Buscar:c mos

George Otsuka (or Ohtsuka), sadly passed away in March 2020, was one of Japan’s most renowned jazz drummers. ‘Sea Breeze’, released in 1971on the Union label, is his first record in quintet formation and is reissued here on a single LP housed in a gatefold sleeve.

And we can say that George Otsuka knew how to surround himself: Shunzo Ohno is on trumpet and Flugelhorn, Takao Uematsu on tenor sax and soprano, Takashi Mizuhashi on bass and Hideo Ichikawa on electric piano.

If all the tracks on this album are solid, included the astonishing cover of “Fool on the Hill”, it is especially “Sea Breeze”, the eponymous track opening the album that will make an impression. A super and long jazz-funk track where the five musicians, in perfect osmosis, leave each other enough space to express the full extent of their talent.

Recent copies of the original vinyl,which were only released in Japan have sold for £200-300.

In celebration of the 20th anniversary of the release legendary singer/ guitarist Thalia Zedek's Been Here and Gone, Thrill Jockey is proud to present the album unlike it has ever been heard before: on vinyl, re-mastered by Sarah Register. Thalia Zedek has been one of the most enduring rock musicians of the past four decades. From her auspicious beginnings in bands Uzi, Live Skull, and Dangerous Birds to her wider recognition in Come, Zedek established herself as a singular voice accruing accolades from critics and contemporaries including J. Mascis, Kurt Cobain, and Bob Mould. Been Here and Gone, her debut solo release originally released on Matador in 2001 on CD, marked a turning point in Zedek's music. As Come was coming to a close, Zedek began exploring writing and performing as a solo artist, eventually backed by violist David Curry, pianist Mel Lederman (both of which went on to perform with Zedek for two decades), as well as former Come bandmates Chris Brokaw and Daniel Coughlin. The idiosyncrasies of her voice were laid bare for the first time, revealing an even greater depth to her unique songwriting. The more spacious and rich arrangements sprawl and whisper with powerful vulnerability. "There was definitely something magical about the making of Been Here and Gone," says Zedek. "I'm not sure if it was because it was made at a studio called Higher Power in a recently desanctified church in Stuyvesant, NY, or if it was because it was the end of a century, not to mention a millennium, the end of a decade of being in Come, the longest running band I'd had up to that point, and the end of 5 years of unhappy breakups and tumultuous relationships in my personal life." The eleven tracks that comprise Been Here and Gone embody that tension of uncertainty with a hopeful edge of renewal. Zedek's indelible resilience lifts even the somberest laments into triumphs. Even on the album's three cover tunes, including a haunting rendition of Leonard Cohen's "Dance Me to the End of Love," Zedek's voice and guitar color every note with raw emotion, making each passing gesture personal. Been Here and Gone channels the thunder and roar of Zedek's past into a fragile magnificence.

Dissolution Sessions' is the first release by art punk rockers The Imbeciles since their well received eponymously named debut album earlier this year. The six-track EP
features a new band line up - and a different sound. 'We've slimmed down from a meandering, vegan, six member prog rock combo, to a tight-knit, guitar-led, steakeating 4-piece,' says lead Imbecile, Butch Dante. 'The guitar sound is fuzzy punk beast-master AF, and we like it.'
The band had originally gone into the studio earlier this year to record a radio session for 6Music. That ended up being cancelled because of the pandemic crisis. 'We
were there anyway so we started riffing on some new songs and everything came together real fast,' continues Butch. The result is three new songs and three new
versions of tracks that first appeared on the album. 'The music is still weird; but everything just gets to the point faster,' he adds. "You can hear that energy in 'Yes I
Am'; it's the sound of a band having fun being creative again after a difficult year.'
That particular new track is a Foo fighters/STP/Stooges-style banger, but played on Imbeciles terms - one note leads and guitar scrapes, with off beat stabs and a pop
punk drum track that pulls the whole together. And the overall vibe of the EP is a NSFW hybrid of 1979 London punk (Skids and Ruts), with second guitar stolen from
eighties Echo and Bunnymen and a leavening of Bauhaus art rock.
'Sunday Leaguer' was inspired by Butch's love of English football. The song is both a banging punk celebration of the beautiful game, and a lament to the gaping hole left
in peoples' lives when Coronavirus forced the cancellation of all football in March. As well as the Premier League, MotD and other football staples, the song also
celebrates the unsung legends of amateur Sunday League football. Dante, a Crystal Palace fan, enlists Palace's Holmesdale Fanatics on the track, who are heard chanting
'Eagles', while the video for the song pays tribute to the club's mascot, Keya, who sadly passed away this summer.
Charlie Conkers makes his debut on the EP as the band's drummer. 'He's young, good looking, and talented. It's quite annoying, actually,' Butch says. New lead guitarist
Stan Moseley makes a sideways move into the band from his previous role as The Imbecile's chief engineer and co-producer - the producer role now being occupied by
music legend, Youth, with whom the band has just started working on a new album, to be released in 2021.
'Having Youth involved as producer and co-writer is the most dope thing that has ever happened to the band,' says lead singer and bass player Kip Larson. 'Everyone is in
a super positive, hyper creative place right now and we can't wait to see what we come up with.'
So what about the name, Dissolution Sessions? Was it a nod to the pandemic, or a reference to the band breaking up and reforming again with its new members?
Neither, according to Butch. 'Kip was super hung over at the session. too many Dos Equis, yo. Hence: Dissolution Sessions.'

Most of these songs have not been heard until now. Formed in L.A.’s South Bay in 1978, DESCENDENTS began as a power trio featuring bassist Tony Lombardo,
drummer Bill Stevenson, and guitarist Frank Navetta (d. 2008).
The band recruited vocalist Milo Aukerman in 1980 and began establishing
themselves as major players in the Southern California Punk movement. Over
the years, the band has sustained a potent chemistry and shared vision, further
cementing them as punk legends.
In 2002, the original four-piece lineup Frank Navetta, Tony Lombardo, Bill
Stevenson, and Milo Aukerman got back into the studio to finally record their
first-ever songs. The songs were written by the band from 1977 through 1980,
before recording the Fat EP (1981) and the Milo Goes to College LP (1982).
Every element of DESCENDENTS’ genre-creating sound is here: Stevenson’s
hyper-caffeinated surf-beats, Lombardo’s intrepid bass, Navetta’s crunching attack, Aukerman’s impassioned, infinitely relatable singing and all those great
melodies and harmonies.

Land of the Free? with revered classic songs like the incendiary “F*ck
Authority,” was a wake -up call from Pennywise, aimed at the slumbering
masses of America, an attempt to shake people out of their lethargy and
prod them into thinking about the world.
Originally released in June 2001, the band’s six studio album tackled the political and social issues of the day, from police corruption and mass shootings to
elections, topics that 20 years later are just as relevant.
Pennywise have made a name for themselves over the past 33 years as a politically minded, melodic hardcore /punk band that has sold millions of albums
and become one of the most successful independent acts of all time.
Formed in 1988, the band played backyard parties in their hometown of Hermosa Beach, California, without having any aspirations other than playing as
many songs as they could before the police showed up. Hermosa Beach and
the surrounding neighborhoods are a prominent place in popular culture, with
groups like Black Flag, The Circle Jerks and Descendents merging a fast rebellious sound with the surrounding aggressive surf and skate culture.
Inspired by their predecessors, Pennywise were at the forefront of a second
wave of American punk rock that would catapult the movement from a tightknit subculture into a worldwide movement.

This group represents the germ of Art Blakey’s Jazz Messengers and marked the path
for the future. Brown, pianist Horace Silver, and alto saxophonist Lou Donaldson were
somewhat established, but skyrocketed to stardom after this band switched personnel.
This was perhaps Blakey’s most acclaimed combo, along with the latter-period bands
featuring Lee Morgan and Wayne Shorter. Three of Silver’s greatest compositions can be
heard here: “Split Kick”, “Quicksilver”, and “Mayreh” (a reharmonization of the standard
“All God’s Children Got Rhythm”).
Clifford’s wonderful ballad playing is showcased on “Once in a While”. This music was
first released in 1954 on three 10” LPs, and then remarketed in 1956 on two 12” LPs,
whose configuration is followed here.
“This recording launches an initial breakthrough for Blakey and modern jazz in general
and defines the way jazz music could be heard for decades thereafter. Everybody must
own copies of all volumes of A Night at Birdland.”

Composer, multi-instrumentalist, poet, griot, improviser and community
leader William Parker presents a pair of brand new trio albums which further expound on his limitless vision.
One of the iconic and enduring music leaders to emerge in the world over the
last half century, William Parker continues to raise the bar higher.
‘Mayan Space Station’ is his first electric guitar trio album, and features Parker
on bass, alongside Ava Mendoza (electric guitar), and Gerald Cleaver (drums).
Cosmic multi-hued blues, perfect for space and time travel. The unparalleled
rhythmic firmament created by Parker & Cleaver is matched by Mendoza in full
flight. All of the promise imagined by a trio recording of these musicians with
compositions by Parker is delivered to the fullest.
Mendoza’s prodigious talents have illuminated many projects and recordings
as both leader and collaborator over the past decade. As is certainly clear here,
she is committed to bringing expressivity, energy and a wide sonic range to the
music. Gerald Cleaver is an exceptionally gifted poet of drum sound who can
play in the deepest of pockets and manifest all manner of sound to perfectly fit
contours within the most open of forms.
Cleaver & Parker have worked closely on numerous projects, notably within the
nonpareil full-improvising trio, Farmers By Nature, together with Craig Taborn.
William Parker is in vibrant grandmaster blossom here on double bass - in both
pizzicato & bow-as-prism modes.
William Parker: bass, compositions,
Ava Mendoza: electric guitar,
Gerald Cleaver: drums

Composer, multi-instrumentalist, poet, griot, improviser and community
leader William Parker presents a pair of brand new trio albums which
further expound on his limitless vision.
One of the iconic and enduring music leaders to emerge in the world over the
last half century, William Parker continues to raise the bar higher.
‘Painters Winter’ features the trio of Daniel Carter (reeds, trumpet, flute) William Parker (bass, trombonium, shakuhachi) and Hamid Drake (drums). Carter
& Parker have been perpetual space-ways traveling companions since first
meeting & immediately beginning to channel music together in early 1970s
NYC. Here, Carter again brings the full assembly of instruments he has for decades been a master of: trumpet, alto & tenor saxophones, clarinet and flute.
Likewise, Hamid Drake is a musician’s musician; one of the most in-demand
drummers in the world. He is in command of a vast lexicon of drum languages,
learned and absorbed directly. His frequent flyer miles could get him a ticket to Saturn and back. Drake & Parker launched their devoted “two-man big
band” partnership in 2000 and haven’t stopped since. In trio with Daniel Carter,
they’ve created one previous album together, ‘Painters Spring’, released that
same year.
Drake has made mention of his awe that William could pick up any new instrument and make beautiful music with it from jump. The title track of ‘Painters
Winter’ features Parker on trombonium, one of those many instruments that
he plays beautifully on. The track “Painted Scarf” features Parker on shakuhachi, upon which he has clearly become a master.
William Parker: bass, trombonium, shakuhachi
Daniel Carter: trumpet, alto & tenor saxophones, clarinet, flute
Hamid Drake: drums

John R. Miller is a true hyphenate artist: singer-songwriter-picker.
Every song on his thrilling debut solo album, ‘Depreciated’, is lush with
intricate wordplay and haunting imagery, as well as being backed by a band
that is on fire.
One of his biggest long-time fans is roots music favourite Tyler Childers, who
says he’s “a well-travelled wordsmith mapping out the world he’s seen, three
chords at a time.” Miller is somehow able to transport us to a shadowy honkytonk and get existential all in the same line with his tightly written compositions. Miller’s own guitar-playing is on fine display here along with vocals that
evoke the white-waters of the Potomac River rumbling below the high ridges
of his native Shenandoah Valley.
‘Depreciated’ is a collection of eleven gems that take us to John R. Miller’s
home place even while exploring the way we can’t go home again, no matter
how much we might ache for it. On the album, Miller says he was eager to combine elements of country, blues, and rock to make his own sound. He wanted
‘Depreciated’ to conjure references to recently lost heroes like Prine, Walker,
and Shaver without sounding derivative.
Miller has certainly achieved his own sound here with an album that is almost
novelistic in its journey not only to the complicated relationship Miller has with
the Shenandoah Valley but also into the mind of someone going through transitions. “I wrote most of these songs after finding myself single and without a
band for the first time in a long while,” Miller says. “I stumbled to Nashville and
started to figure things out, so a lot of these have the feel of closing a chapter.”

Clear Vinyl

Freddy Fresh is a legend. Period. From a plethora of 12“es on labels like Nu Groove, Drop Bass Network, Forced Nostalgia, Spaziotempo, Lone Romantic or Toolbox Killers to albums on 90s scene mainstays like Harthouse, Anodyne or Eye Q to countless releases on his own imprints like Howlin Records, Analog Records USA and Electric Music Foundation. From remixes for the likes of GusGus, Heaven 17, Kitachi, Steve Stoll, Frankie Bones and many more to hitting the UK Top 40 with the massive BigBeat smasher „Badder Badder Schwing“
produced alongside Fatboy Slim. The man has done it all. Nearly.
And therefore Intrauterin Recordings is proud to present the first ever Drum'n'Bass release in the more than 30 year spanning career of the one and only Freddy Fresh!
With „333“ Freddy Fresh is going down a twisted, hard stepping and yet positive alley of what the man himself refers to as Modular Drum'n'Bass that is unmistakably cooked up live and direct in his Minneapolis-based studio. Expect a whirlwind of swirls, swooshes, bleeps and FX alongside raw junglistic beats and the most positive Synth bass motif you've heard in a long while.
Yet the singles' main dancefloor smash is to be found on the flip side. „Watch It Go Roun Roun“ is a raw classic, a heavy original JumpUp banger driven by a killer vocal performance by Mike Gates a.k.a. Mikey Dredd. Likely better known to many for his Techno productions on labels like Kanzleramt, Creation Rebel or Howlin Records rather than for his MC skills this is the very first time Mikey Dredd's secret love for taking up the microphone as a proper Jungle / Drum'n'Bass MC is officially recognized and revealed on wax as a late tribute to and
honoration of a large scale talent which passed away way too soon in 2019. Lighter crew!
Initial pressing will be limited to 225 copies on 7“ whitelabel vinyl. Hand-stamped with stickered cover.


b B1: Watch It Go Roun Roun featuring Mikey Dredd

Token celebrates its 100th release with Luke Slater, a legend of the genre, releasing under one of his most iconic aliases: Planetary Assault Systems. For over 25 years, Slater has delivered unparalleled quality in his music - a formative figure in Techno and instrumental in defining the sound globally, few can touch the Brit for depth, urgency and hit rate.

