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LP Ltd edition PINK Vinyl (300 copies) + BONUS Fire Records Compilation CD. A Powys trio whose free-spirited invention and exuberant intensity flows through experimental pop: hypnotic, exhilarating and defiantly unique. The Welsh band Islet return with the release of their long-awaited new album, and now available on Ltd edition Pink Vinyl. Eyelet was recorded at home tucked away in the hills of rural Mid Wales. It took form the months following the birth of band members Emma and Mark Daman Thomas' second child and the death of fellow band member Alex Williams' mother. Alex came to live with Emma and Mark, and the band enlisted Rob Jones (Pictish Trail, Charles Watson) to produce. 'Caterpillar' described by Emma as "a song for my unborn child". It's followed by syncopated lullaby 'Good Grief' with its haunting keyboard hook and icy percussion thawed by Emma's yearning vocals about the quiet strength of generations of women. With nods towards Arthur Russell and Jenny Hval, 'Geese' is a mini symphony of driven electronica inspired by Welsh cultural theorist Raymond Williams' novel People Of The Black Mountains. Young Fathers inflected rhythm can be heard on 'Radel 10' that accompanies the multi-tracked variations of Emma and defiant lyrics that were inspired in part by The Good Immigrant - the landmark anthology of essays on race and immigration by BAME writers. "One of the best albums to come out of the UK in years" Louder Than War // "Unhinged, euphoric, wonderful." Pitchfork // "They create an ideology that fuels creativity" The Quietus // "They invigorate life on the margins with this whirlwind of psychedelic pop" The Guardian // "Full of reflective, explorative psych wonderment" ???? The Line Of Best Fit // Short listed for Welsh Music Prize 2020 // ????? The Vinyl District // ????? Buzz // ????? God Is In The TV // ???? AllMusic // Track

An obscure and deep acoustic jazz-funk LP from 1974, remastered and repressed in an edition of only 300 copies !

“Profile” is the first and only Ken Rhodes LP as a leader. This intimate and rare recording captures an explosive concoction between blues, jazz and a touch of funky swing. Though an acoustic performance, this LP offers overwhelming grooves, breaks as well as introspective moments .
The upbeat and funky titile track “The Profile” forshadows the raw grooves of the session.The composition is driven by Rhode’s very soulful and bluesy improvasitions in a colorful dialogue with Joachim Knauer’s percussive and obsessive bassline which embraces the funky rhymthms of George Greene. However, this raw “in-your-face” formula is beautifully constrated in “Nothing New” and the piano solo “Robyn’s Lullaby” where the trio slows down to play deep, dreamy and hazy tunes.

Biography
Ken Rhodes was born August 14, 1945 in Memphis, USA and grew up in a family of excellent musicians. He attended the American Convervatorium of Music in Chicago, studied classical music and received Bachelors and Masters Degree. At the age of 16 he toured with his own jazzband throughout the eastern states. During this time he wrote classical compositions for symphony orchestras and organ-music. Gerry Mulligan called him for an extended tour. Studying at the University of Cincinnatti he received the Down-Beat Prize in 1970 as “Best Arranger”. In August 1970 he came to Germany and worked four years as writer, arranger and conductor at the theatres in Augsburg and Nürnberg. Besides that he played with wellknown european musicians at the famous “Domicle” club in Munich, he founded his own group and performed in Germany and Austria. Since July 1975 he works as a professional jazzmusician travelling Europe.

We’ve recorded an intimate and homely acoustic version of Not So Manic Now to celebratethe 25th birthday of Disgraceful. It’s out now digitally, but we’re also releasing a souvenir7” to commemorate the occasion.The b-side is a cover of Free As A Bird.Why? When our debut album came out in 1995, werealised that it was coincidentally John Lennon’s birthday, and when Not So Manic Nowwas in the Top 20, Free As A Bird was too, which gave us the unexpected privilege ofbeing in the charts at the same time as the Beatles. Including it here seems to heightenthe nostalgia of the occasion, as it were.

Critically acclaimed debut album on Columbia Records from Trinidad born, Romford raised rapper/songwriter/producer. A 10 track album released on standard CD and translucent light blue vinyl. Berwyn came in at #3 on the 'BBC Sound Poll' for 2021. Includes the current single "Vinyl" plus "Glory", "Trap Phone" and others. Radio support across R1, 1Xtra, Apple Music, Capital, KIss, ILR network, with playlists, features and ad campaign. Video plays across MTV/Vevo. Strong press support, with ads, features, interviews and reviews across all press. Online/social media activity. Poster campaign.

For Rhye’s Michael Milosh, the home is the center of creativity and community. It transcends conventional understandings of walls, stairs and hardwood floors. A culmination of a wayfarer’s journey, the home is a balm for a restless spirit — a place to simply be.

For much of his life, the Canadian singer, songwriter and multi-instrumentalist has wandered, decamping in Toronto, Montreal, Thailand, the Netherlands, Germany and Los Angeles at varying times. Since the meteoric rise of Rhye’s 2013 debut Woman, he’s mostly lived on the road—playing between 50 and one hundred shows a year. But over the last couple of years something changed. On the heels of some major life changes, including a new relationship, Milosh yearned for a more permanent space. “It's this idea of creating a safe place that's not just conducive to creativity, but one that’s truly an anchor point from which to make art and be creative,” he says.

That longing was fulfilled in August of 2019 when Milosh and his partner Genevieve happened upon the perfect place in Topanga. It had been on and off the market for two years as the owner sought the perfect buyer, one who would carry on its creative tradition. “She did this ceremony somewhere on the property where she was trying to call in the right people, and apparently we came the next day,” Milosh explained. “The right kind of home presented itself to us, and we presented ourselves to it. It was like a union between us and the home.”

Written throughout 2019 and early 2020, recorded at Milosh’s home studio, United Recording Studios and Revival at The Complex, and mixed by Alan Moulder (Nine Inch Nails, Interpol, My Bloody Valentine, U2, The Killers), Home is familiar in its synthesis of propulsive beats, orchestral flourishes, piano ruminations and sultry, gender-nonconforming vocals, but never have they sounded more cohesive or alive.

“I'm always trying to always accomplish musical goals that are connected to the way I listened to and interact with music as a child,” Milosh says. The sentiment also underscores a broader, less obvious, but no less important theme echoed through his new record: No matter where life takes us, we can always go home.

Industrial techno fine art sound... With a Cyber-Punk freaky attitude.

The new world disorder !

In the 2000’s Chee Shimizu helmed an untouchable Tokyo DJ collective called Discossession alongside Dr Nishimura (House music buyer for Cisco Records at the time). Balancing out this unit were a young Scotsman-abroad named Jonny Nash (who’d later form Sombrero Galaxy ESP001 and Gaussian Curve as well as the Melody As Truth imprint), and the late guitar virtuoso and tattoo artist Zecky. Formidable DJs and multi-talents on the Tokyo scene, Discossession released two EPs on Kenji Takimi’s Crue-L imprint and various mixes individually on lovefingers, all holding well-deserved eternal cult status. Chee’s Denshi Meisou 2006 and Follow My Dream 2007 for Lovefingers as well as his legendary “listening sessions” at HiFi lounge SHeLTeR in the Tokyo suburb of Hachioji, laid foundation for what would become known to his followers as “Organic Music” or “Obscure Sound”, the former extending as the name of his record shop and the latter as the title of his 2013 book.

Obscure Sound chronicled his tastes in detail and has since become a sort of diggers bible for peers and younger generations. At the ESP Institute’s inception in 2009, Shimizu contributed two tracks to Lovefingers’ Concentration Vol 1 compilation as apéritifs to a later release. “Later” eventually became “forever” and the mythical piano track (appearing only as a demo on Golden Age and Dekmantel 061) is still, to this day, not ready for formal release. Skip a dozen years, musical interests and major life changes, and Chee has now unveiled something quite special in accordance with his Obscure Sound—rather than making new out of old rope, he presents a collaboration with Tokyo guitarist miku-mari a.k.a. Takahiro Matsumura. The artists frequently collaborate at the experimental audio/visual event, Sacrifice, held irregularly at Tokyo’s ForestLimit, and in 2018 when Chee was invited to DJ at Japan’s only Ambient festival Camp Off-Tone, he and miku-mari endeavored to expand these works into a 2-hour improvised performance. Chee collaged various percussion samples and personal field recordings utilizing four CDJs, supplementing with live windchimes and Andean chajchas, while miku-mari coupled a guitar-controlled synthesizer, Sound Tube software (developed by Japanese Ambient composer Hiroshi Yoshimura) and more live elements such as Tibetan bells and pyramid crystals. Rehearsals for this performance were held prior to the festival at ForestLimit, recorded as multi-tracks and edited into these two cerebral Reconstructions.

“You’re trouble” is an avant-garde electronic pop album about questioning and locating a sense of self in a disorienting, breaking environment of dissolving certainity which grows increasingly chaotic, about dysmorphic dissatisfaction, becoming disillusioned and alienated. It seeks to juxtapose beauty, serenity and vigour with instability, ugliness, chaos and crisis, expressing itself fluidly without genre or otherwise boundaries. A kind of sinister, anxious but still forward-pushing and at times positive and hot-blooded empowering energy can be felt that wants to urge the listener not to give up but to try and take courage and take control of the troubles and fears in their life. The tone is sometimes reflective, sometimes confronting. The album navigates fairly abstract musical territory, cathartic abrasiveness, heavy and unrelenting sounds of post-club music and noise fused with stretches of pop music, never settling down or resting for long, constantly breaking up and re-assembling itself. Between chaos and form, it’s finding relief in imperfection and the in-between. As such the music is ambivalent and is equal parts some kind of crisis club music as well as introspective reflection.
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Much has changed in the musical life of renowned composer and director John Carpenter since 2016's Lost Themes II. Following the release of that album, he went on his first-ever concert tour, performing material from the Lost Themes albums, as well as music from his classic film scores. He re-recorded many of those classic movie themes for 2017's Anthology album, working alongside son Cody Carpenter and godson Daniel Davies. The following year, he was asked to executive produce and compose the music for the new Halloween movie directed by David Gordon Green, which promptly became the highest-grossing installment in the series. Now, he returns with his first album of non-soundtrack music in nearly five years, Lost Themes III: Alive After Death. Underpinning Carpenter's renaissance as a musician has been his collaboration with Cody Carpenter and Daniel Davies. They've composed and performed as a trio throughout this entire run, on studio albums, on soundtracks, and onstage. Here, the trio reaches a new level of creative mind meld. Richly rendered worlds are built in the interplay between Davies's guitar and the dueling synthesizers played by the Carpenters. "We begin with a theme, a bass line, a pad, something that sounds good and will lead us to the next layer," John says of the trio's process. "We then just keep adding on from there. We understand each other's strengths and weaknesses, how to communicate without words, and the process is easier now than it was in the beginning. We've matured." Whereas the original Lost Themes album came as a pleasant surprise after years of relative silence from Carpenter, the third installment sees him in the midst of a resurgent moment as a cultural force. The 2018 Halloween score gave his music its biggest audience in decades, and the world he releases his new album into is one that has, at long last, given him the credit he deserves as a founding father of modern electronic music.

Much has changed in the musical life of renowned composer and director John Carpenter since 2016's Lost Themes II. Following the release of that album, he went on his first-ever concert tour, performing material from the Lost Themes albums, as well as music from his classic film scores. He re-recorded many of those classic movie themes for 2017's Anthology album, working alongside son Cody Carpenter and godson Daniel Davies. The following year, he was asked to executive produce and compose the music for the new Halloween movie directed by David Gordon Green, which promptly became the highest-grossing installment in the series. Now, he returns with his first album of non-soundtrack music in nearly five years, Lost Themes III: Alive After Death. Underpinning Carpenter's renaissance as a musician has been his collaboration with Cody Carpenter and Daniel Davies. They've composed and performed as a trio throughout this entire run, on studio albums, on soundtracks, and onstage. Here, the trio reaches a new level of creative mind meld. Richly rendered worlds are built in the interplay between Davies's guitar and the dueling synthesizers played by the Carpenters. "We begin with a theme, a bass line, a pad, something that sounds good and will lead us to the next layer," John says of the trio's process. "We then just keep adding on from there. We understand each other's strengths and weaknesses, how to communicate without words, and the process is easier now than it was in the beginning. We've matured." Whereas the original Lost Themes album came as a pleasant surprise after years of relative silence from Carpenter, the third installment sees him in the midst of a resurgent moment as a cultural force. The 2018 Halloween score gave his music its biggest audience in decades, and the world he releases his new album into is one that has, at long last, given him the credit he deserves as a founding father of modern electronic music.

