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"Oscillation associations

This album is titled Os. When I look at the shape of these two letters, O and S, I realize that they are a rotation and an oscillation.

Os is Dutch for Ox. An ox is a castrated male bull. The primary benefit of castrating bull calves is to temper their tempers, making it easier and cheaper for people to handle them. Os is also an abbreviation of oscillation, -cillation being castrated off. Oscillation means a movement back and forth in a regular rhythm, like breathing, push-ups, tides, swinging or sound. For this album Lyckle was not dealing with oxes or bulls, but with oscillations, guiding them through synths, handling their tempers. If I look at the etymology of oscillation, I learn that it stems from the term Oscilla, which were ancient disks depicting a face or animal on each side. Oscilla is a diminutive of os and means ‘little face’. They were hung in trees during religious feasts honoring various deities, as well as being thought of as purifying the air as they swung in the wind.

The wind chime with its little sunny face, smiling on the cover of this record was hanging in the windowsill of Lyckle’s studio, behind his back, where the wind would make it jingle, averting the Evil Eye according to apotropaic magic. In ancient Rome, wind chimes named Tintinnabulum were decorated with a phallus, which was also seen as a good luck charm. Phallic charm also appeared as objects of jewelry such as pendants and finger rings. It has been suggested that some types of phallic pendants were designed to point outwards in the direction of travel in order to face any potential danger or bad luck, nullifying it before it could affect the wearer.

When I take the record itself out of the sleeve, I see that there are two phalluses carved into the surface of the vinyl, like little ornaments. When you start playing the record, they start chasing each other, going round and round. They point in all directions of the room, but are never able to point at each other. Finally, I am told that it is recommended to listen to this record with the window open, allowing sounds from outside to blend in with the music. "

- Bernice Nauta

Since signing with Rhymesayers in 2015, Sa-Roc has continued to both invigorate and grow her fanbase with a string of singles, accompanied with powerful and visually enthralling music videos, including "Forever", which is nearing 4 million views on YouTube. In that time, she has continued to cultivate and sharpen her skill sets, and now she is set to release her first album for the label. Speaking on the meaning of the album's title and inspiration, Sa-Roc shares, "The Sharecropper's Daughter speaks to my father's actual beginnings on a Virginia tobacco farm where his family sharecropped. The title is meant to signify that both my father's and my upbringing, though so different, are linked by a shared history that informs the way I move through the world. Although his formative years were spent in the Jim Crow era of the south, where he suffered through poverty and racial oppression, and mine were shaped in the heart of DC, amidst the war on drugs and the effects of its fallout, the album finds points of connection in two very different yet tragically familiar stories of Blackness in America. It's a sonic reflection of the things we inherit. About the emotional weight that we unknowingly bestow upon the next generation; the genetic transfer of both trauma and triumph that we, both donors and beneficiaries, are tasked with reshaping into a future of our own." The Sharecropper's Daughter album is entirely produced by a veteran renaissance man from the Atlanta Hip Hop scene, Sol Messiah, with the exception of "Deliverance" produced by Evidence. And, while Sa-Roc's crafty wordplay, razor-sharp delivery and exceptional writing are the prominent highlight, this undeniable quality is only further enhanced by stellar guest performances from a small, but formidable, all-star cast of guests, including Saul Williams, Styles P, Ledisi, Chronixx, and Black Thought. This Fall, Sa-Roc seeks to demand her rightful place at the table amongst rhyme royalty with The Sharecropper's Daughter, at a time when the world is clamoring for powerful voices of substance, along with a patient and attentive fanbase who have already been tuned in, waiting for this moment. The time is finally here

Impressions cast from lyric and rhythm – desire in movement, now articulated and set forth. Meaning arises between attention and action. In darkness what is it?