Exhibiting near enough perfect renditions of classic dance-floor moods, the four track EP is a wrought iron rollercoaster through some of the artist's most exacting work. Booming opener Bang Wap chugs unrelentingly while a lithe FX line does the bulk of the movement in the high mid range - building tension before a satisfying release in the last quarter. A2 Bolt is classic Planetary Assault Systems - hypnotic and driving with a single sequence dipping in and out of view. On the flip, Say It Loud could be an idiosyncratic hit waiting to happen - dry and tight in the drum department for maximum effect, and featuring a recurring vocal sample chopped and skewed for tension. Closer Shine takes a deeper, more psychedelic route with shades of the classic, jacking Detroit sound in the pitch bent lead line, but maintains the energy throughout with stylish delay sends upping the ante where required, all in all delivering a neat finish to the EP.

In their 6 years on air, Flip The Script Radio has become the industry standard, the go-to radio show where fans and industry heads alike flock to hear the next hip hop superstars before they blow up. Steeped in the rich history of the scene, FTSR's focus on real MCs, genuine turntablism and their 'do it for the culture' approach has garnished them praise from every corner of the hip hop universe.

To celebrate their 6 Year Anniversary, Flip The Script Radio has joined forces with Good For You Records and one of the greatest MCs of all time for a very special, limited edition 7" release. We are beyond excited to present this work of art by a cultural icon, one of the best lyricists of all time, Grand Puba. This special edition vinyl release revisits one of Puba's most beloved classics "I Like It", reinvented with an 8 piece band, an acoustic version, featuring freshly re-spit verses by the rap legend himself, breathing new life into this crowd favourite.

Cromby debuts on Phantasy alongside vocalist Tee Amara with a luminous new single, ‘Qué Sientes’. An emergent anthem overflowing with the energy that has come to define the Belfast producer’s ascent as one of the most versatile talents in club culture, ‘Qué Sientes’ is contemporary electro brimming with character, skilfully remixed by Ecuadorian underground favourite, Nicola Cruz.

Raw in dancefloor intent, ‘Qué Sientes’ erupts with no hesitation atop Dance Mania-indebted drums, blending Tee Amara’s Spanish-language vocal performance with a seductive acid squelch. Written and recorded in Berlin during lockdown, ‘Qué Sientes’ is the meeting of two friends and lifelong dancefloor enthusiasts from across the world, fluid rave sensuality rendered ideal for Cromby’s already legendary closing sets at Panorama Bar, or any other high-voltage dancefloor.

Complementing the Latin flavour of Cromby’s original production, French-Ecuadorian cult favourite Nicola Cruz applies his precision percussion and further cosmological atmospheres to ‘Qué Sientes’. Adeeply trippy take, Cruz’s result is late-night house psychedelia rendered both mechanical and mystical.

Lloyd Altamont Thomas Robinson recorded many songs as a singer first for Studio One in 1963 and later for many labels and Jamaican producers including Duke Reid,

Lloyd Daley, Sir JJ and more. Robinson was part of the duo Lloyd and Devon, whom had quite a few good songs under their belt including a hit for Derrick Morgan's Hop label,

"Red Bum Ball.". With Glen Brown, under the name Lloyd & Glen, he wrote and recorded many outstanding Rocksteady & early Reggae tracks, some quite heavily influenced by

Black Soul including the two sublime tracks featured here. He went on to record the big dancehall hit “Cuss Cuss” in 1984 on the Harry J. label.


Glenmore Lloyd Brown, began his career as a vocalist in Sonny Bradshaw’s jazz group before recording duets with Hopeton Lewis, Dave Barker, and Lloyd Robinson.

Later, Brown became the founder and owner of the Reggae/Dub labels Pantomine and South East Music. A sought after producer he worked with many with many

Reggae greats including U Roy, Gregory Isaacs, Big Youth, I-Roy, Prince Jazzbo, Johnny Clarke, Lloyd Parks, and Little Roy.

The heavy rhythms of his Dub productions resulted in his being known as "The rhythm master".



As “Lloyd & Glen”, they composed, sang and recorded together about 15 tracks, ranging from Ska to Rocksteady to Soul on a variety of labels between 1966 and 1968.



Most of these songs are outstanding, many are just sublime with a strong American Soul influence.

Following the release of DBA's tenth anniversary digital compilations in 2020, the label presents a vinyl edition sporting the four most in demand tracks. Kerrie opens proceedings with a barnstormer in her trademark dark machine funk style. Bristol's Lurka follows with 'Clean' which has been receiving plays from Ben UFO and other leading DJs. On the flip Mr. G slips down a gear for a deep house workout which is guaranteed to get floors moving, and The Room Below completes the package with futurist batucada bomb 'Bassika'.

Thomas Köner is one of the most influential modernist minimal composers. Alongside Wolfgang Voigt's "Gas" project, Köner has been centrally responsible for electronic music's fascination with depth and reduction. His signature sound is vast, seemingly endless, which at first seems homogenous and infinite, but once exposed to it, when our senses calibrate to the fine nuances of changes, we discover and immerse into abundance of textures, richness of modulations and almost infinite range of sonic titilations. Köner's work was inspired by his frequent travels in the Arctic, and listeners feel his music as a journey to mysterious worlds of the Arctic region. The experience of being exposed to the extreme cold, the hightening of our senses and ability to notice even the slightest changes in color, sound, light or density that creates this dangerously reductive environment, is like an immersion in the sonic world of this German artist, where masterfully crafted layers of sound open into colossal spaces, teeming with aural life, waiting to be discovered by those who venture into it. The titles of Köner's highly regarded albums from the 90's ever so often play with this affinity - Nunatak, Permafrost, Teimo - all reference to the world of the Artic region, just as his album Nuuk that points us to the capital of Greenland. Subdued and minimal at first glance, this album is brimming with low-end frequences, shadowy resonances and boreal ambience, but at the same time, constant fluctuation and vulnerability of sonic events, makes it very organic, human and almost comforting, like the tiny harbour existing in the sea of ice, it is named after.

Techno isn't a genre that has birthed many consistent albums, and the dub techno subgenre even less so, but one indisputable classic is Porter Ricks' debut 'Biokinetics'. Originally issued on the legendary Basic Channel sub-label Chain Reaction in 1996 following a trio of 12"s, 'Biokinetics' was the first of the label's album releases, and still stands as its crowning achievement. Porter Ricks are Thomas Köner and Andy Mellwig, and between them they re-framed the techno sound, imbuing the spacious ambience pioneered by label bosses Mark Ernestus and Moritz Von Oswald with a frosty, isolated experimental bent, and combining it with the sort of haunted minimalism of early Plastikman.
What separated 'Biokinetics' from other albums at the time was its unwavering narrative - the exact sound has been interpreted countless times since, but the immersive qualities of this singular record have rarely been touched. Maybe it is down to the silvery underwater concept that ties each track together - the bubbling pads, sub-aquatic basses and muffled kick drums. But as with any great album, it's hard to exactly put your finger on what makes it a classic. Simply put 'Biokinetics' is one of the most important records in the genre and one of techno's finest albums. It has been re-released ten years ago by Type Records, and now Mille Plateaux is celebrating Porter Ricks' and Biokinetics' 25th anniversary with this sumptuous double viny edition.

"The Shape Of Jazz To Come" - Ornette Coleman (as); Don Cherry (crt); Charlie Haden (b); Billy Higgins (dr)

It was John Lewis, pianist of the Modern Jazz Quartet, who brought Ornette Coleman to the renowned Atlantic label, having heard him play in Los Angeles. »Ornette Coleman is doing the only really new thing in jazz …« he reportedly said. The present initial Atlantic album was released just in time to coincide with the New York debut of the Coleman Quartet in November 1959. Lewis was sure that Coleman would open up new paths for jazz, and his opinion is reflected in the title of the album – "The Shape Of Jazz To Come". After the rather worn-out hard bop routine of the past years, this music was like a breath of fresh air. The fast numbers ("Eventuality", "Chronology") remind one of wildly hyped-up bebop. Other numbers ("Congeniality", "Focus On Sanity") juggle with catchy, almost folk like short motifs. This album contains two of Coleman’s most beautiful compositions: "Peace" and "Lonely Woman", which was later given lyrics and often heard in its vocal version. The Mulligan-Baker Quartet provided the model for the pianoless quartet – and when the band swings along once in a while with a moderato tempo, it is truly reminiscent of cool jazz. Be that as it may, the two wind instrumentalists just love the frenetic 'cry' and the intentionally 'imprecise' interplay. Clearly defined stanzas or traditional harmonic forms were not for them. The jazz musicologist Peter N. Wilson wrote: »A record, which is not unjustifiably so entitled« about this LP which was given 5 stars by the magazine Rolling Stone.

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

All royalties and mechanical rights have been paid.

Recording: May 1959 at Radio Recorders, Hollywood, CA, by Bones Howe

Production: Nesuhi Ertegun

Muse celebrate the twentieth anniversary of ‘Origin Of Symmetry’ by releasing ‘Origin Of Symmetry: XX Anniversary RemiXX’ on Warner Records. The new edition features remixed and remastered audio plus re-imagined artwork and will be released on digital formats on June 18th before two vinyl packages follow on July 9th.



As the album’s anniversary approached, Muse asked the Grammy-winning producer Rich Costey, who has produced or mixed material on almost every subsequent record, to revisit the original recordings. Whereas most remix albums aim to radically rework the material, or to switch to an entirely different genre, the band and Costey wanted to provide a renewed clarity with a more open, dynamic and less crushed sound. This highlights parts and ideas previously buried or muted on the original mixes, like a harpsichord on ‘Micro Cuts’ and Abbey Road recorded strings on ‘Citizen Erased’, ‘Megalomania’ and ’Space Dementia’.



And that’s precisely what has been achieved. From the visceral opening riff of ‘New Born’ to the cinematic melancholy of the closing ‘Megalomania’ via the staggering scope of fan favourite ‘Citizen Erased’, the remix unveils every facet of the album’s intricate production alongside a new-found warmth. It further benefits from mastering courtesy of Alex Wharton at Abbey Road Studios.



Matt Bellamy said:



"In revisiting the album what we found was the original mixes on the singles, like ‘Plug In Baby’ and ‘Bliss’, were pretty good so they were the hardest ones to improve. It was the deeper album tracks like ‘Micro Cuts’ where we were able to make massive breakthroughs."



The ‘XX Anniversary RemiXX’ also adds ‘Futurism’ to the tracklist. Originally a bonus track on the album’s Japanese edition and subsequently tagged to the end of the album on streaming services, ‘Futurism’ now adds a burst of energy to bridge the gap between ‘Feeling Good’ and ‘Megalomania’. This reflects its placing on the 2019 box set ‘Origin of Muse’.



‘Origin of Symmetry: XX Anniversary RemiXX’ is completed with a modernised reimagination of the album’s cover art courtesy of Sujin Kim. The visual artist has created a hyper-realistic 3D rendering of William Eager’s original cover image.



‘Origin of Symmetry: XX Anniversary RemiXX’ is now available to pre-order, with ‘Citizen Erased’ provided as an instant download. A limited edition exclusive 140 gram coloured double-vinyl set is available from the band’s official store. A striking package and a must-have item for collectors, it features LP1 on translucent sun yellow vinyl and LP2 on translucent orange vinyl. It will also be released on double black vinyl and digital formats. Both versions of the vinyl feature an unorthodox detail: the sides are marked M, U, S and E rather than the standard format

Makèz have come a long way since they first sneaked into Amsterdam’s studio 80 at the age of 17 to hand over their demos to Dam Swindle. Those demos led to their debut EP ‘Different planets’ on Heist in 2019 which gained major support from artists like Seth Troxler and Chez Damier. Quickly after, they signed two records on New York based label Let’s Play House. Fast forward two years, and here we are: the release of their debut album “City of all”.

"City of all” shows an admirable level of sophistication and matureness and effortlessly bridges genres across its 13 tracks. You can feel the amount of thought that has been put into this record, with songs happily blending into each other as Makèz submerge themselves in their concept of accidental encounters, inclusiveness and what it means to live in a city like Amsterdam.

On “City of all”, Makèz bring together all the musical influences they’ve picked up in their life as music fans, clubbers and art students. The jazz-funk of opening track “The entrance” feels breezy, casual almost, like the freeform rhythms that are played in a jazz club during soundcheck. That energy also oozes from “Not so different”, which features the smooth vocals of LYMA. There’s a hint of the house-meets-R’n B vibe that made Anderson .Paak the star that he is now. The song is brilliantly funky and shows the songwriting and arrangement talent of Makèz, who cleverly use pop & soul cues to create one of the album’s highlights.

