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For the first vinyl compilation this year, dotwav invites three techno heavyweights that need no further introduction: Kangding Ray, Denise Rabe and Mario Berger deliver their own version of a trippy peak time track. All the productions catapult us into the future and right onto the floor.

Debut commercial mixtape by Australian rapper/singer, which was released digitally in July 2020 by Grade A Productions and Columbia Records (released via RCA Records in UK). Production was handled by twenty one record producers, including Benny Blanco, Bobby Raps, Cashmere Cat and Taz Taylor. It features guest collaborations from Corbin Smidzik, Juice Wrld and Lil Mosey. It received a nomination for Best Hip Hop Release at the 2020 ARIA Music Awards. This is a standard single LP on black vinyl. Strong radio airplay support. Promo/marketing activity across all media outlets. Includes the current Top 5 hit 'Without You'.

Fast, brutal, slamming and with a distinct message in their music: Necrotted from southern Germany are a bearer of hope for modern death metal! Founded back in 2008, the band from Abtsgmünd (Baden-Wuerttemberg) still invigorates the scene and continuously convinces its growing fan base as well as the music press. Not only the three full-length albums ‘Anchors Apart’ (2012), ‘Utopia 2.0’ (2014) and ‘Worldwide Warfare’ (2017) and the two EPs ‘Kingdom Of Hades’ (2010) and ‘Die For Something Worthwhile’ (2019) are registered in the band’s history, but also hundreds of live concerts in different countries in which Necrotted already unleashed their pure energy on various stages. Sweeping and melodic guitar riffs combined with blaring blast beats and rough, stomping slam parts form the brutal mixture of the quintet. The musical sound is rounded off by deep and high-pitched guttural vocals, emphasizing the catchy refrains and lyrical highlights of the songs. The new album ‘Operation: Mental Castration’ follows this trend and consistently enhances the soundscape of the band. Also, the album once again comes up with a sophisticated lyrical concept, characteristic for Necrotted. Written and recorded in 2020, ‘Operation: Mental Castration’ will be released through the aspiring label Reaper Entertainment Europe in early 2021 and will set a new benchmark for modern, diversified death metal. Social Media Whore (feat. Julien of Benighted): The southern German death metal brigade Necrotted revealed the first single ‘Asocial Media Whore’ of the upcoming album ‘Operation: Mental Castration’. For this groovy slasher of a song the quintet teamed up with Julien Truchan of French brutal death metal band Benighted. My Mental Castration: With ‘My Mental Castration’ Necrotted unleash the title track of their upcoming album ‘Operation: Mental Castration’. The song showcases the characteristic style and the spirit of the new full-length, which will set a new benchmark for modern, diversified death metal. Compulsory Consumption: Sluggish and melodic ‘Compulsory Consumption’ is the third single off of Necrotted’s upcoming album ‘Operation: Mental Castration’. The rough song underlines the band’s status as a bearer of hope for modern death metal.

Highly acclaimed Doom Metal follow up remastered! For fans of: Candlemass, Paradise Lost, Cathedral, Anathema and more!

