Search:broadcast

Public Service Broadcasting kündigt This New Noise an, den neu abgemischten und neu gemasterten Live-Mitschnitt ihrer gefeierten BBC Proms-Show 2022 in der Londoner Royal Albert Hall, der am 8. September 2023 über Test Card Recordings veröffentlicht wird. Bei This New Noise, einer Feier der Macht des Radios, die anlässlich des hundertjährigen Bestehens der BBC geschrieben wurde, tat sich die Band mit dem 88-köpfigen BBC Symphony Orchestra unter der Leitung von Jules Buckley zusammen. Es war eine herausragende Aufführung bei den BBC Proms 2022 und wurde von The Telegraph mit 5* bewertet, der es als "eine klangvolle, zeitgemäße und letztlich berührende Show" bezeichnete. Gründungsmitglied J. Willgoose, Esq. hat das Konzert von Grund auf neu abgemischt, um der vielschichtigen Aufführung noch mehr Tiefe und Textur zu verleihen und sie in einem neuen Licht zu zeigen. This New Noise ist das zweite Mal, dass Public Service Broadcasting einen Auftrag für die BBC Proms erhalten hat. Im Jahr 2019 spielte die Band ein Orchesterarrangement ihres 2015er Studioalbums The Race for Space mit dem Multi-Story Orchestra anlässlich des 50. Jahrestages der ersten bemannten Mondmission. Public Service Broadcasting lehrt seit mehr als einem Jahrzehnt "die Lektionen der Vergangenheit durch die Musik der Zukunft". Das Debütalbum Inform - Educate - Entertain aus dem Jahr 2013 nutzte Archivsamples des British Film Institute als Audioportale zur Battle Of Britain, dem Gipfel des Everest und darüber hinaus. Zwei Jahre später nutzte The Race For Space ähnliche Methoden, um die Rivalität und den Heroismus der Supermächte im Orbit und auf dem Mond zu loben. Als Indie-DIY-Phänomen hat das Album mit über 100.000 verkauften Exemplaren allein im Vereinigten Königreich inzwischen Goldstatus erreicht. Im Jahr 2017 erforschten sie gemeinsam mit Stimmen wie James Dean Bradfield von den Manic Street Preachers in Every Valley auf bewegende Weise die Gemeinschaft und die Erinnerung an den Aufstieg und Fall der britischen Kohleindustrie. Ihr bisher ehrgeizigstes Projekt, Bright Magic, bringt den Hörer in das Herz und die de facto Hauptstadt Europas, die kulturelle und politische Metropole, die die "Hauptstadt" der Bundesrepublik Deutschland ist - Berlin. Das Ende 2021 erschienene vierte Album der Band, das auf Platz 2 der britischen Albumcharts einstieg, wurde von Electronic Sound als "ihr bisher ehrgeizigstes, unkonventionellstes und majestätischstes Werk, ihr glorreicher kreativer Höhepunkt, ihr Magnum Opus" beschrieben, DIY meinte, "es blühte am ruhigsten auf und brach am glühendsten aus" und Clash meinte, es "zementierte den Ruf von PSB als vitaler Act an der Spitze ihres Spiels". Das Album enthielt auch mehrere BBC Radio 6 Music A-Listed Singles, darunter "People, Let's Dance" ft. EERA und "Blue Heaven" ft. Andreya Casablanca.






[d] 1.4A CELLO SINGS IN DAVENTRY [FT. SETH LAKEMAN]




[d] 1.4A CELLO SINGS IN DAVENTRY [FT. SETH LAKEMAN]

Although Miles Ahead was Miles Davis' first recording with the Gil Evans Orchestra, it was certainly not Evans and Davis' first collaboration. Gil and Miles' 1948-49 recordings both in the studio and broadcasted live from the Royal Roost in New York are among the true jewels of jazz history. The same can be said about Miles Ahead, a completely refined product in which the arrangements, the repertoire and the mood of every improvisation were carefully selected.

Selected Songs 1997-2003 compiles some of the finest moments in the recording history of Hydroplane, the Melbourne-based indie-pop three-piece that operated alongside The Cat’s Miaow through the second half of the nineties. It’s the third release in what feels, now, like a loosely planned series by World Of Echo, documenting the music made by this group of friends in Melbourne sharehouses (The Cat’s Miaow’s Songs ’94-’98, 2022), or in the case of The Shapiros (Gone By Fall, 2023), while traversing the International Pop Underground.

Hydroplane would be familiar to anyone already following these breadcrumb trails – Andrew Withycombe, Bart Cummings and Kerrie Bolton were the group’s core, all members of The Cat’s Miaow. With Cat’s Miaow drummer Cameron Smith itinerant, having moved to London, the trio used this opportunity to expand their music. It’s a subtle, but important shift. If The Cat’s Miaow was about the perfect, minimalist, two-minute pop song, Hydroplane’s music was far more open-ended, embracing the loops and drones, sampled house-y shuffle beats, the burbling of a Roland Jupiter-4 synth, all of which the trio joined, effortlessly, to their endless capacity for moving, elegant melodicism.

They may have only planned to release one seven-inch single, but the sound Hydroplane created was so bewitching, so compelling, that the project’s lifespan ran for around half a decade, and they ended up releasing three albums, including a self-titled debut recently reissued by Efficient Space, and seven singles. There are all kinds of compelling things happening in the music compiled here – the hazy repetition of the gentler side of Krautrock is in here, somewhere, which also suggests Stereolab at their most intimate and disarmed; the gently drifting guitars, gauzy and oneiric, set the songs adrift and floating, each one lost in its own imagined, distracted world. Songs like “The Love You Bring” set indistinct tonal floats across dance rhythms, in a way not quite heard since My Bloody Valentine’s “Instrumental” – but with the added gift of Bolton’s gorgeous voice.

This loose coalition with dance music, and the quiet experimentalism at the heart of Hydroplane, also gestures towards peers like Hood, Acetate Zero and Other People’s Children, and releases on renegade labels like Wurlitzer Jukebox and Enraptured. Like those groups and labels, The Cat’s Miaow were reconciling independent pop music’s past – sweet melody and melancholy, chiming and droning guitars – with the futures promised by DIY electronics and nascent digitalia, the interface of indie and IDM that led to some of the underground’s most blissful, texturally swoonsome music. All that is here, but also, the poise of the melodies is pure Cat’s Miaow, though, with Bolton’s voice sailing, pacifically, over some of the most pared-down, gorgeous music made during their decade.

It was a time, too, when such music could make waves – “We Crossed The Atlantic”, one of their early singles, was picked up by John Peel, who played it repeatedly on his legendary radio show, the song reaching #13 on his 1997 Festive 50. That the song itself was a cover of a tune by 1960s Australian beatnik-pop-poet Pip Proud felt even more perfect – a group of outsiders paying tribute to another outsider, played on the radio one of the few broadcasters brave and human enough to take a chance on this music. But it was a time where everything was up for grabs, and genres were flowing into each other: folk songs went drone; indie re-discovered noise; ambient pop floated, again, out onto the dancefloor. And while they may have been sequestered away in Melbourne, Australia, Hydroplane felt core to that scene, a quietly driving force.

Compiling material from across their brief but mercurial career, this double album perfectly captures the magic and mystery of Hydroplane’s dreamlike, perfect pop songs.

Hand-Numbered, Limited to 500. Big Boss Man have produced a hip-Hammond hybrid of 60'S R'N'B, Latin, Soul, Bongo-Fuzz and Funk since 1998. As well as playing hundreds of concerts and festivals across the UK, Europe and even Russia, Big Boss Man's music may sound familiar to you, being regularly played on film and television, including Come Dine With Me, Strictly Come Dancing and I Used To Be Famous, and broadcast on BBC Radio, by presenters including Gideon Coe, Cerys Matthews and Craig Charles. Their track 'Party 7' was featured in the international Nike World Football '06 Campaign advert featuring Thierry Henry and Eric Cantana. The entire soundtrack to The Mighty Boosh's BAFTA nominated short film "Sweet" was provided from tracks taken from the Big Boss Man's "Humanize" album. The band have performed live on national Spanish television and had tracks included on XFM London Radio and "Later" magazine compilation albums (100,000 plus copies). Big Boss Man's official remix of Modfather Paul Weller's single "The Bottle" went straight in to the UK Top 20, and fast became a collector's item. Know enough yet? Well you'll need to see them live too! Big Boss Man's explosive live shows are legendary. They've been blasting stages since their earlier days in The Loafers, Skooby and Espadrille, amongst a few others. Big Boss Man have released four studio albums, and six 7" singles, and have appeared on countless compilations. This twin-spin 7" single has two new dance floor fillers from Big Boss Man's most recent recordings, and are sure to pack out dance floors across the globe, and further.

Sechs Jahre nach "Legends Of The Shires" kehrt Progmeister Richard West an diese Gestade zurück, um uns die lang erwartete Fortsetzung zu erzählen mit seiner brandneuen Supergroup: Oblivion Protocol

Im besten Fall kann Prog ein sicherer Hafen vor dem Sturm da draußen sein, ein heilsamer Ruhepol, purer Eskapismus. Echte Musikalität, pure Emotionen und eine Vorliebe für überragende Melodien machen diese Musik zu einer Reise, einer Erfahrung, für die Platten und Kopfhörer überhaupt erst erfunden wurden. Ein ganz
besonderer Prog-Aficionado ist Richard West, seit über 30 Jahren renommierter Keyboard-Wizard und Songwriter der britischen Prog-Metal-Pioniere Threshold. Sechs Jahre nach deren epischem Meisterwerk "Legends Of The Shires" kehrt West an diese Gestade zurück, um uns die lang erwartete Fortsetzung zu erzählen. Nicht unter dem Namen Threshold, wohlgemerkt. Sondern mit einer brandneuen Supergroup. Prog-Fans weit und breit, jauchzet und jubilieret: Oblivion Protocol sind da. Und sie bringen uns "The Fall Of The Shires".

There's something intangible about Celeste, the Soundcarriers’ second album, originally released in 2010. It has a light, lucid quality, almost like driving exhausted through a strange city at night. Freeflowing yet tethered, dreamy yet attacking, the band continue the fight to reconcile competing impulses. Various threads just about keep the shimmering tapestry from tearing. Haunting folk melodies underpinned by rhythmic static and the physicality of the totally analogue recording and mixing, baroque keyboard counterpoints and sweeping arrangements. The opener “Last Broadcast” seems to encapsulate this but it's almost as if the album gets the angst out of its system with this track and is free to explore the quieter, less crowded back streets. After the smoke of “Last Broadcast” has cleared, the twisting road takes in the soft introspection of “Hideaway” and “Morning Haze”, both tracks morphing into heavy psyche grooves or the eastern tinged psyche funk of “Signals” and “Rise And Fall”. Or takes another turn with the tightly arranged opening segment of “Long Highway”. Somehow it still manages to fit in ‘60s pop gems like “There Only Once”. An album to really lose yourself in, yet more concise than the sprawling Harmonium and more relaxed and freeflowing than the nervy rush of Entropicalia, Celeste could be arguably their most indispensable album and not to damn it with faint praise, their most listenable.

smokey vinyl

French label and promoter Much More recordings is proud to present the first vinyl our collection.

This vinyl features 6 tracks ranging from breaks to techno and passing by acid and electronica, designed for soundsystem and anchored in their proper original and analogic techno sound.

We believe that redefining the essence of the genre is now critical. After years of promoting parties in Paris and Europe, Much More has gathered artists considered to be the essence of techno. Artists who know how to turn knobs without screens.

They continue to make the mob sweat on the dance-floor, with a simple at first yet efficient recipe that holds a myriad of subtleties.

On our table lies a lemon slowly withering away, a fruit that once was as much suave than sour. Our artists are as ripe as this yellow sphere lying in the open. They possess the experience and knowledge needed to forcefully broadcast this emergency rebirth that techno desperately needs. Our creations are neither nostalgic nor futuristic, they aim to be atemporal. They are naked to artifices, raw to over-tuning, built and cut upon the very ageless tools that defined and will name what is Techno.

Far from us the desire of claiming to be the only definition of the genre, nor forgetting about its primal cravings. Whereas Amarou, Skudge and Sawlin showcast the narrative scope of our passion, Wrong Assessment, Arnaud le Texier and Falling Echoes will remind us what is raving under the strobe's fire.

It's music from urban centers and countrysides, for big room and inner space.
It's music without tag or time, where every loop stops and unfolds on its own.

We are back to the essence, and yet, much more.

First-ever vinyl repress of her classic 1982 fan-favourite album, third in a series of remastered vinyls of her 1980s albums, and part of Cherry Red’s on-going re-issue campaign of the star’s EMI catalogue in association with RT Industries.

Remastered from the original master tapes and pressed on green coloured vinyl with refreshed artwork including new inner sleeve.

Includes the singles ‘Machinery’, ‘Are You Man Enough’ and ‘I Wouldn’t Beg For Water’ as well as her original recording of ‘Wind Beneath My Wings.’

Sheena Easton rocketed to overnight fame in 1980 with the BBC broadcast of ‘The Big Time’ – arguably the first pop reality show – subsequently breaking records with her first two singles ‘Modern Girl’ and ‘9 To 5’ simultaneously hitting the UK Top Ten. Within a year, she had topped the US Hot 100 with the renamed ‘Morning Train (Nine To Five)’, recorded the Bond theme ‘For Your Eyes Only’, released two platinum-selling albums and become an international sensation.1982 proved another whirlwind year for Sheena – beginning with her ‘Best New Artist’ win at the Grammies, followed by first national US tour, the recording of her first TV special ‘Live At The Palace, Hollywood’ and capped with the release of her third album
– the aptly-titled ‘Madness, Money and Music’. Produced by Christopher Neil, the album ranged from the hyperkinetic new wave-infused ‘Machinery’ via the smooth west coast yacht rock of ‘There When I Needed You’ to classic, Streisand-style balladry on the top 20 AC hit ‘I Wouldn’t Beg For Water.’ It also included one of the earliest recordings of the classic ‘Wind Beneath My Wings’.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

For the last twenty years, Sami Yenigun has DJed, thrown parties, released records and built community in Washington DC. He lived in and helped produce the underground event space Subterranean A. He's a co-founder of the DC mega party ROAM. He started the label 1432 R alongside Joyce Lim and Dawit Eklund. He's made music for Future Times, World Building, Rhythm Section, and Ghostly International. He’s produced for Dreamcastmoe and jammed with the Lifted crew.

Sami's also an award-winning journalist and Executive Producer of the largest afternoon news broadcast in radio, All Things Considered. He's won a Peabody, a Murrow, A World Press Photo Award and a National Press Club Award for his work, which includes creating a show with the legendary DJs Stretch and Bobbito, serving as editor of NPR's podcast about race, Code Switch, and covering elections, epidemics, insurrections, and of course, music.

It’s a lot, but whether finding a flute that fits, an extra battery for his Marantz, or the energy to make beats after a week of telling stories, Sami's enthusiasm for life, and the people in it, make it work.

The latest record, Elevate, is a testament to that enthusiasm. Four tracks that crackle and pulse with the same electricity that runs through all of what he makes. Just as Sami's interests in his personal and professional life are ranging, so are his tastes for club fare, and you can hear it on this release.

