the Beehive indie darlings and one of the hottest live acts on the London scene.
Signing with London Records, they recorded ‘Let It Bee’, its sunny exterior of sparkling indie guitars, energetic rhythms matched with lyrics and melodies that revealed both hope and an occasionally cutting cynicism.
On its release ‘Let It Bee’ was a UK Top 15 album, its singles ‘I Say Nothing’, ‘I Walk The Earth’ & ‘Don’t Call Me Baby’ all chart hits and radio favourites. Re-issued for the first time since its initial release. The expanded double CD version features ‘Cartoon City’, a band favourite recently uncovered and remastered from the London Records archives.

We Smile were part of the Hamburger Schule back in the early Nineties: expressive vocals, associative lyrics in German and English, brittle guitars and overall a quite broad interpretation of the general idea of Pop. Now, 30 years later, Hamburg label Couldn’t Care More releases these spectacular remixes of songs from We Smiles album “Für Die Anderen”: Glasgows JD Twitchs (Optimo) turns “Sack Voll Drogen” into one twisted colossus of a track, made from electro, breaks and rave , Tokyos Tentenko fires up the Casio for her two versions of "31 24 42" and Hamburgs Mense Reents (Egoexpress, Die Vögel, Die Goldenen Zitronen) builds the most extraordinary elegant Pop song from the sparse "Can't Resist (Popmusiker Sind Auch Künstler-Version)". Also included is the formidable (and remastered) original of "Kind Und Kegel".

An outstanding 2LP compiling the best instrumentals of the greatest white rap group ever: the Beastie Boys. New Yorkers Ad-Rock, MCA and Mike D crossed over into the mainstream in the mid 80s with their full-length Licensed to Ill and exploded any notions of one-dimensionality with its ambitious followups such as Paul's Boutique, On Check Your Head and Ill Communication. Taking influences from hardcore and hip hop, these innovators performed most of the music while integrating an array of rock samples, 808 beats and witty wordplay into an ever-intriguing sonic smorgasbord.

On their third album, »Rideau«, Swedish trio Tape made their great leap forward. Released in 2005 on Häpna, following two albums of pastoral folk meets electronica, »Rideau« saw the trio of Andreas and Johan Berthling, and Tomas Hallonsten, working with an outside producer, Marcus Schmickler (best known for his post-rock outfit Pluramon). On »Rideau«, Tape’s music opened out considerably, embracing traditional minimalism, and luscious melodicism. Now, seventeen years later, »Rideau« has a new home with Morr Music, who are reissuing the album on vinyl, marking its first appearance on the format, including an extra track.

It’s only logical that »Rideau« should reappear via Morr Music. Like Tape themselves, Morr Music was a significant part of the worldwide gang busy reconciling electronica, pop, and acoustic, group- oriented sound across the 2000s, and »Rideau« sits neatly alongside other releases of similar heritage. And yet, »Rideau« feels contemporary, suggesting the creative discoveries made by the trio have ongoing resonance; their elliptical poetry echoes through recent music from the likes of Tara Clerkin Trio, and Tape’s sometime collaborators, Tenniscoats.

Asked about the album, Johan Berthling recalls, “»Rideau« was a special album for us to make”. While they had previously recorded their albums in rural Sweden, for »Rideau«, the trio decamped to Schmickler’s Piethopraxis Studio in Cologne. The creative space that Schmickler carved out for the group allowed them to explore this new material to its fullest. For his part, Schmickler found himself drawn to Tape’s music –“Their focus was a combination of seemingly timeless folk influences with noisy electronics and field recordings,” he explains. You can hear Schmickler’s influence at an almost molecular level – Tape had never sounded quite so graceful and assured with their compositions. “Marcus really shaped the music, working architecturally to build the form of the pieces,” Berthling recalls.

»Rideau« represents a collective exhalation for Tape, with the trio exploring more involved, longer pieces, which situates them in yet broader musical contexts. There are clear connections with the history of minimalism, for example, via the repeating organ phrase of »Sunrefrain«, and the insistent piano arpeggio of »A Spire«, which builds into a Reich-ian dream song, with sensuous electronics and glinting vibraphone dappling abstract shapes across the song’s stretched canvas.

Reflecting on Tape’s essence, Schmickler isolates their “uncompromised ethos, caring about small details.” This echoes most radically through the twilight environment of »Long Lost Engine«, which sets the listener adrift on impossibly radiant drones, while a gentle, almost Feldman-esque melody plays out over the song’s surface. It’s followed by the reissue’s extra track, Japanese electronica quartet Minamo’s remix of »Roulette«, a connection that would lead to a Minamo/Tape collaborative album, »Birds Of A Feather« (2007).