- The definitive overview of one of Canada's unsung musical heroes - Rare/previously unreleased recordings, photos, and interviews - Lyrics, discography, and filmography - Audio re-mastered by John Baldwin Mastering - Artwork by Christi Belcourt and Alanna Edwards - Liner notes by Kevin Howes (Voluntary In Nature) - Contributions from the Dunn family, Bob Robb, and Alanis Obomsawin (OC) // How did you first experience the poetry, music, and film of Willie Dunn? In a Montreal coffeehouse during the mid-1960s? On a CBC Indian Magazine broadcast with host Johnny Yesno? At a Toronto record store or Native Friendship Centre at the turn of the 1970s? Waiting outside of the Mohawk Nation Longhouse? Maybe in your parent's record collection on the Rez? A White Roots of Peace gathering? Pow wow? The Mariposa Folk Festival? Or was it that Save James Bay Benefit back in '73? On a good friend's stereo? Sitting around a crackling campfire? How about an old NFB film reel or VHS tape in high school? Or while attending Manitou College? A German concert hall in the 1980s? Maybe a direct action protest on the colonial streets of Canada? Busking in Ottawa during the 1990s? College radio? At Willie's celebration of life service in 2013 alongside Alanis Obomsawin and Willy Mitchell? LITA's Grammy-nominated Native North America (Vol. 1) compilation or the very anthology you hold in your hands? There should be no judgment for coming to things when you do. All that's important is remaining open to life-changing messages such as these_ Willie Dunn shared truth through song and celluloid. His original composition, "I Pity the Country," is an unparalleled statement on the greed and hate created by humankind, recorded in 1971 and still unfortunately needed today. "It's like the reason you're supposed to make music," said Kurt Vile about the song to MOJO Magazine in 2015. With "Charlie," Willie was the first to deliver the devastating story of Chanie Wenjack and the Canadian residential school system to the music community, nearly 50 years before the much-celebrated Secret Path, yet ignored outside of Indian Country and the folk festival circuit. Dunn's film technique, featured in 1968's The Ballad of Crowfoot (NFB), predates the "Ken Burns effect" to great effect. Are you catching the drift? Willie Dunn was not only a trailblazing leader in his time, but well ahead of the curve, simply without the PR push and big money backing of major label players. "He was our Leonard Cohen," said singer-songwriter Eric Landry about his musical hero. The only difference is that Willie refused to play the Hollywood showbiz game. In talent, he is Cohen, Dylan, and Cash rolled into one and along with Buffy Sainte-Marie, Floyd Red Crow Westerman, and A. Paul Ortega, brought a new set of perspectives and realities to the folk music tradition. Willie spoke directly to his people and Mother Earth through his creations, not only from experience but by examining his roots and connecting with the world in which he lived. We are humbled to help honor Willie Dunn. May he never be forgotten_ PEACE

At the end of the '60s in Italy - but also abroad, especially in France and England - a very particular trend began to spread, that one known as 'Library music' or 'sonorization': as suggested by its name, those were real music libraries intended for the accompaniment of audiovisual productions such as

television programs, advertisements, documentaries and films. Since they were created in total artistic freedom condition, they are often difficult if not impossible to catalog, as they're not anchored to a specific musical genre; this freedom also allowed the authors to compose, sometimes in the most complete anonymity, experimental and avant-garde music, capable of anticipating the sounds that only many years later would have been widespread on a larger scale.

Egisto Macchi (1928-1992) was one of the most active composers of the sonorization and soundtrack genres together with artists such as Piero Umiliani, Alessandro Alessandroni and Ennio Morricone; he also collaborated with the latter in the experimental music project Gruppo di Improvvisazione Nuova Consonanza. "Fauna Marina" is among his most popular and sought-after by collectors titles: a set of eleven compositions intended to accompany the images of a hypothetical fish fauna documentary, an abstract hybrid of classical, contemporary and jazz music that is still fresh and surprising today.

"Fauna Marina" is part of a reissues series, made in collaboration with Edizioni Leonardi (Milan, Italy), of extremely rare library music LP's published between late '60s and early '70s, most of which have never been released again until today, and that are finally made available again for

collectors and sonorization music lovers.

“Walk the dog. Exercise. Make art.’The mind is happy when the body
is.’ Things I can potentially fill my days with if I am stuck at home
for months on end…Then, one day, I hear a frenetic, free drummer
playing in his garage a few blocks from me. And I think ‘interesting’.
I stand outside his garage staring at the wall, like a fool, for a minute,
then decide to leave a note on the car parked there. This is how I ended
up meeting and working with Ted Byrnes. He wasn’t creeped out, and
he ended up sending me a pile of truly spontaneous drums recordings
from the carport to work with. I decided to have every musician
come in one at at time and just take a wild pass at their track over the
drums. None of these people had ever met or played together. I was
the connecting thread. I scratched the surface initially with electric
bass, saxophone, guitars, cuica, synthesizers, flute and effects, but
soon realized I would need heavy hitters to make this place habitable.
“Greg Coates, upright bass expressionist extraordinaire, hacked
through the dense weeds, vines and frayed cabling. He lays the map
out and makes breathing room. Space to swing a cat. Tom Dolas
(keys), my often foil, came in and began tip-toeing through the rubble
and refuse. Dotting the layout with flecks of light, flights of fancy and
potential tangential trajectories. Then the finisher, Brad Caulkins on
horns. As always, Brad came in like grace itself, scanned the floor
for food, and huffed and puffed and blew the house down. He takes a
bruiser situation and lends it some warmth and hospitality, old school.
“After I spent a bit of time mixing and editing this down to a
palatable offering I couldn’t help but think about human consumption.
...Endless Garbage seemed a fitting title. A cacophonous and glorious
sketch of ourselves. For fans of Albert Ayler, ECM records, Gong,
improvisation, sustainability and consumption” —John Dwyer