Air is breath, like light through crystal; it’s truth and sacred geometry. A version like ancient stone - the sample shows in layers, solid time. Compressed life. Pages packed together and seen from the edge, razor sharp and two dimensional. We are the salt we become, our children and ancestors. All at once, being forever; a verse, then volume and tome.

But we slow, dragging like ploughs tilling clay. The physical is a language like memory – translated into real. Turn from backwards to parallel, watch it reduce; remember downstream. The rock, earth and salt, our real reconfigured.

Type peels away, turning to sand in the wash. Disordering disorder - now still. Translation becomes everything, set sequence and entropy. Whole, to node, to nothing, and all. Not new, just another.

Vector Trancer’s journey continues; re-emerging into the central stream, deep dub glows and woven polyrhythm conjure vital knowledge for protection and expression. Viridis Mantra and outer canopy steam, we’re brought tense rhythm experiments and biospheric reverb – see further excursions in atmos and shades from Touch, Fax, Geometrik, or Ed Handley on a dark one.

This release will provoke your senses and create a rhythmic tunnel of the finest electro emotions.

FOUR STROKE BARON return with their third full length studio album ‘Classics’, mixed by Devin Townsend and brimming with catchy riffs and unforgettable choruses. Having streamlined into a duo, Kirk Witt and Matt Vallarino cast a sardonic eye over the human condition - as seen through their own uniquely distorted lens, and told via tales involving a murderous rampage at a kegger while dressed as a knight, to being trapped in a casino during a robbery whilst on acid, and other such adventures. They are our guides as we traverse the filthiest folds in the dark underbelly of Reno, Nevada; illuminating the darkest corners of their twisted psyches with their upbeat and insanely catchy pop hooks.

Having scraped off the detritus of their city, rubbed the crust from their eyes and molded it into the heavy pop songs you hear before you today, they enlisted the only person they knew who could add the extra layer of embellishment that the album required. Enter Devin Townsend. They gave him only one instruction for producing Classics: go as hard and insane as possible. The added textures brought in by Townsend during mixing elevate these 10 tracks to another level.

If you’re unsure of what constitutes a classic, a good place to start is with FOUR STROKE BARON’s 2020 release, Monoqueen, which features covers of the likes of Chvrches, The Beatles and Death Grips. Sometimes it’s necessary to allow time to pass to reveal the true nature of a classic track; FOUR STROKE BARON have shaved the waiting time all the way down to zero. Hit play - the classics are all there waiting for you.

Full LP of new, original holiday music featuring members of Durand Jones & The Indications and The Dap-Kings. "A Joyful Sound" is a future soul classic with all the elements of a classic R&B record, but simply with a joyful holiday lean. With an all-star supporting cast of who's who from the contemporary soul scene this record is truly a family affair with Kelly at the wheel. Featuring members of Durand Jones & The Indications, The Dap-Kings, Ghost Funk Orchestra, Monophonics, Thee Sinseers, Orgone, Ikebe Shakedown, Jason Joshua & The Beholders, The True Loves, Neal Francis, Jungle Fire, Delvon Lamarr Organ Trio, Ben Pirani, The Jive Turkeys, The Ironsides, The Harlem Gospel Travelers, Rudy De Anda, Alanna Royale, and more! Inspired by records like Atlantic's "Soul Christmas", Phil Spector's "A Christmas Gift For You" and Rotary Connection's "Peace" this album will be a record that will appeal not only to lovers of holiday music, but lovers of SOUL music in general! This is Kelly Finnigan's third full-album production in just under two years, including his debut LP "The Tales People Tell" and Monophonics' most recent effort "It's Only Us". He is rapidly establishing himself as a key producer, songwriter, and performer in the current soul scene.