What follows is 4 cuts ranging from the syncopated Balearic funk of “Orbit”, the strings of album title track “City of all”, the organ-led jam “Gonna getya" and the downbeat “Sonder”. Allysha Joy -best known for performing in Melbourne Hip Hop collective 30/70 - is featured on the deep and jazzy cut “Looking up”. If Makèz and Allysha are all looking up, it’s clear they’re seeing the same thing. These kindred spirits perfectly complement each other on this track, where the deep bass, warm harmonies and jazzy percussion prove to be a perfect foundation for Allysha’s rhymes.

Is it an album all about jazz and soulful tracks to listen to at home? Far from that. There’s a nice bit of dance floor-oriented tracks, where the distorted filter funk of “Roselane” featuring Fouk proves to be a highlight along with what is arguably the heaviest cut of the album: “Bent with funk”.

In an EP context, these house tracks would surely do their work, but they really come to life in this album format. No compromise has been made to storytelling and the house tracks all play their part while still standing their ground as powerful club tracks. It’s the expert production and smart arrangement that gives this album its casually funky feel. On “City of all”, Makèz showcase their remarkable talent for writing an album that goes to so many different places, but most of all, just really feels like home.

Enjoy the music,
Maarten & Lars

From appropriation to recreation, Tato revisits Cuban sound and Mediterranean jazz by integrating it into his rumba, a rumba without borders, open to the world. His music transgresses styles to blend in with Nemir's hip hop. She inspires the most prominent Djs, such as Ashley Beedle, Art of Tones, Jeff The Fish or Raph Dumas for remixes of the title “la rumba me va” taken from his latest album “El mundo”.

With this new EP, French producer Djs Rocco Rodamaal and Dandyguel, Portuguese Fradinho and Welsh Born74 revisit new Tato compositions alternating old school groove, electro, new jazz and broken beat to ignite all the dance floors.

This vinyl is delivered with a download code and 3 dub versions

Volume 4: JAZZ N PALMS is back with another selection of some of the most iconic sunset, poolside sounds to be heard at Pikes Hotel (Ibiza), reworked, retouched and edited for your listening pleasure. A trusted taste, JAZZ N PALMS warms up the monthly exclusive Ronnie Scott's (London) jazz concerts held at Pikes, fusing jazz sartorially with latin, funk, rock and international sounds to be enjoyed under the palms and the sun of the Mediterranean sea.

Reissue for John Joseph’s own all-star group 2017 debut album

At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As front-man of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly. "We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it."

The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs."

Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit.

For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. A figure in British modern jazz for over half a century, Don Rendell was both active protagonist and key witness to the main developments in the music from its rise out of tiny clubs and back rooms on up to the most prestigious national stages. From his earliest performances in London’s West End and his work of the 50s and 60s — most not ably with the Don Rendell-Ian Carr Quintet — to the lower profile work of the 70s and 80s, his quite assurance and consistent performance marked him out as a highly respected figure among his peers. He is one of a handful of British artists to feature on Blue Note Records and appeared on some of the most distinctive and characterful British jazz albums by the likes of Michael Garrick, Stan Tracey, Amancio D’Silva, and Neil Ardley. Even though Rendell eschewed much of the free and electric fusion styles that came to the fore in the late 60s, in the main sticking to an acoustic sound with melody and rhythm at its heart, he similarly bridled at any notion that he was merely a ‘bopper’, a description he positively hated. In many ways, Space Walk was as much a valedictory as transitionary album for Rendell. It was his last for Denis Preston, the fabled producer behind Lansdowne Studios, described by Neil Ardley as a ‘rare Diaghilev like figure’ who steered many of the key figures of the British jazz scene into the studio when nobody else would record them. It was also Rendell’s final project for EMI Columbia and his last as a leader for a major record label. After Space Walk, Rendell would record for smaller, independent labels like Spotlite. But as much as the album is a farewell to one chapter, it also marked the way forward to the next..

After long and highly distinguished careers with other collaborators, Richard Rodgers (Composer, 1902-79) and Oscar Hammerstein II (Librettist/Lyricist, 1895-1960) joined forces in 1943 to create the most successful partnership in American Musical Theatre. Prior to joining forces, Rodgers collaborated with lyricist Lorenz Hart on musical comedies that epitomized wit and sophistication (Pal Joey, On Your Toes, Babes in Arms, and more), while Hammerstein brought new life to operetta and created the classic Show Boat with Jerome Kern. Oklahoma!, the first Rodgers & Hammerstein musical, introduced an integrated form that became known as "the musical play." Their shows that followed included Carousel, South Pacific, The King and I, and The Sound of Music. Collectively, the Rodgers & Hammerstein musicals have earned Tony, Oscar, Grammy, Emmy, Pulitzer, and Olivier Awards.

About The Sound of Music

Rodgers & Hammerstein's last musical was a triumph. The Sound of Music opened at Broadway's Lunt-Fontanne Theatre on November 16, 1959. It ran for 1,443 performances and earned five Tony Awards including Best Musical. In addition, the cast album earned a Gold Record and the Grammy Award. Florence Henderson starred in the first national tour, which played for more than two years. Jean Bayless created the role of Maria in the original London production, which ran for more than six years, long holding the record as the longest-running American musical in London.

In 1965 the motion picture version of The Sound of Music was released, and it made Hollywood history. Directed by Robert Wise, with a score revised by Rodgers (Hammerstein had died in 1960, so Rodgers composed both music and lyrics for two songs added to the film: "I Have Confidence" and "Something Good"), and a screenplay by Ernest Lehman, The Sound of Music boasted a dream cast: Julie Andrews as Maria, Christopher Plummer as the Captain, Eleanor Parker as Elsa, Peggy Wood as the Mother Abbess and Charmian Carr as Liesl. Winner of five Academy Awards, including Best Picture, The Sound of Music has become the most popular movie musical ever made.

Schmer brought these two together to battle it out for Schmer019: Snazelle vs Loveland : Get this special 6 track maxi EP of pure techno and YOU will be the winner.




Brooklyn based techno producer and Snazzy Fx boss. Much of the hardware Dan uses in his productions and live sets was designed and built by him. His focus as an artist is on electronic music as a vehicle for achieving transcendent states. This comes out in his sets as a respect for both the funky and hypnotic aspects of dance music. As a DJ and live act, Dan has performed throughout Europe and is a regular fixture in NYC.

2018 saw Dan release the "Exposure to a Steady Stream Ep" on Jacktone records. Fact Magazine included the track " Broken Saucers" in their best of September round-up.

In early 2019 Nina Kraviz and Dan released their collaboration "u ludei est pravo"on the trip compilation "Happy New Year! We Wish You Happiness".

In August, Schmer released his newest EP, "Swarm Draze".


Jasen Loveland is a mercurial force about whom little is known with any certainty. Much of Loveland’s life and exploits are shrouded in an opaque and often contradictory mythology that includes many other characters who may or may not be Loveland himself. Born sometime around 1950, Loveland seems to have been operational within the dance music community for decades, allegedly interning for Giorgio Moroder in Munich after finishing a medical degree in the 1970s. It is rumored he was the individual who did the actual synth programming on “I Feel Love”, however this was never confirmed. Documentation of Loveland’s past was further obscured by a “studio fire” while operating out of Chicago in the mid-1990s that destroyed all of Loveland’s memorabilia from the past, except for a handful of lo-resolution, poorly-scanned photographs Loveland (an early user of Hyperreal.org and the #mw.raves listserv) had emailed to a friend. Fortunately, Loveland was able to save his two favorite synthesizers, a battered Roland TB-303 and it’s demented sibbling, the MC-202, but the rest of Loveland’s equipment, and the documentation of his past, was lost in the blaze, leaving Loveland homeless for several months. Regardless of the veracity of his tales, Loveland’s music speaks for itself; the intense, maniacial vibes that pervade the ouvre are undeniably suited for the most far-out, dancefloor head trips, thus making it only a matter of time before he joined the Interdimensional Transmissions family.



Most recently, Loveland has been presenting DJ-style musical performances under the name “Loveland & Friends”, which has become an umbrella term for all projects related to his work, including JL-303, DJ Curtis Chipp, Chip Curtis, MIDI Master, Remote Perception, The Limit, Acid Musik Department, The Gaze, Ace of Fades, East German Chemistry, The Universal Vision, Clonus, Gamma Polaris, R.O.M. and DJ Kline, and Da House Band. Many of these, such as the DJ Kline project (with Prof. Dr. Alice B. Kline, a self-described “unremarkable scientist” and researcher at CERN), seem to be collaborations or ghost productions, although even this is not clear. In fact, the only confirmed Loveland collaborations are LW Productions (with Clay Wilson) and Pervocet (with Patrick Russell), the latter presented as a 12” by Interdimensional Transmissions, Detroit.

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips.



2LPs (+ audio download code voucher)
Vinyl audio remastered & cut by Gearbox Records
180grm Optimal Pressing
16-page 12x12 insert with 20,000 word essay detailing this crucial era of British jazz with track commentaries and artist biographies
2CD Set, hard cover book includes a 20,000 word essay detailing this crucial era of British jazz with track commentaries and artist biographies
Track list below (2CD set is same tracks split LP1 & LP2)









i c1. Neil Ardley, Ian Carr, Don Rendell | Greek Variations: VI Kriti edit

Synth legend Suzanne Ciani, Demdike Stare’s Sean Canty & Finders Keepers’ Andy Votel come together on this killer hour-long 2014 synapse popper of a collaboration pooling the occasional group’s esoteric collage-based approach into a remarkably foreboding session pregnant with a dread that’s never quite resolved. Think Vladimir Ussachevsky, Todd Dockstader, Spectre and Company Flow melted thru the Deutsch-Italo industrial DIY tape era and funneled thru an almost impenetrable fog of Ann Arbor basement noizze.

Hustling some of Neotantrik’s most amorphous gestures, ’241014’ is a four-segment movement of reduced Buchla treatments, destroyed vinyl loops and scraping foley suspense; like a cosmic dream diary layered into a collage of drones and clatters. Little in Ciani’s extensive catalogue has hinted at what’s on display here; the joyful lullaby-pop of “Seven Waves” or metallic alien soundscraping of “Flowers of Evil” are only hinted at. She instead paints new sonic vistas, allowing space for her collaborators to make themselves known; Votel’s chiming toy autoharp and Bubul Tarang (a Punjab string instrument) add a distinctive flavor, while Canty’s grimy drones and noise-soaked textures drizzle pitch-black molasses into the cracks and crevices. Together, the effect is a bit like hearing Philip Jeck improvising over Popol Vuh’s peerless Moog-led debut “Affenstunde” or Demdike Stare knocking out impromptu reworks of Tangerine Dream’s abstrakt early run.

Perhaps unusually, the trio have still never set foot in a studio together, exclusively maintaining their practice in-the-moment and on stage when schedules intersect. So it’s all the more remarkable that their improvisations naturally find a democracy of role and such a heightened level of intuition, beautifully converging their thoughts to mutual, open-ended conclusions that leaves billowing room for interpretation. In a most classic sense, it’s like the sensation of sleep paralysis or dream/nightmare ambiguity, with a level of suggestiveness that’s disorienting from end to end.

For the first time the recordings are now available in high fidelity (there was a tape version a couple of years back) - now remastered by Rashad Becker to better represent the otherworldly scope of their actions on stage, from the NWW-like queues and drone of ‘Scanned Accents’ and keening silhouette of ‘Second Action,’ to new sections of subaquatic Porter Ricks-like murk in ‘Anti-Contraction’ and the levitating webs of synth and tactile, sampled textures in ‘Last Canción.’ Tape music and synth music have long shared a passionate embrace, and here turntablism coolly slides in on the action. Canty and Votel’s background in beat tape assembly and crate digging pays off: they’re keenly experimental creators but bring an unfussy sense of rhythm and performance that’s miles beyond any facile repetition of a nostalgia for vintage glory. Combined with Ciani’s delicate Buchla work - it’s a unique proposition.

Limited Edition Classic LPs - 180g Virgin Vinyl -Audiophile Pressing Gerry Mulligan, Baritone Sax; Thelonious Monk, Piano; Wilbur Ware, Bass; Shadow Wilson, drums. New York, August 1957. Produced by Orrin Keepnews. Thelonious Monk was a creator in the true sense of the word. The current LP includes one of his rare albums that could fit within the standard formula of “jazz star 1 meets jazz star 2”. The pianist seldom shared the bill with other stars or accepted playing second fiddle to anyone. Two rare exceptions include his two 1950 sides backing singer Frankie Passions (“Especially to You” and “Nobody Knows”), and his 1950 studio session backing Charlie Parker and Dizzy Gillespie. But Monk is the leader on most of his recordings, and in a way, he was also the leading voice on this meeting with Gerry Mulligan. Most of the tunes played here are compositions by Monk, with the exception of the standard “Sweet and Lovely” - a favourite of Monk’s, who recorded it dozens of times - and Charlie Shavers’ “Undecided”, which could well have been Gerry’s only call for the evening. Although it remains clearly recognizable, the latter tune was slightly modified here, retitled “Decidedly” and attributed to Mulligan himself. No other recording of “Undecided” by Monk is known to exist. “’Round Midnight” was a Mulligan request for the session, as he wanted to record the song with its composer. It is clearly one of the best tracks of the whole album. However, the fact that no new compositions by Monk were recorded on this date seems to indicate that Monk always preferred to make his own albums and didn’t dedicate too much time to such experiments as Mulligan Meets Monk, which he may have regarded as a “commercial” venture. 4.5 Stars - Down Beat “The minutes of this meeting are very interesting indeed. They begin with a lyrical “’Round Midnight” and continue through Monk’s brittle “I Mean You”. In between, there are stretches of good to excellent Mulligan, brilliant Ware, and good to excellent Monk.” (Dom Cerulli)







g b4 | Straight, No Chaser [Alternate Version]

Uruguayan groove and multicultural sophistication - 40th anniversary special edition, 500 copies, including 20 page booklet

With a unique mix of music roots and cosmopolitan sounds Jaime Roos would become one of the most successful and significant artists of Uruguayan music.
Aquello, his third album, recorded in France in 1980 with an impressive cast of international musicians, reflects Europe’s multicultural landscape during the late seventies. Psychedelic folk, afro-candombe, murga, rock, new tango and jazz-fusion are combined in a surprising way in a one-off album that exudes strangeness and sophistication.