Four views of mother nature: a forest and a mountain range; a wicked city and a well. Traced from house and techno, through a lens and back.

It's a body of work that continues to branch and build. Elevate is a step into Sami's next chapter: Where flutes, stories, queerness and truth curve together.

12” LP cut at 45 (for the first time) (color vinyl only) Pressed on a 12" for the first time and cut at 45 RPM so it's EXTRA loud. Jacket is an extra hefty 24pt board with printed inner sleeve full of rare never before seen photos When Acid King pressed up their self-titled debut EP on a tape and started handing them out at shows with business cards, it wasn’t an aesthetic choice. It was 1993. And while the world was still reeling in the aftermath of grunge breaking big on rock radio, this dirty-as-hell trio founded by guitarist/vocalist Lori S. were digging into even heavier vibes. Born out of Lori's shiftless days of wasted youth hanging around Chicago-area public parks, Acid King laughingly adopted the name from the book 'Say You Love Satan' and its subject Ricky Kasso, a local drug dealer who killed a friend over angel dust, thereby becoming the stuff of Satanic Panic local news broadcasts all over the country. Founded after a move to San Francisco, Acid King were outliers on punker bills in the tradition of West Coast rifflords like Saint Vitus and Sleep, and this four-song outing captures them at their rawest. Long before the career-defining roll of Busse Woods (1999) and the psychedelic mastery of their latest offering, Beyond Vision, this EP set in motion one of American heavy rock’s most landmark careers. Presented on reissued vinyl through RidingEasy Records – the original 10” was on Sympathy for the Record Industry – Acid King’s Acid King also established one of the most crucial partnerships in underground rock in that between Lori S. and producer/engineer Billy Anderson (see also: Neurosis, Sleep, Om, Amenra, Eight Bells, Cattle Decapitation and too many others to list). As Acid King went on to help define stoner rock in the mid and late ’90s with Zoroaster (1995), their Man’s Ruin Records split with Altamont (‘97) and Busse Woods, that creative relationship would flourish no less than the band’s sound, and here it is distilled to its meanest and most elemental self. Led as ever by Lori, Acid King at the time featured bassist/vocalist Peter Lucas and drummer Joey Osbourne – legend has it both had to read 'Say You Love Satan' before joining – and Melvins drummer Dale Crover had a hand in producing it as well as singing lead on “The Midway” after Lucas took a turn on “Drop.” A preface to the many majesties to come throughout Acid King’s many-storied career, behold the formative incarnation that started it all. A piece of heavy rock history AND killer riffs? You can’t possibly go wrong. - JJ Koczan, May 2023

Marc Richter aka Black To Comm released his debut record 20 years ago. In 2023 he is still busy releasing music under various disguises and is currently signed to the Thrill Jockey label. To celebrate this anniversary his own Cellule 75 label is re-releasing some classic out-of-print vinyl albums that originally came out on the defunct Type and De Stijl labels. The LP will feature a full-colour printed inner sleeve exclusive to this edition.

In 2009 the Type Recordings label run by John Twells had just released seminal records by Grouper, Jóhann Jóhannsson and Yellow Swans when they signed Richter and put out his breakthrough Alphabet 1968 album. The LP sold out within two weeks, receiving a glowing full-page review in The Wire Magazine by the late Mark Fisher (later reprinted in his book Ghosts Of My Life), was selected for Boomkat's Top 10 releases of the year (alongside debut albums by Leyland Kirby, Demdike Stare and Oneohtrix Point Never) and was greeted with universal praise in the underground blog network as well as established magazines such as The New Yorker and Pitchfork.

The music itself played with the notion of nostalgia without being nostalgic itself. It's the sound of half-remembered dreams, a surreal distorted vision of the past, an aural polaroid of long forgotten musics, a ghostly voice from a non-existent era.

From the original Type one-sheet:
"The mission statement for Alphabet 1968 was to write an album of "songs" for want of a better word. Short tracks which represented genre points, the milestones which stuck in Richter's mind when he thought back to his favorite records. What we arrive at is a breathtaking 10-track album which, over the course of 45 minutes, explores world music, techno, noise, avant-garde, ambient music and even exotica. Each track is linked with a loose thread of radio static or environmental sound, dragging you through the album, as if tuning in to a stray broadcast or a particularly adventurous mix. Richter has pieced the album together from hours of recordings made at his studio with home made gamelan, small instruments and loops gathered from a collection of ancient vinyl and 78 records. The scope of the album is admirable, but ignoring this, it is simply a shockingly arresting collection of experimental oddities, with references ranging from Moondog to Basic Channel by way of Bernard Herrmann. It's not hard to fall in love with Alphabet 1968, far harder would be to place exactly where the record should fit into your collection."

Mark Fisher in The Wire:
"But what if we were to take Richter's provocation seriously - what would a song without a singer be like? What would it be like, that is to say, if objects themselves could sing? It’s a question that connects fairy tales with cybernetics, and listening to Alphabet 1968, I’m reminded of a filmic space in which magic and mechanism meet: JF Sebastian’s apartment in Blade Runner. The tracks on the LP are crafted with the same minute attention to detail that the genetic designer and toymaker brought to his miniature automata, with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister. Richter’s musical pieces have been built from similarly heterogeneous materials - record crackle, shortwave radio, glockenspiels, all manner of samples, mostly of acoustic instruments. ….. JF Sebastian's apartment was itself an update of older spaces in which science and sorcery co-existed: the workshops of ETA Hoffmann's inventor-magicians, or of Pinocchio's creator, Geppetto. I think, too, of Auguste Villiers de l'Isle-Adam's astonishing 1886 tale The Future Eve in which Edison, using the expertise he has recently acquired from inventing the phonograph, sets himself the task of constructing an artificial woman. But if there are songs here, they are sung by the gramophone and other recording and playback machines. Richter so successfully effaces himself as author that it is as if he has snuck into a room and recorded the objects as they played (to) themselves. Rather than simply automating his music, as in the case of Pierre Bastien and his mechanical machines, Richter makes us feel that he has merely recorded the unlife of objects. ….. Indeed, the impression of things winding down is persistent on Alphabet 1968. Entropy has not been excluded from Richter's enchanted soundworld. It feels as if the magic is always about to wear off, that the enchanted objects will slip back into the inanimate again at any moment."

In the centre of deep space we tune in to the radio broadcasts from an old Class T interstellar spaceship. The emissions endlessly resonate the frequencies of the seventeenth release on the label HC Records by one of the titans of the Valencian scene, The Lost Boys, new pseudonym of the DJ and producer Raszia.

With releases on labels such as Bass Agenda, Subsist or Hxagrm Records, the artist mesmerises our senses with the Exiles of Mars Ep, available in both double vinyl and digital.

Syncopated rhythms are the protagonists across four original tracks together
with remixes by four electro legends: Boris Divider, Estrato Aurora, Dark Vektor, and Filmmaker.

The EP’s first cut is a remix of "Wall Of Bricks" by the legendary Boris Divider, which gives the track an air of crystalline, synthetic and cosmic sound, very much in line with his latest works on the Generative Operations series. Next, we find the original version, where the kick drums are heavier, the synths and basses more colourful and the acid sequences take centre stage in an odyssey of sidereal intensity.

On the record’s flip side, a feeling of overwhelming melancholy takes root in our soul. Valencian Estrato Aurora mentally transports us to the mysterious red sand of Mars in a precise exercise in symphonic minimalism with his remix of "Exiles of Mars", which mutates the original idea with velvety pads, synths and a slow and rapturous hypnotism that sinks us to unfathomable depths.
The Lost Boys' original concept on B2 is a combination of Miami Bass-style breaks and a demonic mantra-like main synth line, backed by what seems like an infinity of pearly effects and secondary melodies, pushing the track towards a crescendo punctuated by a dry and sharp snare.

The second disc’s opener "Bust My Moves" is a masterclass in deconstruction and reconstruction by Dark Vektor with his "Electro Escuadrón Remix”. The genius from Terrassa provides powerful lyrics loaded with a message about the modern rise of the 808 movement. We return to the original Lost Boys version on C2, a futuristic martial discourse takes shape with combating breaks combined with rave chords and brief episodes of respite, almost dreamlike, in the middle and end of the track’s exciting development.

On the D side, rough frequencies verging on distortion materialise through our ship's speakers as we pick up the Colombian Filmmaker’s remix of "Data Recovery For Brains". A psychotronic final appetiser that combines harshness and elegance in the use of the rolling kick drums and saturation of the sound, it is without a doubt the ideal soundtrack to narrate the collision of two galaxies. The closing of the EP features the original track, in which The Lost Boys show us his most mental and lysergic side as the track progresses along a slow and comforting broken rhythm, made dynamic by clever use of diverse acid sequences and clairvoyant stellar melodies.

The complete artistic experience is enhanced in all dimensions with accompanying artwork by
Daniel Requeni and videos elaborated by Frank-F.

Mastering as usual by Steve Voidloss at Black Monolith Studios in London (UK).

FOR FANS OF: LED ZEPPELIN, THE YARDBIRDS, ROLLING STONES.
Im Sommer 1994 kamen Jimmy Page und Robert Plant für einen MTV-Fernsehauftritt in London zusammen. Dabei wurden alte Led Zeppelin-Songs neu arrangiert eingespielt. Die allgemeine Resonanz auf die Ausstrahlung der Sendung war derart positiv, dass man von den Aufnahmen eine CD veröffentlichte. Es entwickelte sich eine weiterführende Zusammenarbeit der beiden Ex-Led-Zeppelin-Bandmitglieder, in deren Rahmen es zu einer erfolgreichen Welttournee mit über 110 Konzerten kam. Diese strikt limitierte 10" Picture Schallplatte enthält legendäre Radio-Broadcasts aus den
Jahr 1996 inklusive den grossen Welthits; damals Live übertragen von diversen Radiostationen.

The leader of the European Dancehall/Shatta scene is still as productive as ever after his latest project Mad Ting 2 and a Europe/Latin America tour in 2022. By delivering multiple hits and appearing at major festivals, Blaiz Fayah is starting 2023 the same way he ended the previous year. The hit maker confirms his notoriety through his appearance in mixes played in clubs by the best DJs of the moment. His exponential growth on social networks, especially Tiktok, is also noteworthy.

A few digits: Blaiz Fayah has 850k monthly listeners on Spotify, 36M Spotify listens and 56M views YouTube for his hit "Bad", more than 9 million TikTok videos under the #blaizfayah.

For his upcoming project "Mad Ting 3" scheduled for June 2, 2023, which concludes the "Mad Ting" series, Blaiz Fayah highlights the vast range of his musical references by bringing in Dancehall, Kompa, Moombahton, Reggae, Shatta and Zouk influences.

For the occasion, some of the most renowned artists of their genre have been invited, such as Busy Signal, Jahyanai King and Nesly.

More than a mere sensation, the artist has seduced Dancehall fans all over the world with hits powered by a dancing energy that only he knows the formula. A unique energy that he was able to spread on some of the best European stages in 2022 (Solidays, Garorock) and that he will be able to continue to broadcast during some fifteen European dates in 2023 (Dour Festival, Reggae Sunska, No Logo...).

By collaborating with international DJs for the production of the tracks on his album (Netherlands, United Kingdom, Mauritius, West Indies...), the artist from the Parisian suburbs extends his influence across different international music stages, as shown by the success of his tour in Latin America (Colombia, Costa Rica, Chile...) and in the Indian Ocean (Mauritius, Reunion, Seychelles...).

Stimela were a popular and successful South African Afro-fusion outfit led by guitarist, vocalist, songwriter, producer and arranger Ray Phiri. The band was formed under the name ‘The Cannibals’ during the 1970s when Phiri got together with drummer Isaac Mtshali, keyboard player Thabo Lloyd Lelosa and bass player Jabu Sibumbe. They initially started out as instrumentalists, but later evolved to Afro-fusion when they joined forces with vocalist Jacob “Mparanyana” Radebe in 1975. The story of ‘The Cannibals’ ends when Radebe died in 1978 but the ‘Stimela’ story was only just beginning.

In 1979, after a life-changing experience in Mozambique (where they were stranded for three months) the band members had to sell all their belongings to take a train home. This trip was a watershed moment as it was here where they conceived the new name for the band: The Zulu word for “locomotive-train” STIMELA.



Stimela would soon become little short of an institution in their home country of South Africa. With soulful tunes and gripping lyrics, the band has recorded platinum-winning albums such as Fire, Passion and Ecstasy, Shadows, Fear and Pain & Look Listen and Decide. In addition to recording their own material, the group supplied instrumental accompaniment on albums by a lengthy list of legendary artists. Stimela would go on to gain global fame after being featured on Paul Simon’s iconic 1986 ‘Graceland’ album and the mega tour that followed.



Ray Phiri would enter into many successful collaborations with major acts and artists such as Harari, Joan Baez, Willie Nelson and Manu Dibango. In 2017 he was diagnosed with lung cancer and died at the age of 70. Phiri has received many awards in recognition for his contribution in the music industry, one of these is the Order of Ikhamanga awarded to him by the South African president. This was to honor his sterling contribution to the South African music industry and the successful use of arts as an instrument of social transformation.



Stimela is the tale of a South African band who have battled their way through dark days to take their rightful place in the forefront of the South African apartheid-era music invasion. One of their most memorable tracks “Whispers in the Deep” was even restricted from being broadcasted by the old South African Broadcasting Corporation.



On the album we are presenting you today (Fire, Passion and Ecstasy from 1984) the unique sounds of Ray Phiri’s Stimela are fully showcased. Expect infectious hypnotic build-up grooves, cinematic lowdown jazz-funk, Afro-soul, delightful reggae, gospel influences and funky synth-boogie sounds…all with a touch of early eighties new wave and hints of Island disco mixed with sensual bubblegum pop. It comes as no surprise that the album has now become a sought-after item due to its addictive and original-sounding nature, a must-have for any self-respecting record digger!



These recordings completely encapsulate Stimela’s fusion style. They managed to craft a modern South African sound that continues to influence SA musicians to this day. Never in a rush, yet always with a sense of purpose and direction – like the steam train after which they took their name.

Tidal Waves Music now proudly presents the first reissue of this fantastic Afro-fusion classic since 1990 (originally released in 1984 on Gallo Records) & this is also the first time the album is getting a release outside of the African continent. This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (limited to 500 copies) complete with the original artwork. Also included is a double-sided insert containing rare pictures of the band.