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

OMEN Recordings welcomes a new artist for their 17th release. Since the last few months, AAHAN has been storming the world techno scene with his unique style. The Canadian producer contributes two excellent driving tracks, featuring a hard-hitting masterpiece remix by long time running UK techno champ, PERC, plus another rendition by our very own AXKAN.a


We’ll Rave Again - Pushing forward at a tempo that will get you sweatin’, mixed with rolling hi-hats and catchy leads, this will be a favorite to get everyone back on the dancefloor, again.


Crossing The Rubicon - A river of flowing melodies with hard underlining kicks that pulse makes this track sound big and dancers to lose themselves. There’s no turning back.


We’ll Rave Again (Perc Remix)- Storming out of the gates faster than anyone is this rager of a remix. When the hi-hats start to enter you know you’re about to be hit hard with even more. This piece promises to be a dancefloor peak time favorite.


We’ll Rave Again (AXKAN Remix) - Starting with voices from the outerworld and delivering heavy rounded kicks is this beast of a mash-up. Analog noise and crunch take the spotlight.


a2 Crossing The Rubicon

Outer Space, the 6-piece band from Barcelona is back with two original tracks, totally fresh and raw from the depths of the galaxy.

Dead Planet is a slow burnin' theme featuring Catalan guest singer Gemma Humet. A stunning young voice with an already extensive career that will transport you to the streets of Addis Abeba. On the flipside, Not Even Light, another original song where you can taste the distinctive flavour of Mulatu Astatke with extra added soulful grooves. On both tracks special guest percussionist Jesús Campos joins them with his fiery hands.

Once again, Outer Space bring you their characteristic approach to Ethiojazz that will strip paint off the walls.

They Say: “Exploring the wide range of moods and sounds produced by percussion”.

We say: MPCs at the ready because this does exactly what it says on the tin, to devastating effect. Oh, and the sleeve is stunning.

Originally released in 1979, Percussion Spectrum was produced by the legendary percussionists Barry Morgan and Ray Cooper. With dope beats taking in diverse styles, from funk and soul and jazz through to Latin, Brazilian, samba and Afro-Cuban, this is an amazing sample source filled with killer drum-breaks and percussion flares. Unsurprisingly it’s one of the most sought-after records from the Themes catalogue.

This library LP is a library in itself, with its mix of short themes of single beats, short breaks and some longer, more fully-formed DJ-friendly tracks. Trust us when we say that this is a box full of percussion firework ready to be thrown onto the dancefloor at the just right moment. We don’t have anywhere near enough space to describe all 34 tracks (there isn’t even enough room on the labels to list them all!) so we’ll pick out some favourites.

Favourites like opener “Impulsion”, a percussive masterclass with drum upon drum upon drum making it feel like a neat prototype to the percussive underscores of Peter Lüdemann and Pit Troja’s eternal The Now Generation LP. And the dramatic “Fast Action” is exactly that, racing along on a rapid roll of congas, cymbal crashes and throbbing kicks. “The Chaser” is classic library cop-funk with dilapidated drum figures, and the outrageously funky “Heat On” is the perfect accompaniment to your wild action sequences.

A real highlight is “Runaway”, and not just because it sounds like nothing else on the record. Here are drums and percussion in that tight funk style that just cries out to be sampled. “Percussion Power” is an extended, near-three minute suite of funky drum solo after funky drum solo that just aches to be looped: open drums to die for people! “Shivers” is a tense, apprehensive underscore with shock stabs that builds to a climax whilst “Drums On Parade” is a showcase of head-nod drums and cymbals in march time. Did someone say “funky”?