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

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

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

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

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

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

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

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

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

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

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

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

Signed to Parisian label N F rmat! (home to Oumou Sangar , Blick Bassy & M lissa Laveaux), Soweto-based 4 piece band Urban Village present their debut album, ‘Udondolo’.
Marrying the day-to-day experiences of black South Africans with ebullient elements from traditional Zulu music, Urban Village is the alias of four experimental musicians all born & raised in the township of Soweto at the tail end of apartheid.
Urban Village release music under a name which specifically references the blend of cultures, music & rites which were assimilated into the now 1 million strong population of Soweto, when black South Africans from multiple provinces were brought to the area during the establishment of apartheid, under strict segregation from Johannesburg’s white suburbs.
Born for the most part in the last years of apartheid, whilst growing up the band plunged happily into house and dance music that turned the page of a heavy past. Guitarist Lerato came across older Zulu musicians and their style of maskandi playing. Lerato has since mixed styles from homelands and rural areas, sharpened in club jam sessions (where he went on to meet Tubatsi and form Urban Village) during which spoken word, hip-hop and jazz rub shoulders freely.
‘Udondolo’ - partially recorded at legendary Downtown Studios in the heart of Johannesburg and at Figure of 8 studios in the leafy suburbs of Randburg, - is a journey through all the colours of Soweto. This is where it draws its consistency, strength & identity. That of Soweto itself - a dormitory town designed to
monitor those who were sent there, it has become a laboratory of music where the hopes of an entire people resonate, even today.

DeWolff return with their new album, Wolffpack, released on 5th February 2021 via Mascot Records.

DeWolff, the kaleidoscopic warriors were not long into their 2019 Tascam Tapes European Tour when the Covid19 pandemic broke and they, like so many others, had to turn back and head home. They started working on the new album Wolffpack.

The album kicks off with the first song they finished, the soulful psychedelic funk of "Yes You Do," featuring Ian Peres and longtime friend of the band, Judy Blank. "We wrote it in a Zoom meeting!" Pablo says. "Treasure City Moonchild," struts in with a funky swagger and Piso's trademark swirling Hammond, with Dawn Brothers' Levis Vis providing some Bass juice. "Do Me," includes Theo Lawrence on vocals and is through the eyes of an anti-hero who realizes he isn't worthy of the woman of his dreams, and dates back to 2019 and the Next of Kin live show. "I consider this the best song I ever wrote, so I couldn't stand the idea that it was only used for those Next of Kin shows and then never again! That's why I brought it to DeWolff, but it needed some rearranging," he says. Another song from the Next of Kin sessions was "Sweet Loretta" and features Dawn Brothers' Stefan Wolfs and Darilyn's Diwa Meijman. "Loretta is the protagonist's childhood sweetheart. She has a rich dad, but he's really conservative, and so she can only inherit his money if she marries a man. But she's lesbian. So, the protagonist, who's also out for this old guy's money, suggests they play pretend and marry so they can split the money."

They sweep through disco on "Half Your Love," swamp rock on "Bona Fide" and take on sci-fi and the Old Testament on "RU My Savior." Their tour buddies The Grand East show up on "Roll Up the Rise." Written in the first days of quarantine, it's about the end of the quarantine - told from a future perspective. "Lady J," came after Pablo watched the documentary "13th." "I was quite shaken up by it," he admits. "The lyrics are based on the idea that Lady Justice seems to have a scale that doesn't measure the "weight" of your crime but the tone of your skin. She is supposed to be blindfolded, but the people who act in "her" name aren't blind at all: they discriminate between white and black."

The album ends with the forlorn "Hope Train." Based on the Pulitzer prize-winning novel by Colson Whitehead about two slaves in the US during the 19th century, who make a bid for freedom from their Georgia plantation. "I found it really hard to envision the world in which it takes place," he says. The band used a 1970s Fisher-Price Toy cassette recorder in the intro, "We wanted to see if we could somehow approach the sound of those very early country blues recordings, like the ones by Blind Willie Johnson.”

It’s a decade since The Staves self-released their first EP and a lot has happened since then. Their third album Good Woman was written and recorded amid major upheaval, heartbreak and bereavement. The new-found boldness, loudness and lyrical directness on this record are indicative of lives forced to become a serious concern.

In early 2020 the band resumed touring, unveiling their expansive and exhilaratingly powerful new sound, and previewing these emotionally affecting songs in intimate venues across the country; with tickets selling out in seconds. They ended the tour with a triumphant homecoming appearance at the 6 Music Festival.

The Staves’ first album in five years is an accumulation of everything that life has thrown at them in that time.

Emily: “You find strength in the vulnerability and you find beauty in the sadness and magic in the despair. We lost so much, but we found so much. And while the album is not all about mum, something shifted in us when she died that made us make the record in the way that we made it. We became more fearless.”
Camilla: “It feels more about trying to take ownership of these events and not letting sadness or trauma rule you.”
Jessica: “It’s a record about sisterhood, motherhood and daughterhood; love, loss, change and trying to be a good person, a good woman.”

Ubuntu Music is excited to announce the signing of Skeltr for the worldwide release of their album, ‘Dorje’. Skeltr began as a late night, post-gig session between Sam Healey (keys) and Craig Hanson (drums) in the dusty old cotton mills of Manchester. Forging a shared connection inspired by Post-bop and Modern groove, the pair developed a tightly knit, highly musical duo. Their first UK gig in 2017 at the Manchester Jazz Festival saw the duo sell all of their physical records of their debut release in one day. Within a few months of this auspicious start, the lads found themselves supporting L.A sensation KNOWER on UK tour, appearing on JazzFM, Worldwide FM, listed as ‘ones to watch’ in Jazzwise Magazine as well as performing across European jazz festivals, including Reykjavik Jazz Festival, InJazz, Rotterdam and the famous Osloscene Club in Norway. A tragic accident saw hard times fall upon the Duo as Sam suffered a serious hand injury. However, after operations and months of rehabilitation, Sam was able to return to his saxophone and continue playing music again. Having had chance to compose during rehab, the Duo immediately hit the studio and recorded their second album, named after Sam’s new-born son, Dorje. A nucleus of Saxophone and Drums set to scapes of synths, vocals and guest features, Skeltr's second album, 'Dorje', combines heartfelt statements of sensitive, illuminating, incensed improvisation which stem from ardent and fluent melodies. Craig ondrums is as much an expressive protagonist of the music as he is a foundation with deep roots, leading to intricate interplay between the Duo. Themes include understanding the nature of happiness, self-examination and acceptance in aquest to achieve a positive mental state. Ultimately, ‘Dorje’ seeks to provide the listener with a space in which to explore their own relativities with guidance, inspiration and accompaniment. Sam describes the project, saying, “What a wonderful experience it has been to create this album. We look forward to spreading the music far and wide with positive intentions. The sounds are crafted with a passionate energy in our hearts and I hope otherswill be able to feel and hear that.” Concerning Skeltr’s new relationship with Ubuntu Music, Healey continues, “It has been a three-year journey to bring this album to fruition and we’re so happy to have met Martin (Hummel) and Ubuntu Music as the album was coming to completion. This auspicious timing makes the new relationship all the more rewarding. The Ubuntu Music team’s knowledge, experience and phenomenal work ethic are vastly inspiring and will help Skeltr to reach a much wider audience across the world. We look forward to a close relationship with theLabel as we strive to bring great musical offerings to many people.” Martin Hummel, Director of Ubuntu Music, said, “These guys have breath-taking talent. I first came in touch with Sam on New Year’s Day (probably not the best day to do so) and told him what I thought of their music. It’s deep. It’s spiritual. And it shakes your senses, inside out and to your very core. Sam is meticulous in everything he does, and you can hear this in the recording. If you want to feed your soul with the best musical vibes, check this out.”

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

Paranoia is a 2013 American thriller film directed by Robert Luketic. Its score was created by Tom Holkenborg, better known as Junkie XL, a Grammy nominated multi-platinum producer, musician, composer and educator. His other scoring credits include Mad Max: Fury Road, Deadpool, Man of Steel and The Dark Knight Rises. This special edition of the Paranoia soundtrack includes 4 extra songs from the movie: “The Hurry and the Harm” by City and Colour, “Alive (Zedd Remix)” by Empire of the Sun, “1, 2” by Lissie and “Demon Dance” by Surfer Blood. This release comes out as a limited edition of 500 individually numbered copies on translucent blue vinyl and includes an insert with images from the film.

Self-released in 1969 ‘Our Thing’ is the debut album of the performing Houston unit known as Kashmere Stage Band. The Texas student band came together at the Kashmere High School and under the direction of musical director Conrad O. Johnson, released a series of cult album on Kram Records, before disbanding in 1978. Raw funk, that’s basically what they’ve been playing and clearly there was a blacksploitation feel all over the place, but their drive was quite unique. Rediscover the myth

South London-based band Soothsayers are set to release their ninth studio album 'We Are Many'. Held together by heavy basslines, solid grooves, and socially and politically charged lyrics; the album takes the listener into different sonic spaces with elements of dub, Afrobeat, improvisational jazz and electronica.

The initial steps in recording 'We Are Many' came in January 2019 when the band's founders - saxophonist Idris Rahman and trumpeter Robin Hopcraft - set out on a journey to Brazil. With executive production in the Sao Paulo studio by renowned music journalist and author David Katz, they hooked up with bass player and producer Victor Rice who they'd met sharing the bill at Freedom Sounds festival in Cologne, Germany a year earlier. Victor organised a session in Studio Traquitana, home of acclaimed Brazilian band Bixiga 70, and invited a selection of local musicians. Percussionist and singer Ligia Kamara contributed lyrics and melodies written in the studio, and drummer Bruno Buarque, guitarist Joao Erbetta and bassist Victor provided some solid, personality-driven input. Fresh and vital, what came out was a fascinating blend of Soothsayers' dub and Afrobeat mixed with distinctly Brazilian inflections.

After arriving back in the UK, Idris and Robin set about creating the remainder of the album in a different, yet complimentary way, and called on the services of Wu-Lu and Kwake at their The Room studio in South London. Things started to take shape very quickly, Wu-Lu and Kwake combining Soothsayers' music with electronic elements, while also referencing elements of the current UK jazz scene.

When lockdown hit in March 2020, there was still a lot of work to do in order to complete a full album and Robin and Idris set about working on tracks with their musicians remotely. Having time to consider the album as a whole, they found strong connections between the music recorded in Brazil and the tracks recorded in London and they set about fusing and combining these elements further into a satisfying whole.

UK based Sengalese singer Modou Toure was enlisted to guest on one track while percussionists Satin Singh and Maurizio Ravalico were engaged to help affirm a sound-world where Brazilian flavours, such as the low-end Surdo drum, were combined with sounds more readily associated with reggae and Afrobeat.

Soothsayers' three part vocal harmony is a defining factor in this album. With strong references to the vocal styles of reggae legends such as The Gladiators, Mighty Diamonds, Heptones, and Abyssinnians; it has benefited from the long-standing friendship between Robin, Idris and Julia Biel. Lyrics, melodies and harmonies were presented, discussed, explored and recorded at Idris' and Julia's home studio in Streatham in a relaxed and positive way, with concepts from social and political commentary turned into powerful songs.

Themes cover political observations of Trump and beyond alongside Brazil's president Bolsanaro (Rat Race), speaking out against increasing levels of violence from the Brazilian government towards its native and indigenous people (Love And Unity) and keeping hopeful despite the impending horrors of a no-deal Brexit (We Won't Lose Hope).

Elsewhere they discuss striving to create space for meditation and reflection against the background noise of 24/7 news and social media (Move In Silence), the daily grind (No Sacrifice) and workers' rights (Slave), while highlighting those that fall through the cracks in society and end up without a permanent address, what led to this and how close we all are from this happening (One Step Away).

'We Are Many' represents a positive and uplifting statement in the face of challenging times - the overriding force, power and positivity of the music to continue forward, pushing the boundaries of musical concepts into the future.

"Whilst heavy questions of life and death and the future of our species surround us all, music is a guide that can help us perceive the challenges in a different way - a guide that can help us towards a deep inner peace. If we listen, music can help light the way. We hope you will listen, and we hope you will experience the joy, meditative power and beauty in the connection of different musical cultures that was experienced in the creation of this album."

one of the very rarest underground folk rock private pressings with just one hand made copy known to exist, ntp perform a delicate and complex pop inflected downtempo folk with arch wit and charm, at times very reminiscent of the brilliant and largely forgotten Jimmy Campbell. the masterpiece 'Miranda' is lovelorn and infectious in its bittersweet melody, and all the songs are very subtle and understated, the lyrics often tackle deliberately mundane subjects in a poetic and clever way, much like the aforementioned Campbell. Acoustic Guitar, Piano and vocal...its folky pop and hard to categorise, with outstanding compositions.

Being as LSD was first developed in a laboratory in Basel, it is perhaps no coincidence that one of the most far out albums of all time was made by this Swiss band (no small feat, given the competition!). Braintickets 1971 debut, Cottonwoodhill, begins normally enough with two fine psychedelic/Krautrock-influenced tracks, but the remainder of the album plays like an acid trip with a soundtrack, dominated by Joel Vandroogenbroecks endless droning organ, a variety of musique concrète-type sound effects and vocalist Dawn Muirs trippy vocals. The album, banned in several countries, even came with this self-imposed warning: After Listening to this Record, your friends may not know you anymore. / Only listen to this once a day, your brain might be destroyed!. Gatefold sleeve. Fully remastered from the original master tapes!