Einer der legendärsten und erfolgreichsten Acts der britischen Musikgeschichte präsentiert endlich alle seine Hits auf einer umfangreichen, brandneuen Compilation auf CD und Vinyl. Natürlich inkl. 'I'm Too Sexy', 'Deeply Dippy', 'Don't Talk Just Kiss' und viele mehr.
FRED-FAKTEN:
Die Musik der Band ist durch Dancefloor-Rhythmen und anzügliche Texte gekennzeichnet. Gleich die erste Single 'I’m Too Sexy' ging 1991 durch die Decke und verkaufte sich weltweit etwa drei Millionen Mal. In Großbritannien kletterte der Song bis auf # 2 der Charts, in den USA bis auf # 1. Damit schrieben Right Said Fred Musikgeschichte, denn seit den Beatles war es keiner britischen Band gelungen, drei Wochen in Folge den ersten Platz der US-amerikanischen Billboard-Charts mit einer Debütsingle zu belegen. Außerdem belegte ihr Debütalbum # 1 der britischen Charts. Sie haben zwei Ivor Novello Awards und vier BMI Awards (Broadcast Music Industry) gewonnen. Ganz nebenbei hatten sie u.a. Co-Writing-Credits auf den folgenden Tracks:
- Drake: 'Way Too Sexy' - 300.000.000 Streams
- Taylor Swift: 'Look What You Made Me Do' - 700.000.000 Streams
- Beyoncé: 'Alien Superstar' - 100.000.000 Streams

Svart Records proudly presents Sonny Rollins with the Heikki Sarmanto trio, in an extremely rare live performance at Finland Festival in the summer of 1972. Available for the first time, fifty years after it was initially recorded, this incredible show features Sarmanto on the Fender Rhodes electric piano, his brother Pekka Sarmanto on bass and Esko Rosnell on drums. Legend of American Jazz, “Saxophone Colossus” Sonny Rollins hand picked Heikki Sarmanto and his Finnish trio for this night of improvisation and mutual respect that culminated in years of collaboration after. The music conjured throughout this live extravaganza is everything a Jazz aficionado could have hoped for, with extensive improvisations and incredible soloing by the musicians. Two standards and one original by Rollins, which last between sixteen and twenty-four minutes, illustrate both the quartet’s vibe and supreme virtuosity. Taking place at the magnificent Finlandia Hall, an architectural marvel, which was completed only a few months earlier, and recorded by the YLE (The Finnish Broadcasting Company), this legendary concert has been expertly mastered by Pauli Saastamoinen at the infamous Finnvox Studios in 2022 to perfectly highlight the magic that was in the air all those years ago. Rollins seems to be especially in high spirits throughout the show and his powerful and expressive playing, full of humor, is simply marvelous. He even manages to quote some hints of Jean Sibelius’ “Finlandia” tone poem as a tribute to the venue. Through our tireless efforts at Svart Records to preserve our musical culture, you can now be re-introduced to an important piece in the jigsaw of Finnish Jazz history, immortalised on double vinyl gatefold and CD and both limited to only 1000 copies.

"Release of 4 LP Set LIVE – London Roundhouse 11th June INDOCHINE has been part of the History of France for the past 40 years: from 1981 and the election iconic French president François Mitterrand, to this exceptional stadium tour. 6 shows 417,799 spectators ""Central Tour"" the first concert in the world filmed live for IMAX: No. 1 at the box office in 477 theaters (the biggest musical event ever broadcast in France). Concert recorded at the Groupama Stadium in Lyon on June 25, 2022 GUESTS: Christine and the Queens, Philippe Jaroussky,Lou Sirkis,Dimitri Bodiansky,La Musique de la Garde Républicaine Promo: Features London Macadam, Le Petit Journal
Live Reviews:, R2 , London Macadam, London Standard,Record Collector, Frontview, Rock n Load. Format; 4LP"

First time reissue of mega rare 1972 psych-folk album from Venezuela.
180g LP.
One of the most obscure records ever released in Venezuela that was originally distributed in tiny quantities as a promo-only album.

A magic blend of protest songwriting, with a strong environmentalist statement, and folky pop with psych ingredients —such as the use of sitar sounds— recorded by the collective of artists “Una Luz”, and “El Zigui” who was once described as the local Bob Dylan.

The late ‘60s was a short period of time, long enough to turn the world upside down.

Music, paying attention to the ancient Greeks who said that changes in society are also reflected in it, also undergoes violent transformations in its structure. The turbulent joy of rock and roll and twist gives way to the meditative sounds of the waves of the sea contained in surf to finally welcome music of soft and delicate harmonies with songs full of references in their lyrics to the state of society and their relationships with the environment.

On the other hand, in Venezuela, although the expansive wave of May 68 had not reached it, a certain degree of dissatisfaction began to be perceived, especially through the music of a singer-songwriter from the countryside of Venezuela known as Ali Primera, El Cantor del Pueblo. Thanks to a scholarship from the German government, he studied for a few years in that country, and it was there that he recorded his first album, with songs whose lyrics reflect the essence of authors such as Bob Dylan and Atahualpa Yupanqui. And Ali Primera becomes one of the greatest influences of our artist: El Zigui.

Guillermo Sánchez Corao —known as El Zigui for some strange reason— was born in the Venezuelan city of Maracay, capital of the State of Aragua, on January 13, 1948. From a very young age he began to study guitar playing and, already in his teens, we can find him as part of the duo El Zigui & Franklin together with Franklin Laudelino Mejías, another young man with a great musical pedigree.

It is during his bohemian phase as a troubadour, in the surroundings of the Ateneo de Caracas, when his music caught the attention of producer Mario Tepedino, the most important youth music producer at the time. Mario takes him to his TV show “2001 Juvenil”. With the incorporation of other musicians such as Rubén "Micho" Correa —who would later become a great arranger and record producer— he created the group El Zigui y Una Luz, which would later be joined by musicians such as Carlos "Nene" Quintero and Alfredo Padilla, members of the amazing Grupo Pan. Later on, another outstanding singer would also join Una Luz: Guillermo Carrasco.

With this formation they made it into a recording studio in 1972 where they managed to record, in just 30 hours, a long-playing album of which only 60 copies were pressed and has therefore gained cult status among collectors. As expected, the strong content of the lyrics was not supported by the media, making the promotion of the album impossible to accomplish. However, it was with the help of Mario Tepedino that they made it to television, with appearances on “2001 Juvenil” and “Antesala Lunar”, a show that was especially produced for the broadcast of the arrival of man on the Moon.

That was probably one of the main reasons for El Zigui to move to Canada and then France until 1978 when he returns to Venezuela. He would then join bands like Xabañón, Fogón and De Vuelta al Futuro, a 12-member super group. The former members of Una Luz had become well known musicians in the country, especially Guillermo Carrasco who was one of the greatest ballad artists in the ‘80s and targeted by the biggest record companies at the time. El Zigui died in a traffic accident on June 22, 1999. If he had lived through these crazy times... where would he have gone?

Sweet !
A side bring a long Red Alert threatening banger !
The flip opens with a Hard Jungle banger twisint into Tek, bak to Freebreak, back to tek... do you follow ??

B2 finally delivers a vocalistic Tekno acid banger...
Cut by Lawrie and pressed by Records Industry on an orange marbled plate... printed sleeve...

BIG !

A co-op coalition of Laced Records, Fatshark, and Games Workshop has summoned forth a deluxe triple vinyl for Jesper Kyd’s incredible new Warhammer 40,000: Darktide score.

48 tracks have been specially mastered for vinyl and will be pressed onto heavyweight galaxy-effect discs in yellow & black, blue & black, and red & black. The widespined outer sleeve features a spot gloss logo on the front cover; while the three spined inner sleeves sport artwork by the Fatshark team.

Darktide succeeds Fatshark’s much beloved Vermintide series with brutal co-op action set in the dystopian future of Warhammer 40,000. Composer Jesper Kyd’s many challenges included capturing the pomp and propaganda of the Imperium’s Inquisition; finding a way to represent ‘living machines’ the size of city blocks and thousands of years old in the lore of the game, but still tens of thousands of years more advanced than our own; and finding the sound of the dangerous lower levels of the Underhive.

He spectacularly achieves this with characterful choral and folk instrumental performances layered among all manner of vintage analog synths, giving the whole soundtrack a rusty, mechanical but not robotic feel — all dusty data and grinding grooves. It’s a unique score that sheds the orchestral and electric guitar palettes of other Warhammer titles.

Defamator is the long-time-coming debut project of 24-year-old Chloe Gallardo. It tells a story of betrayal in love and friendship and the painful reality of overcoming love lost and former heartbreak.


Drawing influences from artists such as Broadcast, Grouper & My Bloody Valentine Gallardo adds her own haunting, folk-style vocals and hyper-specific lyrics to create a sonic unique to her. A style that she describes in her words as “dark shoegaze bedroom indie pop”.

Album opener “Bloodline” epitomises this bittersweet modus operandi. 15 seconds into its dainty acoustic strum , Gallardo adamantly sulks “I’m fucked up” - the salvo of a lyric about feeling like a family disappointment. As the track lifts up into a cascading gaze-pop rush, recalling the likes of Bachelor and Snail Mail, we’re blessed with a pristine elegance that belies the song’s raging core.
“I have always written music this way.”, she says of this fundamental contradiction. “It’s funny because I try so hard to write darker sounding songs and they always come out way too pretty. So, I’ve resorted to writing the most gut-wrenching and intense lyrics to compensate.”

Written mostly during peak-pandemic times in Gallardo’s bedroom - (“you can hear how scared and alone I was.”) - the songs that made their way onto Defamator arose from a concerted period of healing. Drawing from the teachings of therapy, the songwriting process gave her the means to channel some deeply entrenched emotional scars.
This venting of anger is implicit throughout the record. The album’s title - Gallardo’s own neologism - uses the concepts of “defamation” and “defamatory speech” to innovate a kind of pejorative accusation. As a result, it is like we are actively listening to Gallardo forcefully take command of her past. Of the title track she explains: “The song Defamator is about someone who spoke untruthful things about me in order to manipulate me and the way people perceived me and I felt that was an underlying theme in most of the album.”

Recorded at Jazzcat Studios in Long Beach California with Jonny Bell (Hanni El Khatib, Adult Books, etc.) Defamator marks Gallardo’s first time in a “legitimate recording studio”. And it shows. Bell’s production is vital moving part here. There’s more stripped back affairs - ‘There Will Be Blood”; ”The Way’ - songs which gently seethe and purr like Grouper’s spectral dream-pop; Gallardo’s fluttering folk-ish voice gloriously pushed to forefront.

In November 1985, Bérurier Noir and his band of agitated*e*s returned to the studio, in the middle of a social strike. The surprise strikes that plunged the country into a "Joyeux Merdier" were the ideal setting for this new Christmas prank and tinged with rage but also with fun, 4 new tracks and not the least. It is THE record that contains "Salut à toi" and opens the door to the first radio broadcasts of the group, before becoming the eternal anthem of a youth always in solidarity with the peoples of the world zone.

The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake, one evening in February 1983, Bérurier Noir quickly found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, in the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues in particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

DEAD SEA APES are back with a passion to deliver their most essential and cohesive album to date. Formed in 2009, DEAD SEA APES have become a fixture of the psych scene, sharing stages with the likes of Part Chimp, The Heads, Acid Mother Temple and Mugstar while producing a distinctive body of work, ranging from psychedelic punk to experimental dub, from freeform jams to constructions of loops and drones. Following a slew of collaborations and split releases, REWILDING sees them return to a power trio of Brett Savage (guitar), Jack Toker (bass) and Chris Hardman (drums). From the chaotic blast of opener ‘Denialist’, beaming out like a maniacal emergency broadcast, through to the monolithic pounding of the title track, REWILDING is unrelenting, taking in blown-out guitar wails and jet black psych noise while the irrepressible rhythm section moves from claustrophobic motorik beats to a thunderous rolling juggernaut. These blackened pearls have been recast and refined over the course of the past three years, strung out deeper than the night and now embodying our present uncanny, disorienting times, as we emerge into an altered world to find Mother Nature reasserting herself while the human madness intensifies, locally and globally. Savage and uncompromising, this is DEAD SEA APES at their most direct and visceral. REWILDING is released by Cardinal Fuzz (UK/Europe) and Feeding Tube Records (USA) as an edition of 750 on black vinyl.

FOR FANS OF: THE OFFSPRING, BAD RELIGION. THE CLASH.
Green Day haben dem Punk-Rock ohne Zweifel zu einer Art Renaissance verholfen. Besonders live überzeugt die Band in ihrer über 30-jährigen Bandgeschichte durch eine fulminante Show. Green Day hat viel zu beweisen. Weil das kalifornische Erfolgstrio mit seinen knappen Songs derart nahe beim Sound britischer Punk-Originale wie The Jam oder The Buzzcocks liegt, sind die Bandmitglieder in einigen Kritikerkreisen als Opportunisten verschrien, die die einst rebellische Musik zur Massenware verhunzen wollten. Aber die Band spielt mit unbändiger Energie, verfehlt ihre Publikumswirkung nie, präsentiert ein schlankes, energiegeladenes Spektakel. Hier steht die Musik im Mittelpunkt, präzise dirigiert der grollende Sänger und Gitarrist Billie Joe Armstrong. Mit dieser strikt limitierten Picture Vinyl-Single gibt es für alle Fans und Sammler zwei Songs von der WeltTournee 2005; aufgenommen in den USA und übertragen (Broadcast) durch den den Sender WCM99.

smokey vinyl

French label and promoter Much More recordings is proud to present the first vinyl our collection.

This vinyl features 6 tracks ranging from breaks to techno and passing by acid and electronica, designed for soundsystem and anchored in their proper original and analogic techno sound.

We believe that redefining the essence of the genre is now critical. After years of promoting parties in Paris and Europe, Much More has gathered artists considered to be the essence of techno. Artists who know how to turn knobs without screens.

They continue to make the mob sweat on the dance-floor, with a simple at first yet efficient recipe that holds a myriad of subtleties.

On our table lies a lemon slowly withering away, a fruit that once was as much suave than sour. Our artists are as ripe as this yellow sphere lying in the open. They possess the experience and knowledge needed to forcefully broadcast this emergency rebirth that techno desperately needs. Our creations are neither nostalgic nor futuristic, they aim to be atemporal. They are naked to artifices, raw to over-tuning, built and cut upon the very ageless tools that defined and will name what is Techno.

Far from us the desire of claiming to be the only definition of the genre, nor forgetting about its primal cravings. Whereas Amarou, Skudge and Sawlin showcast the narrative scope of our passion, Wrong Assessment, Arnaud le Texier and Falling Echoes will remind us what is raving under the strobe's fire.

It's music from urban centers and countrysides, for big room and inner space.
It's music without tag or time, where every loop stops and unfolds on its own.

We are back to the essence, and yet, much more.

"A refracted audio book soundtracking the bathing culture of the Ottoman Baths in Budapest, cut-up from Dalia Neis' metaphysical thriller 'The Swarm' ( The Elephants Press, 2023).
This is the fourth iteration of the Transdanubian odyssey, beginning in Dali Muru & The Polyphonic Swarm's LP, before drifting into book form, radio show, and now audio book.
This limited-edition vinyl is an updated, revised version of the original NTS show broadcasted in January 2022."