Side B starts with a stroll down “Samba Street”. With the noise of the crowd in the background, this is riotous, authentically drawn samba that sounds like it’s been beamed straight in from Rio in full flow. Drop this at midnight and watch the cobwebs fly off any dancefloor. Prefer it without the fake crowd? “Samba Street (b)” has you covered.

The simple, innocent “Child’s Themes” (all five of them) provide a nice, sweet respite from all the funk. Nursery sounds tinged with only a touch of melancholy. The gentle marimba solo of “Tropical Peace” only adds to the sense of serenity we get from the relatively calm second side. The album closes out with a veritable toolkit of tom toms, snare drum rolls, timpani, vibraphones and chiming bells.

Percussion Spectrum is a joyous collection of sounds, as bright, beaming and downright funky as the vibrant cover. The Themes series is known for each record having its own particularly striking sleeve, which was unusual for library records at the time, and Percussion Spectrums’s multi-coloured drumsticks make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Percussion Spectrum comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. As usual Richard Robinson has taken the same care with restoring the original sleeve from archive scans. This is another one ticked off the list of library records that should be out there for anyone who wants a copy.

Since 2010, Adam Keith's solo project Cube has been supplying a steady run of records and cassettes that capture songwriterly fixations and frustrations in a dextrous style of wounded electronics. Though Cube has been the centrepiece of his activity for some years, he's all the while remained active in collaborations, playing in bands such as SPF and Mansion to name just a few. Rounding off a decade of dialogues and agitations, Alter now presents Keith's third LP under the moniker of Cube, 'Drug of Choice' Based in New York, though managing a functional transience that takes in California too, Keith's latest iteration as Cube launches a panoramic set of sonic touchstones into a gristly and hypnotic orbit. Seismic drum machine parts partition an album that layers industrial-tipped takes on digi-dub with roaming guitar lines, piano vignettes, and breakbeat theatrics. For all the abrasiveness and rhythmic allusions that Keith employs, his use of voices alongside lush manipulations of errant samples and atmospheres tempers the commotion, delivering something that feels as much focused on artful constructions of private experiences as it does the cathartic qualities of noise.

Soul Slabs Vol. 2 is a collection of A-sides from the 7-inch catalog of Loveland Ohio's Colemine Records. Specializing in heavy soul, funk, and R&B, Colemine prides itself on authenticity and an old school production style, while still making songs that seem fresh and are moving the genre of soul forward. This 3LP collection of 27 tracks puts their diverse catalog on full display, many of these songs being presented for the first time on an LP. Featuring artists such as Durand Jones & The Indications, KellyFinnigan, Ben Pirani, Jr. Thomas & The Volcanos, Delvon Lamarr Organ Trio, Monophonics, Ikebe Shakedown, The Dip, The Sure Fire Soul Ensemble, Soul Scratch, and more!

Cathal Coughlan is the co-founder and singer of acclaimed 80s/90s pop-rock groups Microdisney and Fatima Mansions, and widely considered to be one of Ireland's most revered singer/songwriters, beloved by fans of caustic literate music in the vein of Wilco, Robert Forster and Mark Eitzel. He's released four acclaimed solo albums and this will be his first new music in 10 years. Features and reviews already set for Mojo and The Wire and expect plentiful support from BBC6 Music. Enclosed in a stunning sleeve by award-winning Bruce Brand (The Darkness and White Stripes) with a focus image portrait by outsider artist Cristabel Christo. The new record not only has his usual backing musicians, The Necropolitan String Quartet, but also Luke Haines (Auteurs/Black Box Recorder), Sean O'Hagan (Microdisney/High Llamas), Rhodri Marsden (Scritti Politti) , Aindrías O Gruama (Fatima Mansions), Cory Gray (The Delines) and Dublin singer-songwriter Eileen Gogan.. Loosely conceptual, and based around the persona of Co-Aklan, the LP is melodic and inventive. Twelve fabulous new songs; three will have videos from Marry Waterson and Andy Golding of the Wolfhounds. "Coughlan's intelligence and passion are a rebuke to a vapid music industry, his chronicles of disaffection and disgust an inspiration." - David Peschek, The Guardian

Cool Ghouls - a band fledged in San Francisco on house shows, minimum wage jobs, BBQ's in Golden Gate Park and the romance of a city’s psychedelic history turns 10 this year. What better a decennial celebration than the release of their fourth album, At George's Zoo!