Hyperspace will be Beck’s 14th album, following 2017’s Colors, which won Best Alternative Music Album and Best Engineered Album, Non-Classical at the 61st GRAMMY Awards earlier this year. Hyperspace’s new dimensions in sound are the result of Beck’s most collaborative efforts to date. Seven of the album's 11 tracks—including single “Uneventful Days” and “Saw Lightning” (as featured in the Beats by Dr. Dre Powerbeats Pro campaign and also included with pre-orders)—feature co-writing and co-production from Pharrell Williams. Elsewhere in Hyperspace, “See Through” is co-written/co-produced by frequent Beck collaborator Greg Kurstin, “Star” is co-written/co-produced by Paul Epworth, “Stratosphere” features back-up from Chris Martin, the album’s title track features guest vocals from Terrell Hines, and “Die Waiting” is co-written/co-produced by Cole M.G.N. with backing vocals from Sky Ferreira. Longtime Beck bandmates Jason Falkner, Smokey Hormel and Roger Manning Jr. feature on much of the album as well.

All the tracks on this Rides Again album are unreleased studio material recorded after 1st album came out in 2005. At that time the band members had some troubles during recording, so after the recording sessions they broke up. These tracks were sleeping in the vault for more then fifteen years. The music is a mixture of psychedelic groove, rock, funk, and doom metal. For fans of Cactus, Grand Funk Railroad, Mountain, Sir Load Baltimore, Captain Beyond, Meaters, Graham Central Station and Funkadelic. On the album you can find four original songs plus two cover tracks: "Earthquake" from Graham Central Station and "Stay Away" from Meters.

South London-based band Soothsayers are set to release their ninth studio album 'We Are Many'. Held together by heavy basslines, solid grooves, and socially and politically charged lyrics; the album takes the listener into different sonic spaces with elements of dub, Afrobeat, improvisational jazz and electronica.

The initial steps in recording 'We Are Many' came in January 2019 when the band's founders - saxophonist Idris Rahman and trumpeter Robin Hopcraft - set out on a journey to Brazil. With executive production in the Sao Paulo studio by renowned music journalist and author David Katz, they hooked up with bass player and producer Victor Rice who they'd met sharing the bill at Freedom Sounds festival in Cologne, Germany a year earlier. Victor organised a session in Studio Traquitana, home of acclaimed Brazilian band Bixiga 70, and invited a selection of local musicians. Percussionist and singer Ligia Kamara contributed lyrics and melodies written in the studio, and drummer Bruno Buarque, guitarist Joao Erbetta and bassist Victor provided some solid, personality-driven input. Fresh and vital, what came out was a fascinating blend of Soothsayers' dub and Afrobeat mixed with distinctly Brazilian inflections.

After arriving back in the UK, Idris and Robin set about creating the remainder of the album in a different, yet complimentary way, and called on the services of Wu-Lu and Kwake at their The Room studio in South London. Things started to take shape very quickly, Wu-Lu and Kwake combining Soothsayers' music with electronic elements, while also referencing elements of the current UK jazz scene.

When lockdown hit in March 2020, there was still a lot of work to do in order to complete a full album and Robin and Idris set about working on tracks with their musicians remotely. Having time to consider the album as a whole, they found strong connections between the music recorded in Brazil and the tracks recorded in London and they set about fusing and combining these elements further into a satisfying whole.

UK based Sengalese singer Modou Toure was enlisted to guest on one track while percussionists Satin Singh and Maurizio Ravalico were engaged to help affirm a sound-world where Brazilian flavours, such as the low-end Surdo drum, were combined with sounds more readily associated with reggae and Afrobeat.

Soothsayers' three part vocal harmony is a defining factor in this album. With strong references to the vocal styles of reggae legends such as The Gladiators, Mighty Diamonds, Heptones, and Abyssinnians; it has benefited from the long-standing friendship between Robin, Idris and Julia Biel. Lyrics, melodies and harmonies were presented, discussed, explored and recorded at Idris' and Julia's home studio in Streatham in a relaxed and positive way, with concepts from social and political commentary turned into powerful songs.

Themes cover political observations of Trump and beyond alongside Brazil's president Bolsanaro (Rat Race), speaking out against increasing levels of violence from the Brazilian government towards its native and indigenous people (Love And Unity) and keeping hopeful despite the impending horrors of a no-deal Brexit (We Won't Lose Hope).

Elsewhere they discuss striving to create space for meditation and reflection against the background noise of 24/7 news and social media (Move In Silence), the daily grind (No Sacrifice) and workers' rights (Slave), while highlighting those that fall through the cracks in society and end up without a permanent address, what led to this and how close we all are from this happening (One Step Away).

'We Are Many' represents a positive and uplifting statement in the face of challenging times - the overriding force, power and positivity of the music to continue forward, pushing the boundaries of musical concepts into the future.

"Whilst heavy questions of life and death and the future of our species surround us all, music is a guide that can help us perceive the challenges in a different way - a guide that can help us towards a deep inner peace. If we listen, music can help light the way. We hope you will listen, and we hope you will experience the joy, meditative power and beauty in the connection of different musical cultures that was experienced in the creation of this album."

- Idris Rahman and Robin Hopcraft

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

12” album of previously released Dub album by Nkrumah “Jah” Thomas from Kingston, Jamaica. Re-issued on WHITE vinyl.

Nkrumah “Jah” Thomas is an esteemed reggae deejay and record producer who first came to prominence in the 1970s, later setting up his own labels ‘Midnight Rock’ and ‘Nura’.

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

Limited edition cloudy clear vinyl. Combining processed recordings of wind and water with analog synthesizers and chamber orchestra, Elori Kramer's The Blue of Distance is an audio dissertation on the role technology plays in our relationships to geography and nature, unspooling into an examination of memory and longing across seven sections that layer filmic minimalism over churning electronic soundbeds. Half of the suite was written in the Adirondack mountains during summer amid lakes, rivers, and moss-laden forest floors, while the other half was conceived on a frozen Lake Superior island in deep winter, creating a subtextual dialogue between the two extreme settings. Kramer, who was born in 1990 and grew up alongside the internet, uses her music to explore nature in the actual and the virtual world, through direct experience and facsimile alike, focussing and blurring the line between the two. "Looking back at my videos of that summer-- which is where the processed audio came from-- I tried to remember what it had felt like to be there," she recalls, "thinking about questions of reality versus imagination; physical versus digital; and the ways in which memory shifts through our minds and technology." The title The Blue of Distance was derived from Rebecca Solnit's book A Field Guide to Getting Lost, referring to the phenomenon of faraway mountains appearing blue due to light particles getting lost over distance. "If we were to go up to the mountains that appear blue from far away, we would see that they weren't actually that color." she says. "This beauty is made possible because of their distance," much in the same way that the splendor of a lush season is only fully realized in the throes of a bleak one, and the joy of an event can only be felt when it has long since been consigned to remembrance. R.I.Y.L Kaitlyn Aurelia Smith, Philip Glass, Steve Reich, Josiah Steinbrick, Emily Sprague

- Rare P-Funk album from 1983 - Funkadelic/Parliament All-Star Line-Up - First ever vinyl reissue - Comes with a repro of the original insert - 180g Black Vinyl Edition - Limited to 500 copies, comes with obi strip // Jerome "Bigfoot" Brailey is an American drummer who started performing in the early 1970s with several R&B groups from the likes of The Unifics, The Chambers Brothers and The Five Stairsteps where he developed his unique style and finesse on drums. Later in 1975 he joined George Clinton's P-Funk collective and has appeared on many of Parliament & Funkadelic's most popular recordings (some of which he also co-wrote). Brailey played on classic albums like `Mothership Connection' and `One Nation Under A Groove'. Samples from that body of work (and his drum arrangements) have since then appeared on hundreds of hip hop and contemporary R&B songs by renowned artists such as Kendrick Lamar and Childish Gambino. Jerome Brailey is a member of the Rock and Roll Hall of Fame (inducted in 1997) and part of their `50 greatest drummers in the Hall' list (stating that his drum style kept Parliament-Funkadelic rooted in the old-school `James Brown-style funk')_next to this achievement, he was proclaimed by Rolling Stone as one of the `100 Greatest Drummers of All Time' for his steady kick drum, shifty hi-hat action and intricately unpredictable snare patterns. Brailey earned numerous Gold and Platinum records with the P-Funk Organization and has worked as a session drummer for many talented artists such as Herbie Hancock, Buddy Miles, Snoop Dogg and Pharoah Sanders. George Clinton's funk empire was not without its disagreements and Jerome Brailey's `Mutiny' project was a direct result of just such a disagreement (as well as one of the more notable offshoots of the P-Funk axis). Mutiny performed in a style not far removed from the classic P-Funk style and with a lot of emphasis on the dual lead guitar work, but what makes them unique compared to their contemporaries is that at times their recordings also emit a darker, more sinister feeling. Besides Brailey on drums (and on most of the lead vocals) Mutiny featured a funk-alumni line-up and released three amazing and collectible albums: `Mutiny On The Mammaship' (CBS, 1979), `Funk Plus The One' (Columbia, 1980) and `A Night Out With the Boys' (J. Romeo, 1983)_these were followed by two comeback albums: `Aftershock' (Rykodisc 1995) and `Funk Road' (Catbone, 2013). The `Mutiny' album we are proudly presenting you today (A Night Out With The Boys) is an underrated gem made by musicians who defined the funk scene of the '70s and '80s! Featuring an all-star line-up that includes Rodney Curtis (Fred Wesley, Maceo Parker), Michael Hampton (Funkadelic-Parliament, Deee-Lite), Kenni Hairston (Cameo) and Maceo Bond of Osiris/Afrika Bambaataa fame! `A Night Out With The Boys' has it all: Jerome's trademark drumbeats, funky bass grooves, driving riffs accented by stinging synth parts, slow spacey (and prominently featured) guitars, top-notch lead vocals and chants that recall Sly Stone's "Loose Booty". The whole album is a hot dance jam with crisp percussion_an extremely infectious, locked-in-the-pocket bass-heavy monster-funk-bomb that any serious self-respecting funk fanatic must have in his/her collection!

Demon Records presents Distortion: 1996-2007, the second in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould.
Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume two in this new series covers 1996 to 2007, beginning with the 1996 self-titled solo album and continuing through to Mould’s 2006 collaboration with Rich Morel BLOWOFF.

• 6 studio albums across 8LPs, including – Bob Mould, The Last Dog And Pony Show, modulate. (first time on vinyl), Long Playing Grooves. (first time on vinyl), Body Of Song, and BLOWOFF (first time on vinyl).
• Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects.
• Accompanying the studio albums is a new compilation Distortion Plus: 1996-2007 which features an array of bonus tracks including the demo version of ‘Dog On Fire’ (Theme from The Daily Show), B sides and other rarities (pressed on clear vinyl).
• Includes a 28-page companion booklet featuring: liner notes by journalist Keith Cameron; contributions from Death Cab For Cutie’s Ben Gibbard and Best Coast’s Bethany Cosentino; lyrics and memorabilia.
• Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston.

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• Creation Records founder Alan McGee named his label after the band, and named his band Biff Bang Pow after one of their songs. So perhaps it was no surprise when in 1995 he came up with the idea of The Creation recording a song called “Creation” to be released on the Creation label. In the wake of reunion shows at The Mean Fiddler in 1993 and 1995, the original line-up re-convened, and the recordings expanded into an album. “Power Surge” was released in 1996.
• The album is pressed on 140 gram clear vinyl.

Under the impression of the racially motivated murders on 19 February 2020 in Hanau, her hometown, the visual artist and musician Michaela Meise recorded the piece "Cemalim" by the Turk Erkin Koray in German translation. The production of the song was supported by the Städtische Galerie Nordhorn and the NS-Dokumentationszentrum München, both of which have included the work in their exhibition programmes this year.

Erkin Koray is a representative of the psychedelic Anadolu-Rock and published "Cemalim" as an arrangement in 1973. The original composer, Rafik Başaran, came from the Cappadocian town of Ürgüp, which is also mentioned in the song. "Cemalim" means, translated into German, "My darling Cemal", and is a lament for the dead. Meise wrote the German text based on the translation by Fatih Alasalvaroglu, who also comes from Hanau.

Besides the mourning of nine young people, solidarity with the relatives and friends of the murder victims is urgently needed. They have organised themselves in the "Initiative 19 February Hanau" - on their website you can find information about what support they would like to receive.

Most of the concert programme of the last two years included anti-fascist songs and was a reaction to the increasing right-wing populism. Folk songs, hits and chansons of the 1960s, published in July 2018 on the album "Ich bin Griechin" (Martin Hossbach), dealt with the experience of the Second World War, told of the longing to leave home or the experiences of a seasonal worker. The songs were composed by the anti-fascist Mikis Theodorakis, the musician Barbara, who survived the Shoah with her family in the underground, and George Moustaki and Alexandra, who crossed both national borders.

Unter dem Eindruck der rassistisch motivierten Morde am 19. Februar 2020 in Hanau, ihrer Heimatstadt, hat die bildende Künstlerin und Musikerin Michaela Meise das Stück »Cemalim« des Türken Erkin Koray in deutscher Übersetzung eingespielt. Die Produktion des Liedes wurde von der Städtischen Galerie Nordhorn und dem NS-Dokumentationszentrum München unterstützt, die beide das Werk in ihre diesjährigen Ausstellungsprogramme aufgenommen haben.