Finnish producer Sasu Ripatti has been torching the fringes of electronic music since the mid 1990s, a process that's found him melting a wide spectrum of musical innovation into his cult brand of experimental minimalism. From the skeletal jazz deconstructions of his 1997 Vladislav Delay debut "The Kind of Blue EP" to the blurred dub techno variations of 2000's "Multila" and 2012's "Kuopio", Ripatti has betrayed a restless, voracious passion for sound. "Fun is Not A Straight Line" builds on this impressive legacy, retaining his sonic signature and adding a playfulness that harks back to his beloved deep house smash, Luomo's "Vocalcity". After becoming frustrated by the inflexibility of the 4/4 house idiom, Ripatti found solace in rap and bass music's rhythmic complexity and anarchic structures. "I bought Nas's 'Illmatic' when it came out in '94 and have more or less been listening to rap since," he explains. "I'm not really sure why now, but that rap influence wanted to come through." Chopped rap vocals, booming subs and gritty, neck-snapping beats are the primary colors of "Fun is Not A Straight Line", painted into the foreground and blended into an immediately recognizable rhythmic palette. The tracks cross into the same continuum as Chicago footwork, with stuttering samples that build thick walls of bass and flurries of wordless rhymes amid a narcotic haze of beats. On 'monolith', Ripatti's love of New York rap is in full focus as he obscures chipmunked vocals with tight, crackling percussion that disintegrates into rolling kicks; 'speedmemories' is even more upfront, channeling the raw sunshine energy of So So Def electro into rhythms that are powerfully skeletal. Elsewhere, syrupy Southern-fried TR-808 bass womps are tangled with molasses-slow vocals on 'videophonekitty', fuzzed into textured, dissociated ambience. Since the beginning, Ripatti has tried to find a balance between his experimental urges and drive to create more universal music. As his more recent albums have traveled into darker, more extreme realms, he has craved something different for balance. By drawing a crooked line between DJ Premier, DJ Screw and DJ Rashad, Sasu Ripatti has emerged with the most accessible and unashamedly enjoyable album he's produced in years.

Fake It Till We Die is the eleventh studio album by Dutch singer Anouk. It was released only seven months after its predecessor Queen for a Day. Although Anouk is primarily known for her rock songs, this album features mostly soul and funk oriented tracks. The preceding singles “Down Daddy Down” and “Burn” are a great example of Anouk’s expansion to these genres. Other strong tracks on the album are “I Just Met a Man”, “Blue Motel”, “Waste Your Water” and much more. Fake It Till We Die is quite a cohesive and very well done soul record, perfectly showcasing Anouk’s incredible voice.

The album is available on coloured vinyl for the first time. This edition includes a printed innersleeve with song lyrics and is available as a limited edition of 1000 individually numbered copies on pink vinyl.

A little over a year ago, Nathan Williams found himself back in San Diego, writing what would eventually become Hideaway, his seventh album as Wavves, in a little shed behind his parents’ house. It was also the place where he made some of his earliest albums, before he became known for his uncanny ability to write songs that sneered at the world while evoking pathos, sympathy, and a deep understanding of how sometimes we’re our own worst enemies, and that can be okay. Williams’ return to his childhood home was not just a symbolic attempt at jumpstarting creativity. It came as a result of a series of major life changes. A decade ago, Williams released King of the Beach on the maverick indie label Fat Possum. The album was a cocky collection of pop punk gems that catapulted him into the public consciousness, eventually prompting a jump from Fat Possum into the major label system, where he released two albums before becoming disillusioned by the lack of creative agency available to him. In 2017, Williams self-released You’re Welcome on his label, Ghost Ramp. Now, Williams has returned to Fat Possum with a barbed collection of anxious anthems that grapple with the looming sense of doom and despair that comes with getting older in an increasingly chaotic world. “He’ll always skew toward the Bart Simpson character,” says Matthew Johnson, founder of Fat Possum. “But that does not mean that he doesn’t have some commentary, and once in awhile, it’s totally spot on.” Across its brief but impactful nine tracks, Hideaway is about what happens when you get old enough to take stock of the world around you and realize that no one is going to save you but yourself, and even that might be a tall order. The album features Williams’ most universal and urgent songs yet. “Honeycomb” lopes along sunnily, as Williams sings affecting lines like “I feel like I’m dying, it’s cool, it’s great, just pretend I’m okay.” His directness is shocking, and proof that Williams is the kind of songwriter who can capture pain and uncertainty with resonant brutal force. “It’s real peaks and valleys with me,” Williams says. “I can be super optimistic and I can feel really good, and then I can hit a skid and it’s like an earthquake hits my life, and everything just falls apart. Some of it is my own doing, of course.” It’s this self awareness that permeates each of Hideaway’s songs, marking them each as mature reckonings with who he is. After realizing the material he’d been working on in the hideaway was starting to take shape, Williams, along with bandmates Stephen Pope and Alex Gates workshopped the songs in a series of now-abandoned studio sessions, before linking up with musician and producer Dave Sitek of TV on the Radio to help fully realize their new songs.

'softcore mourn' is the forthcoming second studio album by pizzagirl. “Pizzagirl is a revolving door. I like the idea of not knowing from which entrance I’ll emerge.” To date, the audio randomiser that is Liam Brown has spat out two EPs:‘An Extended Play‘ & ‘season 2’ (2018) and debut album: ‘first timer.’ (2019). While the extended players plaited together wonky 1-900-hotline-rock and ambient infomercial electronica into perfect pop pigtails, the LP styled the rest of the Pizzagirl mannequin to deliver a Frankenstein record of split-personality genre jumping. Liverpool based and self-producing out of his home studio (The Beatzzeria), the likes of The Guardian, The Sunday Times, Vice, Highsnobiety, NME, DIY and The Line of Best Fit confirm Pizzagirl’s status as a unique, quick-witted and vital energy. DJs are also lining up to call themselves fans, with the UK’s most trusted ears in Annie Mac and Huw Stephens at Radio 1 and Lauren Laverne, Shaun Keaveny, and Radcliffe & Maconie at BBC 6 Music all backing his tracks.

Strapping Young Lad was a Canadian extreme metal band formed by Devin Townsend in Vancouver in 1994. The band started as a one-man studio project; Devin Townsend played most of the instruments on the 1995 debut album, Heavy as a Really Heavy Thing. By 1997, he had recruited permanent members; this line-up, which consisted of Townsend on vocals and guitar, Jed Simon on guitar, Byron Stroud on bass, and Gene Hoglan on drums, lasted until the band's dissolution. Strapping Young Lad's music was characterized by the use of polyrhythmic guitar riffing and drumming, blast beats and wall of sound production. band leader Devin Townsend was also noted for his eccentric appearance and on-stage behaviour, which greatly contributed to the band's intense live performances. The band gained critical success and a growing underground fan base from their 1997 album City. After a hiatus between 1999 and 2002, the band released three more albums, reaching their commercial peak with the 2006 effort, The New Black. Townsend disbanded Strapping Young Lad in May 2007, announcing his decision to retreat from public view while continuing to record solo albums. Listenable is now extremely delighted to be releasing All Strapping Young Lad beyond Legendary studio albums on De Luxe Limited Edition Vinyls. A brand new vinyl master has been made for each album. All albums include bonus tracks . Grab them now !.

Nothing can beat the thrill of thrash at its best, and no one is keeping the spirit and sound of the genre alive quite like Berlin’s Space Chaser. Marking their ten-year anniversary with their third full-length, Give Us Life, they are returning in force and once again establishing their importance in the scene. While they predominantly take their lyrics seriously they also have moments of fun, such as on “Army Of Awesomeness”, but the band are primarily drawn to dystopian sci-fi stories with roots in real-life physics and the works of Carl Sagan, and as they point out “it’s still a lot of fun to sing about a dying sun turning into a black hole and becoming a galaxy devouring behemoth.” The title track might possibly contain the most epic theme ever covered, describing the emergence of life and its inevitable death from the smallest to the largest possible scale.

During 2019, Blondie was invited to perform in Havana, Cuba as part of a cultural exchange through the Cuban Ministry of Culture. This was a 40 year ambition come especially for songwriter & guitarist Chris Stein, who had longed to visit Cuba for most of his life. Artist and director Rob Roth documented this special moment and career highlight by shooting a short film titled “BLONDIE: VIVIR EN LA HABANA”.

The film is broken up into 3 parts — Water, Fire and Air — and present a meditation on the experience as well as highlights from the two-night live musical performances with special guests Alain Perez, David Torrens and Cuban Fusion Pioneers Sintesís at Havana’s famous Teatro Mella.

With narration from Blondie founding members Debbie Harry, Chris Stein, and Clem Burke, providing a glimpse into the passion and beauty they discovered in Havana and the magic moments of performing alongside incredible Cuban artists. “BLONDIE: VIVIR EN LA HABANA” goes beyond the atypical short form film and live music documentary by presenting a portrait of the legendary band’s first experience in Havana and of the magical exchange between musicians from the two cities each call home and their intertwined influences.

The sound track for the film features Cuban musicians Carlos Alfonso, Ele Valdés, María del Carmen Ávila, Alejandro Delgado, Juan Carlos Marin, Jamil Schery, Degnis Bofill, Adel González

Released in July on limited edition pale blue vinyl to accompany the film which will feature throughout 2021 in many prominent Film Festivals inc the Tribeca Film Festival.

Old 97s are an American alternative country rock band from Dallas, TX, fronted by lead vocalist and primary songwriter, Rhett Miller. Formed in 1993, they have since released twelve studio albums, two full EPs, and have one live album. Starting out as a popular bar band before being spotted by Bloodshed Records, they are pioneers of the alt-country movement during the mid-to-late 90s. Their Bloodshot debut LP brought them to the attention of Elektra Records, who hoped that alt-country could be a new post-grunge trend.

In 2005, Blender magazine ranked the band’s then most successful single, 1999’s “Murder (Or a Heart Attack),” as the 176th greatest song “since you were born.” Their music has been featured in a number of film and TV series, including The Break Up, Clay Pigeons, Slither, Ned’s Declassified School Survival Guide, Ed, Scrubs, Veronica Mars and Scorpion. Old 97s recorded three albums for Elektra, before moving on to New West and ATO Records subsequently.

Their fourth studio album, Fight Songs was recorded at Kingsway in New Orleans and released on April 27, 1999. The album is more-slick and pop-oriented than their previous efforts. For the release of this deluxe worldwide debut on vinyl, ROG had six-time Grammy® award-winning producer and engineer, Vance Powell, remix the 12-track album as the band originally intended; stripping off the slick 1990s-style production and sheen that helped the album get on the radio in 1999. With the assistance from the band we are also able to offer previously unreleased 1998 pre-production demos on a 3rd LP that helps to round out the complete story of this classic 1990’s alternative country record.

TROJAN JAMAICA / BMG is proud to announce the release of U-ROY’s final full-length, SOLID GOLD U-ROY. The album was originally set to come out in 2020 with plans for a worldwide tour in support, but unfortunately, the pandemic delayed the release. Now, with the heartbreaking loss of U-ROY on February 17, the album has become a celebration of one of the most profoundly influential reggae stars of his generation. An originator of the chatty rhythmic vocal style known as toasting — a key foundational element in the development of rap in its nascent stages in the 1970s — U-ROY left behind an unmatched legacy which is clearly on display on SOLID GOLD U-ROY, with its guest appearances including ZIGGY MARLEY, SHAGGY, MICK JONES of THE CLASH, SANTIGOLD, SLY & ROBBIE, DAVID HINDS of STEEL PULSE, and more. The album arrives on
July 16, 2021.

SOLID GOLD U-ROY is being heralded today by the release of “MAN NEXT DOOR” (Feat. SANTIGOLD). One of the great reggae songs of all time, the track features an indelible guest appearance by the incomparable Santigold. “Man Next Door” is a beloved reggae standard written by John Holt and released in 1968 by his group The Paragons. U-ROY sampled the song in 1982 for “Peace and Love in the Ghetto” on his Original DJ album. Pre-orders of SOLID GOLD U-ROY will come with an instant grat download of “MAN NEXT DOOR”

The finest and rarest chapter of EMANUELLE saga by the cult maestro Nico Fidenco and his loyal orchestra director Oscar Lindok (Giacomo Dell'Orso). Majestic original soundtrack of the sex thriller movie "EMANUELLE IN AMERICA" from 1977 directed by the legendary Joe D'Amato. Sexploitation cult and acclaimed director's third instalment of Black Emanuelle film series starring Dutch actress Laura Gemser. The deepest, intense and most thrilling volume of Black Emanuelle adventures with the best music cuts of the whole series. Spellbinding, breathtaking and wordless music with dreamy orchestral movements, unbelievable downtempo Funk and timeless beats, mental Afro-beat and dancing percussion, sweet Psychedelic guitars, subtle female chorus, heavy strings and orchestra, loungy sounds, driving funky drums and so on. Essential Italian OST masterpiece!

Sonor Music Editions is continuing the dive into the glorious Sermi catalogue, a renomated Italian Library label that released, between late 60s and early 70s, some among the most sought-after and insane records of the whole Library/Soundtrack genre. This is the first ever reissue of another Italian Library grail from the catalogue - originally issued in 1972 on Gemelli label. Sandro Brugnolini's masterpiece "UTOPIA", originally pressed on a ridiculous run, and released on a beatiful tip-on sleeve reproducing painter Michel Seuphor's abstract art. The first official release after the recent maestro's passing, conceived with the great arrangements of Giorgio Carnini at the Hammond and piano, and the direction of maestro Franco Tamponi. A brilliant and inspired Jazz-Funk and Lounge Jazz session with just amazing sounds, driven by both dreamy and underground moods, Avant-garde Jazz refined orchestrations and gorgeous grooves.