There's something intangible about Celeste, the Soundcarriers’ second album, originally released in 2010. It has a light, lucid quality, almost like driving exhausted through a strange city at night. Freeflowing yet tethered, dreamy yet attacking, the band continue the fight to reconcile competing impulses. Various threads just about keep the shimmering tapestry from tearing. Haunting folk melodies underpinned by rhythmic static and the physicality of the totally analogue recording and mixing, baroque keyboard counterpoints and sweeping arrangements. The opener “Last Broadcast” seems to encapsulate this but it's almost as if the album gets the angst out of its system with this track and is free to explore the quieter, less crowded back streets. After the smoke of “Last Broadcast” has cleared, the twisting road takes in the soft introspection of “Hideaway” and “Morning Haze”, both tracks morphing into heavy psyche grooves or the eastern tinged psyche funk of “Signals” and “Rise And Fall”. Or takes another turn with the tightly arranged opening segment of “Long Highway”. Somehow it still manages to fit in ‘60s pop gems like “There Only Once”. An album to really lose yourself in, yet more concise than the sprawling Harmonium and more relaxed and freeflowing than the nervy rush of Entropicalia, Celeste could be arguably their most indispensable album and not to damn it with faint praise, their most listenable.

"Hungarian guitarist Gabor Szabo (1936-82) issued only three live recordings during his lifetime. Significantly, the first of these, The Sorcerer (1967), remains the most popular album in the guitarist’s all-too abbreviated discography. But there were also More Sorcery (1968) and Gabor Szabo Live with Charles Lloyd (1974), offering Szabo totally in his element and at his bewitching best.
Several more of Szabo’s concert recordings have surfaced in the intervening years, including this one, superbly captured for radio broadcast live in 1976 at the 600-seat Agora Ballroom in Cleveland, Ohio. It is a revelation. There is a sense here that concert patrons may have been hearing an altogether different Gabor Szabo than record buyers.
For one thing, Szabo is heard fronting what is likely his own group, rather than an army of studio musicians. In 1976, Szabo was leading a tremendous quartet with George Cables (or Joanne Grauer) on piano, Tony Dumas on bass and Sherman Ferguson on drums. Szabo had not had a band with this much jazz clout since his famed quartet with Jimmy Stewart in 1967-68 – and it is a union worth savoring: Szabo’s records during this period were light, at best, on jazz.
It’s unclear if any of these musicians are on the Agora date, but as Dumas’s “It Happens” opens the program, it’s a good bet, at least, that the bassist is on board here. But as Szabo’s ’76 quartet is not known to have recorded a studio record, Live in Cleveland is the closest thing to what a mid-seventies Szabo jazz album would sound like.
Gone, are the strings, vocals and concessions to commercial consideration so prevalent on so many of Szabo’s studio records at the time. What is present, though, is fine craftsmanship, tremendous interplay, and the exciting improvisation that good jazz always yields.
This particular concert was part of Sansui’s “New World of Jazz,” a series of 13 hour-long jazz concerts recorded at Cleveland’s iconic Agora Ballroom and broadcast over 40 FM radio stations. The series was sponsored by Sansui Electronics, a Japanese manufacturer of audio and video equipment, which previously sponsored a similar series of rock concerts recorded at the Agora as well.
Sansui was promoting its matrix QS 4-channel sound system – offering, what was considered at the time, superior diagonal separation and stereo compatibility. The firm, partnering with Agora Ballroom and Agency Recording Studio owner Hank LoConti (1929-2014), was looking to take advantage of what they rightly felt was the then-current jazz renaissance.
Each show’s 16-track master tape was mixed through the Sansui QS 4-channel encoder,” according to an August 1976 Billboard article detailing the arrangement, “for distribution to the 40 FM stations throughout the United States that bought the series” – allowing for three commercial spots for local dealers to advertise."

The recording is available for the first time on CD and VINYL. Mastering by grammy-nominated Jessica Thompson.

Cairo, late 2013. In a city in turmoil, where the curfew had just been lifted after a second coup d'état, where the walls were still covered in dreams and revolt, where even the clubs of the city-centre echoed with anti-Islamist and anti-army slogans, I was deeply touched by the voice of Abdullah Miniawy at the 100Copies music studio, a stone's throw from Tahrir Square. A singer, writer, poet, poetry-slammer and student from the El-Fayoum oasis, this spokesman for Egyptian youth was shaking up the music scene and social networks with his hypnotic voice and unique blend of electro, sufism and jazz music, both punk and psychedelic, secular and avant-garde. Three months later, Abdullah's first on-stage revelations took place at the La Voix est Libre festival in Cairo with the "Jimi Hendrix of oud", Mehdi Haddab, followed by his first meeting with composer and saxophonist Peter Corser at the D-CAF festival (Downtown Contemporary Art Festival), created in the aftermath of the revolution by leading figure in theater Ahmed El-Attar. After three years of administrative battles, while censorship was making a comeback in Egyptian artistic circles, Abdullah finally arrived in Paris where he recorded an initial version of Purple Feathers with Peter Corser, which was broadcast on Soundcloud.

In 2017, gripped from the very first seconds by these soaring vocal and instrumental performances, Erik Truffaz accepted our invitation to become involved with Peter's hypnotic loops and Abdullah's electric vocals, and was soon joined by the visceral strings of cellist Karsten Hochapfel. Five years later, Le Cri du Caire is still turning heads, and often moving audiences to tears. Both free and spiritual, sensitive and elusive, their music elevates the soul to giddy heights and flies towards what may well be one of the shortest paths from zero to infinity.

Gargantuan volcanoes erupting with primal force, fountains of molten lava bursting sky high and massive boulders hurtling capriciously through the air. These potent and violently alluring images in the documentary series The Living Planet captivated Raoul Björkenheim's imagination in 1986. The search for a band name had come to an end. -”I was mesmerised. The name Krakatau sounded like a drum fill to me”. After studying at the Helsinki Conservatory for a year and the Berklee College of Music in Boston for three, Björkenheim relocated to Finland where he played in bands with Jone Takamäki, Antti Hytti and Tom Nekljudow, and later went on to work with composer and drummer Edward “Eetu” Vesala (1945-1999). His always original and highly demanding Sound & Fury workshops were a pivotal hotbed in the local improvised music scene, but after four years of Vesala's strict leadership Björkenheim felt a need to leave Sound & Fury behind and direct all of his attention towards Krakatau. The lineup on the first album “Ritual” consisted of reed virtuosos Jorma Tapio and Tapani Rinne, the bassist Sampo Lassila and two drummers, Michel Lambert and Heikki “Lefty” Lehto. “Krakatau’s debut album was very challenging to make, as I felt that it might be my one and only chance to record my own music, so I wanted it to be as intense and effective as possible”, says Björkenheim, “I was lucky enough to work with an incredibly talented cast of musicians. I can still listen to the album and feel satisfied that it really works. The first guitar solo illustrates what was to become my modus operandi: to try and play the electric guitar in unexpected ways.” Svart Records will release an expanded double LP version of Krakatau’s Ritual. Limited to 500 copies and due out on March 24th, the album contains an album’s worth of previously unheard material recorded in 1987 in Studio Helsinki and at the Finnish Broadcasting Corporation studio.

Spanning a nearly 10 year period and covering some of her most iconic performances in history, this LP collection is essential for any fan of the Queen of Pop. Starting off with her legendary and controversial 1984 MTV Video Music Awards performance of Like A Virgin', performed a month before the single was even on the market, and closing with her lascivious cover of Fever' from SNL in 1993, Step To The Beat: Rare Radio & TV Broadcasts covers a bunch of ground and includes classic live versions of Into The Groove', Holiday', Express Yourself', and more. Essential Madonna on Egg Raid.

Space Adventure Cobra is the animated series from the masterpiece of Buichi Terasawa, produced by the prestigious studio TMS Entertainment and broadcasted from 1982. The series was a huge success and remains to this day one of the most appreciated in the world of Japanese animation.
In order to celebrate the 40th anniversary of Space Adventure Cobra, we are pleased to offer this sublime vinyl box set of the OST with its 3 discs gathering a very large selection of music, all the songs (long versions) as well as several covers and rare unused tracks composed at the time, all completed by a 12-page booklet, illustrated with the most beautiful artworks of the master Terasawa!
The legendary soundtrack of Space Adventure Cobra, composed by Kentarô Haneda and YûjiÔno, has greatly contributed to the reputation of the series with notably rhythmic tracks, sublime jazz pieces and unforgettable songs.
Here it is now completely remastered in vinyl format & double CD in this collector's edition!

South Africa's reputation for expanding dance music again with Amapiano.
The past five years have seen amapiano, South Africa’s electronic music movement born in the townships of the country’s Gauteng province, evolve from an underground sound to a nationwide mainstream staple. Even with its commercial success though, amapiano’s DIY ethos has continued to disrupt music creation and distribution in the country. Most amapiano commercial successes today began their careers on cracked versions of production software like FL Studio, distributed their work through file sharing platforms like datafilehost and marketed it using social media pages they controlled and influenced. Amapiano Selections, the debut album by DJ and producer Teno Afrika, gives listeners outside the movement’s online release economy an insight into the high-burn nature of amapiano that has spawned a distinct typology under its larger umbrella. Twenty-one-year-old Lutendo Raduvha has spent the bulk of his life moving between different townships on the outskirts of Johannesburg and Pretoria in the Gauteng province. The palette of amapiano styles on the album reflect these influences.

But at first, South Africa’s youngest electronic music movement lived underground with a small, loyal following. “Amapiano is a genre that I chose because I have a passion for it,” says Teno “I started following amapiano in 2016 because I wanted to explore how it’s produced. It was not taken seriously in our country.” Interestingly, Teno Africa only gives vocals prominence on the closing track “Chants of Africa.” As a way of making their music recognizable and relatable for broadcast, amapiano producers have sometimes overly relied on vocals in the form of singing, catch-phrases and party refrains for the purpose. “It was my decision not to use vocals on this project,” says Teno “The reason is I wanted people to feel my instrumentals and style because this is my first album.” On his closing track the young producer gives a glimpse of the considered approach to music which buoys anticipation for greater things from his future releases.

“Pour les gens supercool.” This slick tagline caused a commotion among Belgian electronic music fans in 1985 as a jingle in Liaisons Dangereuses, the infamous radio show on local station S.I.S. Antwerpen. Hosted by Paul Ward and DJ Sven Van Hees and playing an exhilarating mix of EBM, house, new beat, acid house, Detroit techno, synthpop and more, the transmit was without a doubt trendsetting, presenting music on the radio that before was only to be witnessed in dark clubs or underground record stores. Listeners needed to make an effort though, since the S.I.S. waves only reached about 10km out of the city center. But a network of copied tape recordings and a fast growing bunch of fans - some of which even driving their cars to parking lots inside the broadcast area to hear the show - created a buzz that would easily exceed the limits of the transmission signal.

In 1989 Ward and Van Hees formed their own band named after the radio show, but to avoid confusion with the eponymous German new wave band, they signed their records with Liaison D or Liaisons D. Assisted by Jan Van Den Bergh (Mappa Mundi, Kumulus, Buzz), Marcos Salon (Outlander), Frank De Wulf (B-Sides, World Party II) and J.P. Ruelle, Liaisons D released a solid string of EP’s and the album “Submerged In Sound” on USA Import Records between 1989 and 1992. We are extremely proud to present four tracks from the album here as a brand new EP, a must-have for fans of their unapologetically rough and ravy sound, testimony of a unique era in Belgium’s electronic music history.

The next release on Phase Group is a truly singular and original album from Rotterdam-based producer Ayaz.

With ‘Unpinned’ Ayaz presents a window into a uniquely crafted and highly personal sonic environment, where intercepted radio broadcasts tune in and out of focus, modulating drones echo through cavernous space and the sound of experimental synth explorations are layered over heady dub-laden beat work, deep bass lines and expertly programmed traditional sampled artefacts from the music of his native Azerbaijan.

This is an uncanny and evocative sound universe both cinematic and driving, music that would work equally scoring science fiction cinema as in the most avant-garde club environments. Mind-bending and visionary music for those that explore.

‘Change’ is the brand-new album by Anika, the first solo music from theBerlin based artist in 8 years.
A British ex-pat and former political journalist, Anika has collaborated withBEAK>and Tricky and released two albums with Mexico City’s Exploded.
View to great acclaim. The single ‘Change’ tackles personal growth as well as wider issues and grapples with eternal questions as to whether one can ever truly change.
It has been 11 years since the release of her last solo album, 2010 cultfavourite ‘Anika’; she suddenly found herself with a lot to say. “This album had been planned for a little while and the circumstances of its inception were quite different to what had been expected. This coloured the album quite significantly. The lyrics were all written there on the spot. It’s a vomit of emotions, anxieties, empowerment and of thoughts like - How can this go on? How can we go on?”
The intimacy of its creation and a palpable sense of global anxiety are
seemingly baked into the DNA of Change. Spread across nine tracks, the central feeling of the record is one of heightened frustration buoyed by guarded optimism. The songs offer skittering, austere electronic backdrops reminiscent of classic Broadcast records or ‘High Scores’-era Boards of Canada, playing them against Anika’s remarkable voice - Nico-esque, beautifully plaintive and - in regards to the record’s subject matter - totally resolute. Incantatory tracks like ‘Naysayer’ and ‘Never Coming Back’ are both a call to arms and a warning. “‘Never Coming Back’ was written after reading Rachel Carson’s ‘Silent Spring’,” she explains. “I was living in the old East countryside outside of Berlin, where there seemed to be no shortage of birds. Apparently their numbers have dropped significantly, but it is one of these changes that we never really stop and notice. We take things for granted, until it’s too late. With all this other noise
going on, care for the environment has quickly been moved to the backburner. So long as we get what we want NOW and on demand, who cares about whether we are taking care of the future?”

V.I.V.E.K announces his second release on the self-named VIVEK label. Known for his cult label, SYSTEM MUSIC, this label focuses more on eclectic 140 bpm outside the realm of the dance floor.

The 4 track EP explores broken beat, ambience, melody and rhythm at 140, something that has been missing over the last few years within the genre. Colours is not only the EP title, but a reflection of the diversity of the tracks. Musicality sits at the heart of this with a nod to easy listening.

“The main focus of this release was to take me out of my musical comfort zone. I wanted to work with other musicians as well as push myself to inhabit new creative ideas.” - V.I.V.E.K

Whether it’s as an artist, label owner, a deep-drawing world-touring selector or system-building soundman behind some of London’s most important dances, V.I.V.E.K has an inherent drive to push things forward and contribute to the craft of music with serious attention to detail. A life-long frequency student dedicated to soundsystem culture, he has total respect for the heritage, value and rich variety of true music, an ability to totally arrest your full attention and imagination with his music... And has done so since he emerged in the early 2000s.

Musically pressed and blessed on key imprints such as his own System Music, Deep Medi, Tectonic and iconic reggae imprint Greensleeves, V.I.V.E.K’s creations are a crucial brew of bass styles encompassing everything from heavyweight bass hypnosis to flighty, steppy garage hybrids via sweet dub soul and all-out low-end pressure. His self-built custom soundsystem, SYSTEM, meanwhile, is a unique force of nature in UK bass music culture; the most prominent modern system to be established this decade, it’s a whole new chapter in the UK’s longstanding and illustrious history of barrier-breaking soundsystem communities. As such, it attracts committed fans from around the globe and selectors from across the system spectrum.

His label System Music has the same treasured, trusted status; not only as a source of legit never-to-be-repressed artefacts that prize the real value of music, but also as a key platform for encouraging forward-thinking, powerful system music from across the OG – freshmen continuum. Karma to Kromestar, Sleeper to SP:MC, LAS to Egoless: System Music’s celebration of bass music’s sonic scope and nurturing of talent and craft ensures its consistent buy-on-sight ranking.