Erkin Koray ist ein Vertreter des psychedelischen Anadolu-Rock und veröffentlichte »Cemalim« im Jahr 1973 als Bearbeitung. Der ursprüngliche Komponist, Rafik Başaran, stammte aus der kappadokischen Stadt Ürgüp, von der auch im Lied die Rede ist. »Cemalim« bedeutet, ins Deutsche übersetzt, »Mein Liebling Cemal«, und ist eine Totenklage. Meise schrieb den deutschen Text auf Grundlage der Übersetzung von Fatih Alasalvaroglu, der ebenfalls aus Hanau kommt.

Neben der Trauer um neun junge Menschen ist Solidarität mit den Angehörigen und Freunden der Mordopfer dringend notwendig. Sie haben sich in der »Initiative 19. Februar Hanau« organisiert – auf ihrer Website finden sich Informationen, welche Unterstützung sie sich wünschen.

Meises Konzertprogramm der letzten zwei Jahre umfasste anti-faschistische Lieder und reagierte somit auf den zunehmenden Rechtspopulismus. Volkslieder, Schlager und Chansons der 1960er Jahre, erschienen im Juli 2018 auf dem Album »Ich bin Griechin« (Martin Hossbach), verarbeiteten die Erfahrung des Zweiten Weltkrieges, erzählten von der Sehnsucht, die Heimat zu verlassen oder den Erfahrungen eines Saisonarbeiters. Die Lieder stammten vom Antifaschisten Mikis Theodorakis, der Musikerin Barbara, welche die Shoah mit ihrer Familie im Untergrund überlebte, sowie von George Moustaki und Alexandra, die beide nationale Grenzen überschritten.
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THERION have always been a band that have challenged themselves to explore new paths, while remaining true to their musical core values. For their 17th studio album, mastermind Christofer Johnsson and his collaborator Thomas Vikström have created something that has been previously unthinkable to the guitarist and the singer. "We have done the only thing that was left of all the different angles to explore", explains Christofer. "We have decided to give the people what they kept asking for. 'Leviathan' is the first album that we have deliberately packed with THERION hit songs."

True to the Swede's words, the album opens with the catchy and swift tune 'The Leaf Of The Oak Of Far' featuring female and male antiphonal singing as well as a choir that seems to have evolved straight out of THERION's breakthrough full-length "Theli" (1996). This is immediately followed by the obvious highlight 'Tuonela', in which Christofer cleverly underscores this hit-track's Finnish vibe by employing NIGHTWISH’s "metal voice" Marko Hietala. Next up in this parade of future fan-favourites is the title track 'Leviathan' that offers classic THERION material with operatic female vocals and a massive choir.

Christofer Johnsson's passion for classic voices, choirs, and orchestral elements as well as his penchant for epic melodies in combination with rock and metal shines clearly through the following sing-along ballad 'Die Wellen Der Zeit', which indicates another nod to German romantic composer Richard Wagner. "Ever since 'Theli', Wagner has been and will always be at the core of THERION", emphasises Christofer. "When we started to combine metal and opera, it was something new and original. Today, symphonic metal has long been a firmly established genre."

When THERION came into being in 1988 by changing name from the already existing band BLITZKRIEG, which was founded a year earlier, Christofer had rather taken inspiration from SLAYER's "Reign In Blood" among other classic metal albums. At the beginning, the Swedes were firmly rooted in death metal, a genre which they helped to define, as witnessed by their debut album "Of Darkness...." (1991). Yet even back then, there were hints of "something else" lurking beneath the rough surface.

The use of female vocals is another core ingredient of THERION today, which developed gradually. CELTIC FROST had basically introduced the female element to extreme metal on "To Mega Therion" in 1985. THERION began with both a female and male vocalist emulating a church like choir already in their sophomore full-length 'Beyond Sanctorum' (1992). With Symphony "Masses: Ho Drakon Ho Megas" (1993) and "Lepaca Kliffoth" (1995), Christofer continued to developed his trademark sound by gradually drifting towards cleaner vocals and more keyboards. With "Theli", the Swedes had firmly established a reputation of pushing the boundaries of metal in the 90s – among such acts as their compatriots TIAMAT, THE GATHERING, and MOONSPELL that were often referred to as "gothic metal" at the time.
THERION continued to break new ground leaving inspiration for others to follow in their wake: On "A'arab Zaraq - Lucid Dreaming" (1997), Christofer further explored the use of Near Eastern music in metal which he had already begun in 1992, while "Secret Of The Runes" (2001) dared to have Swedish lyrics in some songs. While critics were left confused and fans challenged, THERION were often ahead of their times and vindicated in hindsight. Even the band's 25th anniversary excursion "Les Fleurs Du Mal" has by now overcome the initial shock the album caused and is only beaten in terms of streaming by the classic "Vovin" (1998).
When Christofer faced the question of where to go next after the dramatic "Beloved Antichrist" (2018) had finally fulfilled his musical mission, his answer is "Leviathan" named after a giant sea monster from Judeo-Christian myth that has roots in Babylonic lore: THERION have created a giant hit album – and for the first time in the history of the Swedes, their fans are not asked to explore something new, but simply to lean back and enjoy the best from their band!

James Yorkston and The Second Hand Orchestra release ‘The Wide, Wide River’. The album came to be after the blossoming of a long-term friendship between James Yorkston and Karl-Jonas Winqvist, the Swedish music producer, leader and conductor of The Second Hand Orchestra.
That communal feeling is apparent across the entire album. Recorded and mixed in Sweden over the course of three days, with a selection of musicians Winqvist had brought together, including Peter Morén (Peter, Bjorn & John), Cecilia Österholm (one of Sweden’s best-known nyckelharpa players), Emma Nordenstam (piano & cello) and Ulrika Gyllenberg (violin).
The studio approach with The Second Hand Orchestra was entirely improvised around Yorkston’s songs and the only song they heard in advance was ‘Ella Mary Leather’; Yorkston didn’t want to direct anyone too much but instead allowed for a welcoming, instinctive, free-spirited and joyful atmosphere.
‘The Wide, Wide River’ is a soothing, warm and sublime listen whilst also highlighting Yorkston’s skills for songwriting, collaboration and as a musical conductor. The record takes in past loves, advancing age and friends now gone, whilst also containing some of the most sanguine songs Yorkston has ever made.

Terry Gross is an engrossing trio composed of guitarist Phil Manley (Trans Am), bassist Donny Newenhouse, and drummer Phil Becker. The trio are also connected as owners and engineers at Bay Area recording spot El Studio, where they began improvising together as a way to test the boundaries and gear of the studio. Their loose, organic chemistry burgeoned into a deep camaraderie and a sound both expansive and exacting. The three experienced musicians crafted their first fulllength album through the pure joy of playing together with no expectations. With the tapes rolling on their rehearsals, the band captures the exuberance of live performance and elevates those recordings through a deft use of the studio as their collective instrument. On their debut LP Soft Opening, Terry Gross channels their cosmic powers and considerable chops into a gleefully mesmerizing odyssey fit for an arena. Soft Opening took shape over the course of 2016-2019, with Terry Gross writing and refining their songs. "Space Voyage Mission" and "Worm Gear" parallel one another as sinuous jams that pulse with adamantine fervor. Each mountainous epic churns spellbinding repetition and simplicity into dizzying gallops that take hairpin turns into sinewy riffing and elysian vocal melodies. Phil Manley's guitar takes on a constellation of tones across "Space Voyage Mission" with drifting delays soaring over the Newenhouse and Becker's driving rhythm section which all succumb to frothing overdrives that spin the song into entirely new pastures. The hypnotic throb of "Worm Gear" grows all the more enchanting as Newenhouse and Becker add subtle shifts to the single-chord barrage. "Specificity (Or What Have You)" contrasts these two in its more traditionally pop-oriented structure while retaining its predecessors wide-eyed energy and delves further into the album's lightheartedyet-earnest take on sci-fi tropes from space and time travel to the singularity. As Terry Gross, Phil Manley, Donny Newenhouse, and Phil Becker are sonic scientists traversing the borderlands of rock. Soft Opening captures the simple joy of a no-holds-barred trio in stunning detail, transporting the listener into the splendor and freedom of rock.

This 180 gram red virgin vinyl LP reissue of the 1958 Bluenote album ‘Art Blakey and the Jazz Messengers’ includes bonus tracks recorded live at the Olympia, Paris with the same personnel, also in 1958.
Together with Art Blakey on drums the line-up includes Lee Morgan on trumpet, Benny Golson on tenor saxophone, Bobby Timmons on piano and Jymie Merritt on bass .
The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine.

The latest signing to Parisian label No Format! (home to Oumou Sangaré, Blick Bassy and Mélissa Laveaux), Soweto-based 4 piece band Urban Village will release their debut album "Udondolo". Marrying the day-to-day experiences of black South Africans with ebullient elements from traditional Zulu music, Urban Village is the alias of four experimental musicians all born & raised in the township of Soweto at the tail end of apartheid; Urban Village release music under a name which specifically references the blend of cultures, music & rites which were assimilated into the now 1 million strong population of Soweto, when black South Africans from multiple provinces were brought to the area during the establishment of apartheid, under strict segregation from Johannesburg's white suburbs. Born for the most part in the last years of apartheid, whilst growing up the band plunged happily into house and dance music that turned the page of a heavy past. Guitarist Lerato came across older Zulu musicians and their style of maskandi playing. Lerato has since mixed styles from homelands and rural areas, sharpened in club jam sessions (where he went on to meet Tubatsi and form Urban Village) during which spoken word, hip-hop and jazz rub shoulders freely. "Udondolo" - partially recorded at legendary Downtown Studios in the heart of Johannesburg and at Figure of 8 studios in the leafy suburbs of Randburg - is a journey through all the colours of Soweto. This is where it draws its consistency, strength & identity. That of Soweto itself - a dormitory town designed to monitor those who were sent there, it has become a laboratory of music where the hopes of an entire people resonate, even today.

Thinking about a fox face may give many warm, fuzzy feelings,
but don’t forget that foxes have teeth.While Milwaukee quartet
Fox Face may not bite one’s face, their new album End Of Man
might just melt it off.
Featuring players drawn from various corners of the Brewtown
music scene, Fox Face came together organically ahead of the
recording sessions for their November 2017 debut album, Spoil
+ Destroy. Main songwriter Lindsay DeGroot (The Olives)
started working on her songs with multi-instrumentalist Lydia
Washechek (Static Eyes). Eventually fellow Olives member
Mary Hickey joined up on bass, and the final piece of the band
was found with the addition of drummer Christopher Capelle
(Midwest Beat, Long Line Riders). Spoil + Destroy was one of
the best garage punk albums of 2017-2018, taking on science
deniers, misogynists and other jerks with songs anchored by
fiery guitar playing and rock-solid ensemble playing.
End Of Man bumps up the furious guitar sound of Spoil +
Destroy a few more notches. It’s not hard rock, per se, but the
album’s sound edges in that direction. And one can tell that Fox
Face has been playing together for several years now, because
these recordings are tight AF. There’s no filler or extraneous
padding; the arrangements and playing make for a cohesive
whole, and lyrically the songs are direct and to the point while
still remaining universal enough to be met on personal terms by
the listener.
End Of Man may not be a party record … at least, once letting
the lyrics filter past the lizard brain enjoyment of the blazing
riffs. But art is not supposed to be all fun and games. Standing
up and speaking truth may not be the easiest path for a band or
its listeners, but there is much to be said for catharthis. Anyone
feeling despair and helplessness about the current political and
societal breakdown should find some common ground to rage
along with these new songs from Fox Face.

The music of CARM features horns in roles typically reserved for drums, guitars, and voices, while also escaping the genre categorizations reserved for music featuring an instrumentalist as bandleader. It is not jazz or classical music, nor is it a soundtrack. This is contemporary popular music that features a sound normally used as a background color and texture as the unabashed lead voice. According to CARM, aka CJ Camerieri, "It started with the question: `What kind of record would my trumpet-playing heroes from the past make today?' I believe they would want to work with the best producers, beat makers, song-writers, and singers to create new, truly culturally relevant music, and that's what I sought to do with this project." Produced in Minneapolis by Ryan Olson ( Polica , Lizzo ) and featuring collaborations with Sufjan Stevens , Justin Vernon ( Bon Iver ), Yo La Tengo , Shara Nova , Mouse on Mars , Francis and the Lights and many others. It is a completely unique sound that additionally serves as a survey of the collaborations that have come to define the artist's career thus far. Says Vernon, "I truly believe there isn't a more accomplished brass player in the entire world of music. And this is way more than a 'horn' record. It's a discovery of new heights with what is possible in creating music." The album begins with an orchestral brass choir of french horns, which quickly gives way to a piano sample from Francis, as Stevens and Lupin combine voices over a lush bed of horns to sing "Song of Trouble." The album bookends with the same piano sample used as a springboard to an iconic lyric by Vernon in the album closer "Land." Between these two generation-defining artists we have upward sweeping melodies and fanfares reminiscent of Ennio Morricone . The acutely original sound of Georgia Hubley and Ira Kaplan of Yo La Tengo in "Already Gone" give way to the virtuoso sound of Nova's voice. A more experimental path emerges before the strings from yMusic bring us back to the piano sample that started the record. Instead of recycling well-trodden sounds, CARM offers a respite for those seeking an original voice.