Ryan James Ford is back on Clone Dub Recordings with his promising first full length album! After relocating to Berlin Ryan realized how much influence the soil of his home town have on him. Exshaw, Canada, where the home of Heart Mountains begin. Ryan has tried to capture his youth and musical influences over the years. Growing up in an area were the interaction of man and technology was more than palpable. Stories of haunted areas... swimming in the cold, strong current river with people disappearing... going to raves in the nineties. Exploration, optimism, youth and and living there forever... His memories of Exshaw are all translated in the sound design and programming on this 14 track album ranging from almost cinematic pieces to full on dancefloor belters. Artwork by Delphine Lejeune & Jonathan Castro.

Two years ago the Swedish band Mammoth Storm
debuted on Argonauta Records with the
impressive ‘Alruna’ album.
 Now the label reissue the band’s cast-in-stone
doomy and very sought after debut mini album
‘Rite Of Ascension’, originally released on Napalm
Records back in 2014.
 This 2021 edition is pressed on oxblood vinyl.
 “The oppressive and filthy atmosphere provided by
these two tracks are in the vein of Electric Wizard
and Sleep. A psychedelic mix of stoner, sludge and
doom, with very heavy, slow, continuous and
down-tuned mantra-alike riffs.” - Metal Archives

SEX was composed during the formation of Imhof’s art show of the same name, previously exhibited at Tate Modern, London, The Art Institute of Chicago and forthcoming at Castello di Rivoli, Italy, this September. Imhof, Douglas and Bultheel, reworked the songs from how they appeared in the exhibition ‘SEX’. The result is a compelling record that acts as an imaginative accompaniment to the ‘SEX’ performances, as well as standing alone as a progressive collection of contemporary compositions.

SEX references punk, industrial and grunge, and boldly juxtaposes these forms with music of the classical and baroque period. The album combines classical formals and orchestration with vocals that are rooted in subcultural traditions, thus beautifully overdrawing and overwriting these forms with the composer’s own. Harpsichord and oboe are combined with distorted electric guitar, or exuberant string ensembles with heavy industrial drums.

The amalgamation of genres contained in the album was also integral to the choreography of SEX, where walzes and tangos were contrasted with stage diving, slam dancing and moshpits. What resulted was a surreal ballroom, loaded with desire and aggression. In the same vein, the record fearlessly shapeshifts, blends genres and styles evoking an impressive array of moods. Oscillating between fragility and flamboyance, Imhof and Douglas’ versatile voices reinvent themselves from one song to the next, while singing songs of love and hate.

The last song on Sex is ended by a quote of the band LOW, `All you Pretty People, you`re all gonna die`. This ambiguous moment, a prophecy sung in Douglas’ vibrating baritone voice, rattles the listener despite the mundane truth of the statement. This complexity is reflected in the album itself, allowing for an unusual multiplicity of emotions and interpretations with impressive depth and dynamism.

The album is mixed & engineered by Ville Haimala and mastered by Rashad Becker, featuring design by ZAK Group and photography by Nadine Fraczcowski. All tracks by Anne Imhof, Eliza Douglas & Billy Bultheel, track 6* by Eliza Douglas & Ville Haimala.

Caleb Landry Jones is a continual creator. The Texan-born star found fame as an actor - you’ll recognise him from key roles in X-Men: First Class, Three Billboards Outside Ebbing, Missouri, amongst others - but music is perhaps his first love, and his source of greatest comfort. A chance encounter with famed auteur Jim Jarmusch brought him into the orbit of Sacred Bones, and the stalwart independent released Caleb’s 2020 debut album The Mother Stone. Psychedelic in a defiantly non-retro way, this indulgent, freewheeling trip won critical acclaim, but masked a secret - he’d already finished another album.

Filming alongside Tom Hanks in dystopian themed Finch, Caleb found himself writing during those long evenings after the shoot in locations across New Mexico, idling away his hours by focusing on creativity. “I need it,” he says, “I’ve tried working without it. On one acting job, I intentionally didn’t bring a guitar to try and do it without music... but that didn’t last long. I need to create

something - it could be a drawing, it could be a song - because otherwise I feel like I’m wasting time. Which is something I do plenty of on my own!”