Most importantly it’s as a selector that V.I.V.E.K’s position is the most vital. The selective tailor of rich, immersive and eclectic sessions, few DJs dig as deep, join the dots or draw for dubs quite like this West London operator. Accentuating his influence as a producer, engineer, dubsmith, label curator and system builder; his creative excursions as a DJ, both on the dancefloor and the airwaves as a broadcaster on the likes of Rinse FM, galvanise his status as one of the most respected, influential and singular artists who is driven by nothing but craftsmanship, unity and the sense of culture that UK bass music needs to thrive and inspire.

The iconic collective CSNY became both a symbol for Woodstock and the late 1960s counterculture sweeping across America. While
the internal dynamics of the band would soon determine its fate, CSNY would prevail by providing generations with a definitive
soundtrack of the period as well as an immense body of inspiring songs that would endure through the decades. The 1970-74
timeline is a golden one for the singer/songwriter and here are four of its finest authors, performing together, on stage as one.
Get Yer Vinyl Out takes you back to that golden era with their Greatest Hits performed across three rare broadcasts that help define
the sound of CSNY. Superb, professionally remastered original broadcasts pressed on Eco Mixed 180g Vinyl and presented in a
deluxe gatefold sleeve with background liners and timeline photos.

Hear the immortal sounds of Elvis Presley rockin' the USA from Virginia to Rhode Island, through to North Carolina and Nevada. Greatest Hits Live is
a stunning set that charts his colossal, hitmaking journey from his formative years in Memphis to a worldwide stage as the King of rock 'n' roll. This
is a golden opportunity to hear these legendary hits performed in their heyday, live on stage, in front of his adoring fans. As one of the most
renowned cultural icons of the 20th century, Elvis may have 'left the building’, but he's here in all his glory for a new generation to enjoy. '‘til we
meet again, may God bless you. Goodbye.'
Get Yer Vinyl Out brings together these greatest hits performed by the man himself during his reign in the 70s as the all-time king of rock ‘n’ roll.
Superb, professionally remastered original broadcasts, pressed on Eco Mixed 180g Vinyl and presented in a deluxe gatefold sleeve with background
liners and timeline photos.

Bellowhead re-connected online during the lockdown in 2020 and for the
sheer fun of it remotely made and released 'New York Girls At Home' - all
from their respective homes around the UK
This unplanned performance was warmly received and ignited another idea for
the band to reunite - in person - for a full length recorded show at a mansion
house just outside London.This one- off performance was broadcast online in
December 2020, selling over 10,000 tickets and featuring a host of Bellowhead
favourites, including New York Girls, Roll Alabama, London Town and Roll the
Woodpile Down.

ONE SIDED BLACK VINYL.
First ever release of the scariest, most inappropriate and possibly most influential kids TV music of ALL TIME.
'A first-ever release to the series' alarmingly experimental soundtrack'
SHINDIG! Five Page Feature.

There is only 17 minutes of music throughout the series, so we have fitted it all onto a one sided LP. Artwork is by Julian House – legendary hauntologist (Belbury Poly etc) and the man behind some of the greatest spooky band artwork of all time- Stereolab, Broadcast, Primal Scream etc etc.
Sleevenotes by Stewart Lee and inner sleeve notes by Alan Gubby of Buried Treasure Records.
It all looks and sounds superb. Of course it does because it’s a Trunk Records release. AND REMEMBER THIS IS NOT A REISSUE!!! SO DON’T SAY IT IS WHEN YOU TRY AND SELL IT.
anyone who watched was scared shitless. The 7 part drama centred around disturbing happenings in a strange pagan village of very weird and unusually happy people, all set in the midst of the stone circle at Avebury – known as Milbury for the show.
The series shown across British TV (and USA TV in 1980) would scar, disturb and influence an entire generation. Without COTS it’s unlikely we’d have hauntology, spooky folk stuff, stone circle clubs, weird walks and a hunger for such pagan oddities everywhere. And COTS really is the key TV series in many of these modern movements, way before The Wicker Man. Even though The Wicker Man was released in 1973 it was an adult film only released to a few cinemas.
Very few people saw it and its influence really started in the late 1990s with the first release of the music. Whereas COTS on the other hand was shown at 5pm, on schooldays, to a whole nation of impressionable kids, who had never seen or heard anything quite like it. The power of COTS runs deep. So much so Stewart Lee made a whole documentary about it. The release of this long-awaited album will be a “Happy Day” for many.
THE MUSIC:
According to rumour the director of the show was listening to Penderecki as he first approached Avebury to scope out locations. Sidney Sager and The Ambrosian Singers produced an avant-garde and often quite oddly terrifying sequence of vocal drones and dramatic peaks based on ancient Icelandic singular word “Hadave”. And yes, it’s still scary.

1974 entstanden die Zusammenstellungen Planeten Sit-In und Sci-Fi Party mit der Musik aus den Jam Sessions der Cosmic Jokers. Unter einem konzeptionellen Mantel wurden die legendären Aufnahmen einem jungen Publikum nähergebracht. Unter den Musiker die Elite der damaligen Krautrocker, wie Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf und Dieter Dierks der für die Aufnahmen, Arrangement und den Mix zuständig war, aber auch als Musiker mitwirkte. Neu transferiert von den originalen analogen Bändern und sorgfältig und erstmalig remastert. ENG The compilations Planeten Sit-In and Sci Fi Party, both originally released in 1974, are a contemporary document of the legendary jam sessions of the Cosmic Jokers. Under a conceptual mantle, the recordings were brought to a young audience. Among the musicians the elite of the Krautrockers of that time, like Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf and Dieter Dierks who was responsible for the recordings, arrangement and mixing, but also participated as a musician. Newly transferred from the original analog tapes and carefully remastered for the first time.

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.

Finally on vinyl, the legendary broadcast from the Hove festival in Arendal, Norway on Jun 26th, 2007. Amy Winehouse battled through heavy rain to deliver a stellar set on the first day of the festival, conquering the hearts of the Norwegian crowd with a medley of hits that borrowed heavily from her second album Back To Black in addition to an explosive mix of cover versions including numbers originally performed by the likes of the Specials, Toots and Maytals, and the Zutons. Amy's blend of soul, ska, R&B e Jazz left an incredibile mark in the music world and this breathtaking performance shows how we lost the most incredible vocal talent of her generation.

Clear Vinyl

Portico Quartet Terrain (Extended) – Live in Studio One: An Abbey Road 90th Session. Gondwana Records and Portico Quartet announce a strictly limited edition collectors-item. Featuring an expanded version of their long-form composition Terrain and re-arranged for the Portico Quartet Ensemble and recorded live in Studio One.

Terrain (Extended) features an expanded version of the composition re-arranged for the Portico Quartet Ensemble – a subtle re-configuration of the band that features a string quartet - and which allowed for the composition's deeper textures and resonances to be fully explored, along the way expanding the dialogue between tranquillity and a subtly unsettling melancholy, that makes Terrain such a beautiful, powerful piece.

9th November 2021 was a very special session. The band (who had first recorded at Abbey Road for their second album Isla back in 2009), brought long-term collaborator, recording and mix engineer, Greg Freeman over from Berlin to work with Abbey Road's Chris Bolster and the resulting concert film Terrain (Extended) - Live in Studio One An Abbey Road 90th Session received it's world premiere broadcast on the Gondwana Youtube channel on Thursday 20th October. Now Gondwana Records is super proud to announce the ultimate collector's edition of this special recording. Limited to just 1500 individually numbered and stamped LPs and 1000 CDs.

Recorded live at Abbey Road Studio One. Mixed in Berlin by the band's longterm collaborator Greg Freeman. Audio mastered by John Davis at Metropolis Studios. Vinyl cut by John Davis at Metropolis Studios

Available only on beautiful transparent clear (disc one) and crystal clear (disc two) vinyl pressed at Optimal in Germany

One of the most effective ways of exposing the nature of any sphere is when it is interrupted, in a kind of alienation effect, by children. Whether one imagines that troops of them storm the foyer of a luxury hotel, occupy public squares and buildings with a view to getting on with their specific activities, whether they shape the profile of public political assemblies, whether owing to a security lapse they enter a television studio in large numbers during a live broadcast - in every case the reified character of each context, its rigidity, and the fact that the sphere is always that of adults, immediately become apparent as well as what is play and what is not and what is work and what is play and what is playing and who is playing with what or whom for what or whom ?

Kings Bell, first made available to the world on CD and digital on November 1, 2011, is now being released on a 12" vinyl courtesy of Before Zero Records. This LP joined the best of St Croix with the best of Jamaica: an amazing lineup of players spearheaded by the venerable Jamaican production maestro Andrew "Bassie" Campbell. The result of this collaboration is Kings Bell – a modern roots masterpiece. As Vaughn Benjamin's first-ever full-length collaboration with a Jamaican producer, Kings Bell was a historic release and features some of the greatest musicians the genre has ever seen including Leroy "Horsemouth" Wallace, Earl "Chinna" Smith, Squidley Cole, Mikey "Boo" Richards and Sticky Thompson.

The driving musical force behind the album, producer and bassist Andrew "Bassie" Campbell has crafted beautiful rhythms that truly compliment the deep lyrics of Vaughn Benjamin. The power and authenticity of Andrew Bassie's productions stand out from the mass of slickly-produced modern roots coming out of Jamaica today. Much of the music was recorded organically in Jamaica at Tuff Gong Studio, with additional overdubs, vocal recording and mixing completed at I Grade's studio in St. Croix. The result is a collection of songs that capture not only the essence of classic roots from the hands and minds of some of the individuals who have literally helped build the genre, but also the urgency and innovation of the present time. In more than seventy albums and in over twenty years of Midnite music nothing like this cross-fertilization of Jamaican classic roots tradition mixed with St. Croix's own deep roots tradition has ever happened, making "Kings Bell" a glowing highlight in the expansive catalogue of Vaughn Benjamin. A catalogue born from a non-stop movement in pursuit of progressing his craft and delivering his message to the world. One of Benjamin's most fruitful stops along his journey was with I Grade Records, headed by producer/engineer/multi-instrumentalist Laurent "Tippy I" Alfred, regarded by many as some of the finest work of his career.

Social Joy Records presents Natural Lateral's new album "Tapestry of life", a superb excursion in fusion jazz with a wonderful blend of electronics and subtle elements of spiritual Jazz.

Undeniably on the rise after the success of their first album, "Cogito Ergo Jam", which received support from the British Jazz scene and was featured on Gilles Peterson's BB6 broadcast,the North London Based collective goes a step further this time by carefully crafting a new release of a tapestry of music stemming from rich jam sessions at the Lazy Robot Studio and representing the band's phenomenal musical canvas. Echoing jazz legends like Azymuth, Roy Ayers, Alice Coltrane and Miles Davis by paying tribute to those who paved the way but always searching for new musical territories, this six-track LP is moving, thought-provoking and engaging. It is a musical questing where each band member searches for meaning through sounds and rhythms - giving a new life to Jazz music and dropping the full spectrum of a vibrant tapestry of life into the listener's ears.

The band's work ethic is based on a sense of freedom in the studio filled with live jam sessions where it's all about "catching a moment" and letting the inspiration flow. "We just want to feel a sense of freedom and connection through playing. In the studio, it's the music which connects us all, and we just want to allow that process to unfold".

Tape

Dur-Dur Band emerged in the 1980s, during a time when Somalia's contribution to the creative culture in the Horn of Africa was visible and abundant. Seeking inspiration outside the impressive array of Somali traditional music that was encouraged at the time, everyone from Michael Jackson and Phil Collins to Bob Marley and Santana were fair game. This recording, which was remastered from a cassette copy source, is a document of Dur-Dur Band after establishing itself as one of the most popular bands in Mogadishu. The challenge of locating a complete long-player from this era is evidenced bythe fidelity of this recording. However, the complex, soulful music penetrates the hiss. In a country that has been disrupted by civil war, heated clan divisions and security concerns, music and the arts has suffered from stagnation in recent years. Incidentally, more than ten years after Volume 5 (1987) was recorded at Radio Mogadishu, the state-run broadcaster was the only station in Somalia to resist the ban on music briefly enacted by Al-Shabab. Dur-Dur Band is a powerful and illustrative lens through which to appreciate the incredible sounds in Somalia before the country's stability took a turn.

Seabuckthorn is the alias used by Andy Cartwright for his solo works. Cartwright uses finger picking & bowing techniques combined with various open tunings to form a mixture of approaches, often with layered accompaniments. Generally the songs lean towards to the experimental genre, whilst on the edge of the ambient and folk.

Having grown up in Oxfordshire, Cartwright studied sound engineering in Cornwall and then lived in the cities of London, Paris & Bristol working as a broadcast wireman. He now resides in the French Southern Alps making music.

Cartwright has been actively touring internationally for several years performing in festivals and events throughout Europe.

Various songs have been featured in documentaries, film and contemporary dance. His works has been released since 2009 on labels such as Dead Pilot Records, Bookmaker Records, Lost Tribe Sound, Eilean Rec., IIKKI and Fluid Audio. "Of No Such Place" is his 13th solo releases.

Signed by the creator of Nicky Larson, the cartoon Signed Cat’s Eyes marked more than one teenager in front of his television set.
Find on this maxi 45T, the cult credits of this must-have Japanese animated series broadcast in France for the first time in 1986...
«Cat’s» with her heroines with a double life: Tam, Alex and Sylia. Three creatures metamorphosing into the air at night and signing each of their misdeeds with a card that simply says, "Cat’s Eyes!"

Iris DeMent released Infamous Angel in 1992 - Nearly 30 years later, the
album remains among the most singular and fully realized singersongwriter debuts since the invention of that category in the early '70s
The abiding strengths of the album are especially impressive ' even a bit startling '
because 1992 is not a moment usually associated with her intimate brand of
acoustic country music. In country history, the year 1992 is most immediately
affiliated with Garth Brooks, whose album, The Chase, topped both the country
and pop album charts that year, and with Billy Ray Cyrus' 'Achy Breaky Heart,'
which fueled a line dance craze. Squeezed into a playlist alongside such hits,
DeMent's doleful, hushed 'Our Town' would've sounded as if it were being
broadcast from another planet. 'People call me country,' she told journalist Ben
Thompson while on tour in Britain a couple years later. 'But country doesn't call
me country.' Let's call her country. The genre is always more expansive than what
radio stations program. It happened Infamous Angel is close kin to a different
sort of country music that was just then having a moment: specifically, country
singer- songwriters, focusing on personal, but universal, loss and hope and
favoring small acoustic combos. It may have been out of step with the
mainstream, but Infamous Angel arrived right on time

Transversales Disques proudly presents Ahmad Jamal Trio, Live in Paris 1971. Never heard before ORTF recordings performed live at studio 104, Maison de la Radio, Paris. This is the first official release with the full permission and cooperation of the National Audiovisual Institute (INA) coming in a Deluxe Edition - Classic Tip-On Jacket. Including exclusive pictures. Mastered from the original master tapes.