La Locura de Machuca is the story of one man’s bizarre odyssey into Colombia’s coastal music underground, and the wild, hypnotic sounds he helped bring up to the surface.

One night in 1975, a successful tax lawyer named Rafael Machuca had his mind blown in Barranquilla’s ‘Plaza de los Musicos’. Overnight he went from a high ranking position in the Columbian revenue authority to visionary production guru of the newly formed record label that bore his name, Discos Machuca, and for the next six years he devoted his life to releasing some of the strangest, most experimental Afro Psychedelia Cumbias ever produced. La Locura de Machuca is the story of one man’s bizarre odyssey into Colombia’s coastal music underground, and the wild, hypnotic sounds he helped bring up to the surface.

The Colombian music industry was thriving in the mid-seventies, but while homegrown bolero and vallenato tunes were doing well on the charts, it was imported African records that were setting crowds on fire at the picos – the sound-systems that fuelled neighbourhood parties – and wherever those records were played there were always a handful of groups who were inspired to plug traditional Cumbia directly into the electric currents coming from across the Atlantic.

It was these obscure bands, who fused Colombian and African rhythms with the swirling organs and psychedelic guitars of underground rock, that fired Machuca’s imagination. While the label made its money releasing popular hits by legends such as Alejandro Durán and Aníbal Velásquez, that money was poured back into a unique run of experimental releases by fringe artists such as La Banda Africana, King Somalie, Conjunto Barbacoa, and Abelardo Carbono, one of the godfathers of Champeta Criolla.

When Machuca couldn’t find groups to realise his particular vision, he simply created them himself. Drawing on a fearsome roster of musicians associated with the label, he assembled bands that lasted only as long as it took to record an album ,and unleashed the results – complete with arrestingly unusual album covers – under a series of different names such as Samba Negra or El Grupo Folclórico. This unorthodox approach led his longtime recording engineer, Eduardo Dávila, to describes Machuca’s productions as the “B-Movies of Colombian music.”

The story of Doctor Machuca and his eccentric exploits tells of one of Colombia’s most atypical and peculiar record companies; a defining pillar of Afro-Caribbean psychedelia. His productions have come to represent the roots of Champeta and set the pedigree standards for Afro and Costeño avant-garde. The seventeen tracks on La Locura de Machuca, harvested from the darkest, strangest corners of the Discos Machuca catalogue, sound like little else recorded before or since.

Joe Cocker Live is a superb live album by Joe Cocker, released in 1990. It was recorded on October 5th, 1989 at Memorial Auditorium in Lowell, Massachusetts with the exception of the last two tracks which were recorded in the studio.

The album features tracks by Dave Mason (“Feelin’ Alright”), Randy Newman (“Guilty”, “You Can Leave Your Hat On”), The Beatles (“With A Little Help From My Friends”), and the Dennis Wilson / Billy Preston penned hit “You Are So Beautiful”.

The album went platinum in Austria, Germany and Switzerland, and achieved gold status in France. Available as a limited edition of 2500 individually numbered copies on transparent red vinyl.

• 180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE
• LIVE ALBUM WITH 2 STUDIO TRACKS
• LIMITED EDITION OF 2500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED COLOURED VINYL

Kurt Vile’s ‘Speed, Sound, Lonely KV (ep)’ was recorded and mixed in sporadic sessions that spanned four years at The Butcher Shoppe studio in Nashville, TN. It includes five songs - covers of John Prine and “Cowboy” Jack Clement as well as two originals - and was recorded alongside a cast of local heavies like Bobby Wood, Dave Roe and Kenny Malone, with Dan Auerbach (The Black Keys) and Matt Sweeney (Chavez, Superwolf) tossed into the mix as well.

Most importantly, it features what KV has called “Probably the single most special musical moment in my life” - a duet with the late John Prine on the songwriter’s well-loved tune, ‘How Lucky’. “The truth is John was my hero for a long time when he came into The Butcher Shoppe to recut one of his deepest classics with me. And, man, I was floating and flying and I couldn’t hear anything he told me while he was there till after he was gone for the night,” notes Vile in a personal statement that accompanies the record. “A couple nights later we were playing ‘How Lucky’ together again; this time onstage at the Grand Ole Opry on New Year's Eve at the turn of 2020. Nothing like seeing John and his band of musical brothers and family and friends playing into the new decade in front of an adoring audience on that stage in Nashville, TN... and, yup, that’s just how lucky we all got that night."

Nuno Canavarro's Plux Quba hails from three decades in the past, yet the simple profi le of it's abstract/ambient/cutup collage makes it a record that sits quite comfortably in our IDM-informed future. In 1988, Plux Quba was a primal dark horse in the world of pants-forward electronic music - an obscurity issued with little explanation from the laid-back west coast of Europe: Portugal, of all places! - though the casual listener could hardly know that from an examination of the LP jacket. The vanguard of electronics in late-80s Europe was being pushed by organizations like Nurse With Wound, The Hafler Trio, HNAS - and yet, when Christoph Heemann came across this recording, it struck his ears and the ears of fellow listeners like nothing before. Plux Quba was handed around between the principles of the early 90s A-Musik scene: Jan St. Werner, C-Schulz, Frank Dommert, Georg Odijk, plus interested fellow travelers like Jim O'Rourke, to the intense curiosity of all. To ears that were already saturated with all things kraut, the dark corners of prog and the frontline of experimental and improvised music, it proved elusive. Not simply in how it sounded and how that sound was achieved, but in where it was coming from - like later Robert Ashley at times; certain stretches of melody recalled some of Eno's ambient pieces - but mostly, it was a completely alien soundscape!

When Lindstrom and Prins Thomas get together, expect the unexpected. The Norwegian production duo's third album III is also their first outing together in eleven years, since II from 2009 and as ever, Lindstrom and Prins Thomas have crafted their own unique sonic world between the two of them. This is expansive, luscious electronic music rich with texture and intricacy, patiently revealing every eccentricity while constantly pulling the listener in. Getting lost never sounded so good. Since the release of II, Lindstrom and Prins Thomas have remained more than busy with their respective solo careers, but work on III was taking place behind the scenes the whole time - slow and steady by sending files back and forth. "There's a different process with every album," Thomas explains. "With the first two albums, we had a door between separate rooms in the studio, so I could open my door and play him something. We also toured together a lot after the first album, and after that experience we realized that we work better together at a distance. We're doing our best work by not worrying too much about what the other one of us is doing." Eventually, the bulk of III came together over the last year, as Lindstrom and Prins Thomas teamed up to craft a lush and lovely work that recalls the hazy atmospherics of Air, the loose-fit jazz of Lonnie Liston Smith, and the genreresistant electronic music that both artists have made their name on over the course of their impressive careers. "Our partnership is very democratic "we never turn down each other's ideas. And if it goes wrong, we blame it on the other guy," Thomas says with a laugh. "The tracks that Lindstrom sent me this time were almost like standard house tracks. I already had an idea of what I wanted to do, so I forced those tracks into new shoes and dresses." Above all else, III is a testament to the adventurousness of Lindstrom and Prins Thomas when it comes to soundcraft. Both artists have established separate careers on bodies of work that feature infinite twists and turns, thrilling their audiences with the suggestion of where they've been and where they're about to go. Together, they've crafted what might be their most beguiling and inviting work yet, a jeweled box of electronic music ornately crafted but never losing the sense of playfulness that so many have come to love from them.

It is often the case with popular music that those recordings which have the most profound impact and long-term appeal are often the ones which are produced in a moment without much deliberation or agenda. And that has certainly been the case with Slow Club’s EP of Christmas songs.

The first single from the E.P, Christmas TV, was actually written in soundcheck at Birmingham Barfly and released as a free download for Christmas 2008. The rest of the EP was written and recorded in a short burst in late summer 2009 at Axis Studios in Sheffield and in their friend’s bedroom. It came at a moment of intense creativity for the band when the songs were coming thick and fast and the duo were really hitting their stride. The differing musical styles of the pair was already becoming apparent across the three original compositions and three covers, and there is a real sense of a band pushing their limits in a way which would coalesce in the recording of their breakthrough second album the following year.

Northgard is a strategy game based on Norse mythology in which you control a clan of Vikings vying for the control of a mysterious newfound continent.

This is a limited and hand-numbered edition of the game's soundtrack (music by Camille Schoell).

Back in 1977, the LP Point Of Know Return marked the commercial peak of Kansas. The Progressive Rock band had experienced tremendous success with their previous release (1976’s Leftoverture) and were no longer starving for a hit, yet the sessions for their fifth album were tense. Steve Walsh briefly left the group in the middle of these sessions. Nevertheless, the LP turned out an even bigger success for the band than its predecessor. It would be their highest charting record and with four million copies sold, it was certified Quadruple Platinum by the RIAA. The tour to support the album brought them to huge venues such as New York’s Madison Square Garden and the LA Forum, with the tour book including an essay written by Rolling Stone contributor Cameron Crowe. The band became a staple on FM radio at this point, and during this period was one of the most popular rock acts in the country. “Dust In The Wind” became the hit single of the album.

• 180 GRAM AUDIOPHILE VINYL
• INSERT
• MULTI-PLATINUM 1977 ALBUM FEATURING THE SINGLES “DUST IN THE WIND” & “PORTRAIT (HE KNEW)”
• LIMITED EDITION OF 1500 INDIVIDUALLY NUMBERED COPIES ON FLAMING COLOURED VINYL

Barang Bang Records Archive Series vol. 1

Previously unreleased recordings
Compiled by Gianmarco Liguori

Bernie McGann - alto sax
Kim Paterson - trumpet
Bobby Gebert - piano (side A)
Andy Brown – bass
George Neidorf – drums

Recorded by Trevor Graham in Sydney, Australia (copyright 1966)

There is no more engaging nor distinctive alto saxophone sound on the planet than McGann’s.
Sydney Morning Herald

McGann takes the language of Bebop then bends and stretches it to fit the contours of his own remarkable im-agination.
The Wire

Bernie McGann’s sound is exciting and physical, as heated as any post-coltrane modernist.
Downbeat

A lost treasure of Antipodean jazz

This compilation documents part of an exciting period in Australasian jazz. Recorded in Sydney, 1966, we can hear Bernie McGann was already one of the great Australian jazz stylists. At the time, the only publicly available recording he made was two tracks on the Jazz Australia compilation (1967) (CBS BP 233450).

Two years earlier, McGann was living in Auckland, New Zealand (1963-64). It was here that he worked regular-ly with Kim Paterson, Andy Brown and pianist Dave MacRae, and the basis of this band came into being.

‘Lazy Days’, ‘Chuggin’, and ‘Sky’ were salvaged from a cassette in Kim Paterson’s collection, one of the few remaining copies. Originally intended for a radio broadcast, the master tapes were reportedly destroyed after the session.

‘Rhythm-a-Ning’ and ‘When Will The Blues Leave?’ were taped by Trevor Graham at the Wayside Chapel in King’s Cross. Graham was a Sydney music journalist and ally of the avant garde, with the foresight to capture some of what was happening at the time.

This album is also notable for a rare appearance by the mysterious American drummer George Neidorf (mis-spelt as ‘Neidori’ in the liner notes on the first Soft Machine album), an early influence on drummer Robert Wyatt.

Field recordings of a major artist in strong company – a lost treasure of Antipodean modern jazz.

Without warning, a group of young girls from a remote region of Benin is shaking up the world of garage rock with breathtaking freshness, ingenuity and energy, playing spot-on, loud and clear.

A musician named André Baleguemon decided to form an exclusively female band rooted in the concerns of its time. He puts the spotlight on the guitar, drums and keyboard, instruments he has admired since his childhood, symbols of modernity in this remote region. His observation is simple: “In the North, girls have no room to advance and women are put aside. I simply wanted to show the importance of women in the societies of North Benin by forming a female orchestra “.
On July 25th, 2016, with the support of the city of Natitingou, André launched a press release on Nanto FM offering to help train girls in music for free. A few days later, dozens of aspiring musicians showed up at the Youth Center. “The girls who came didn’t know anything about music. We selected seven girls of the Waama and Nabo ethnic groups from the surrounding villages, some had never even seen these types of instruments before. “
The girls quickly became passionate about their new musical activities, learning how to play drums, guitar, piano and sing vocal harmonies. Their progress was astounding. An intense work of musical training took place, starting with drum workshops, their favorite instrument. Angelique and Urrice on drums and vocals, assisted by Marguerite, the third drummer. Sandrine is on keyboards, as is Grace, who also sings vocals. Julienne is on bass and Anne on guitar.
André’s determination is one of the key elements of this human and artistic success. The girls have already performed dozens of concerts in the region, forging and expanding an already solid repertoire, while attracting an ever-increasing local audience. In addition to musical progress, he has been personally involved with each family, showing them the importance of his project, both musically and humanly and in particular the fact that each girl must remain in school and not be forced into marriage.