If you’re the average of the five people you spend the most time with, what happens with the realization that they’re no good for you? When you try to help, try to leave, try and move on, but they won’t let you change and won’t let you go?

Lipstick Jodi’s More Like Me is this raw experience explored and expressed in their national debut album on Quite Scientific. The three-piece outfit from Grand Rapids, Michigan’s layered and complex synth-pop sound is highlighted by the vocals of lead singer Karli Morehouse, which are alternately haunting, triumphant, sorrowful, and make you want to dance around your bedroom punching the air and singing at the top of your lungs.

A 14 track single black vinyl LP compilation featuring many of the group’s most cherished hits including "Together", “Cowboy to Girl”, "(We’ll Be) United”, “I'll Always Love My Mama (Part 1 )”, “I Wanna Know Your Name”, “Mother and Child Reunion", "Slow Drag" & "Sad Girl". Marketing activity across all 6 of these titles.

Cold crushed electronics and tape noise by iDEAL faithful, Altar of Flies, returning to his native Swedish label with a 3rd album of possessed and unsettling tonal abstraction and psychoacoustic isolationism.

Known to the reaper as Mattias Gustafsson, Alter of Flies is the Mjölby-based sound artist’s most prolific alias, responsible for dozens of tapes and LPs for Chondritic Sound and White centipede Noise beside his trio of turns for iDEAL since the mid ‘00s. ‘Bortom Reven’ sticks closely to what he does best, conjuring bleakly depressive atmospheres ripe for inhabitation by the harder-to-please followers of North European ambient and industrial musicks, with an alchemic application of field recordings, tape loops, and primitive oscillators that vividly brings his thoughts into the dark light.

‘Bottom Reven’ is perhaps reflective of a certain, ascetic and isolated Swedish characteristic, enacting solitary rituals that better connect Altar of Flies with his environment, or simply entertain him during long, cold, dark nights. With hints of CMvH’s EVP and John Duncan’s searching shortwave radio textures to ‘Hur regn uppstår,’ and more ruptured reception of scrambled ether voices in ‘Terapimusik,’ alongside the title track’s worn-out nub of intrigue, and the damp basement clangour of ‘Under vår livstid’; its not one for those who get shook by the sight of their own shadow, but a real treat for listeners of a lonelier disposition who get off on the sound of the house creaking at night.

Hologram is the first release from New York Post-Punk legends A Place To Bury Strangers on their own newly formed label, Dedstrange. Hologram is the follow up to their highly regarded fifth album, Pinned, and is a sonic return to A Place To Bury Strangers’ rawest, most unhinged sound. With songs addressing the decay of connections, friendships lost, and the trials and tribulations of these troubled times, Hologram serves as an abstract mirror to the moment we live in. Written and recorded during the on-going global pandemic and in the midst of the decline of civilization, Hologram is a sonic vaccine to the horrors of modern life.

For more than five decades, John McLaughlin has deployed his peerless guitar technique, compositional gifts, and imagination in service of a deeply personal higher calling, forging a vast legacy unmatched in improvised music. Now as the world reels from the toll of the ongoing viral-induced global lockdown, McLaughlin reflects on both the perils and potential of this challenging moment with ‘Liberation Time’. Characterised by both joy and reflection, ‘Liberation Time’ finds McLaughlin harnessing his frustrations and redirecting that energy. “The result,” he explains in a candid liner note, “was an explosion of music in my mind.”. Unusual for McLaughlin’s recent projects, ‘Liberation Time’ is not the work of one fixed ensemble. With physical proximity no longer a prerequisite, McLaughlin drew upon decades of experience as a bandleader to select musicians best suited to each composition. “That is a choice that can only be made correctly if you know how the musicians play,” he explains. “Not just how well they play technically, but how they play intuitively. Only then can you make the right decisions.” “As the Spirit Sings” introduces the album by contrasting churning rhythmic tension (stoked by drummer Vinnie Colaiuta and bassist Sam Burgess) with McLaughlin’s soaring guitar figure - all underpinned by Gary Husband’s subtle,expansive piano. Knotty post-bop figures form the basis of “Right Here, Right Now, Right On,” one of the most jazz-inflected performances McLaughlin has laid down in some time, featuring Nicolas Viccaro (drums), Jerome Regard (bass), Julian Siegel (tenor saxophone), and Oz Ezzeldin (piano). It is impossible to ignore the profound brotherhood that exists between the members of 4th Dimension - McLaughlin’s current ensemble, which includes Husband along with Etienne Mbappe (bass) and Ranjit Barot (drums). They are featured on the soulful “Lockdown Blues,” a playful refraction examination of blues tropes first released last summer to benefit the Jazz Foundation of America.

Born in Naples, educated in New York and now residing in Paris, drummer Francesco Ciniglio combines spotless drumming facility with substantial compositional flair, and has the capacity to move, reflect and express through his music. An in-demand sideman, Ciniglio has collaborated with Wynton Marsalis, Shai Maestro, Aaron Parks, Dayna Stephens, Seamus Blake and Tony Tixier. Following his debut solo release (‘Wood’, with Parks and Joe Sanders), Ciniglio returns as leader for his Whirlwind debut, ‘The Locomotive Suite’, a set of compositions for sextet that combine a personal metaphor of resilience with snapshots of his formative familial influences. Barcelona-based Raynald Colom (trumpet), fellow Paris emigr e Matt Chalk (alto) and Matteo Pastorino (bass clarinet) take the frontline duties, with Frenchman Alexis Valet on vibraphone and rising star Felix Moseholm on double bass. The suite is a collection of substantial, knotty harmonies, rhythmic shifts and spacious textures. But it also experiments internally, with chordal horn textures giving bass and vibraphone more melodic freedom. The unusual scoring is inspired by the soundworlds of Pat Metheny and Ben van Gelder, bridging the gap between music for large ensemble and harmonically focused trio music. Or, as Ciniglio puts it, it’s all about “finding an ensemble that’s not too big or small.” “This album is all about movement - getting a train here, marching there,” summarises Ciniglio. But it also reflects on people and places, and on the personal growth that helps make ‘The Locomotive’ Suite a significant compositional statement.

This album is a sequel to trumpeter/bandleader Red Rodney’s ‘One For Bird’ recorded live at the Tivoli Gardens 1988. The band he brought from USA includes then up-and-coming young players: Dick Oats (alto saxophone), Garry Dial (piano), Jay Anderson (bass) and John Riley (drums), musicians that have become regular SteepleChase recording artists. Red Rodney (1927-1994) succeeded Miles Davis’ post in the Charlie Parker Quintet from 1949 to 51. This indelible experience enabled him to be an adviser on Clint Eastwood’s 1988 Golden Glove awarded film “Bird”, which featured Red’s character extensively. The publicity that came with the film seemed to have given a boost to his career. Red started to play professional at the age 15 but slowed down during early and mid- 70s due to his addiction. He made a successful come back later and toured the world with his band. “Rodney rockets through most of his solos here, ascending into high-register terrain with the audacity if youth. At 62, he plays with the ebullient spirit more typical of men half his age.” - Mark Stryker, Cadence

After spending nearly a decade recording and touring with the collaborative psych rock band Quilt, Anna Fox Rochinski has completed her first solo record, Cherry. Though this is her first solo outing, Quilt released three full length records on Mexican Summer between 2011-2016 and toured North America and Europe extensively via High Road Touring and Paper and Iron Booking, respectively. Quilt completed several headlining tours in both continents, as well as opening on tour for bands such as The War On Drugs, Luna, and Woods. Anna’s songs have been licensed and used for sync placement extensively, most recently in Netflix’s “You”, and Quilt signed a publishing deal with Third Side Music in 2016. Their music was featured in many press outlets including NPR and Pitchfork, and was performed live on KEXP, Late Night with Carson Daly, and NPR’s Tiny Desk. Initial pressing on limited edition opaque red vinyl

Contains new specially prepared liner notes by Penguin Guide To Jazz’s writer Brian Morton and by Paris’ prestigious Jazz Magazine.
6 bonus tracks (Green Vinyl) “The question of whether Etta James became a pop singer, a jazz singer, or a blues singer needn’t detain you long. She was all of those, as At Last bears out, and more besides. James touched on gospel, doo-wop and rhythm’n’blues
with equal facility. “Dance With Me, Henry” was a hit, but renamed “The Wallflower” and covered by Georgia Gibbs. Because James had a composition credit, it made her some money, but she didn’t like to be bested. She made sure that the next time it would be her name on the label.“ Penguin Guide to Jazz “At Last!, her debut LP, made for the celebrated Chicago label Chess, certainly is one of her most memorable. It’s impossible to not be moved by the power of her voice, beginning with the opening notes of “Anything to Say You’re Mine”.
Every phrase, every word is attacked with an energy that commands respect. But beware, this young woman (she was only 22 at the time) could also take on the sweetest forms of a melancholy ballad, such as “Stormy Weather”, and manage to achieve tenderness. At Last! is one of the key soul music albums of the early 1960’s.” Jazz Magazine ETTA JAMES, lead vocals; The Riley Hampton Orchestra. Arranged and conducted by Riley Hampton. Recorded in Chicago, Illinois, 1960 and 1961. Original sessions produced by Phil and Leonard Chess.

New pressing, with a front punch of color! It’s the yellow belt edition!
(yellow vinyl)Take an auditory trip through a wacky world of oddball and obscure ‘classick’ exploitation cinema soundtracks from the 1960s and early 1970s, presented by one of the most beloved genre film video companies of all time’ Something Weird! Two LPs chock-full of oddities and earworms with great sets of liners and track by track factoids!

"Certain loud guitar rock records serve as brain erasers, a form of shock therapy zapping through aural inputs and (to mix metaphors) cleaning the proverbial clock. Lightning Bolt is one such thing." - LA Times Since their first moment it seems like they've been as electric as their name suggests. Lightning Bolt, their first album, captures that energy in a raw form. Famously lo-fi, this is the album that's been described as most feeling like being at one of their shows. It's difficult to listen and not want to jump with the crowd it feels like must be huddled around the amp producing an incredible wave of noise, astonishingly coming from just two musicians. You can hear the threads of their later work; use of repetition, a sense of grinding and building, noise melting to guitar solos. This album is loud, and the riffs repeated become mesmerizing as they warp slowly thru the songs. Long saught after, this record has not been available new on vinyl since it's first pressing. This edition includes songs which have never before been released on vinyl. A must have for any Lightning Bolt fan, or really anyone who loves noise.

One of the beautiful qualities of the Bellingham music community was the fact that many different groups of various genres could coexist and even perform comfortably throughout the half-dozen venues in this little Northwest college town in the most northwest corner of the most northwest state in the lower 48.

The original roots soulfunk juggernaut of Joel Ricci's "The Lucky Seven" known in their town as "The Leaders of the Funk Revolution," attracted a certain cadre of party goer, as did Dan Lowinger's rugged rockabilly quartet "The Foot Stompin' Trio". At Footstompin gigs, Lowinger would be found deftly chicken pickin' that honky tonk tele' and was known to impress the audience so much with his licks, they would throw buckets of beer on him as a show of their love and appreciation. It was only a matter of time before Dan and Joel were lucky enough to get the chance to perform together and toured the States for a few years together with a fiery ska/reggae/rocksteady powerhouse also out of the Bellingham area, "The Yogoman Burning Band". Dan and Joel recorded many demos together and contributed original material to the Burning Band, but the proto-rock of "Please Some", is pure Royal Dees. This tune, composed and recorded by Ricci, was actually conceived as a submission to Tramp Records and remained unfinished for many years while also suffering from the degradation of the original cassette it was recorded on. The Duo re-recorded again 4 years later when they were both living in Portland, Oregon and that version lives today as side D's "alternate take" which Ricci found in his cassette archive over the summer. This version also came with it's own set of audio issues, notwithstanding the botched ending, which we have retained here for you as the loose and roots funky vibe of the whole take justifies it's inclusion.

Finally, Joel and Dan's friend and comrade Doug Krebs, who happened to also be a well-loved member of that same Bellingham music community, especially as the go-to sound and mastering engineer, came through in spades to rescue the two pieces and prepare them for proper release on this, the one and only Royal Dees release to see the light of day on the bold and inimitable Tramp Records.

This LP finally brings a Clipping fan-favorite, 2016's Wriggle, onto vinyl in an improved, expanded version that features new art, previously unreleased remixes, and a track that's exclusive to the vinyl format. The original, digital-only Wriggle EP was six tracks that weren't finished in time to make it onto the group's 2014 Sub Pop debut, CLPPNG. For "Shooter," Clipping recorded themselves firing fifteen different guns, the sounds of which exclusively constituted the beat's drums, augmented only by a synthesized tone-row. The verses referenced the well-worn technique of "hashtag rap," but instead of using it to boast about the rapper's personal wealth and masculine prowess, Clipping put forth imagistic narratives of three violent encounters. True to much of the group's music, "Shooter" was an attempt to reframe a familiar style and test the limits of its formal capabilities. "Hot Fuck No Love" contains what might be the most explicit verse to date from Clipping's favorite New Jersey rapper Cakes Da Killa. The EP's title track, "Wriggle," was built around a sample of the influential power-electronics song "Wriggle Like a Fucking Eel" by Whitehouse, transforming William Bennett's torturous imperative into a instructional dance-floor banger. "Wriggle" and "Shooter" have become classic Clipping tracks and staples of their live show. With this vinyl edition, Clipping fans old and new - and there are many new fans thanks to their breakout 2020 album, Visions of Bodies Being Burned, and Daveed Diggs' thriving acting career - get the vinyl version of Wriggle they've been clamouring for.