For now, though, here is the gorgeous, penumbral abstraction of »Rideau«, an album of whispers and clues, quiet moments and grand gestures, reintroduced to a welcoming world.

Terapia Records is thrilled to introduce you the very first release of its catalogue, a stunning LP by the two founders Luca and Michele (aka Complementary Minds) called Butch Haynes introduces Complementary Minds Vol. 1. The newborn label launches its ambitious, yet very much considered project, after the debut of one of the two head-honchos Luca Ferrara aka Butch Haynes on Apparel Music and Sistrum Recordings. He metaphorically introduces the first LP by the Milan born and bred duo, who share a deep love for music and a great productive connection. They deliver a brilliant eleven-track album, full of diversified sonic influences and quite representative of their bright talent. The record, which will be presented to you both on vinyl and digital, starts with a couple of masterly produced beats (Fantastic/Teacher Carey), both with an analogous mellow, warm energy, some brilliantly crafted bass-lines and a substantial harmonic presence. The album keeps rolling with the Deep feeling of Flower Diva: its soulful, skilfully arranged vocals and the dreamy synthetic chords help the pair to perpetuate this passionate, balmy vibe. Insomnia ends the first quartet of sexy tunes with some seductive improvised spacey key stabs and its delicate pensive chords while Q Orchestra (the lost tape mix) speeds up the heartbeat and leads to the closing track of the A side, Bebi: a gorgeous groovy interlude. B side kicks off in style with the slightly darker feel of Myers Boogie Man where the pitched sampled vocals, the solid rhythm section, a profound array of sonic details and a marvellous warm synth melody towards the end of the track make it a true ghetto hit! Right On, with its broken-beat and a radiant harmonic progression, Contact 911 with its tight kick-snare connection and some far-out, whimsical chord evolution and G Buster with its irresistible slightly acid driving force, pave the way for the grand finale where Maam, a proper club banger, ends this amazing LP in epic fashion. Butch Haynes introduces Complementary Minds Vol. 1. is such a cohesive, yet incredibly diversified album and their authors, Luca Ferrara and Michele Fallabrino, achieve the challenging task of telling their sonic story with a flawless work. What a way to start Terapia Records’ experience.

Baiser Mortel is the soundtrack of a performance commissioned by the Bourse de Commerce - Pinault Collection, performed in Paris in October 2021. PAN presents Baiser Mortel, the original soundtrack to the acclaimed theatrical performance of the same name. Staged at the Bourse de Commerce - Pinault Collection over four days last October, the original production - collaboratively realized by composer and director Low Jack, composer and rapper Lala &ce, choreographer Cecilia Bengolea with costumes designed by Marine Serre and Oriana Bekka as creative director and co- director of the performance - merged ballet and urban folklore; sound art and soap opera. A modern-day danse macabre, Baiser Mortel (trans. "The Kiss of Death") cast Lala &ce in the title role. Unfolding over thirteen songs, the musical narrative follows Death as she navigates the realm of the living, and the encounters - desire, romance, spiritual awakening, and adventure - which validate the human experience. "I brought in people who are close to me personally and musically in order to tell a story that speaks to humanity," Lala &ce says in a video uploaded to Bourse de Commerce - Pinault Collection's YouTube channel. Performers Jäde, Rad Cartier, BabySolo33, and Le Diouck joined Lala &ce on stage and in the booth at La Place - Centre Culturel Hip Hop in Paris, where the official soundtrack was recorded. A sonic representation of the musical's themes, Baiser Mortel the album - produced by Low Jack and written by Lala &ce with artwork by Pierre Debusschere - moves through the distorted strings of its opening track, "Goûter" and gathers sonic and lyrical intensity on each successive song. "Lune," the melancholically autotuned midpoint of the album, marks the beginning of the musical's second act and sets the tone for its tragic resolution. Mechanical sounds mix with sonic influences spanning the Global South throughout the album, honoring both Low Jack and Lala &ce's musical heritage and influences, while developing a new musical lexicon that defies comparison. As a theatrical production, Baiser Mortel represents a departure for both artists. A veteran of Parisian subculture, Low Jack's collaboration with Lala &ce represents a new model of artistic mentorship based not on age but on experience, with each artist leaving a distinct signature on the work.

ENG Immerse yourself in the psychedelic and rock universe of Woodstock with this event double vinyl! Find the icons of the counter-culture of the end of the 60"s who marked their generation: Joan Baez, Bob Dylan, The Beatles, Donovan, The Turtles, The Zombies, Status Quo, The Pretty Things, The Foundations, Ravi Shankar