At the end of 2018, their encounter with the young French sound engineer Jérémie Verdier accelerated the course of things. On a mission in the region, he called on his Spanish friends Juan Toran and Juan Serra who showed up with their recording equipment in order to record the band’s first songs in the annex of the local museum. Random encounters and fate led Jean-Baptiste Guillot to hear the tapes. He decided to go meet them at the end of 2019. This short but memorable journey sealed the fate of the record you are now holding in your hands.

The sublime songs comprising Los Angeles-based musician Ana Roxanne's second release, Because Of A Flower, germinated gradually across five years, inspired by interwoven notions of gender identity, beauty, and cruelty. She describes her process as beginning with “a drone element and a mood,” then intuiting melody, syllables, and lyrics incrementally, like sacred shapes materializing from mist.
The experience of identifying as intersex informs the album on levels both sonic and thematic, from spoken word texts borrowed from tonal harmony textbooks to cinematic dialogue samples and castrati aria allusions. It's an appropriately interstitial vision of ambient songcraft, a chemistry of wisps and whispers, sanctuary and sorrow, conjured through a fragile balance of voice, bass, space, and texture.
Despite a background studying at the prestigious Mills College in Oakland, Roxanne's music rarely feels conceptual, instead radiating an immediate and emotive aura, rooted in the present tense of her personal journey. She speaks of the flower in the title as a body, singular and sunlit, as many petals as thorns, an enigma beholden only to itself. But whether taken as surface or subtext, Because is a transfixing document of a rare artist in the spring of their ascension.

Misha Sultan is a professional musician multi-instumentalist and sound engineer with a wide background. He started making music over 20 years ago with his brother and neighbors in the heart of Siberia. Misha’s hometown Novosibirsk is located between Europe and Asia where lots of his inspiration came from.

«The Red Fern Road» is a trip for years and for less than an hour at the same time. While listening to the album you’re going into the void of time and place. But the world that opens up to you when you listen to the music is such a beautiful universe that you want to stay there forever.

Dynamic Sounds Studio has its roots firmly set in Jamaica’s history. It was the first state of the art studio built in Kingston, Jamaica and a firm favourite with all the topflight homespun artists. Bob Marley chose to record the bulk of his seminal 'Catch A Fire' album there and many foreign musicians trying to catch some of that reggae magic and emulate that sound have beaten a path to its doors. As you will see the studio had a history already of its own, that was carved out before it became the aptly named Dynamic Sounds.

Originally named WIRL Studio's (West Indies Records Limited), it was set up initially to record Jamaica's versions of the American Rhythm and Blues tunes that were proving so popular  on the island. It was started back in 1958 by Political leader Edward Seaga an astute businessman, who had many interests around the island including clubs and bars. As the R & B music evolved into its own styles from Mento into Ska, one of its main protagonists Byron Lee and his band the Dragonaires would be at the forefront and be seen as ambassadors to the cause. Edward Seaga would choose the band to head the 1964 World’s Fair and take them to New York to showcase the Jamaican Ska Music. His political ambitions leading the American friendly JLP (Jamaican Labour Party) against the Cuban inspired PNP (People's National Party), would see him cutting back his other interests and lead to the selling of WIRL, lock stock and barrel to Byron Lee. On taking over the business he renamed it Dynamic Sounds and extended it to include not only a top of the range recording studio but a pressing plant to distribute the new hot sounds of the day directly to the streets of Jamaica. The address would also change to 15 Bell Road, it's old address No 13, seemingly too unlucky for such a fine establishment.

The studio has become part of the Jamaican culture and each twist and turn in its musical story has been caught and recorded here. We get on board when the music had slowed down to the reggae skank that we now know and love. We have picked some fine cuts that we feel best represent the times. The rhythms are pushed to the fore and the great Sylvan Morris a much-underrated studio master, always came up with some interesting effects to enhance the version cuts. A fine time in reggae's history caught at one of Jamaica's finest studios. Dynamic Sounds from a Dynamic Studio.....

“We have always been very fortunate to meet and know many talented producers. In recent years, we have been exploring those relationships with different remixes and collaborations, and every time something exciting came out. That’s why we started our Synchronicity project. To challenge ourselves making inspiring, fun and beautiful music.‘Synchronicity’ means "the simultaneous occurrence of events which appear significantly related but have no discernible causal connection. This very well describes how our path led to the place we are now – somewhere between the club and indie scenes.” – WhoMadeWho

KOMPAKT welcomes back Copenhagen’s WhoMadeWho. Tomas Barfod’s penchant for electronic music poetically juxtaposed with Tomas Høffding and Jeppe Kjellberg’s respective backgrounds in rock and jazz, gives their music an electrifying combination of sounds, merging a variety of influences to produce a unique sonic fingerprint that is emotive, irresistible and immensely satisfying.

Though we both have yet to strike a note together since the release of their 2012 full length “Brighter” (KOM 254), WhoMadeWho have been remarkably productive. With two full lengths, a DJ mix for Watergate’s series and releasing two of 2019’s most played out club tracks together with Rampa (Innervisions) and Artbat (Watergate Records), the trio have found themselves diving more and more into the world of electronic music, tapping into their goldmine of connections within the scene to spearhead an array of collaborations.

Synchronicity is all about ‘meaningful coincidences’ – bringing interpretation to bear on connections that have no actual causal relationship. It’s a canny concept to pin onto Copenhagen trio WhoMadeWho’s latest album, which sees them return to Kompakt for the first time since 2012’s Brighter.

This re-established connection helps us to understand the synchronicity at play, the way that the WhoMadeWho core ave built an album around collaboration with friends and peers, much as Kompakt is all about cross-connections and family. On Synchronicity, WhoMadeWho call on friends old and new – Michael Mayer, Echonomist, Adana Twins, Alex Boman, Robag Wruhme, Frank Wiedemann, Sainte Vie, Mano Le Tough, Marc Piñol, Rebolledo, and Perel is the cast list; WhoMadeWho direct the material, shaping it into one lovingly flowing gem of dance-pop glory.

There’s something particularly generous about hearing an album as all-inclusive and open-hearted as Synchronicity in the midst of the profound social and cultural shifts we’re currently experiencing. While some songs on Synchronicity were recorded together, in real time, such as the collaborations with Adana Twins and Rebolledo, most of them have taken place via long distance, thanks to the pandemic lockdown. But you don’t need to know who was where to understand either the magnesium-flare melancholy of “Sooner”, recorded with Piñol, which has you holding your breath with the gentle thrill of the song’s lush melody, or the stomping strut of the following Adana Twins collaboration, “Shadow Of Doubt”.

Elsewhere, there’s the stentorian robot voice at the heart of “Hamstring”, where they’re joined by Michael Mayer; the lustrous headsoak of “Twenty Tears”, a tender intervention by Rebolledo; the strip-light, slow-motion disco strut of “Cecil”, produced alongside Echonomist; or the glittering, arpeggio dreamwork that Perel helps sculpt into shape on “Der Abend birgt keine Ruh.”… Really, there’s so much to celebrate here, a panoply of pleasures. From pop revelations to dancefloor delirium to slow-burning brooders, Synchronicity is just that; a space for the joys of the unexpected to collide, and to be given meaning by their coincidental co-existence in WhoMadeWho’s beautiful world.

"Wir hatten immer schon das Glück, viele talentierte Produzenten kennenzulernen. In den letzten Jahren haben wir diese Beziehungen durch verschiedene Remixe und Kollaborationen vertieft und jedes Mal kam etwas Aufregendes dabei heraus. Aus diesem Grund haben wir unser Synchronicity-Projekt gestartet: um uns selbst herauszufordern inspirierte, lustige und schöne Musik zu machen. “Synchronizität” bedeutet das gleichzeitige Auftreten von Ereignissen, die scheinbar in einem signifikanten Zusammenhang stehen, aber keinen erkennbaren kausalen Zusammenhang haben. Das beschreibt sehr gut, wie unser Weg zu dem Ort geführt hat, an dem wir jetzt sind - irgendwo zwischen der Club- und der Indie-Szene". – WhoMadeWho

KOMPAKT freut sich über Rückkehr der Kopenhagener Band WhoMadeWho. Tomas Barfods Vorliebe für elektronische Musik im poetischen Kontrast zu Tomas Høffding und Jeppe Kjellbergs jeweiligem Hintergrund im Rock und Jazz macht ihre Musik zu einem elektrisierenden Konglomerat, in das verschiedene Einflüsse zu einem einzigartigen klanglichen Fingerabdruck verschmelzen: gefühlvoll, unwiderstehlich und immens befriedigend.

Obwohl wir seit der Veröffentlichung von "Brighter" (KOM 254) in 2012 keine gemeinsamen Dinger gedreht haben, waren WhoMadeWho in der Zwischenzeit bemerkenswert produktiv. Mit zwei Full-Length-Alben, einem DJ-Mix für die Watergate-Reihe und der Veröffentlichung von zwei der meistgespielten Clubtracks aus dem Jahr 2019 zusammen mit Rampa (Innervisions) und Artbat (Watergate Records), taucht das Trio mehr und mehr in die Welt der elektronischen Musik ein. Für ihre Kollaborationen greifen WhoMadeWho immer wieder auf ihre Goldgrube an Bekanntschaften innerhalb der Szene zurück.

Bei “Synchronicity” geht es um "sinnvolle Zufälle" - also um die Interpretation von Verbindungen, die keinen tatsächlichen Kausalzusammenhang haben. Es ist ein ausgeklügeltes Konzept, das dem neuesten Album des Kopenhagener Trios WhoMadeWho anheftet: Diese wieder hergestellte Verbindung hilft uns, die Synchronizität im Spiel zu verstehen; die Art und Weise, wie WhoMadeWho ein Album um die Zusammenarbeit mit Freunden und Gleichgesinnten herum aufgebaut hat: schließlich geht es auch bei Kompakt um Querverbindungen und Familie. Auf Synchronicity richten sich WhoMadeWho an alte und neue Freunde: Michael Mayer, Echonomist, Adana Twins, Axel Boman, Robag Wruhme, Frank Wiedemann, Terr, Sainte Vie, Mano Le Tough, Marc Piñol, Rebolledo und Perel stehen auf der Liste. Das Trio führt Regie und sorgt für den Feinschliff. Das Ergebnis: ein echtes Juwel aus Dance, Pop und Glorie.

Inmitten der tiefgreifenden sozialen und kulturellen Veränderungen, die wir derzeit erleben, ist es etwas Besonderes, ein Album zu hören, das so offenherzig ist wie “Synchronicity”. Zwar wurden einige Songs gemeinsam und in Echtzeit aufgenommen – etwa die Kollaboration mit den Adana Twins und Rebolledo – die meisten Sessions fanden aufgrund der Pandemie jedoch über größere Entfernungen statt. Letztlich muss man aber gar nicht wissen wer wo war, um die Melancholie von "Sooner" mit Marc Piñol zu verstehen und im sanften melodischen Rausch des Liedes den Atem anzuhalten. Auch die eher brachiale Energie der darauf folgenden Adana-Twins-Kollaboration , "Shadow Of Doubt" vermittelt sich eingehend über die soziale Distanz hinweg.

An anderer Stelle ertönt die schallende Roboterstimme im Herzen von "Hamstring", wo sich Michael Mayer zu ihnen gesellt; die schimmernden "Twenty Tears", einer zärtlichen Intervention von Rebolledo; der Zeitlupen- Disco-Nummer "Cecil", die zusammen mit Echonomist produziert wurde; oder der glitzernde Arpeggio-Traum, den Perel in "Der Abend birgt keine Ruh" in Form bringt.. Ja, es gibt tatsächlich einiges zu feiern: Von Pop-Enthüllungen über Dancefloor-Delirium bis hin zu Stücken, die sich ihre Zeit nehmen - Synchronicity bietet Platz für all das; das Album spendet Raum, in dem die Freuden des Unerwarteten aufeinanderprallen und durch ihr zufälliges Nebeneinander in der Welt von WhoMadeWho Sinn ergeben.

In March of 2020 bassist Dezron Douglas & harpist Brandee Younger were nestled in their apartment in Harlem, New York, not long after every live concert in the world was cancelled and most folks in the United States were forced to shelter in place for the covid lockdown. With all their gigs cancelled and their incomes strapped.. the two came up with an idea. They would host a live-stream performance from their living room, where they would perform classic tunes for friends and family to watch online, and folks could send them donations. They called it “Force Majeure: Brunch in the Crib with Brandee & Dezron,” the first part in homage to the ubiquitous contract clause that never seems to have any use (except all of sudden, c/o a covid-induced live music industry collapse). The immense popularity of their first performance roped them into doing it again, and again, until it eventually became a weekly ritual for Douglas, Younger, and their many friends and family who tuned in every Friday morning (ourselves included). Knowing the beautiful, natural sound they made in their living room would be as enjoyable (or more) as a record as it was through a social media stream… we mailed them a microphone to record themselves. What’s heard on this album, Force Majeure, is a collection of highlights from Douglas & Younger’s legendary lockdown livestream brunch sessions. It includes gorgeous interpretations of songs by Alice & John Coltrane, The Stylistics, The Jackson 5, Pharoah Sanders, Kate Bush, Sting, and The Carpenters… plus some solid gold nuggets of their banter between tunes. It’s an uplifting suite of real, soulful comfort music – a spiritual salve, emanating warmth from the hearth of a Harlem sanctuary.