With his creative faculties burning, Caleb knew he had to get straight back into the studio when filming stopped. Linking with the same cast who formed The Mother Stone, he resumed his partnership with producer Nic Jodoin, based out of the elegant Valentine Recording Studio in Los Angeles. A studio steeped in history - everyone from Bing Crosby to Frank Zappa worked there - he interrupted mixing sessions for his own debut album in order to focus on something different.

Gadzooks Vol. 1 is unlike anything you’ve heard before - comparisons range from Skip Spence’s fractured masterpiece Oar through to skewed troubadour Robyn Hitchcock, via John Lennon’s black moods on The White Album and Frank Zappa’s caustic surrealism. Recording to tape, Caleb would hack away at each take, re-assembling the songs like Escher diagrams. “It’s like when you’re swimming in the pool,” he smiles, “and you’re doing a bit of butterfly, and then that gets old after a while. So then you start doing breaststroke, and then that gets old after a while. I think it’s just a reaction from the place where we were before.”

Part of a flood-tide of creativity - as its title suggests, a second half to this album is already on the horizon - Gadzooks Vol. 1 is thrilling, shocking, and wonderfully entertaining. Each song starts and finishes in entirely unique places, often totally divorced from each other. “I’m trying to write something very simple,” he says, “And it gets really abstract because I don’t know any other way.”

- Follow up to the critically acclaimed debut The Mother Stone
- Actor in Finch, Get Out, Twin Peaks, Three Billboards Outside Ebbing, Missouri
- Positive press for The Mother Stone ran in Pitchfork, Billboard, Entertainment Weekly, FLOOD, Newsweek, The AV Club, Document Journal, The New Yorker, The FADER, NPR and others

Caleb Landry Jones is a continual creator. The Texan-born star found fame as an actor - you’ll recognise him from key roles in X-Men: First Class, Three Billboards Outside Ebbing, Missouri, amongst others - but music is perhaps his first love, and his source of greatest comfort. A chance encounter with famed auteur Jim Jarmusch brought him into the orbit of Sacred Bones, and the stalwart independent released Caleb’s 2020 debut album The Mother Stone. Psychedelic in a defiantly non-retro way, this indulgent, freewheeling trip won critical acclaim, but masked a secret - he’d already finished another album.

Filming alongside Tom Hanks in dystopian themed Finch, Caleb found himself writing during those long evenings after the shoot in locations across New Mexico, idling away his hours by focusing on creativity. “I need it,” he says, “I’ve tried working without it. On one acting job, I intentionally didn’t bring a guitar to try and do it without music... but that didn’t last long. I need to create

something - it could be a drawing, it could be a song - because otherwise I feel like I’m wasting time. Which is something I do plenty of on my own!”

With his creative faculties burning, Caleb knew he had to get straight back into the studio when filming stopped. Linking with the same cast who formed The Mother Stone, he resumed his partnership with producer Nic Jodoin, based out of the elegant Valentine Recording Studio in Los Angeles. A studio steeped in history - everyone from Bing Crosby to Frank Zappa worked there - he interrupted mixing sessions for his own debut album in order to focus on something different.

Gadzooks Vol. 1 is unlike anything you’ve heard before - comparisons range from Skip Spence’s fractured masterpiece Oar through to skewed troubadour Robyn Hitchcock, via John Lennon’s black moods on The White Album and Frank Zappa’s caustic surrealism. Recording to tape, Caleb would hack away at each take, re-assembling the songs like Escher diagrams. “It’s like when you’re swimming in the pool,” he smiles, “and you’re doing a bit of butterfly, and then that gets old after a while. So then you start doing breaststroke, and then that gets old after a while. I think it’s just a reaction from the place where we were before.”

Part of a flood-tide of creativity - as its title suggests, a second half to this album is already on the horizon - Gadzooks Vol. 1 is thrilling, shocking, and wonderfully entertaining. Each song starts and finishes in entirely unique places, often totally divorced from each other. “I’m trying to write something very simple,” he says, “And it gets really abstract because I don’t know any other way.”