How did San Francisco's fab four arrive at George's Zoo? The teenage friendship of complimentary spirits Pat McDonald (Guitar/Vox) and Pat Thomas (Bass/Vox) serves as square one. The Patricks were munching on Eggo-waffle-sandwiches and downing warm vokda in suburban Benicia (San Francisco bay) years before McDonald would hear George Clinton address his fans as "Cool Ghouls". The boys played their debut gig as Cool Ghouls at San Francisco's legendary The Stud in 2011, but there's no doubt the musical moment cementing the band's trajectory was much earlier at the 18th birthday party for boy-wonder Ryan Wong (Guitar/Vox) - at the Wong household.

You might remember the Ghouls' earliest days... McDonald’s hair hung luxuriously past his waist, Thomas dreamt of no longer having to crash on friends' couches to call SF home and Wong looked forward to turning 21. Cool Ghouls' Pete Best, Cody Voorhees, thrashed wildly – but briefly - on the drums and Alex Fleshman (Drums), who still claims he's not really "a drummer", turned out to be a really good drummer. Thomas would sleep pee on tour. Those were golden days!

Flash forward to today and everything is up in flames. No shows, parties or bars. Cool people are streaming out of SF. It's been 2 years since the last time Cool Ghouls have even played. The STUD is gone, The Eagle Tavern is for sale and The Hemlock has been demolished for condos. Your boss is an app. Fascism is no-knocking down the door. There's a pandemic.

Fortunately for us, the Ghouls got an album in before it all went to shit, and they made it count. At George's Zoo includes 15 of the 27 tunes they managed to eke out while simultaneously working through major life moves. It was a 5-month, all out, final sprint down the homestretch (to Ryan's moving day) with affable engineer Robby Joseph, at his makeshift garage studio in the Outer Sunset (pictured on the cover). Instead of recording the entire album over a few consecutive days - like they'd done with Tim Cohen, Sonny Smith and Kelley Stoltz for the first three LPs - the band took it slow by working through a few songs each weekend after rehearsing them the week before. Robby would cue up the tape, McDonald would throw some steaks on the grill and they'd get to work - much to the neighbor, George's, chagrin.

These guys have a real commitment to elevating as songwriters, musicians and ensemble players. It's always been for the music with Cool Ghouls and this long-awaited self-produced outing is a track by track display of the ground they've covered and heights they can achieve. Their vocals and trademark harmonies are front and center and out-of-control-good. Ryan's guitar solos are incredible. The horns by Danny Brown (sax) and Andrew Stephens (trumpet) hit in all the right places. Maestro, Henry Baker (Pat Thomas Band / Tino Drima), plays keys throughout. There's even a mesmerizing string section ("Land Song") by sonic polyglot, Dylan Edrich.

None of this growth is to the detriment of the fun, natural, feeling that fans have come to expect from the band. This is a fully realized Cool Ghouls album. It paints a remarkable portrait of SF's homegrown heroes and the many corners they've explored over the last decade. The songwriting, harmony and playing are nothing if not solid. The lyrics are keen. Robby's recording and mixing sound great start to finish and even better after mastering by Mikey Young. It's a triumphant addition to their catalogue. Recommended for Stooges and Beach Boys fans alike. Listen and see!