« While be-bop musicians practise one-upmanship in terms of speed, Ahmad Jamal develops a crystal-clear touch and praises silence: "I was an angel among devils! The boppers made notes explode. I let them resonate until the end of their lives".
A reputation as an artist on the fringes perhaps explains this lack of fame he suffered at one time. But despite the great whirlwind that is his life, Ahmad Jamal declares that he is searching for peace: "The quest is that of musical and internal peace. I cannot acknowledge that I am at peace, it would be dangerous to show it. A man at peace with himself doesn't say so".

If you cannot say it, you can hear it, especially during his first concert in Paris in a trio. Here we are transported to the upper echelons of the art of the trio: the master of the piano, in studio 104 of Broadcasting House, is surrounded by brilliant accomplices, Jamil Nasser on double bass and Frank Gant on drums... » (Jérôme Badini, France Musique).

Library Music: Volume One is a sixteen track double LP collecting the North London drone pop band’s 7” singles, one-offs and compilation tracks spanning the first 14 years of the group’s existence. It includes synth pop, indie fuzz and moody motorik workouts, alongside pastoral folk sketches, dubby electronics and the occasional drone experiment. More immediate than their stretched out and slow-burning recent album tracks, the music here is taken from limited vinyl releases, album bonus tracks and music for compilations on labels as diverse as Bezirk Tapes, Second Language, Modern Aviation, and Concrete Tapes as well as the band’s current home, Where It’s At Is Where You Are. The compilation is a happily cohesive document of an inventive band that rarely stand still for long. The band says, “We wanted to gather all our early, scattered work before we move on to our next album, to remind ourselves (and others) of some of the poppier and less characteristic things we’ve done. We’ve always felt a lot more relaxed and freer making one off things for people – it’s a chance to try things that might otherwise be daunting on a full record”. Always a prolific group this is by no means an exhaustive collection, the title giving a clue to how much more they have left to share. “We have been introduced to loads of bands that we love initially through non-album compilations – Broadcast, The Chills, Stereolab, Piano Magic, Flying Saucer Attack amongst others – we wanted to add our own to that (admittedly slightly daunting) lineage.” The Leaf Library are formed around the core group of singer Kate Gibson, former Saloon and Singing Adams guitarist Matt Ashton, guitarist SJ Nelson, drummer Lewis Young and bass player Gareth Jones. They have released three studio albums (Daylight Versions, About Minerals and The World Is A Bell) as well a number of electronic and experimental albums and EPs, remix compilations and long form tracks. They have also released five Monument CDRs; an on-going series of experimental solo and side projects on their Objects Forever imprint. The band have collaborated with musicians as diverse as Alasdair MacLean of The Clientele, singer Ed Dowie, noise group Far Rainbow and string collective Iskra Strings, and have provided music for a number of exhibitions, films and performances. A collaborative album with Japanese artist Teruyuki Kurihara is due in late 2022 on the Mille Plateaux label. Tracklisting: 01 Agnes In The Square 02 Goodbye Four Walls 03 City In Reverse 04 Walking Backwards 05 Soundings 06 Diagram Loop 07 The Greater Good 08 Losing Places (ISAN Remix) 09 A Stone In Water 10 Architect Of The Moon 11 Tired Ghost 12 The Still Point 13 Wave Of Translation 14 Badminton House 15 Tranquility Bass 16 A Gap In The Trees

We are proud to present "I'm Always Right" by Imagination, an unreleased jazz rock LP from 1977. Comprised of five tracks with a playtime of roughly 30 minutes, you will hear one of the finest German late-70s rock-tinged electric jazz albums of the era. The recording is a delightful stand-out with unique compositions, aspiring solo work, and a soulful spirit throughout. Additionally, the album veritably glows with exceptional sound quality, as it has been remastered from original tapes that were cut more than four decades ago at the WDR Funkhaus, Cologne.

Here is the story of how label founder John Raincoatman became aware of these lost tapes:
"I first got in touch with members of Imagination from Düsseldorf (not to be confused with the UK disco band under the same name) in 2017 for licensing the track "Strawberry Wine" from their collectible "Shake It" album from 1980. A couple of months later, when I was speaking with Willi Hövelmann, the guitarist for Imagination, he told me about some recordings the band had made a couple of years before, when they had been invited to to the studio of the WDR, a major German broadcaster. A couple of weeks later, when Hövelmann finally sent me the files that he had requested from the WDR, I could not believe what I heard - not only that the songs were totally different from what I expected, but that they were also very very good! The music wasn't comparable to any other kind of fusion release that I knew of. These five songs were straight forward, tight and soulful electric jazz rock, a combination rarely heard from Germany from that time period."

How come Imagination - at that time a young newcomer band consisting of musicians between 19 and 22 years of age - was able to record at the well-equipped Funkhaus studio of German radio and television? Hövelmann explains: "The WDR got to know us from a newcomer band competition called "Pop am Rhein" (Pop at the Rhine) which was set up to support local bands and was promoted by several bigger newspapers. Imagination was one of the 5 contestants which were picked from 59 bands by a jury of music journalists and our band was invited to play a concert at the Philipshalle in front of about 3500 guests. Although a band called "Accept" won the contest (yes, the heavy metal band that gained international success in the following years!) and Imagination only made 3rd place, we were invited by music host and journalist Wolfgang Neumann to record in a professional studio."

Neumann's broadcasting show at the WDR was called "Rock Studio", and one of his special goals was to help push newcomer bands by giving them airplay. As a side note, Neumann actually compiled a series of three LPs on the Harvest label from 1979-1982, each of them featuring four bands. However, the earlier recordings of Imagination had only been used for broadcasting reasons, they were aired a couple of times but never made it to a vinyl or CD release.
So, on October 10th, 1977, it was time for the band to show up and prove themselves in the studio. The tracks were all recorded in one afternoon, mainly as one takes. In some cases flute, saxophone were overdubbed, as well as the vocals on "Love is Genesis", as Hövelmann remembers.

The first song, "Jazzgang" can probably be seen as Imagination's most characteristic composition out of their early period: heavy bass, saxophone leads and speedy solos by the band members. A genuine, rough, yet funky uptempo jazz rock tune. But it's "I'm Always Right", the second track on the album, that raises the bar as the key track of the release with its 10-minute length. The song starts with a great piano solo by Mario F. Demonte. In fact, "Demonte" was a pseudonym of Ratko Delorko, a classically trained piano virtuoso who is still active today as conductor, composer and performer. At that time, it was simply impossible for him to officially be part in a band like Imagination and hence the alias was invented. Anyway, the speedy intro leads to a very soulful mid-tempo jazz funk groove that offers space and time for the band members to perform a solo. First off is Uwe Ziss with sax and flute combined. The second solo belongs to Willi "Sultan" Hövelmann on electric guitar. For the furious ending the pace is set back to high speed. Delorko serves us with one of the most brilliant uptempo piano solos you may have heard in a while on a jazz record.

The next song stylistically stands out from the rest. "Biting My Time" incorporates a rhythm and blues feel with a 60s soul jazz attitude. The track was composed by Uwe Ziss who leads through the track with aspiring flute solos which feel like an easy summer breeze after the first two rock tinged tunes.

"Himalaya" sees Imagination move away from jazz quite a bit, rather approaching the psychedelic rock genre with a vibe reminiscent of the sound of the early 70s. Again starting with a piano solo by Ratko Delorko the pace is quickly at 150 bpm with the full band laying down an energetic jazz rock sound. Just after a little over one-and-a-half minutes there is a breakdown to a slower tempo with overdubbed mysterious vocals and psyche-y screams which may remind more of the legendary krautrock band Can than what is typically known as "jazz". The mood continues with tense saxophone and guitar solos, just to speed up again towards the end with furious drumming by Andreas Oelschläger.

"Love Is Genesis" concludes the release. It was composed and sung by former bassist Robert Schlickmann. Though most of the band members didn't really like the song at that time it still is a one-of-a-kind soft rock pop ballad which partly reminds of some of the vocal song tracks later to be found on the "Shake It" LP from 1980. The track manifested that Imagination were never really supposed to be solely an instrumental band.

We are now happy to have cleared the exclusive rights for this recording from the WDR and are proud to re-present this amazing collection of songs. It should appeal to fusion, jazz rock and jazz funk aficionados but also to late krautrock collectors. We are also certain that it will also please fans of the "Shake It" album, simply in terms of being such a bright and soulful debut with great music overall.

The French neo big band celebrates its 10th anniversary with a live
concert broadcasted live on the French radio station France Musique.
The genesis of this one is an ode to the explorers who went to visit "the
ends of the world", the North and the South poles
Between icebergs, extreme cold, icy waters, infinite landscapes, clear skies and
current and crazy expeditions as led by Jean-Louis Etienne with Océan Polaire.
POLAR STAR embodies the visual and soundtrack of these crazy epics: a music
that is at the same time intimate, fragile and epic, and sometimes abyssal to
escape in a dreamlike exploration movie.
It is an "awareness" album, taking care of the extreme beauty of the world, but
also a message full of hope: to be amazed and to continue to be. POLAR STAR
reveals a new breath, at the same time powerful, sensitive and luminous. It is an
epic whirlwind that immerses us into the depths of a progressive jazz with rock,
electro, and sometimes pop fragments.
"We love what amazed us and we protect what we love" Jean-Yves Cousteau

At the time of this performance Miles Davis was on his final lap but he was still utterly unique. Stalking the stage in futuristic Issey
Miyake couture, his red lacquered trumpet poised for action. Kenny Garrett's searing alto sax and Foley's 'lead bass' share solo
duties but the rhythm section take the honours here. Miles was renowned for his determination to keep moving forwards and in this
band Ricky 'Sugarfoot' Wellman's go-go beat and Darryl 'The Munch' Jones' high energy playing drive the music forwards
relentlessly. No other band has ever sounded like this. In 1987 Miles was still playing funk and rock the be-bop way.
Performed on 25th July, 1987 at Yomiuri Land Open Theatre East, Tokyo, Japan and broadcast by NHK-FM. A 2LP set pressed on
180g Black Vinyl and presented in a gatefold sleeve sealed with Japanese obi strip. With extensive liner notes and archival photos.
Miles Davis - trumpet, keyboards; Kenny Garrett - alto saxophone, flute; Foley (Joseph McCreary, Jr.) - lead bass; Adam Holzman -
keyboards; Robert Irving III - keyboards; Darryl Jones - bass; Ricky Wellman - drums; Mino Cinelu - percussion.

In 1978 five of America's finest jazz musicians, Michael Brecker, Mike Manieri, Don Grolnick, Eddie Gomez and Steve Gadd, decided
to take a break from their lucrative session careers and do the thing they loved best. The result was Steps, an acoustic jazz
supergroup in the time of fusion supergroups. Now legendary the ensemble offered melodic jazz with cutting edge solos and a
rhythm section like no other. For this performance they were joined by the astonishing Japanese guitarist Kazumi Watanabe.
Already a well-known figure at home and soon to be touring under his own name and guesting with The Brecker Brothers band and
Jaco Pastorius’ Word of Mouth ensemble.
Performed at Yubin Chokin Hall in Tokyo on December 6th 1980, broadcast by NHK-FM. Pressed on 180g Black Vinyl and presented
in a gatefold sleeve sealed with Japanese obi strip. With extensive liner notes and archival photos.
Michael Brecker - tenor sax; Don Grolnick - piano; Mike Mainieri - vibes; Eddie Gomez - bass; Steve Gadd - drums; Special guest
Kazumi Watanabe - guitar.

DNO hits double figures as Denver’s Trisicloplox & Sectra return with more industrial-strength electro-sludge.

Sectra sets the tone with ‘Mail Theft’, a hulking mass of sand-blasting static, insectoid jitter and low-end boom. It’s an intimidating, uneasy listen, like tuning through the haunting emptiness of post-apocalyptic broadcast frequencies, only to be interrupted by sudden bursts of unseen filth and gore.

Trisicloplox follows with a brace of tracks. ‘Bruised’ does exactly what it says on the tin, gargantuan kicks pummelling layer upon layer of dense sound into an impenetrable wall of noise. Ritualistic rhythms and gluttonous amounts of overdrive swarm over distant wails, sending everything into a spiral into despair.On ‘Megastructure’, doom metal meets hip-hop, as rough-hewn drums crunch above a bassline that takes its cues from the Super Hans School of Electronic Music: “The longer the note, the more dread.”

And finishing up the vinyl offerings is ‘Dead On Arrival’. Coming courtesy of Sectra, the most traditionally ‘club-focused’ effort of the lot sees a serrated breakbeat and venomous acid lick sparring over dissonant pads.

As always, digital listeners are offered a little bonus, this time the only full collab: ‘The Dead InTheir Shrouds’. Shunted along by a systematic kick, the track’s jackhammer subs become all-consuming, seemingly sucking all the air from the room and hurling it back out of the bassbins in a violent frenzy.

A bold release that’s not for the faint of heart, the ‘Dead Structure’ EP further cements Trisicloplox & Sectra as truly original talents and DNO as an outlet that can never be pigeonholed.

Rhythms of postmodern realism at the very bottom of the DNO.

Mit seinem dritten Album als Peel Dream Magazine lockt Joseph Stevens in eine fabelhafte, zickzackförmige Welt, die er selbst entworfen hat. Auf Pad verzichtet er auf die unscharfe vorherige Glorie seiner Indie-Pop-Vergangenheit - hier zittert erst ein Vibraphon, stehen Streicher ebenfalls im Mittelpunkt. Der Vorhang hebt sich für einen opulentem Kammerpop und gibt den Blick frei auf Banjo. Glockenspiel. Farfisa. Und als er im Titeltrack des Albums ein Stöhnen ausstößt, wird klar, dass dies kein gewöhnlicher Auftritt ist. Pad ist ein konzeptionelles Werk über das Sich-Verlieren, wenn man nur noch sich selbst hat, und deutet auf eine aufregende neue Zukunft für Stevens' Pop-Song hin, indem es seine eigene Existenz neu interpretiert. Als Nachfolger des erfolgreichen Agitprop Alterna aus dem Jahr 2020 stellt Pad eine bedeutende soundtechnische Entwicklung für den 34-jährigen Songwriter dar, der im selben Jahr mitten in der Pandemie nach Los Angeles zog. Drumcomputer und Synthesizer aus den siebziger Jahren sind geblieben, aber er hat seine schnarrende Offset-Gitarre gegen eine Nylonsaite ausgetauscht und sich für einen sanften Barock-Pop-Sound entschieden, der von Bossa, Folk und seiner eigenen unheimlichen Mystik durchdrungen ist. Neben Vorbildern aus der Mitte des Jahrhunderts wie Burt Bacharach greift Stevens auf die kultisch geliebten Basteleien der Beach Boys aus den späten 1960er Jahren zurück und bietet eine surreale Melange aus alten Orgeln und gefundener Percussion sowie Harry Nilssons Songteppich The Point!von 1970. Pad klingt zwar wunderschön, hat aber auch eine gewisse Dunkelheit. Stevens spricht unsere generelle Ambivalenz gegenüber der Zukunft von allem, was wir kennen, an, teilweise beeinflusst durch seine Zeit in New York zu Beginn der Pandemie. In "Hiding Out" klagt er: Ich wandere an der Vernon Mall vorbei und hinauf zur Queensboro Bridge. Man gibt mir das Gefühl, zwei Fuß klein zu sein, aber das ist keine Art zu leben. Letzten Endes verfolgt Stevens einen Ansatz, bei dem der erste Gedanke der beste Gedanke ist, und lehnt sich an die fantastischen Elemente seiner eigenen Lebensgeschichte an. Pad ist ebenso archetypisch wie seltsam und verwischt genau die Grenzen, die es zu definieren versucht. Die Kunst ahmt das Leben nach, aber das Leben ahmt auch die Kunst nach - und die Ergebnisse können manchmal unvorhersehbar sein. Für Freunde von Sterolab, Beach Boys ca. Smile, High Llamas, Broadcast, The Lilys

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

(Extended Reissue)

Double vinyl LP | Extended reissue
All tracks remastered from the original master tapes.