- Follow up to the critically acclaimed debut The Mother Stone
- Actor in Finch, Get Out, Twin Peaks, Three Billboards Outside Ebbing, Missouri
- Positive press for The Mother Stone ran in Pitchfork, Billboard, Entertainment Weekly, FLOOD, Newsweek, The AV Club, Document Journal, The New Yorker, The FADER, NPR and others

"One of the quintessential Charles Mingus recordings regardless of label, Mingus Mingus Mingus Mingus Mingus finds a mini-big-band playing some of Mingus’ best-known compositions – albeit with new titles! Features Mingus favorites Eric Dolphy, Booker Ervin and Jaki Byard among its all-star cast.
Mainly recorded during the sessions for the Black Saint And The Sinner Lady, this 1964 classic featured many of Mingus’s greatest compositions including ‘Celia’, ‘Theme For Lester Young’ and ‘Better Git Hit In Yo’ Soul’
Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging."

EYA's sister label Lonewolf celebrates 2 years of activity with a 3x 12"!The VA explores a wide range of electronic music styles...from ambient to techno,breaks,electro,acid and more! 'The Wolfpack'will be a must in every record bag and vinyl collection!Music by Innershades,Es-Q,Matthew Dexter,Dom,Zolaa,Intareality,Tadan,Paradise City Breakers,NND,Cool and Frank,Patient Better Drivers.

Essential Aliensis the 10th Helvetia album. Helvetia is the solo project of Jason Albertini from Duster. Helvetia resides in Portland, Oregon but was formed in Seattle, Washington in 2005 after Duster first went on hiatus. The songs onEssential Aliens were recorded over the last year, in Jason's basement. Since the band's inception, Jason has continued to employ a rotating cast of band members and collaborators, which now includes Steve Gere and Samantha Stidham. Steve and Jason also played in Built To Spill together from 2012 until 2018. In 2019 Duster started playing shows and recording again. During this time Jason started writing what would becomeThis Devastating Map. Released at the beginning of August last year, Post-Trash called it"a constantly shifting project that takes experimental lo-fi into brilliantly colored psych directions with a concise glow."Then the pandemic took hold. With normal life at a standstill and unable to hang with his bandmates, Jason focused his energy on his daughter's homeschooling schedule, and recording. He focused on finishing one song a day and was soon honing in on a new album. Essential Aliensdistills and simplifies the Helvetia sound. Reverb and delay are absent, replaced by warm fuzz and intimate room sounds. Progressions morph with stoner repetition and end in head scratch. Drums distort, muted bass lines prop up acoustic guitars blown out on a cassette four-track. Cheap electric guitars are barely in tune and recorded direct, almost painfully in your face. The songs are short blasts of psychedelic chill, unrooted by genre, a rummage around an alien radio dial. These are simple songs about keeping yourself from falling apart, to remind you that you can be strong. The visual elements for the album come from a recurring dream, which centers around a period in Jason's childhood when he lived in Basel, Switzerland, and believed that he lived with a ghost. In the dream, Jason's life becomes turned upside down because of a series of unexplainable events that turn out to be orchestrated by the ghost, and he wakes up convinced that he is a ghost as well. These are simple songs about keeping yourself from falling apart. To remind you that you can be strong. This is a weird blues.