Yes, many things have changed since 2011. Who knows what the 20's will have in store for life on Earth, let alone the Cool Ghouls? We at least know that 2021 has At George's Zoo for us, a beautiful keepsake from the Before Times when we used to stand in living rooms together while bands played.

pink vinyl / 180 grams

"With this release, I set out with a particular sound in mind - one through which I could amalgamate my inspirations from over the years to create something fresh and outline a unique approach. With these tracks, I wanted to walk the line of having something energetic enough to tease my UK Underground & Dance Music influences, and yet experimental enough to present the listener with a deeper landscape to explore through the FM sound design."
- Aagentah

Earth, Wind & Fire’s sixth studio album That’s the Way of the World rose to No. 1 on both the Billboard 200 and Top Soul Albums charts. It was also the soundtrack for a 1975 motion picture of the same name. They won a Rock Music Award for the album in the category of Best Rhythm and Blues Album. The album is filled with gems ranging from the sweat funk of “Shining Star” to the gorgeous ballad “Reasons”.

Mondo, in collaboration with Back Lot Music, is proud to present a vinyl pressing of James Newton Howard's Golden Globe Nominated score to Universal Pictures’ powerful new film from acclaimed filmmaker Paul Greengrass, News of The World.

Set five years after the end of the Civil War, News of the World follows Captain Jefferson Kyle Kidd (Tom Hanks), a veteran of three wars, who now moves from town to town as a non-fiction storyteller, sharing the news of presidents and queens, glorious feuds, devastating catastrophes, and gripping adventures from the far reaches of the globe.

In the plains of Texas, Kidd crosses paths with Cicada, aka Johanna Leonberger (Helena Zengel, System Crasher), a 10-year-old taken in by the Kiowa people six years earlier and raised as one of their own. Johanna, hostile to a world she’s never experienced, is being returned to her biological aunt and uncle against her will. Kidd reluctantly agrees to deliver the child to where the law says she belongs. As they travel hundreds of miles into the unforgiving wilderness, the two will face tremendous challenges of both human and natural forces as they search for a place that either can call home.

The film is a moving exploration of our present through the lens of our past, and the music by eight-time Academy Award® nominee James Newton Howard (The Hunger Games, The Sixth Sense, Signs, The Fugitive) is innovative, emotional, and beautiful, as it follows Captain Kidd’s journey from regret to redemption. A haunted, and healing sound of vintage Americana floods from your speakers as the tender strings and piano guide you over gorgeous landscapes.

Award-Winning Welsh Multi-Instrumentalist The Anchoress Returns With Her New
Studio Album ‘The Art Of Losing’
Featuring Guest Appearances From James Dean Bradfield (Manic Street Preachers)
And Sterling Campbell (David Bowie, Duran Duran)
“A devastatingly powerful voice.” MOJO “Hounds Of Love, updated for the 21st century.” PROG “Davies is making music like nobody else at the moment.” NME
‘The Art of Losing’ is the second album from Welsh multi-instrumentalist The Anchoress (aka Catherine Anne Davies), following up on her critically acclaimed debut album,
‘Confessions of A Romance Novelist’, which was named amongst the Guardian critics’
Albums of the Year, won HMV’s Welsh Album of the Year, Best Newcomer at the PROG
awards, and a nomination for the Welsh Music Prize.
Written and produced by Davies, the new album features guest performances from
James Dean Bradfield (Manic Street Preachers) and drums from Sterling Campbell (David Bowie, Duran Duran) along with the mixing talents of Dave Eringa (Manics, Wilko
Johnson) and grammy-award winner Mario McNulty (David Bowie, Prince, Laurie Anderson).
‘The Art Of Losing’ ambitiously navigates the topic of loss in all its forms and was written
and recorded during an unfeasibly busy few years as Davies found solace and purpose in
a range of projects whilst navigating her griefs. Most recently this came via the release
of her collaborative album ‘In Memory of My Feelings’ with Bernard Butler (on Pete
Paphides’ label Needle Mythology), duetting with the Manic Street Preachers on ‘Resistance Is Futile’, and being personally invited by The Cure’s Robert Smith to perform at his
Meltdown Festival. She also brought a new generation of ears to legendary Scottish rock
band Simple Minds, where she spent much of the last five years appearing on the ‘Big
Music’ (2015) and ‘Walk Between Worlds’ (2018) albums.
The Anchoress will launch the album with a special show at London’s Queen Elizabeth
Hall in July 2021.
*2 LP 140gm Black Gatefold Vinyl Edition with lyric printed inner bags.