And here it is! For the first time ever, Zoo Folle in its full, extended glory.
This double LP contains both the soundtrack as released in 1974 (sides A and B) and previously unreleased gems (sides C and D).

Back in 2016 we put out the first official reissue of Zoo Folle. It sold out in a matter of months, leaving many vinyl collectors hungry for more. Quite serendipitously, the following year we found ourselves digging through Giuliano Sorgini's personal archives to prepare what would become Africa Oscura and stumbled upon a few mysterious reels that could be traced back to Zoo Folle. Imagine our joy when we realized that they contained the complete recording sessions of the original soundtrack, including unreleased material and never-before heard alternate versions! It was a no-brainer to start planning this extended reissue.

Already a phenomenon among collectors and experts, not only does Zoo Folle it keep winning more and more recognition, but, together with The Living Dead at Manchester Morgue and Under Pompelmo, it has established Sorgini as one of the great Italian composers of his generation.

And this is no coincidence. Zoo Folle is Sorgini's most committed and personal work. It reflects at once his beliefs as an animal rightist and his deep friendship with TV director and long-time collaborator Riccardo Fellini (brother of La Dolce Vita director Federico). It was Fellini himself who asked Sorgini to score his documentary on the living conditions of animals in zoos in Western metropolises (Rome, London and Paris in particular).

Originally broadcast by RAI in three primetime episodes, Fellini's exposé sharply contrasts the lives of caged animals with the freedom they experience in nature and wildlife reserves such as the Amboseli National Park in Kenya, Africa.

For his part, Sorgini offers perhaps his grandest score ever – a magnificent, multifaceted soundtrack that brings together a variety of instruments and the best musicians available at the time, from the lavish string orchestra recorded at the Fono Roma studios (a dream come true for someone who had not penetrated the inner circle of A-list composers like Morricone), to the angelic voice of Edda Dell'Orso, who conveys the sweetness and melancholy of the African sunset in Red, Old Skies.

Also performing on the soundtrack are exquisite soloists – all long-time friends of the composer. Nino Rapicavoli, for instance, whose flute adds a magical touch to the psycho-funk of Mad Town and the groove of Slaves, as well as Enzo Restuccia, whose afro-tribal percussions have made Ultima caccia a legendary track especially among lovers of Balearic grooves, and Enrico Ciacci, whose classical guitar soars beautifully over the nostalgic and poignant Chains. Not to mention the fact that Sorgini himself laid down the foundation tracks for the album in the small studio he had in the Prati neighbourhood in Rome, playing the piano, drums and several synthesizers.

So, what are you waiting for? Get your turntables ready for the full version of Amboseli (14 minutes of sheer bliss versus less than 6 in the original record) and for stunning, previously unreleased alternate versions of many other themes composed by Sorgini to celebrate the beauty of the savannah.

THE MARCH VIOLETS came out of Leeds in the early 80"s, label-mates of Sisters of Mercy. Releasing six singles, they were a constant presence in the UK indie charts, hitting the top two spots with Snakedance, Deep and Walk Into The Sun. They never got around to recording an album - their only "80"s long-players, Natural History in the UK and Electric Shades in the USA, were compilations. Eventually they signed to a major label and were groomed for a USA breakthrough, performing in the 1987 Some Kind of Wonderful movie. However they were asked to make too many compromises and split up. Their early eighties career was thankfully well-documented by the BBC, who broadcast six sessions between 1982-86 - three for John Peel, and one each with Kid Jensen, Janice Long and Richard Skinner. Chronicling their development with lead singers Simon Denbigh, Rosie Garland and Cleo Murray and backed by bassist Lawrence Elliot and guitarist Tom Ashton, these sessions include nine unreleased songs and alternative versions of their indie hits. Here is the unheard history of The March Violets.

First thought, best thought. Until the next thought: a guiding principle for No Age in the 16ish years they've been around. Constantly responding to their own streams of consciousness with reductive flexibility, they've taken the basic duo of guitar and drums with vocals WAY farther than anyone listening in halcyon Weirdo Rippers days could have guessed. Expounding on those larval possibilities, they've zig-zagged in serpentine precision, in and out of the teeth of the wringer - ranging outside and back in again, as befits the present thought. And now, six albums into it, these principles have led them to make People Helping People. Composed in their studio of ten years in the "pre pandemic" times, then an eviction from said space, and finished deep in the midst at their new basecamp: Randy's Garage. It starts with an instrumental, too. First counter-intuition, best counter intuition! Nearly five minutes prelude Dean's debut vocal interjection - a zoom in from the upper atmosphere, Randy's guitar clouds pulsing with radiation, paced by spare, percussive accents. When the first song with singing ("Compact Flashes") bounces in on an insane synthetic beat, the only recognizable sound of No Age is a sputtering of enchanted clicks and creaks - muted guitar strings and drumkit rattlings that cycle for a full minute before voice song and snare fall into place. This is the sound of People Helping People: No Age, deep in the lab, scraping available nuclii together to see what new compound they find next. Erasing the starting points, reordering the pieces and beginning anew. It's an everyday mindset - and as the first No Age album recorded entirely by No Agee, People Helping People is a broadcast of entirely lived-in proportions. Side one ricochets expertly back and forth between magisterial instrumentals and sing-song forms cut up on the mixing desk, as with the undeniable hitness of "Plastic (You Want It)", winningly rewired to MIDI-mangled beat squelches. They don't really land on a straight up punk-style riff until it's almost time to flip the side, and even once they've got off on a run of rockers on side B, their aesthetic choices continuously reframe the norms, enhancing their inherent power. People Helping People finds their disparate desires operating in perfect sync; prolegomenic weirdness fused immaculately to classic rock propulsion, transforming the energy pouring out from their hands and feet with electronics. Dean's lyrics are like pieces taken off the belt at the factory and put together into a John Chamberlin-esque sculpture, meant to sit out in the rain. Randy's guitars, collaged into arrangements that reflect, again, boundless curiosity and exquisite restraint. This is People Helping People: unpretentious, suspicious, inviting, confident, left field. The most accurate display of the No Age ethos put to record. Yet!

Gazelle Twin, Lali Puna, This Mortal Coil, Slow Walkers, Atlas Sound, Bowery Electric, Broadcast Press Release: Snakeskin is an album of visionary electronic dream pop, shapeshifting above ambient and industrial undercurrents. It is moody, unsettling, luminous – the culmination of a decade of collaboration and friendship between Lebanese producer/musician/ engineer Fadi Tabbal and singer-songwriter Julia Sabra from Beirut-based indie trio Postcards. The duo began working on Snakeskin in the aftermath of the August 2020 Beirut port explosion, which killed at least 218 people, injured 7,000, and left over 300,000 people homeless. Indeed, Julia's home was destroyed by the explosion and her partner and bandmate Pascal badly injured. The first song that they wrote together afterwards was 'Roots', which closes out the album and was composed for the Ruptured-curated series The Drone Sessions in the fall of 2020. Snakeskin utilizes tape loops, synthesizers, vocals, and drum machines, combining Julia’s pop-inspired melodies and choral roots (an echo from her religious upbringing) with Fadi’s affinity for minimalism and musique concrète. The album seamlessly incorporates the melancholy electro-pop of 'All The Birds', the quiet menace of 'In Our Garden' (long-lost treasures, ancient lies / another buried paradise), and the beat-driven 'Signs'. The title track sums up their frame of mind, beginning as a lullaby and evolving into a glittering tapestry of distortion and feedback. As the artists write, Snakeskin is a product of "the disappearance of life as we know it, and with it the decay of nature and living creatures. There is no rebirth, no renewal. It’s about what it means to feel at home in such a place." Some tracks were also inspired by events happening in the surrounding region, such as the invasion of Armenia by Azerbaijan and the Palestinian uprising of May 2021 in Sheikh Jarrah - both events shedding light on relationships to home and land across the wider region. That such compelling art can emerge from unceasing tragedy may be the ultimate testament to human resilience and the pursuit of freedom and justice. "The moon speaks in tongues we can't discern / A plastic dove hangs from a cypress branch / Haven't you heard? / Nothing grows here anymore / The air is burnt / Nothing grows..." Highlights: – This is the second volume in the Corrosion Series, a collaborative effort by Beacon Sound and Ruptured, and the sixth collaboration between the two labels. – Fadi used samples of Julia's voice on his fifth solo album Subject to Potential Errors and Distortions (2020, Beacon Sound/Ruptured) – The Tunefork Studios team, led by Fadi, administered the Beirut Musician's Fund after the port explosion, as covered by Pitchfork, NME, and the Financial Times. – Julia's band Postcards released their third full-length album After The Fire, Before The End on Berlin label T3 Records in 2021 and are currently touring Europe. Credits: All music composed, performed and produced by Julia Sabra and Fadi Tabbal between November 2020 and December 2022. Lyrics by Julia Sabra. Drum samples by Pascal Semerdjian. Recorded by Fadi Tabbal, mixed by Sary Moussa and Fadi Tabbal at Tunefork Studios, Beirut. Cover photo by Lujain Jo. Design by Josette 'ZOoz' Khalil. Mastered by Rashad Becker. Bios: Julia Sabra is a Lebanese musician, songwriter and composer. She co-founded acclaimed Lebanese dream-pop outfit Postcards in 2013 and is the band’s multi-instrumentalist, lead singer and lyricist. Postcards have released two EPs (2013, 2015) and three albums (2018, 2020, 2021) and have been regularly touring Europe and the Middle East since 2015. She has been the manager of Tunefork Studios since 2017. Lebanese musician, producer, and sound engineer Fadi Tabbal’s work consist of minimalist pieces ranging from ambient and electronic to drone and contemporary classical. He has released six solo albums and has collaborated with various musicians, artists and filmmakers through the years. Often referred to as “the hardest-working person in Lebanon’s alternative music scene”, Tabbal established Tunefork Studios, a collective of producers, engineers and musicians, which has helped shape Beirut's contemporary music scene since 2006.

Vente (The Danish word for "wait") was released in 2021 and was the sixth album and the latest result, of a long-running collaboration between drummer Emil de Waal, clarinetist Elith "Nulle" Nykjær, multi-musician Gustaf Ljunggren and hammond organist Dan Hemmer. Emil de Waal has played drums with an impressive line-up of names in Danish rock, pop and jazz, ranging from Bagdad Dagblad, over Old News and Maluba Orchestra, to his current band Kalaha, an ensemble known for mixing electronic music with elements of jazz and African music. Elith "Nulle" Nykjær, who is 84 years old, is a living legend in Danish jazz and has had an impressive career as an actor, writer, musician and composer at DR (The Danish Broadcasting Corporation). Since the late '80s, he has toured in both Europe and in the US with his ensemble, Nulle & Verdensorkestret ("Nulle & The World Orchestra") and the repertoire of this very popular group has affected the repertoire on Vente. Gustaf Ljunggren was born in Stockholm, Sweden and lives in Copenhagen, Denmark, where he studied to become a saxophone player at The Rhythmic Music Conservatory. He became a household name in Denmark when he was the bandleader on the Danish talkshow 'Det Nye Talkshow' in the period 2009- 2011. He has performed and recorded with a wide variety of artists, such as Robyn, Teitur and Caroline Henderson. Ljunggren is often referred to as a "multi-instrumentalist" and he masters both wind instruments, strings and keys. Dan Hemmer is known as one half of the duo, Lindberg Hemmer Foundation, with the late, great Danish cult figure, entertainer and bass player, Morten Lindberg aka Master Fatman. Besides that, Hemmer has played with virtually everyone within all genres of music, and over the last decade or so, he and Danish saxophonist Michael Blicher, have been playing with none less than American funk master - drummer Steve Gadd. The four musicians on Vente all come from their individual musical backgrounds, bringing with them elements of their personal history. And when they get together to play, they don't intend for the music to come out in any particular way - it just has to feel right for all of them. This free-spirited approach to playing music, combined with the album's delicate mixture of originals, written by various members of the ensemble, and carefully selected jazz-standards, played with the group's groovy personal touch, gives the music on Vente a nostalgic, yet timeless, quality.

Double album of Finnish gabber and hardcore music with Finnish lyrics. Yes you got it right, Finnish gabber and hardcore music. Made by the mysterious Turku Gabber Corps this double album features 13 tracks on two vinyls. All of the tracks are crafted in true gabber style to get you on the floor and start doing the hakken. Highly limited edition which you need to grab now before it’s gone forever.

The music on this long-awaited solo vinyl album by legendary tape artist Jérôme Noetinger was recorded live in the studio with no overdubs. Signals were sent through tube broadcast monitors and picked up with room microphones. Produced by Tobias Levin. Cover by Meeuw.

Long-time touchstone of international experimental music presents his monolithic (and first) solo vinyl »Sur Quelques Mondes Étranges« on Felix Kubin’s Gagarin Records. Jérôme Noetinger is known to most for the audio-visual trio Cellule d’Intervention Metamkine, alongside his countless recorded & live collaborations, compositions for radio & stage, and breathtaking multi-channel diffusions in the acousmatic tradition.

Discovering the ReVox B77 tape machine as his tool for live electro-acoustic music in 1987, Noetinger has doggedly investigated his instrument over 35 years, establishing him as a vital contemporary composer/performer of the medium. His work is radical and interrogatory, using a pan-historical array of analogue devices to construct soundworlds which sidestep digital monochrome, landing in a galaxy of simmering malfunction, dynamic physicality & rhythmic debris. Programming Le 102 in Grenoble for over a decade, as well as directing Metamkine distribution for over three, his encyclopaedic knowledge of manifold sonic traditions is on display here; unified by a staunch discipline, impressive dedication and flat rejection of empty trends.

The results synthesise his tireless timbral research into 11 striking sonic investigations which combine modern studio possibilities with years of performance experience worldwide. An ominous malaise hovers over proceedings; yet it never feels nihilistic, presenting solutions which electrify the listener with ecstatic discovery. The perceptual orchestration therein - from throwing our ears right against the body of the tape machine to flinging them into cavernous space alive with the aurally strange - is both delirious & calming. Noetinger is all too aware things are bad, but his drive for discovery and joyous belief in music somehow coruscates brilliantly through contemporary gloom.