Director David Lynch once said "I long for a kind of quiet where I can just drift and dream. I always say getting inspiration is like fishing. If you're quiet and sitting there and you have the right bait, you're going to catch a fish eventually. Ideas are sort of like that. You never know when they're going to hit you." Inspired by this quote in both name and spirit, Hollie Kenniff's The Quiet Drift is an ambient gallery of cloudlike synths, seraphic strings, echoing guitars, and other celestial textures guided to cohesion by Hollie's own wordless singing. Though the album certainly creates (and originates from) the kind of space where Lynch's proverbial "fish" can be caught, The Quiet Drift is a fitting title for Hollie's own history, both recent and distant. During the course of the album's creation, Hollie and her family moved cross-country from an island in Washington state, to an island in Maine before ultimately relocating to Canada. "As a child I visited Ontario year-round," she explains in her own words. She continues "More than any other landscape, I think the lake, rivers, and woods there left the most enduring impression on me. The landscape and pace of life of these places will always stay with me." But the reverberant spaces Hollie crafts need no physical headquarters. Instead of conjuring views of nature at the ground level, her sound more readily evokes a top-down perspective, with the distinct features of the land shrinking underfoot as the listener becomes untethered from geography altogether. The Quiet Drift belongs more to the liminal spaces between life and afterlife, memory and fantasy, landscape and dreamscape, than any mappable locale. Describing her formative years, Hollie says "As a dual US/Canadian citizen who spent my childhood in a rural town-- one that I haven't returned to in many years - I have a sense of not entirely belonging anywhere. When I was a teenager my close friends were male musicians, so I was also an outsider to the degree that they were wild and anarchic in a way that I wasn't. I was a quiet book reader and avid music listener who enjoyed being around a creative group. I was also a radio DJ for alternative and punk music throughout high school." In this light, The Quiet Drift attests that creativity is placeless, and calls into question the stereotype of artists as scene-centric city dwellers. Having come of age in the absence of metropolitan sensory overload, Hollie learned to spot the muse in nature, and within herself, instead of the echo chamber of a frenzied peer group. On The Quiet Drift Hollie Kenniff wholly escapes from such pop-culture feedback loops into transcendent, shimmering realms, and she brings the listener along with her. In this age in which we have all been called to reevaluate our relationship to indoor spaces, and seek refuge in the great outdoors, The Quiet Drift provides an apt soundtrack for such rebalancing.

An 18 track double black vinyl LP compilation featuring many of the group’s most iconic worldwide hits including “Love Train”, “Back Stabbers”, “For The Love Of Money”, “I Love Music”, “Now That We Found Love", "Use Ta Be My Girl”, “Give The People What They Want”, “Message in Our Music” & “Family Reunion.

Gondwana Records are delighted to announce '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal, each 7" is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

To launch this collectable series, we are excited to share new and previously unreleased music from Mammal Hands and two catalogue favourites from Matthew Halsall. Over the next coming months, we will share series part 3 and 4 and beyond.



Matthew Halsall & The Gondwana Orchestra ft Josephine Oniyama

Badder Weather / As I Walk 7" (GOND07003)

Manchester based composer, arranger, producer, DJ and band-leader Matthew Halsall has carved out a niche for himself as one of the UK's brightest talents. His languid, soulful, beautiful music has won international acclaim and for his first ever 7" he revisits his 2015 masterpiece, Into Forever, selecting two classic cuts, featuring the great vocalist Josephine Oniyama to create an instant, timeless, classic.

Side A Badder Weather is deep and soulful built around a groove that never quits.

Side B As I Walk is a lush, soulful affair, featuring swelling strings and deep vocals.

Manchester based composer, producer, trumpeter, DJ and founder of Gondwana Records, Matthew Halsall is one of UK's most creative talents. A gifted trumpeter with a beautiful, expressive tone, his music has explored his love of the transcendental spiritual and modal jazz of Alice Coltrane and Pharoah Sanders, as well as more contemporary dance music and electronica.


a a1 Badder Weather (feat. Josephine Oniyama) clip
b b1 As I Walk (feat. Josephine Oniyama) clip

Etruria Beat founder Luca Agnelli unveils his long-awaited debut album, ‘Source Drops’ – presenting a ten-track journey through techno and beyond.
A name at the centre of Italy’s rich house and techno scene for over a decade, Etruria Beat head-honcho Luca Agnelli continues to showcase his talent as a leading DJ, producer and label boss on the international stage. With releases via a host of globally renowned labels, plus standout remixes including Moby’s iconic ‘Porcelain’, the Tuscany native’s reputation has seen him become of the genre’s leading artists when combining energetic, entrancing productions throughout his powerful DJ sets. Yet, the core of his work has always found a perfect home on his own Etruria Beat imprint, with July now welcoming the arrival of his highly-anticipated debut album ‘Source Drops’ – an in-depth musical story presenting growth, development, self-reflection and raw emotions via a collection of ten tracks ranging from powerful peak-time anthems through to EBM influenced cuts and slower, hypnotic productions.
“This is the journey that traces my musical evolution of the last 20 years, discovering more conceptual, deeper musical territories; taking inspiration from what influenced me in my career as a DJ and from my continuous research without musical barriers. A journey always in equilibrium, at times dark and sharp, solar and fluid, that develops a different creative vision in each track trying to convey my most intimate and strongest emotions". – Luca Agnelli
Opening via the slow-blooming builds and atmospheric and waves of ‘Black Mirror’, before diving into the heady and menacing tones of ‘Mutant Circle’, the ten-track project quickly showcases a wide-reaching range of influences and nuances central to Agnelli’s development as an artist over his career. Productions such as ‘Balance’ and ‘Oxigen’ contrast with one another whilst bringing space to proceedings, guided by breaks-influenced percussion, minimal arrangements and warping leads, whilst the driving ‘Resistance’ harnesses classic techno tendencies to provide an energetic and lively, snaking journey through rich soundscapes.
Title cut ‘Source Drops’ brings that trademark Luca Agnelli energy to the heart of the project, merging scintillating melodies, acid-tinged stabs and icy hats to unveil a high-octane ride into the peak-time, whilst ‘Raw Surface’ keeps the tempo high with sweeping leads, oscillating basslines and resonant lasers. Next, ‘Omega’ spirals into an off- kilter ride through glitchy echoed vocals, crunchy percussion and rumbling low-ends, with the epic ‘Losing Control’ welcoming an infectious lead melody at its core guided by punchy kicks and slick drum licks. To close, the package veers to an eerie yet ethereal close as hazy, celestial vocal chants meet panning sirens and swooping electronics – punctuating an expansive and diverse offering from the Italian favourite and shaping up an impressive debut LP in the process.

Jazz Montez is a music collective from Frankfurt, Germany dedicated to spreading the gospel of jazz throughout the universe. To them, jazz does not describe a particular style of music but an attitude, mindset and an approach to art and life that can manifest itself in a variety of ways. For their first vinyl release, they invited seven of the most talented and ambitious young groups from all over Germany to Frankfurt to record a track in the renowned studio Lotte Lindenberg. Despite the band's various influences, ranging from classic jazz, afrobeat and funk to hip hop, electronic music and rock, "Jazz Montez Presents Vol. I", mixed in its entirety by Drum&Bass legend Kabuki, works as a cohesive album. Pressed on high quality 180g vinyl, the record comes packaged in a beautiful and eco-friendly bagasse gatefold cover, designed by artist Clara Sipf. It features a 20 page booklet that includes a comic on the making of the album, texts by and information on the participating musicians, an interview with the sound engineers and an essay on the contemporary relevance of jazz. May this record inspire us to go through life guided by a spirit of open-mindedness and collaboration so that we may create a better, healthier and more beautiful world.

As one half of Red Axes, Dori Sadovnik could perhaps already stake a claim as one of the most prolific men in electronic music. A natural artist, Sadovnik is the sort of musician who never stops recording, a creator ahead of a consumer, well-adapted to a frenetic lifestyle.

This particular impulse has been funneled into a project known as Kapitan, an already expansive collection of tracks clocking in anywhere between 130 and 150 beats-per-minute.

As for a home, it just so happened that DJ Tennis, friend, collaborator and founder of Life and Death, was processing similar instincts, borne out of his love and association with the nineties heyday of IDM, pioneered by labels such as Warp and Rephlex.

“I don't really know what led me there but I had a feeling that I needed to be in the mountains”, explains Sadnovik. “I'm not a nature guy, nor do I feel particularly spiritual, but I was always struck by the harmony of it all. Everything is in the mix.”

This all-encompassing, blissful philosophy is deeply felt throughout this journey, a fluid blend of analogue and digital sounds rendered as organic as the landscape that inspires the album. Interlocking rhythms evolve into unexpected chamber pieces and bubbling acid lines blossom into rave psychedelia on opening tracks such as ‘Weird Day’ and ‘Flowers’, progressing to the sound of ‘Takak’, which inspires meditations on enormous bass weight, as mantras creep in from the surrounding forest of sound.

In the album’s second-half, this sincere sense of awe expands further still. Centrepiece tracks ‘In The Valley’ inspires a true sense of wonder and transcendence, complex rhythms blending with wide-eyed reverence. ‘Smile’ is trippy and innocent while ‘Elleven’ crackles with whispering energy over whiplash breakbeats. Concluding with ‘Heart’, Sadnovik reduces the pace to a stepping, heavy rhythm, commanding a deep sense of respect for the untamed wilderness that has served as such a unique muse.

“Montreal’s genre-defying post-rock combo BIG|BRAVE could very well be the most noteworthy recent heavy curiosity to come out of the city in recent years.” - NOISEY

“…combines elements of Björk, Neurosis and Sunn O))) into a cohesive whole; but this whole is an ever evolving and challenging sonic mass.
- THE QUIETUS

Minimalism and instinct, structure/freedom and meticulous timing form the cornerstones of their precise, rhythmical sound.
Lyrically, the album explores the weight of race and gender, endurance and navigating other people’s behaviours, observation and protest. The band further comment “this album involves what it means navigating the outside world in a racialized body and what it does to the psyche as a whole while finding individual worth within this reality.”
This time featuring the core trio Robin Wattie, Mathieu Ball and Tasy Hudson, for their most collaborative record they’ve made so far. The band elaborate “having cut our teeth in very different musical backgrounds respectively, our intuitions vary, which has an interesting effect on our individual approaches and ears.”
For this record, BIG | BRAVE once again made the trek down to Rhode Island to record with Seth Manchester at Machines with Magnets. They remark “we fully trust his instinct as an engineer and his creative output, getting to experiment with textures, concepts, layers, and with pretty much every single recorded sound, the process of making records with Seth is an absolute journey and pleasure.”
With the initial seeds planted in 2012, with no other goal than simply experimenting with the instruments in their possession, Robin Wattie and Mathieu Ball started writing subtle ambient/minimalistic folk songs together. When long time friend Louis Alexandre Beauregard joined on drums, the goal still remained to play as tranquil as possible. After an incident where Wattie’s acoustic guitar broke, and having borrowed a friend’s electric as a replacement, larger amps that Ball had in storage from previous bands started to get incorporated to the outfit. Now with amplitude as a compositional tool, BB never lost interest in the power of minimalism and fragility. It became clear that loud volume would become just as effective as the lowest possible ones and the juxtaposition of both would become something BB still uses as their main MO to this day.
After self-releasing Feral Verdure in 2014, the band had the opportunity to open for Thee Silver Mt Zion in Montreal QC. After which, Efrim Manuel Menuck found something meaningful in the members and the band and invited them to open on future shows with Mt Zion and with Godspeed! You Black Emperor.
In 2015, the band entered the studio with Menuck and recorded “Au De La”. With no home for the record, they decided to take a chance in writing to Southern Lord. As luck would have it, Greg Anderson happened upon their email among hundreds and responded. Since then, the band has had a home with Southern Lord Records. (Along with Au De La, Southern Lord has released Ardor in 2017, A Gaze Among Them in 2019 and VITAL in 2021).
After Beauregard’s departure in 2018, the band traveled down to Rhode Island with Loel Campbell on drums to make a first record with Seth Manchester at Machines with Magnets. After the album’s release, with Campbell unable to tour, Tasy Hudson joined the ranks and the band spent most of the year touring their 2019 album “A Gaze Among Them”.
In 2020, the core trio of Ball, Wattie and Hudson once again made the trek down to Machines with Magnets to record their 5th LP “VITAL”.
Since their inception, the band has had many honours and privileges of touring a number of times in North America and Europe with bands such as Sunn O))), MY DISCO, The Body, Thou, Primitive Man and Thee Silver Mt Zion.

DEATH's legendary 1987 debut Scream Bloody Gore is more than just an untouchable album - upon its release, it was positively genre-creating. Scream Bloody Gore founded the quintessential death metal sound, with more tormented riffs, screams, and leads than the world had ever imagined, and established Chuck Schuldiner's inimitable phrasing and songwriting style as the most singular voice in the burgeoning genre. Today, the album is viewed unanimously as one of the all-time most important cornerstones of death metal. As the final chapter in Relapse's comprehensive DEATH reissue series, Scream Bloody Gore will now receive the deluxe reissue treatment on a wide variety of formats including 2CD, Limited Edition 3CD, LP, Deluxe 2xLP Boxset, and cassette versions. Like the preceding DEATH reissues, the deluxe reissue of Scream Bloody Gore has been meticulously remastered from the original tapes by Alan Douches (Death, Mastodon, Nile) and includes a plethora of bonus content, including previously unreleased recordings and rehearsal demos, super-expanded packaging, and brand-new extensive liner notes from former DEATH drummer / Autopsy founder Chris Reifert, Sepultura's Max Cavalera, and original Scream Bloody Gore producer Randy Burns.