Dezron Douglas & Brandee Younger are long time companions in life and in music. The two East Coast natives met early in life and have accompanied each other, personally and professionally, through their equally prolific careers. Douglas, a bassist who has established himself as a musician’s musician, is known to many for his work with Pharoah Sanders, Ravi Coltrane, David Murray, and Keyon Harold. Younger, a harpist who has distinguished herself as one of the premiere voices in her field, is known for her work with Jack DeJohnette, Charlie Haden, Stevie Wonder, The Roots, Lauryn Hill, and Moses Sumney. To the day Douglas and Younger often accompany each other in many of the ensembles they lead, respectively. The two played together in sessions for Makaya McCraven’s 2018 release Universal Beings, on which they are both featured artists. Of Force Majeure, McCraven says: “It’s a testament to the power of music to uplift us through the most challenging times.

(Technasia remix) Limited edition remastered, originally released on F Communications 1998, B1 & B2 Original versions available on F087 1999.

Andreas Köhler studied cello and piano at Musikhochschule Karlsruhe and at Musikhochschule Basel. He experiments extensively from a soft base on the cello, for example, in the composition of the short elementary symphony. Then came a time for other musical experiences, alongside his formal training, experimenting with digital recordings, composition and arrangement skills. Sound Of K digs into the idea that the computer is to be treated as an instrument.

Nkumba System, new project led by guitarist Guillo Cros (Romperayo) provides a vibrant fusion of catchy percussions, Afro-Colombian songs and Cameroonian guitar picking style linking Central Africa to the Caribbean! Nkumba System is about to fill the dancefloors with debut album ¡Bailalo Duro!, recorded between Bogotá and Paris.
On the imaginary highway of Guillo Cros, makossa crosses paths with cumbia, Zairean rumba combines with that of Cuba and last but not least, currulao melts into Malian desert blues. Cros' journeys led him to meet the Cameroonian singer Mama Ohandja, alongside whom he trained for several years. Thereafter, he resided in Bogotá from 2014 to 2019, collaborated with Pedro Ojeda in the band Romperayo and “Los Propios Bateros” (7” NYCT). His current project Nkumba System was born in 2018, inside Colombia's effervescent tropical music scene. The original line-up includes bassist Jhon Socha (Romperayo, la Makina del Karibe), singerpercussionist Leonel Merchan (La Phónoclórica) and Kike Narvaez on drums. Several singles were
released on local labels Tambora Records and Palenque Records, preceeding the arrival of Cameroonian guitarist Simba Daniel Evousa in the band. The drummer Pedro Ojeda, travelling companion in Romperayo, is invited on the track “Mujer hermana”, as well as the Malian singer Mamani Keita on “Paisano”. The album is mixed in
Amsterdam by sprawling musician Alex Figueira (Fumaça Preta, Conjunto Papa Upa, Music With Soul), in his studio Barracão Sound, and comes as a Limited Pressing.

With music from a mix of talented producers, ISSUES is about to release their first ever VA vinyl only limited edition compilation. Each quarter there will be a VA which will contain the best selling tracks of each release and it will also be a way to showcase the sound of the label and promote the artists.

On the A side artists there is Joseph Edmund “It’s ON” track which has Josephs trademark sound with trippy breakdowns, strong buildups and heavy basslines and also Spanish producer Alvaro Am “Activate” reflecting his new renovate sound, offering an infectious vocal hook and a heavy bassline.

Side B includes Kabbina’s “Amnesia” which effectively reflects the trio’s unique style. Using an unmistakable synth shot, prolific vocal and a wobbly bass line that complete the dynamic track and Campbell Fryer’s “Moody” which is a unique groovy tech house track that has appeared in many sets including Michael Bibi, Detlef, Steve Lawler to name a few.

Favorite Recordings presents an exclusive reissue of the first private press eponymous LP by Sacbé, a Mexican Jazz Fusion masterpiece from 1977. Unique and beautifully recorded, with a breezy feel brought by the synthesizers, Sacbé could be likened to what Azymuth was doing at the same time in Brazil. Available as a vinyl-only limited pressing Deluxe Tip-On LP, coming with its original printed innersleeve, remastered by The Carvery.

Sacbé was composed of Eugenio (keyboards), Enrique (electric bass) & Fernando Toussaint (drums), three brothers hailing from the huge Mexico city, and their friend and sax player Alejandro Campos. Growing up in a family of musicians, they quickly became familiar with jazz music. However they were mostly self-taught, most of them choosing at first to work and study outside the music industry, but somehow, Eugenio had the opportunity to start studies at the Berklee Music University. Before leaving, he deeply wanted to play jazz with his brothers. That’s how Sacbé was created on a hot day of October 1976.

The band then built step by step a challenging repertoire including Chick Corea, Herbie Hancock, Weather Report, Milton Nascimento, Focus, Passport, and many more… Gradually, Eugenio started to compose more tracks, and through a cooperative work of arrangement, Sacbé ended up playing only their own compositions. That was not an easy choice for the band, resulting in a lot fewer opportunities to play in bars and clubs at night, while they were cumulating small jobs during the daytime. But their dedication, tightness, and integrity started to attract a wider audience thanks to their sessions at the Musicafé and helped Sacbé to assert its imprint within Mexico’s creative artistic circles. A group of artists with similar attitudes was created and they began working almost as a team, holding live shows, exhibitions, and dance performances, all with a very unique and creative proposal. It’s at this period that the band met Luis Gil, a young designer and recording engineer, who had access to one of the best studios of the city called LAGAB. Recording at nights and weekends for free, the Toussaint brothers had, therefore, the chance to really put their band quite literally under the microscope.

With tenacity, they explored all the possibilities of interpretations, structures and improvisations, collaborating with great musicians and finding themselves in the position of being their own producers, despite being only around 20 years old! This album is the result of this perfectionism ethics, shared by everyone involved. “Sacbé” means white road in the Mayan culture, it was the name for the roads connecting the main ceremonial centres with the jungle, made of roughly three feet of coral limestone. They were sacred roads used by high priests and warriors, which echoed the musical path of the three brothers. Putting the pieces together, they managed to create their own label and pressed 1000 copies of their reunited recordings in 1977. The artwork was painted by Enrique, inspired by the work of Le Douanier Rousseau and the Mayan jungle. Hopefully, the LP met some success in Mexico and California, opening many radio and TV doors for them. It was the starting point for a whole career of recordings, with a total of seven albums including various guests.

As they were working their asses off on their respective projects last year, these two lads came together to deliver a not so formal four-handed introductive dance record. The purpose is crystal clear : one record capturing through three maximalists club tracks, both their obsession for digressive New Beat, Rave-infused House and in the background, dirty breakbeats bumping into thick Emo pads of Italo Disco or some leftfield Post Punk music. Those two were too young to experience the post-Disco big bang which occurred between 88 to 94, but they manage to embrace the spirit and twist it without any shame. Far from contemplating the European dance legacy, they bend it to create a second merciless big bang, right to the face. By that way, they offer you, happy raving people, these three restless pieces that are 200% coherent on their holy belief of a « Maximal Dance » aesthetic.

The band that modernised Zimbabwean music, and by doing so revolutionised the music industry in their country. Available for the first time on vinyl (180 gramms) with gatefold cover, and now all tracks fully remastered !

In 1972, the country of Rhodesia – as Zimbabwe was then known – was in the middle of a long-simmering struggle for independence from British colonial rule.
In the hotels and nightclubs of the capital, bands could make a living playing a mix of Afro-Rock, Cha-Cha-Cha and Congolese Rumba. But as the desire for independence grew stronger, a number of Zimbabwean musicians began to look to their own culture for inspiration. They began to emulate the staccato sound and looping melodies of the mbira (thumb piano) on their electric guitars, and to replicate the insistent shaker rhythms on the hi-hat; they also started to sing in the Shona language and to add overtly political messages to their lyrics (safe in the knowledge that the predominantly white minority government wouldn’t understand them).
From this collision of electric instruments and indigenous traditions, a new style of Zimbabwean popular music – later known as Chimurenga, from the Shona word for ‘struggle’ – was born.

And there were few bands more essential to the development of this music than the Hallelujah Chicken Run Band. The band came into being when a young trumpet player named Daram Karanga offered to assemble a group to entertain the workers at a copper mine in the town of Mhangura.

The original line-up – which included legendary singer Thomas Mapfumo, who would bring the sounds of Chimurenga to the world in the early 1980s with his band the Blacks Unlimited, and Joshua Hlomayi, one of the pioneers of mbira- style guitar – started out playing the Rumba and Afro-Rock styles popular in the capital. Although this was a hit with the white owners of the mine, the workers greeted it with indifference. But when they started adding electric arrangements of traditional Shona music to their repertoire, the audience went wild.

With the addition of “Zim” sounds to their arsenal, the HCR Band became unstoppable. Their reputation spread quickly and, in 1974, they were invited to the capital to compete in a national music contest organised by the South-African Teal label. Not only did they win the competition, but they also attracted the attention of famed producer Crispen Matema, who quickly organised their first recording sessions.
On their first day at Jameson House studios, they recorded half a dozen songs, including “Ngoma Yarira” and “Murembo”, two singles that would alter the course of Zimbabwean popular music.
During the next five years, the band would relocate from their small mining town to the capital city, go through numerous line-up changes and pay a few more visits to the recording studio, without ever losing the raucous urgency that had transformed them from popular entertainers into titans of Zimbabwean culture.

Killer tape from YPY, group A, Kohhei Matsuda(Bo Ningen), Kenichi Iwasa + Tot Onyx(group A).

group A's charity compilation series "NO Recording" spotlights on over 1000 unreleased tracks, improv sessions and random recordings from our past. In order to act fast to emergency campaigns, fundraisings and people who are in need of help, the strict "no additional recordings" rule is set and instead we challenge ourselves to cook with what we have in our fridge. Rough edges and unfinishedness are left partially unintentionally; most of the demos and jam sessions were recorded direct to stereo, hence the mixing is limited, and partially intentionally as a part of the process of chance operations (we also just like it rough). This method allows us to break our own preconceptions and discover new comprehensions.

Vol.2 features YPY(goat), Kohhei Matsuda(Bo Ningen), Kenichi Iwasa, Tot Onyx(group A) and group A. This time all of us naturally took a more bricolage way of composing, which gave us a lot of new inspirations and comprehensions. It's going to be limited to 150 cassettes with hand-made covers (incl. digital DL code). This release celebrates 75years anniversary of Hiroshima and Nagasaki atomic bombing and we will donate all the proceeds to ICAN, The International Campaign to Abolish Nuclear Weapons.

About "NO Recording"

We started this charity compilation series this year in order to keep donating to communities in need of help, while we ourselves are having a financially difficult time due to the cancelation of tours and shows. We don't have money to spare but instead plenty of time. Vol.1 was self-released digitally on our Bandcamp page on Juneteenth, all the proceeds were/are donated to NAACP. Vol.1

resh imprint Caldeira open their account with the first vinyl retrospective of Swiss composer Louis Crelier, whose FM sorcery and LinnDrum drama takes the listener away to an imaginary Africa.

Standing proud amid the sound waves, Caldeira emerges with a singular mission; to bring us music with hidden depth. Whether it’s a reissue or retrospective, archival or original, each release reflects the Michelin-grade tastebuds of label founder Camille Bertin AKA Plastic Bamboo.

Operating out of the shadow of Les Puces, the Saint-Ouen digger, DJ and producer has turned those in the know onto a wealth of zouk, boogie, proto-house and Balearic bombs over the past couple of years, but it seems he’s saved something truly special for this first release.

Rich with FM synthesis, infectious rhythms and evocative motifs, Rester Partir transports us to a fantasised Africa, found onstage at a Lausanne Theatre in 1985. Scoring a story about a 19th Century French missionary’s trip to Timbuktu, Swiss composer Louis Crelier created his own sonic landscape, capturing the exoticism and otherness of an imaginary Mali. Though the hypnotic rhythms and cascading mallets conjure images of the continent, the queasy keys, dubby idents and synthetic sonatas suggest something more interplanetary - picture James T. Kirk and Spock beaming down into the ochre dust of a ruined city.

Aided and abetted by a selection of ambient interludes, jazzy diversions and polyrhythmic excerpts from Crelier’s film work, as well as the exceptionally Balearic Deep In The Dale from TV series Alpine Academy, the largely unreleased compositions on Rester Partir finally break the fourth wall to find the wider audience they deserve.