Penny Records presents the vinyl version of the soundtrack from the TV Series "Anna" written and directed by Niccolò Ammaniti. Fueled by Niccolò Ammaniti's passionate and immersive creative style, the score for 'Anna' was approached almost as a character study. 'Anna' exposes a world of extreme conditions where the essentials of human existence flourish in a wide range of emotions and sentiments tainted through the eyes of children. Striking brutality and primal savagery go hand in hand with the beauty of innocence and hope. Rauelsson's musical language for 'Anna' includes tense and spare textures that blend seamlessly with intimate ambient minimalism; classical elements that coexist with electronic drone experimentation and tribal rhythms, candid piano melodies buried in tape loops and otherworldly rituals of wordless voices. To arrive at this music landscape, Rauelsson enlisted an international cast of collaborators including Finnish percussionist Tatu Rönkkö, German cellist Anne Müller, American multi-instrumentalist Peter Broderick and Oslo-based vocalist Simin Tander. With this ensemble, Rauelsson's music documents a journey of survival that highlights the power of imagination and love.

Credits:

Music by Raúl Pastor Medall except A3 (Salvatore Cardillo, lyrics by Riccardo Cordiferro), A5 (Raúl Pastor Medall, Peter Broderick and Anne Müller), B3 (Raúl Pastor Medall and Anne Müller) and A2, B1, B2 (Raúl Pastor Medall and Tatu Rönkkö)

Played by Peter Broderick (Violin), Anne Müller (Cello), Raúl Pastor Medall (Piano, Electric Piano, Synthesizers, Electronics), Tatu Rönkkö (Drums, Percussion) and Simin Tander (Voice) with additional contributions from Christoph Berg (Violin), Aisha Burns (Violin) and Giulia Dragotto (Voice)

Recorded in 2020 at Rockaway Studios (Castelló, Spain; engineered by Raúl Artana), Niu (Benicàssim, Spain; engineered by Raúl Pastor Medall), Old House at Galgeberg (Oslo, Norway; engineered by Olav Torget), Tanum Church (Bærum, Norway; engineered by Olav Torget) and Indigo Studios (Palermo, Italy; engineered by Fabio Rizzo)

Additional recordings by Peter Broderick (Co. Galway, Ireland), Anne Müller (Berlin, Germany) and Tatu Rönkkö (Helsinki, Finland)

Produced by Raúl Pastor Medall and Niccolò Ammaniti. Mixed by Raúl Pastor Medall and Adam Selzer at Niu and Type Foundry (Portland, OR). Mastered by Adam Gonsalves and Adam Selzer at Telegraph Audio Mastering (Portland, OR). Lacquer mastercut by Andreas LUPO Lubich at Loop-O (Berlin, Germany). Artwork by Emiliano "Stand" Cataldo.

Castello, Sole is the first project signed by Issam Dahmani ​on Dischi Malizia.


This new series keep up the 80s and 90s feelings atmospheres very tied to Italy with a strong signature of modern vibes. Fresh sound from funk and italo disco ready for summer madness.

Kit Records founder and NTS resident host Richard Greenan returns with his first solo record in six years. "Rehearsing Heat" paints layers of ornamental pop, rumblingly playful hip-hop, widescreen swathes of drone and beyond - with a wide cast of friends and collaborators taken along for the ride.

Recommended if you like Rachel's, Susumu Yokota, Colleen.

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. If one were asked to pick an album that represented the best of British jazz in the 1960s, Le Déjeuner Sur l’Herbe by the New Jazz Orchestra would be a serious contender. Recorded in September 1968, it draws together many of the key streams that had developed in British jazz in the preceding years, and also presages much of what was to come. Notwithstanding the line-up, which includes some of the very best British jazz musicians directed by an inventive and ingenious leader in Neil Ardley, the session features pieces written by the most distinctive jazz composers active in Britain at that time alongside idiosyncratic interpretations of works by John Coltrane and Miles Davis. And it’s all captured beautifully by engineer Howard Barrow and producer Tony Reeves and it features a stella cast of some of the greatest musicians, not just from that era or genre but beyond; Jack Bruce, who would become one of the founding members of Cream, Barbara Thompson, Ian Carr, Michael Gibbs, Dave Gelly, Dick Heckstall-Smith and Jon Hiseman, who went on to form one of the greatest jazz/progressive/rock bands – Colosseum.