Saxophonist and composer Julian Siegel's fourth release on Whirlwind and his most ambitious musical feat to date, sees him assemble the Julian Siegel Jazz Orchestra. Following the acclaimed quartet release 'Vista' and the influential co-led Partisans album 'Nit de Nit', Siegel solidifies his reputation as one of Europe's most celebrated artists working across jazz and improvised music. Siegel has appeared as a member of some of the great large ensembles - he lists Hermeto Pascoal, Mike Gibbs, Kenny Wheeler, Django Bates and NDR Bigband amongst extensive performing credits. Now, the instrumentalist turns leader: 'Tales from the Jacquard 'is Siegel's first record at the helm of a large ensemble.

In the Italian panorama of the '70s, Chrisma (Christina Moser and Maurizio Arcieri) skirted the common rules of Italian pop (the aura of progressive rock or the first wave of prolific folk singers); in fact, they created Italian new wave from scratch. After the release of their 1977 debut album Chinese Restaurant (SPITTLE 051LP) -- so far from the punk revolution and so deep into the algid dynamics of the Mittel-European sound -- came Hibernation, their creative peak on which they embrace the revelation of the man-machine and venture into the realms of incomparable robots Kraftwerk. Again the album was produced by Niko Papathanassiou (brother of the Greek legend Vangelis), and it features very sophisticated cover artwork created by famous photographer Mario Convertino. Chrisma, so far ahead of their time, crafted an opus that should be considered at the same emotional level as the most famous synth-pop bands from the UK and Germany. Highlights include "Vetra Platz," a long digital ride worthy of the most famous Kraftwerk singles; "Calling" and "Gott Gott Electron," a primeval couplet of furious post-punk numbers; and the lush "Lover," with Miss Moser still in top form. This reissue includes the original artwork with a silver background. RIYL: T. Rex, Nico, Kraftwerk.

Repress

Calibre's mighty wind has blown through the drum 'n' bass scene ever since his first tentative forays into production in 1998. As a trained musician and student of the genre, he quickly developed a unique sound that was warm, orchestral and hypnotic. Attracting the attention of tastemakers like Fabio, the Belfast-born producer and DJ was encouraged to work harder and faster on this liquid funk, resulting in what would become his signature sound. By the time his sophomore album, "Second Sun", came into orbit, Calibre was recognised as a shining star of the scene.

One of the few who had realised the potential of the album format, he crafted dubbed out house grooves, jazzier downtempo numbers, and introspective vocal-led tracks amongst the more trad tempos the largely dancefloor single-based genre was known for.

The album is awash with high points, from the anthemic "Drop It Down", to the more reflective MC tracks like "Timeout" and "Blink Of An Eye". Most producers would labour over such delicately balanced arrangements for weeks, but the fact that Calibre can knock such masterworks out in a matter of hours tells you how effortlessly and naturally his music comes to him.

"Working quickly gives me a unique and personal sound," says Calibre. "It also helps that I like to sample my own playing. Any type of instrument I could get my hands on, I'd record it live. Maybe quite badly, but I still did it. It helped create my own sound. If you can play an instrument, and you can play it with a little bit of passion and a little bit of love, it'll give you something back."

In the fourteen years that have passed (Second Sun dropped in October, 2005) Calibre has written more material than quite possibly anyone else in the scene, and this year shows no sign of him slowing up. Besides the usual wealth of remixes in the pipeline, and a forthcoming techno album on Craig Richards' label, a sixth Shelflife compilation of unreleased Calibre material will be dropping on his own Signature Records label. But for now, let's rewind the story, as the man himself takes us, track by track, through Second Sun.

More excellence from the Basin Rock label following albums from Nadia Reid, Julie Byrne, Aoife Nessa Frances, Jim Ghedi, Alex Maas..
With a special knack for balancing bright pop melodies with a drifting sense of melancholy, LA based Johanna Samuels new album Excelsior! is a tender, honest document of the importance of companionship above all else. Named after Dylan’s “Visions of Johanna”, Samuels grew up on the classic songwriters of yesteryear (George Harrison, Tom Petty, Neil Young) and after a healthy dose of Elliott Smith and Jon Brion, has spent the best part of the last decade honing her craft.

her band and producer Sam Evian but it's songs are full of West Coast sunshine. It's Evian's first full album production at his own Flying Cloud Studios. Recorded mostly to tape, the album is as a gorgeous combination of vintage instrumentation, strong melodic hooks, killer harmonies and Samuels’ elegant voice.
Samuels seeks those answers through companionship, exploring the depths of her relationships and then calling upon a handful of womxn to provide the album’s backing vocals - a task she’d always performed herself until now. As such, Excelsior! makes a space for the voices of Courtney Marie Andrews, Hannah Cohen, Lomelda’s Hannah Read, A.O. Gerber, Louise Florence and Olivia Kaplan.
The album takes its name from the signature that Samuels’ grandpa would use before he sadly passed away last December. “He was a very important person to me and he helped raise me,” Johanna explains. “He signed all of his letters and emails ‘Excelsior!’, including the exclamation point. It means ‘ever upward’ and that’s what I wish for everyone: to grow from listening with more empathy and from hearing each other out. I hope this record makes people want to be gentler with each other and themselves.”

Repress.

Repress on black vinyl.

LIMITED UCKE YELLOW VINYL.

Xardinal Coffee is a debut album that is a strikingly contemporary record of slick hip hop, rich textures, idiosyncratic grooves and electronic-tinged wonky R&B. It’s an album that feels intricate and busy but also manages to retain a sense of space and looseness, allowing hypnotic rhythms to unfurl with grace. EXUM, aka Antone Chavez Exum Jr. credits the 'genius' of his two producers, Erik Samkopf and Dex Barstad, who he works closely with.

Samkopf being the producer responsible for Xardinal Coffee respectively. 'Sam and I don’t really like doing anything that doesn’t have an ückean effect. We’re not from here you know, we’re just getting adjusted’, says EXUM of the album’s eclectic sonic palate. 'We love to push the envelope on what is considered quirky, but try not to think about it too much. If me and another are walking down a street, who's going to be first to try something spectacular? Them. My walk will speak.’

However, any sense of weirdness is also married with an infectious and accessible quality. Tracks such as Arrest the Dancer - 'a David Bowie/Lady Gaga-type beat we got from YouTube by a producer named Raixsa' - comes alive with an irresistible funk strut, almost recalling Prince in the swaggering bounce of it. On top of this, EXUM’s vocals offer versatility and flexibility, moving from caramel smooth croons to tight rap flows and to enthusiastic bursts of singing.

A sense of texture is palpable throughout too. Portabella Mushroom was recorded on a rare magic mushrooms trip and retains a lysergic and psychedelic quality, sucking the listener up into its swirling atmospheres. Whereas the sparse, minimal and slightly eerie beats of Wolves Eat Wolves was recorded in pitch black and the song takes on that kind of crepuscular vibe, which interspersed with the song’s dark lyrical content - touching upon sex trafficking - further cements this. ‘I take no form’, the artist says, and his formless nature speaks to his willingness to constantly recreate himself as an artist.

A love of words is also clear in EXUM’s delivery, with them being carefully placed and sequenced amidst the ambitious soundscapes of the record. 'Writing is precious to me', he says. 'The vulnerability to bleed on paper. While playing with words, styling the same outfit for the 7th day in a row.'

Initially EXUM looked up producer Erik Samkopf to work with when he’d had a temporary falling out with his previous producer Barstad. In love with Samkopf’s work with Pen Gutt, EXUM took a punt and flew from his hometown of Richmond, Virginia to Oslo, Norway to work with him. As EXUM and Barstad patched things up, EXUM and Samkopf were building chemistry, creating something truly unique. 'Dex and Sam never cease to amaze me', he says. 'They’re versed and creative beyond measure, they both have an immense amount of musicality, and most of all, their love for music is sweaty.’

However adding to the legend, EXUM took a little detour on his musical journey, spending years as a professional footballer in the NFL, for teams such as the San Francisco 49ers and the Minnesota Vikings. Now leaving that chapter of his life behind, EXUM has returned to the true love held dear to him ever since he can remember: music.

EXUM is not simply trying his hand at music though; he is crafting every part of his artistic journey, from carefully selected contributors (such as string composer Christian Balvig) and overseas producers, to shaping his own brilliant music videos with directors such as Allison Bunce and Rosabel Ferber. Both of whom occupy creative space in his art world, which goes by the name of ücke. He has effectively created his own musical ecosystem. 'You’ve got to create your own world and live highly in that first', he says. 'Making it inevitable for other worlds to not be touched by what’s vibrating through you. In my world I’m already a massively iconic artist.'

Thirty years after his disappearance, Miles Davis, both the man and his character, is still a subject for debate and controversy. And haven’t we heard that before with all artists? But when it comes to the importance of his contribution to music in the 20th century there is only unanimity.

Everyone says, sure, he was the greatest trumpeter. Other opinions are that he left the world of jazz behind him in 1965. It’s also said he was the catalyst of every decade from 1949 to 1989; that he revolutionised jazz, and brought it out of the ghetto; that he buried jazz; that he was the most important musician of his century... Each of those statements has its share of truth. Whichever way

you look at him, he remains a major figure in jazz and in 20th century music overall. Miles surpassed (or at least equalled) the importance of both Louis Armstrong and Duke Ellington for the simple reason that he addressed not only the jazz world but all worlds of music, and that he created (among other things) a fusion of the spheres people knew as jazz, blues, rock and pop, and spoke to every audience, either in turn or collectively.

There was a dinner at the White House during which a perfectly respectable lady, married to a politician no doubt, asked Miles what he did for a living. With some annoyance Miles replied, “Well I’ve changed music five or six times, so I guess that’s what I’ve done ... now tell me what have you done of any importance, other than be white? [...] You tell me what your claim to fame is.” The provocative tone in Miles’ words lifted the veil over his refusal to be hassled, his revulsion against America’s treatment of Black people, and Miles’ awareness of his own importance in the world of music. Even when speaking, Miles maintained the art of synthesis.

In the beginning – this was 1944 – there was a concert in St Louis, Missouri where Miles heard Charlie Parker and Dizzy Gillespie for the first time. “Man, that shit was terrible, I mean Dizzy Gillespie, Charlie ‘Yardbird' Parker, Buddy Anderson, Gene Ammons, Lucky Thompson and Art Blakey, all together in one band [...] that shit was all up in my body and that’s what I wanted to hear [...] and me up there playing with them.1” Miles was 18, he’d been playing trumpet for years and now he knew that this was what he wanted to play, and nothing else: to play with Bird! A year later he’d turned 19 and he was in New York, where he learned it all, up there alongside Bird and Dizzy.

‘Teenage Gizzard’ is a newly unearthed collection
of some of the very first material ever recorded by
King Gizzard and The Lizard Wizard between 2010
and 2011.
It includes three early singles, two B-sides, four
tracks from the band’s first non-official EP
‘Angelsea’ and one track considered to be long lost
- until now.
‘Teenage Gizzard’ is a glimpse into the past of one
of the most prolific bands in rock history.
LP pressed on magenta and yellow vinyl with
yellow splatter in a die-cut jacket with front window,
rainbow foil inner sleeve and exclusive back cover
t by Ahmad Ok

Rock ‘n’ roll is often hard to define, or even to find, in these
fractured musical times. But to paraphrase an old saying,
you know it when you hear it. And you always hear it with
The Wallflowers. For the past 30 years, the Jakob Dylanled act has stood as one of rock’s most dynamic and
purposeful bands - a unit dedicated to and continually
honing a sound that meshes timeless songwriting and
storytelling with a hard-hitting and decidedly modern
musical attack.
That signature style has been present through the
decades, baked into the grooves of smash hits like 1996’s
‘Bringing Down the Horse’ as well as more recent and
exploratory fare like 2012’s ‘Glad All Over’.
But while it’s been nine long years since we’ve heard from
the group with whom he first made his mark, The
Wallflowers are silent no more. And Dylan always knew
they’d return. “The Wallflowers is much of my life’s work,”
he says simply. That life’s work continues with ‘Exit
Wounds’, the brand-new Wallflowers studio offering. The
collection marks the first new Wallflowers material since
‘Glad All Over’.
‘Exit Wounds’ is an ode to people - individual and
collective - that have, to put it mildly, been through some
stuff. “I think everybody - no matter what side of the aisle
you’re on - wherever we’re going to next, we’re all taking a
lot of exit wounds with us,” Dylan says. “Nobody is the
same as they were four years ago. That, to me, is what
‘Exit Wounds’ signifies. And it’s not meant to be negative at
all. It just means that wherever you’re headed, even if it’s
to a better place, you leave people and things behind, and
you think about those people and those things and you
carry them with you. Those are your exit wounds. And right
now, we’re all swimming in them.”

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls. This year, the Lu's Jukebox series will be made widely available on vinyl and CD. Volume 1, Running Down A Dream: A Tribute to Tom Petty, features songs from the namesake's celebrated career and is scheduled for an April 16th, 2021 street date.

DEATH, the heavy metal institution founded, realized, and helmed by legendary guitarist Chuck Schuldiner, released the Individual Thought Patterns album (the follow-up to their watershed Human release) in 1993. Expectations were high following Human, but Schuldiner proved once again that he could rise to any occasion. Individual Thought Patterns further honed the forward-thinking and progressive direction birthed with Human, and included “The Philosopher”; arguably the best song to ever come from the world of extreme metal and to this date the most widely-recognized.