Meticulously recorded & produced with Tobias Levin in Hamburg, Sur quelques mondes étranges presents a detailed & rich vocabulary both real & unreal: gesture & repetition, structure & collapse, familiar & uncanny all dance with each in the most pumping discothèque concrète in this universe. This is a powerful and exacting statement from an elegant composer & extraordinary musician who has humbly dedicated his life to his practice.

– Anthony Pateras

Note price increase and cat number change from last time around. In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal "mystical" period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain. The musicians in Don Cherry's New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band Don and Moki Cherry, Christer Bothén, Gérard "Doudou" Gouirand, and Naná Vasconcelos performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki's carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. The music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta "Dha Dhin Na, Dha Tin Na," and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance including pieces that would later appear on Don's albums Organic Music Society and Home Boy (Sister Out) all punctuated by outbursts of possessed glossolalia from the puppeteers. "Relativity Suite, Part 1" notably spotlights Bothén on donso ngoni, a Malian hunter's guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos's masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble's achingly tender rendition of Jim Pepper's oft-covered beacon of spiritual optimism, "Witchi Tai To," lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert's laid back, communal vibe feels like an attempt by the Cherrys to show Don's jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride. With liner notes by Magnus Nygren. Track list: 1. Intro: Dha Dhin Na, Dha Tin Na 2. Butterfly Friend 3. Elixir 4. Amazwe 5. Interlude with Puppets 6. Ganesh 7. Elixir Reprise / Witchi Tai To 8. Resa 9. Relativity Suite, Part 1 10. Berimbau Solo 11. Interlude / North Brazilian Ceremonial Hymn 12. Elixir Reprise / Ganesh 13. Ntsikana's Bell / Traditional Melody

A truly incredible collection of foundation Jungle / Drum & Bass from these ground-breaking labels. Splash aka Undercover Agent aka Daz has been with SubBase since the start, having signed to Suburban Base Publishing (including the iconic track Babylon) back in the 90's and remained with us ever since. As part of the SubBase Family we’ve collaborated once again to deliver a perfect package of in-demand classics and unearthed dubplate specials.
Daz Ellis, most commonly known as Undercover Agent, was a true pioneer of the emerging jungle scene back in the early 90’s. He was heavily involved in the pirate radio scene, setting up the infamous Cyndicut FM to transmit breakbeats & basslines across the airwaves of the South East of England, noted for having one of the strongest and widest reaching broadcast signals of the period.

Under various aliases he produced music that defined the sound of the dancefloor. Early releases featured on the genre-defining Suburban Base & Lucky Spin labels.

As Splash his seminal track Babylon set the standard for how amens and ragga infused samples should sound, a format that has stood the test of time and can still be heard today regularly getting played by the world’s biggest drum & bass DJ Andy C! This compilation includes the 2 most in demand versions of this foundation anthem.

In 1994 off the back of his success he launched Splash Recordings, then the year after Juice Records came into fruition. Under the guises of DAZ, M.T.S. and various releases as Splash Collective, all on his own Juice & Splash imprints he gained an army of dedicated fans, demand from whom has led to the creation of this special vinyl box set!

For this exclusive compilation project Undercover Agent went searching back through his original studio master tapes from his impressive back catalogue to find both the original recordings, and some of the alternative edits that never made it to vinyl back in the day. There were also a handful of special versions made exclusively for DJ’s to play on dubplate that are now available for the first time ever.

Exclusive to this collectors box set are 6 never before released versions of classics such as Oh Gosh, Five Tones, Jah Works, an alternative mix of DJ Zinc’s remix of Hard Disk & Bass Kick that were unearthed from the original session DAT’s!

This album features 16 of his most legendary tracks, remastered & pressed across 4 slices of vinyl.



c B1. Undercover Agent - Oh Gosh! (Daz '95 Dubplate) Unreleased

e C1. M.T.S - Baad Boy Sound ('95 VIP) Unreleased


h D2. M.T.S. - Hard Disk (DJ Zinc Remix VIP Dubplate) Unreleased

j E2. Undercover Agent - Five Tones (97 Daz VIP Mix) Unreleased

l F2. Undercover Agent & The Kriminal - Jah Works (Exclusive '95 Alternative Studio Mix) Unreleased



[c] B1. Undercover Agent - Oh Gosh! (Daz '95 Dubplate) [Unreleased]

[e] C1. M.T.S - Baad Boy Sound ('95 VIP) [Unreleased]


[h] D2. M.T.S. - Hard Disk (DJ Zinc Remix VIP Dubplate) [Unreleased]

[j] E2. Undercover Agent - Five Tones (97 Daz VIP Mix) [Unreleased]

[l] F2. Undercover Agent & The Kriminal - Jah Works (Exclusive '95 Alternative Studio Mix) [Unreleased]

As Spacemoth's Maryam Qudus was hard at work in her recording studio, synthesizers piled high, she found her mind in another place, hypnotized by the questions swirling inside her: “How could I ever face this world alone?” she wondered. “How long will I be able to stay in this place that I love?” Attempting to understand her position in the universe, the relationships that hold her together, and the climate crisis unfolding around her, she realized ruminating over these concerns was paradoxically taking her away from precious experiences. No Past No Future is the reckoning point between nostalgia and nihilism: the struggle to hang on to a moment as it warps in time.

Devotion to music has driven Qudus—a performer, composer, and producer based in the Bay Area—for as long as she can remember. At age twelve, she traded chores for guitar lessons; at sixteen, she took on after school jobs to pay for voice lessons. As a first-generation Afghan-American child of working-class immigrant parents, finding a place in music has been nothing short of a challenge for Qudus.

The bulk of performance on Spacemoth songs comes from Qudus herself, who favors vintage synths like the Yamaha CS-50 and Korg Polysix alongside fluttering tape manipulations; these create cosmic, lush soundbeds, drawing comparisons to beloved projects like Broadcast and Stereolab. On songs like “Waves Come Crashing,” a whirlwind of noise leads into darker, bass-heavy instrumentation as she confronts the inevitability of death: “These fears, they have taken our years,” she laments about the anxiety of mortality. On “Pipe and Pistol,” Qudus explores the experience of being an immigrant starting over in America. The song showcases punchy rhythms, reminiscent of Devo’s post-punk dynamism: “I see your face / my powers, they raise,” she sings with potency. Identifying cyclical habits inspired “Round In Loops,” which highlights patterns we endure in our lives and minds. “Boss is waiting / we run / love is fading / we run,” Qudus commands, encouraging escapism and a break to the cycle of mundanity.

Every track flows with Qudus’ low timbered vocals, in harmony with the watery, glowing synthesizers that anchor the album. The result is a record rich in intergalactic, avant-pop, radiating in astonishment at the vast, emotional landscape humans contain within ourselves, and in wonder at the preciousness of our time on earth.

The concert by Paolo Conte in the heart of the Reggia di Venaria Reale, produced by Milo Fantini and RitaAllevato (who also takes care of the artistic direction) for ConcertoSrl and broadcast in exclusive streaming on ItsART on September 30th, will relive in a special limited edition.

In fact, on 12th November "Live at Venaria Reale" (Concerto srl / Platinum srl / BMG Rights Management Italy srl) comes out in a Box Limited Edition and double Lp. An album full of precious contents: double vinyl, cd, 7 '' vinyl, which contains the unreleased El Greco and the song AMinestrina feat. Mina, a copy of the score for Via con me and an original signed and numbered print by the artist.

During the show, Conte's charm and unmistakable timbre were accompanied by an orchestral ensemble of eleven musicians fromexception: Nunzio Barbieri (Guitars), Lucio Caliendo (Oboe, Bassoon), Claudio Chiara (Alto Sax, Flute, Accordion, Keyboards), Daniele Dall'Omo (Guitars), Daniele Di Gregorio (Drums, Percussion, Marimba), Luca Enipeo ( Guitars), Francesca Gosio (Cello), Massimo Pitzianti (Accordion, Bandoneon, Baritone Sax, Piano, Keyboards), Piergiorgio Rosso (Violin), Pierre Steve Jino Touche (Double Bass), Luca Velotti (Soprano Sax, Tenor Sax, Flute, Clarinet ).

In addition to the unpublished El Greco, the tracklist also contains the most beloved songs of the singer-songwriter: "Hemingway", "Sotto lestelle del jazz", "Come Di", "Alle prese con una verde milonga", "Aguaplano", " Max "," Gambling "," Dancing "," Madeleine "," Genoa for us ","Via con me "," Reveries "," The raincoats "," Le chic et le charm ", in which finished loves, nostalgia and exotic atmospheres parade.

Pulselovers is the recording moniker of Doncaster's electronic music polymath - Mat Handley. In recent times, Mat's restless enthusiasm and boundless talent has seen him excel in a variety of related fields: as a much-loved broadcaster (presenting 'You, the Night and the Music'); dispensing his electronic magic as a member of the bands Floodlights and Vert:x; and founding the essential Woodford Halse tape label. While recording as Pulselovers, he has produced a string of impressive releases, including titles on Castles in Space, Sensory Leakage, Polytechnic Youth, Misophonia, Russian Library, Do It Thissen, as well as regular contributions to the iconic A Year In The Country album series. Mat explains how reviewing these AYITC contributions gave rise to the possibility of compiling a retrospective collection as a stand alone album: "Circles Within Circles contains tracks that have previously appeared on albums released by A Year in the Country between 2017 and 2020. Each collection had a particular theme which gave me an opportunity to experiment and develop the way I work by incorporating field recordings, tape loops and enrichments from additional instrumentation played by friends and kindred souls (guitar, bass, saxophone, flute, violin, vocals etc). For example, the track “Brodsworth” is built around a four track tape loop of different synth tones to create a rudimentary (and very lo-fi) Mellotron, played using the sliders on the Tascam 414 in place of keys. For “Fuggles”, my partner and I broke into an abandoned brewery in Sheffield and made recordings of the empty space and crumbling concrete. For “Beat Her Down” I assembled a virtual choir lead by Katje Janisch to sing a simple but disturbing folk nursery rhyme. It was my friend (and Floodlights main man) John Alexander who suggested collecting the AYITC tracks into a single volume and after several different permutations (around 5 pieces were excluded from this compilation), I think we’ve managed to put together something that feels like a coherent stand alone album. I’ve enjoyed revisiting these works, some of which I’ve not listened to in 5 years. Thanks to Steve Prince of AYITC for his inspirational concepts and to Dan at Subexotic for giving these pieces a second home.” Circles Within Circles will be released on 12th August, via digital platforms and limited edition pressed vinyl.

For her forthcoming album Colour My Life, Heather Small, has teamed up with award-winning producer Rupert Christie and the London Metropolitan Orchestra to reimagine all of her Top 10 hits from both her career with M People as well as her solo material. There's also brand new music, in the form of the beautiful rendition of Paul Weller’s ‘You Do Something To Me’ to her super catchy uptempo lead single ‘Love Me or Not’

Heather Small, one of the most distinctive British female vocalists began her pop career as a teenager in Hot House, before becoming the voice of M People, one of the world's biggest dance acts which went on to sell tens of millions of albums worldwide, winning numerous Brits and a Mercury along the way. She launched her solo career at the turn of the millennium with Proud, which has gone on to be a timeless classic for all ages, featuring in theme songs for The Oprah Winfrey Show, Queer As Folk as well as performing at London’s 2012 Olympics.

The new album features orchestral versions of all of the UK Top 10 hits; Moving on Up, How Can I Love You More, Search For The Hero, One Night in Heaven, Don’t Look Any Further as well as the title track Colour My Life.

In keeping with the album title, there will be bright bold creative content to launch the album pre-order campaign and new single on the 19th of April. The video for the lead single ‘Love Me or Not’ will drop mid-May. Throughout the pre-order campaign, Heather will be doing select pieces of promo, such as the 2 hr radio special ‘Moving on Up’ on Bauer and performing live at numerous British Festivals, such as The Isle of Wight Festival (Broadcast on Sky Arts) Around the July release date there will be TV/Radio performances as well as a digital and social media campaign. Heather will tour with the orchestra in the Autumn.

Bringing together some of the most incredibly spellbinding songs from a masterclass in song writing and one of R&B's biggest forces in the development of
black music. More than any other artist on the planet, Stevie Wonder's music has crossed the divides and cemented different races and generations with
million-selling records that offer both depth and jubilation. Greatest Hits Live celebrates the journey to worldwide success with a sublime collection of live
performances that not only capture his most iconic hits, but also the soul of the man who made them.
Get Yer Vinyl Out invites you to experience the legendary Stevie Wonder, performing hit after hit, live on stage, in a sensational and exclusive collection.
Superb, professionally remastered original broadcasts, presented with background liners and timeline photos.
Tracks recorded at ‘Wonderlove’, Soul! TV, New York City, NY, 19th November 1972 (WNET 13); Masonic Temple Theatre, Detroit, MI 14th April 1984 (WRIFFM); ‘NYC Song Competition Awards’, Madison Square Garden, New York, NY 27th September 1986 (WNEW-FM) and Fox Theatre, Atlanta, GA, 28th
November 1988 (WREK-FM).
A 180g Eco mixed vinyl release, pressed on randomly mixed colour compound and presented in a deluxe gatefold sleeve.

PBS Nights (Star Hustler) b/w Turn. It. Up. by Strictly Butters | GSC45-34 Galaxy Sound Co. | Even better, I love it when the always on-point @galaxy_sound_company takes a surprising turn from the edit game to drop another sure shot by Michigan beat maestro @strictlybutters. It’s the second release on GSC by the Owosso, MI skateboarder, cyclist & sneaker-head. He is a deep digging vinyl head, dad, & brilliant bedroom beat maker & now gifts us with another super sweet pair of hip-hop instrumentals. Side A’s “P.B.S.” recalls a 70s Public Broadcast Service afternoon with my babysitter aka the TV. Rolling piano & warpy keyboards over a tight drum break was a perfect soundtrack for me while walking my Detroit streets on a sunny afternoon. The vibe comes correct. Side B “Turn It Up“ bounces effortlessly and simply to do what Strictly Butters says, the sweet soul guitar riff will force you to turn the knob up to 11. So whatcha waitin’ for son?

Translucent purple 180 Gram vinyl with Download card including all 12
tracks that appear on the CD
Over a 45-year career as one of the world's top blues musicians, Ronnie Earl has
transfixed audiences with his distinct sound of emotion-laden blues. On his own
and with his band The Broadcasters, Ronnie is a four- time Blues Music Award
winner as "Guitar Player of the Year," with 28 albums and multiple chart-topping
compositions in his catalogue.
Ronnie sets the songs of this album into context with a quote from Rev Dr Martin
Luther King Jr prominently placed in the album art: "The Blues tell the story of
life's difficulties, and if you think for a moment, you will realize that they take the
hardest realities of life and put them into music, only to come out with some new
hope or sense of triumph."
These songs present triumphant Blues - uplifting and hopeful songs that point to
a better tomorrow, including "Soul Searching," "A Prayer for Tomorrow," "The Sun
Shines Brightly" and "Your Love Keeps Lifting Me Higher And Higher." Celebrating
artists who have contributed to the theme of hope, Mercy Me includes "Blues for
Ruthie Foster," "Blues for Duke Robillard" and "Dave's Groove" (co- written with
Dave Limina).