Solo album by the great pianist Tete Montoliu recorded in 1971 and released on SteepleChase in 1986.
“El Grand Señior from Catalonia” was the way Dexter Gordon used to introduce Tete Montoliu to the audience at Club Montmartre in the ‘60s. Vincente Montoliu Massana, better known as Tete Montoliu (1933-1997) was born blind and learned to play piano at age 7 by Braille method.
He studied music at the Conservatori Superior de Música de Barcelona (1946-1953). His remarkable international career took off in 1956 when Lionel Hampton invited him for his big band and since then Tete played all over the world with host of jazz luminaries.
“Listen to the superb interaction between a man and his piano in the utmost sublimity...Montoliu shares the same pulse, sincerity, talent with his illustrious predecessors Art Tatum and Earl Hines...” - Pierre Steve

Recorded in late 1996 and released in early 1997, this first album from the power Brussels based trio Rawfrücht, defies and questions the definition of genres, eras and musical movements. Ranging from minimal meditative dronish soundscapes, perfect for introspective journeys, to more 'groovy' moments, from noise rock to free rock-but-not-postrock unstable patterns - sometimes even within a single track - this album is a ride on undefined roads, no maps allowed, just instinct and the energy to always go further and deeper into charting new sonic territoriesŠ

After the release of this first untitled album, names like those of Marc Ribot, Sonic Youth or King Crimson were frequently associated to it.

But this doesn't really define what this album, released for the first time on LP, really is about. Two guitars and drums. Swell Maps meet Parliament, shades of Hendrix. Can-erisms catching up with the ramblings of Gastr Del Sol. Secret & reserved side in the best tradition of the Chicago School: Tortoise, Rome etc.

Rawfrücht was: Hugues Warin and Teuk Henri (Sharko, Juniper Boots) on guitars and Thomas Van Cottom (Cabane, Venus) on drums. First time released on vinyl!

WRWTFWW Records is beaucoup happy to announce the official reissue of Pierre Barouh's hard-to-describe-but-easy-to-enjoy French flair meets Japanese avant-garde lost treasure of experimental-electronic-chanson-pop with a new-wave-minimal-bossa touch, Le Pollen. Originally recorded July 1982 at Nippon Columbia Studio in Tokyo and composed, arranged, and played by a who's who of Japan's most groundbreaking musicians of the 80s, the album comes as a LP with bonus 7inch, housed in a heavy sleeve displaying two immaculate photos of Barouh and holding a printed lyrics insert.

A free-spirited world traveler with an incredible ear for music, Paris-born singer and activist Pierre Barouh introduced the sounds of Brazil (and more) to Europe and pushed the envelope with his pio-neering label Saravah, home of adventurous innovators Brigitte Fontaine, Areski, Jacques Higelin, Naná Vasconcelos, and Roland Bocquet's Catharsis among many others. His bohemian border-free vision of modern chanson, blending musical tradition from various parts of the globe with forward-looking artistry, resonated particularly well in Japan, where the scene spearheaded by Yellow Magic Orchestra fell in love with everything Barouh.

And so one day in 1981, Pierre Barouh received an invitation from a Japanese label to come record an album in Tokyo. Not one to turn down an escapade around the world, the French visionary jumped on a plane and landed in a studio surrounded with a dream line-up of musicians: Yukihiro Takahashi (who had named his solo debut Saravah! after Barouh's imprint) and Ryuichi Sakamoto of YMO, Yasuaki Shimizu and his Mariah bandmates Masanori Sasaji and Hideo Yamaki, members of the Moonriders, Motohiko Hamase, Mitsuru Sawamura of Interior, Kazuhiko Katoh and the list goes on. Also participating in the making of the album were longtime collaborator Francis Laï and the mys-terious and beautiful David Sylvian.

The result is Le Pollen, a sincere and affectionate mix of nouveau chanson, techno-pop, post-punk, jazz, bossa, ambient, and minimalism. And probably something else entirely. Honestly impossible to classify in a particular genre, Pierre Barouh's fascinating cosmopolitan music melting pot is, above all, a reassuring ode to humanity, where friendship, exchange, and collaborative creativity breeze freely. Making music together. It's all love.