DEATH, the heavy metal institution founded, realized, and helmed by legendary guitarist Chuck Schuldiner, released the Individual Thought Patterns album (the follow-up to their watershed Human release) in 1993. Expectations were high following Human, but Schuldiner proved once again that he could rise to any occasion. Individual Thought Patterns further honed the forward-thinking and progressive direction birthed with Human, and included “The Philosopher”; arguably the best song to ever come from the world of extreme metal and to this date the most widely-recognized

Back in print ! Spittle Records present an expanded reissue of Massacre's Killing Time, originally released in 1981. Following the breakup of Cambridge's avant-rock legends, Henry Cow, guitarist Fred Frith moved to NYC in 1979, and soon found himself deep in the heart of the city's robust post-punk and free-jazz scenes. He performed with Bill Laswell and Fred Maher, from the group Material, as a power trio of sorts under the moniker of Massacre. The group quickly garnered a reputation around town, and around the world for that matter, as a heavy and heady band that experimented greatly with rhythm, time signatures, and tone. As Frith himself put it, "the group was a direct response to New York. It was a very aggressive group, kind of my reaction to the whole New York rock club scene." Massacre released one album, Killing Time, before disbanding for nearly 20 years. Their first wave as a group crashed fast and furiously and this one album, recorded in part live in Paris, and in part at Brooklyn's OAO Studio, is a perfect encapsulation of early '80s NYC. In addition to the original album, first released on Celluloid in 1981, this deluxe three-sided double LP includes eight bonus tracks recorded live between '80 and '81 at The Stone in San Francisco, and Inroads and CBGB in NYC. Avant-jazz-post-punk-noise of the highest order from several legends and one of the most important projects Frith and Laswell were ever involved in.

The album features a notable line-up of musician such as: Sami Yaffa (New York Dolls/Joan Jett), Dave Richmond (Serge Gainsbourg/Elton John), Christophe Deschamps (Jean-Michel Jarre), Kath Guifford (Stereolab), Will Crewdson (Adam & The Ants/The Selecters), Danny Ray (Bo Diddley/Brian Setzer)...Mastered at the legendary Abbey Road Studios and cut to vinyl across a 180g LP in a gatefold sleeve with booklet. L'homme de l'ombre immerses you from start to finish in a sonic and lyrical journey that rewards your mind and emotions. Here you will find the glamorous rock attitude of Marc O's musicianship colliding brilliantly with the wise and witty writing of french philosopher Bruno Pons Levy. The result is not so much a double identity, but an intangible and powerful third element, much like the mathematical equation described in the song The triangle squared (Le triangle au carré). This song is emblematic of Marc O's persona: a musician of style and vision, crossing cultures and decades to collaborate with a remarkable team and create this, his most personal album. Press quotes: Ten well realised, vintage aesthetic fantasies ****" MOJO "Singular debut set that lurches from glam-punk to Air-meets-Gainsbourg purr, infectiously Pulp-ish electro-rock and gauche, Bowie-esque panther strut. Formidable! 8/10" UNCUT "Never less than fascinating, this is an important and hugely enjoyable work ****" RECORD COLLECTOR "Propelled by his core rhythm section and lyricist collaborator, they address some weighty subjects with passion ****" SHINDIG! "Blends aggressive and powerful textures and melancholic soundscapes to break down language barriers and deliver a powerful, evocative and stunning album" LOUDER THAN WAR "The music is as strong as Pons Levy's lyrics, mingling melodic rock with chanson in the grand tradition ****" RNR

Musique Pour La Danse is proud to present SPACED OUT!, a compilation curated by Belgian artist and producer DJ Athome (Front de Cadeaux) which focuses on psychedelic dub, space rock, and early electronica created in the UK's festival scene between 1986 and 1996, the result of a life long passion and 30 years of following artists from the festival scene.

It was a loosely organized British musical movement born in the early 80s and focused on free festivals in Stonehenge and other countercultural sites across the country. It represented a continuation of the psychedelic spirit of the 60s, with altered states of consciousness, dub production techniques, non-Western influences as well as instruments featuring heavily, along with a desire to side-step mainstream venues, labels, and attitudes.

Musically, it took on many forms, from mind-expanding space rock to third eye-opening electronica to shattering psychedelic dub. Visually, the zines, cassettes, LPs, and CDs created by this scene also displayed heavy influences from 60's psychedelia, updated for the late 80s and early 90s.

In the 90s, the zines and cassettes reached the eyes and ears of DJ Athome, then a young DJ living in Liège. After meeting a group of like-minded individuals organizing local gigs which was single-handedly responsible for putting Liège on the map for many British bands, he dived headfirst into the sights and the sounds of this festival scene, gathering as many albums as possible and joining local collectives involved in the organization of events.

This compilation is in equal amounts an introduction for newcomers and a confirmation for those who already know that this was without a doubt one of the trippiest and most compelling psychedelic musical movements of the last decades, notable for its hybridity, its sincerity, and above all its wonderfully life-changing effects for listeners and performers alike.

The compilation is presented in 2LP format, along with a limited edition Riso printed scene which features a foreword by acclaimed philosopher Timothy Morton, along with liner notes by David Borsu, one of the key players of Liège's musical collectives in the 90s and illustrations by designer Andrew Beltran.

This LP finally brings a Clipping fan-favorite, 2016's Wriggle, onto vinyl in an improved, expanded version that features new art, previously unreleased remixes, and a track that's exclusive to the vinyl format. The original, digital-only Wriggle EP was six tracks that weren't finished in time to make it onto the group's 2014 Sub Pop debut, CLPPNG. For "Shooter," Clipping recorded themselves firing fifteen different guns, the sounds of which exclusively constituted the beat's drums, augmented only by a synthesized tone-row. The verses referenced the well-worn technique of "hashtag rap," but instead of using it to boast about the rapper's personal wealth and masculine prowess, Clipping put forth imagistic narratives of three violent encounters. True to much of the group's music, "Shooter" was an attempt to reframe a familiar style and test the limits of its formal capabilities. "Hot Fuck No Love" contains what might be the most explicit verse to date from Clipping's favorite New Jersey rapper Cakes Da Killa. The EP's title track, "Wriggle," was built around a sample of the influential power-electronics song "Wriggle Like a Fucking Eel" by Whitehouse, transforming William Bennett's torturous imperative into a instructional dance-floor banger. "Wriggle" and "Shooter" have become classic Clipping tracks and staples of their live show. With this vinyl edition, Clipping fans old and new - and there are many new fans thanks to their breakout 2020 album, Visions of Bodies Being Burned, and Daveed Diggs' thriving acting career - get the vinyl version of Wriggle they've been clamouring for.

The Spaces Between were formed out of creative studio sessions in the summer of 2020 and comprises of bona fide house legend Terry Farley, electronic music producer Wade Teo and renowned author and co-owner of Club Chi’ll Records, Ian ‘Snowy’ Snowball. The idea for ‘Ghosts’ came from Terry’s idea to reference the Jazz greats who have gone to glory leaving behind their astonishing musical legacies. Within days of emailing a comprehensive list of jazz artists to Chicago House luminary and The It/ Jungle Wonz member, Harry Dennis, an answer with Harry’s sparse, haunting vocals was received. These were laid down over a bed of live instruments and electronic sounds and the combined talents of The Spaces Between created the compelling jacking jazz vibe of ‘Ghosts’.

Snowy ran the track past Jo Wallace at F*CLR Records – it was love at first listen. Jo suggested the track should be part of an EP with remixes from the newly reformed Black Science Orchestra. It was agreed and provided an ideal opportunity for Ashley to work with Terry once again, reinforcing the Junior Boy’s Own heritage.

The first incarnation of Black Science Orchestra began life in 1992 when Ashley Beedle joined forces with Rob Mello and their debut release, ‘Where were you’ exploded onto the global dance scene via the iconic UK house label JBO. Broken in the US by the Godfather of House, Frankie Knuckles, ‘Where were you’ entered into the hallowed halls of immortal dance music. Black Science Orchestra has become one of the most respected deep house acts of the 1990s, with the revered album ‘Walter's Room’ and the legendary genre crossing 'New Jersey Deep' track that is considered one of the top dance tracks of all time and rarely leaves discerning DJs' record boxes. Fast forward 29 years and original BSO founding fathers, Ashley and Rob decided that both they and the world needed the sound of Black Science Orchestra again and decided to reform, inviting long time musical and studio accomplice Darren Morris to join the collective now in its 6th incarnation!

When presented with the original version of ‘Ghosts’, Rob, Ashley and Darren loved it and all heard various ways it could be reworked in a true Black Science Orchestra way. Donning their pandemic production hats and remotely getting their feet back under the studio desk again, they worked together to create distinctly different remixes ranging from the deep, spacy electronic to the tough and psychedelic sleazy funk. With original BSO productions included on this EP, 'Ghosts' has helped square off the circle and the Black Science Orchestra conductors are back and mean dance floor business!

The first release from Toronto’s newest and most exciting Record Label, EastSide Edits! Limited run pressing of hand-stamped white labels, exclusive to release 001. Blessed by some of the top DJ’s in the world, this is sure to sell out fast! Donuts for the 45 slingers, and donuts for the House DJ’s, EastSide Edits brings a unique twist to the 45’s world by catering to both markets on each release. Carefully selected familiar Edits that work well in both environments is the name of their game! This first release has gained a lot of attention, with the test pressings being championed by some of the top turntable legends in the game. DJ Koco’s recent doubles routine and feature play of the B-side to this record has his massive following asking where to find it.

Side A is brought to you by the young wonder from New York, Pinto NYC. Pinto has been making quite the name for himself, signing music to some stellar House labels across the world, including the legendary Nervous Records, Glasgow Underground, and Simma Black. His upbeat and funky edit of “Rock with you” brings familiarity and energy sure to light the dance floor on fire! Creative sampling and pumping drums are his signature sound. This one hooks the listener early and smashes it home!

Side B is brought to you by the incredibly talented Toronto Disco duo, LeBaron James. LeBaron James are at the top of their game, pumping out high quality Disco Edits to a whole host of successful labels. Home base for them has been the incredibly successful Spacedisco label, run by Juno award winning Toronto artist, Hatiras. Their super catchy Disco edit of “Never gonna give my love again” will have you singing at the top of your lungs, feeling like you’re front and center at Studio 54! The vibe gets pushed even further into overdrive with the onset of a smooth and sexy sax solo that carries through the tail end of the record. This one has already proven to catch the ears of some major players across the globe! Don’t sleep on this white label. House DJ’s have responded overwhelmingly, and after watching DJ Koco’s Instagram routine we are confident that every 45 slinger in the UK will be digging for doubles on this one!

fter a hiatus of over eight years Fuzzy Lights are making a welcome return. Burials is the follow-up to the critically acclaimed album Rule of Twelfths, and the fourth album from the Cambridge-based post-folk collective. 

Their sound has been stripped back to its component parts, deconstructed and rebuilt under less obvious influences. There’s a bedrock of folk-rock - predecessors like Trees and Fairport Convention - but this is then built upon through multiple layers, from the stillness of Talk Talk to the orchestral chaos of Godspeed You! Black Emperor. With Burials Fuzzy Lights have cultivated these sounds and influences into something new and fresh that distances the album from the rest of the folk-rock crowd.

The most striking element of these songs is how intimate they are. Lyricist Rachel Watkins has revealed a lot about herself in these seven songs, which have been written from a very personal perspective. Raw experiences have been distilled into each piece, her translucent vocals often betraying the content of the songs themselves. The album is bookended with the most personal of these. Opener ‘The Maidens Call’ reveals her loss from suffering a miscarriage, whilst album closer, ‘The Gathering Storm’ frames the rallying cry of women’s rights around how individuals must work together now, and in future generations, to destroy prejudice. There is also engagement with humanity’s immediate surroundings and the environment. ‘Under The Waves’ deals with devastation of coral reefs, ocean resources and our natural world, and ‘The Graveyard Song’ imagines the perception of time from the juxtaposed views of a yew tree and a young woman.

As scenarios, paths, and outcomes shift around us, Burials’ amalgam of glowering, intense instrumentation, timeless, weightless melody, and exactingly revealing lyricism carves a very particular path through the world. This is music that tears us away from the everyday not just as a form of escapism, but as a means of self-reflection on hardship and the strategies we develop to overcome it.  It is the band’s rawest yet most accomplished statement to date.

Blue Vinyl
Lynch protégé and Twin Peaks sound designer Dean Hurley coaxes an incredible puzzlebox of atmospheres and mood pieces on this killer contribution to our Documenting Sound series, now remastered and pressed on vinyl for what is, perhaps unsurprisingly, the most cinematic and neon-lit instalment in the series. Like a
smudged and overdubbed copy of the BoC Maxima tape, with added iridescence.
Across almost 40 minutes we transition from aerosolised synths to romantic chromatics, thru to Nurse WIth Wound-style severed rhythms and fading glimmers of hope, ‘Concrete Feather’ epitomises Dean Hurley’s prized knack for nuanced instrumental story-telling in the finest and most engrossing style we could imagine. Against the backdrop of the Hollywood film industry that has primed us for as long as we can all remember, the music spans a panorama of lush, mirage-like choral pads and starry flickers thru to gloaming
nightmare sequences and screwed drums, while touching on some of the dankest synth tones this side of his ‘Anthology Resource’ volumes or indeed his soundtrack work for Twin Peaks: The Return. It’s full of dread and a slowly unfolding sense of tragedy.
“Having a regular practice of recording is probably the single most important element to my craft. It’s a way of dropping indiscriminate mile markers while constantly moving forward in time without ability to pause.
Over the years, working for David Lynch taught me a great deal about this and the concept and importance of experimentation. I’ve found myself clinging to those lessons during this time and using them as tools for both productivity and balance. His notion of experimentation is a simple one, yet incredibly profound. It was one of the very first words I heard him say during our initial meeting, and I never stopped hearing the term daily over the subsequent 13 years working together. An ‘experiment’ can provide a legitimate mental back-entrance into the act of creation. It can position an approach toward discovery as opposed to effort, and eliminate the thought that one needs to ‘will’ something into existence. It also aids in calming the judgmental
side of a brain from stepping on/interfering with expression…after all, experiments are not about success or failure, they’re simply about learning. In the Lynch school of thought, multiple experiments then become firewood…and with firewood, one can not only build but actually sustain a fire…even turn it into a multipleacre blaze or more.
Dean Hurley