Words by Patrick Ryder

Karaba is the new signing on Kryptox. The Berlin label founded to show what's happening in the German Jazz crossover scene. One of these bands is Karaba from Munich. The band was already featured on the Kryptox Kraut Jazz Futurism Compilation in 2019. Now they deliver their first mini album for Kryptox. Five young guys from Munich. Skilled and tight on their instruments and deeply rooted in the heritage of all kind of wild forms of jazz, krautrock and psychedelic music. The kids began to jam together when starting to study music in 2012. Being from Munich, a town where legendary Krautrock bands like Amon Düül, Guru Guru and Embryo came from, the Karaba guys are obviously influenced by these german kraut and psychedelic sounds. You can hear that in many shades of this album: the complexity of the unusual rhythmical fundaments and percussive patterns. The Prog-Rock parts, with these partly abstract unisono lines and strange melodic figures or unexpected chord changes. Karaba’s album starts with an slightly arabic feel. The repetitive groove of „Der Inder“ gets the listener immediately into a different south-eastern space. Later the music gets more animated, more structured and more uplifting. A whole universe of little influences. Shades of certain Jazz and prog-rock bands: you might think about the canterbury scene of the 1960ies and 70ies. There are textures reminding of Soft Machine, Frank Zappa, Mats and Morgan, Kraan and maybe some Passport influences. (Another band from Munich that left a huge footmark in the worldwide jazz fusion history). The whole Karaba sound has a certain 1970es feel. But not in a pure retro way. The EP sounds more like a modern psychedelic 2020 Lofi Indie Jazz thing - a sound that fits well in these wild times and finds it’s place in the actual scenario of new jazz bands worldwide.

Much like its predecessor, In Decay, the 2014 compilation of unreleased, early Com Truise recordings, In Decay, Too unlocks a new set of rarities and unheard fragments from the past for the producer's legion of fans. To accomplish such a feat, the Com camp tapped the Internet's foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley's musical output since his earliest Komputer Cast (Haley's podcast mix series) days. Polychora's vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley's singular style of melodic beat music is the work of countless iterations; with In Decay, Too, his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation. Following the smeared introductory tones of "Zeta," the album locks into its first robotic groove on "Compress_ Fuse," a trademark Truise treatment with cascading synth lines and deep, sinister low-end bass stabs. Further down is the suspiciously bright "False Ascendancy," which lures listeners through a labyrinth of drum patterns and siren-like keys, all colliding into "Constant Fracture." The track pushes to the point of stress, reaching the album's apex with a punishing series of blows before fading to relief, where the beatless and contemplative "Trajectory" awaits. In 2019, Com Truise left his previous sci-fi narratives behind for the visceral Persuasion System, a markedly more human record, which now makes In Decay, Too something like a bookend to an era. One last transmission from coordinates unknown; a culminating exhale ahead of what's still yet to come.

The Radio 2 Top 2000 is the largest annual radio event in The Netherlands. The audience of Radio gets to vote for their favorite all-time songs. These literally millions of votes come together in the Top 2000. All these 2000 songs are broadcasted back to back from Christmas until a few minutes before New Years Eve, when they air the No.1 of the chart.

Top 2000 - The 60’s contains the best hits from the century in which the music industry saw its biggest change. It were the years some of the biggest bands in the history of music rose to fame, like The Beach Boys, The Kinks, The Who, and Fleetwood Mac. Rock, pop, funk, soul and psychedelia all stand side by side on this release, with artists like James Brown, Nina Simone, David Bowie, Etta James, Elvis Presley, and Dusty Springfield. These artists and many more you’ll find on this wonderful 2LP.

The Top 2000 bridges the gaps between all musical generation from the Sixties to the present, making it the most eclectic chart out there, and keeping more that half of the country glued to their radio day and night for the whole week it’s broadcasted. And with a daily tv spin-off during its broadcast, it has reached an even bigger audience.

Top 2000 - The 60’s is available as a limited edition of 2000 individually numbered copies on yellow vinyl. The package includes an insert.

Much like its predecessor, In Decay, the 2014 compilation of unreleased, early Com Truise recordings, In Decay, Too unlocks a new set of rarities and unheard fragments from the past for the producer's legion of fans. To accomplish such a feat, the Com camp tapped the Internet's foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley's musical output since his earliest Komputer Cast (Haley's podcast mix series) days. Polychora's vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley's singular style of melodic beat music is the work of countless iterations; with In Decay, Too, his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation. Following the smeared introductory tones of "Zeta," the album locks into its first robotic groove on "Compress_ Fuse," a trademark Truise treatment with cascading synth lines and deep, sinister low-end bass stabs. Further down is the suspiciously bright "False Ascendancy," which lures listeners through a labyrinth of drum patterns and siren-like keys, all colliding into "Constant Fracture." The track pushes to the point of stress, reaching the album's apex with a punishing series of blows before fading to relief, where the beatless and contemplative "Trajectory" awaits. In 2019, Com Truise left his previous sci-fi narratives behind for the visceral Persuasion System, a markedly more human record, which now makes In Decay, Too something like a bookend to an era. One last transmission from coordinates unknown; a culminating exhale ahead of what's still yet to come.

The Mighty Jah Stitch was a legend in Jamaica, making the move as so many ghetto youth’s have tried from Bad Man to Music Man. Jah Stitch embraced the DJ Culture that he himself was an integral part of.
He put not one but two musical stamps on the format. His initial Big Youth sounding chants grew from working alongside the man on the mic. The second almost spoken vibe came about after a well documented incident that led to him being shot .He lived to tell the tale and cut some of the finest Roots DJ cuts, with his new vocal style that many copied but few have surpassed.

We have selected some of his best known tracks to show the knack of working a killer rhythm and dubbed vocal with an almost call and response story telling style.
The opening and title track to this set ‘Dread Inna Jamdown’ sees him working over John Holt’s ‘In The Springtime’.
The second cut ‘Dem Seek Natty Everywhere’ works another John Holt classic ‘Forgot to Say I Love You’.

After some hits in the 1970’s, the 1980’s would see a short name change to Major Stitch.
But we feel that his best loved monicker Jah Stitch serves the man well.
So sit back and enjoy some fine DJ Cuts

No Dread Can’t Dead…Jah Stitch R.I.P

Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the #1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters.

Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.

Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

Brand new studio album! Featuring Captain Sensible and Paul Gray from The Damned, with Johnny Moped drummer Marty Love! Who, what and why are The Sensible Gray Cells? Captain: "Paul Gray and myself being garage psych aficionados would prefer to hear more of this kind of music and this is our contribution to the cause. If I said that some of the songs were 'Damned rejects' that shouldn't be seen as an indication of inferior songwriting.. more that they're not wearing the right shirt." A Postcard From Britain came out in 2013. What have you been up to since then? Captain: "I've never been a prolific writer.. being a lazy so and so I think it's best to wait for inspiration to call.. which explains the 7 year gap..( how many albums could the Beatles have crammed in that period!) but in the meantime PG rejoined the Damned and we've gigged about a bit, which is always fun - CAN WE HAVE GIGS BACK AGAIN PLEASE!" A Postcard From Britain was a snapshot of modern life. Does the new album cover similar themes or have you taken a new direction? Captain: "It's sad that high streets around the world have been destroyed by online shopping but nobody's forcing people to do it.. but what can you do. These are very strange times were living though - I just count myself lucky to have been around to witness the 2nd half of the 20th century.. a fab time for music, culture, ideas.. and that without even mentioning Benny Hill and On The Buses. The new album coincides with all this virus malarkey.. which, unpleasant as it is will undoubtedly be used by the powers that be to tighten the screws on us little people on behalf of their billionaire paymasters. Blah blah, etc. There's a bit of that hidden away in the album."

2022 Repress

Raster presents »Il Quadro di Troisi«, a project by Andrea Noce (Eva Geist) and Donato Scaramuzzi (Donato Dozzy). The record is a colorful ode of an Italian scented vision, overflowing of details and profound intensity. The contemporary world condition, the pandemic in Italy and around the world define »Il Quadro di Troisi« as a unique and right-on-time release.

This record is a enigmatic collaboration between the two Italian natives Andrea Noce and Donato Scaramuzzi. Andrea Noce takes lead on the vocals, with Donato Scaramuzzi carving the dreamlike soundscapes of the record. The record was born with a correspondence between the two artists about the late actor and director Massimo Troisi, and this exchange soon became an inspirational source of identification. Andrea Noce’s lyrics are sensitive and multi-faceted, they perfectly cling to the musical phrases and flow like a filmic monologue from the oeuvre of that very Troisi.

In a highly creative and confident manner, entire decades of national music history are comprehended and transformed into the here and now. The record takes its cue from the italo-disco, synth pop tradition corroborated by the contribution of artists such as the legendary Twilight Music co-founder, Paolo Micioni, as well as Stefano Di Trapani who wrote »L’ipotesi«. With »Il Quadro di Troisi«, Noce and Scaramuzzi prove their eclecticism, and passion for their home country.

»Il Quadro di Troisi« is a collaboration between Raster and the Milan-based festival Terraforma. With this release, the first with a purely Italian focus on the label, Raster celebrates its long standing relation with Italy and the Italian audience, encapsulated in the label's project ›Electric Campfire‹ held in Rome for ten years. Terraforma is an international experimental and sustainable music festival taking place since 2014 in the park of Villa Arconati, where Dozzy has been invited at every edition in different forms, DJing, live performing both in solo and with Voices from the Lake (together with Neel).

Love All Day is pleased to present Facets, our third collaboration with renowned contemporary electronic composer, Norm Chambers (Panabrite, Jurgen Muller). As the title implies, it's a many-dimensional work, and one born from a time of crisis in Chambers' life. Created in the spring of 2019 while experiencing health issues that were ultimately diagnosed as being a rare form of sinus cancer, Facets reveals Chambers efforts to push himself to places he hadn't gone before ----to try to rid himself of old habits & embrace potentially unsuccessful creative attempts, whatever the result. Faced with a sense of urgency & riding a creative wave, the tracks came together quickly as he explored new creative vistas ---his familiar, bucolic landscapes now occasionally interrupted by craggy rhythms and aural horizons that fluctuate like air on desert sand. Concerned that these works would be his final statement, he quickly released them digitally as he awaited surgery & chemotherapy to treat his illness. After his near brush with death & subsequent recovery, we're extremely grateful to have the opportunity to re-present this singular work by one of our favorite artists with deliberate intention and care as a long playing album.

Isolation Tapes is a 3 part series from Audiojack, featuring guest vocals from Polarbear, Eli & Fur and Lady Vale.

'The Isolation Tapes came together accidentally during lockdown. Getting lost in the music-making process was our way to escape the feelings of anxiety and uncertainty which presented themselves with the emergence of Covid. We had no plan beyond escapism, but a cleared schedule gave us lots of time to explore new ideas. After we'd made a few tracks we started to realize the importance of bringing this music together under one project, a musical reference point for this strange period in time, and so the Isolation Tapes was born - a series of singles we made during lockdown whose titles all begin with a different letter from the word: I S O L A T I O N.' - Audiojack

The latest vinyl slice from FBNM sees us head to the depths of central Africa via Paris to track down a feast of rare seventies afro funky jams from Cameroonian master musician EKO. We've brought FBNM favourite Riccio along for the journey too, who has provided us with a fantastic Rerub coaxing out some modern dancefloor sensibilities and production sparkle.

Eko Roosevelt Louis has had a music career spanning over forty years, born the grandson of a Kribi tribal chief, his musical persuasion beginning humbly with his village's local church before his formal education at the Senegal conservatoire and Paris' École Normale de Musique. EKO made a number of jazz funk and disco records in the mid seventies during a stint recording and touring in and around France before returning to Cameroon to take over his grandfather's tribal chieftaincy, a role he still holds today! Alongside this position of office EKO has continued to work with music, performing, teaching and even leading Cameroon's national orchestra!

The tracks we have selected for reissue are all taken from EKO's third album, Funky Disco Music which was recorded in Paris and released on his own Dragon Phenix imprint. Sung in a combination of English and EKO's native tongue we've lined up a real excursion in feel good afro-jazz, funk and soul made purely for dancing feet and boogying butts!

All tracks have been officially licensed and lovingly remastered for this special release by Andreas Lupo Lubich (CALYX Berlin), packaged alongside Riccio's sympathetic work in the cutting room on 12" vinyl with a special interview with Eko Roosevelt Louis himself!

"Global superstar Lana Del Rey releases her 4th album 'Lust For Life' releasing July 21st via Polydor Records. 'Lust For Life' features collaborations with A$AP Rocky, Playboi Carti, Sean Ono Lennon, The Weeknd and Stevie Nicks. The body of work is created by Lana and her longtime producer and collaborator Rick Nowels. Includes the already-released singles 'Love' and 'Lust For Life', Format Description: LP Record Heavyweight 180g Gatefold Double Vinyl and Compact Disc CD - Jewel Case, 16 page Booklet. Tube campaign and statement outdoorComprehensive digital marketing campaign to include socials, banners, retargeting etc. TV & VOD advertising campaign - £35k across appropriate channels. "

Off The Meds is a Swedish-South African crew based in Stockholm, consisting of producers Adrian Lux, Carli Lo¨f and Ma°ns Glaeser with vocalist Kamohelo Khoaripe.
The band first appeared on Studio Barnhus with the Ethio-jazz sampling hip-house gem Currency Low, one of the standouts on the Stockholm label's 2018 compilation Studio Barnhus Volym 1. This was followed by 2019's ravey smash single Belter, which came paired with a much-lauded remix by London top selector Joy Orbison.
Their self-titled debut album arrives on Studio Barnhus in late 2020. First album single Karlaplan was recently played by Four Tet on Benji B's show on BBC Radio 1, while second single Wena got included in hotly tipped UK garage reformist Conducta's recent Resident Advisor podcast.