Pierre Barouh sadly passed away in December 2016, leaving behind a monumental legacy of music and art for us to cherish, and a life philosophy that's well worth considering:

La vie, qu'elle soit longue ou brève
Moi, tous mes rêves
Je les prends toujours au sérieux
Quand l'utopie brise les chaînes
C'est l'oxygène,
De ceux qui sont restés curieux

Life, be it long or brief
Me, all my dreams
I always take them seriously
When utopia breaks the chains
It's the oxygen,
Of those who've remained curious

From the song "L'Autre Rive" on Le Pollen.

Spirit Of House’ is a jackin' 90’s Chicago inspired groove. It’s an uplifting, dance floor ready track from two of House music's finest. Those unmissable vocals from the legendary Gene Farris add a stamp of old authenticity – he’s a bonafide Chicago legend, who’s contributions to the House music scene are undebatable. He’s been pushing musical boundaries for close to three decades, working with world-leading labels and artists such as Relief, Dirtybird, ViVa Music and Defected.

ATFC is a longstanding label favourite and household name in the scene. He has 3 UK top 40 hits under his belt and has remixed tracks for the likes of P Diddy, Missy Elliot, Simply Red, Faithless and Dido. He’s entered Pete Tong’s Essential Mix hall of fame - and the BBC Radio 1 tastemaker himself described ATFC’s productions as ‘verging on genius’. This collaboration is a match made in heaven.

‘Spirit Of House’ is a deeply playable, feel-good House record from two of the most established producers in the scene.

‘R U’ features a catchy piano hook, tough drums and that deep, powerful vocal from Gene Farris himself. It’s a stripped back, gritty house cut and we're proud to be giving it a home on Toolroom.

Whilst sampling can be a sticky subject in dance music, 'Tech House Kinda Thing' is a fine example of how digging deep and being creative can be hugely rewarding. The vocal sample on this record is from another house titan; Harry Romero. This was taken from an event promo video that Harry recorded himself and posted on his Instagram page. Being the creative soul he is, ATFC heard it, sampled it, brought the idea to a Toolroom writing camp last November, and voila, this record was born! The record itself is an energetic club workout, produced with the detail and finesse you'd expect from such a legendary producer such as ATFC. With driving rhythms, off beat quirky stabs and that unique, spoken vocal, this really is a special record!

‘Not Enough’ is an uplifting, funky, feel-good tune. It oozes that ATFC warmth and the vocals from Mia Mendez add some serious sunshine vibes! Her voice is super powerful and within seconds of hitting play on this record you're whisked away to a sun drenched terrace!

Modern sounds for the 21st century featuring modal, progressive and esoteric contemporary jazz from the UK, Spain, Netherlands, Finland, USA, Belgium, Canada, South Africa, Sweden, Germany & Italy.

The first 12 volumes of our hugely popular Spiritual Jazz series have unearthed a wealth of historic recordings in the genre, collating a variety of works from the '50s to the '80s by artists from all around the world.

And so, with Volume 13, we turn our attention to what's happening NOW.

Over the course of 24 tracks and spanning 2 x 2LPs, we present an overview of the contemporary exponents of Spiritual Jazz; musicians who are intent on bringing something personal to the table, as much as they recognize the importance of those who have paved the way for them. We feature music recorded within the past 20 years and from 15 different countries, including modern classics from veterans Steve Reid and Idris Ackamoor, providing a vital link between the past masters and the enlightened new generation.

It's pioneers such as John Coltrane, Sun Ra, Pharoah Sanders et al, with their innovations in reaching another plane of consciousness that was and remains uppermost in the minds of exponents of Spiritual Jazz. Fittingly, several of the artists featured on this compilation, such as Cat Toren and David Boykin, are practitioners of the art of music therapy and sound healing, and have absolute conviction in the role of song as solace. The pioneers may no longer be with us, but their saintly selves loom large, shining a light in the darkness, inspiring many a brave new disciple today, as this album will testify: the new wave of jazz is gathering pace and still sounds fresh, vibrant and as relevant as ever.

Available as 2 x 2LP sets each with gatefold sleeves, extensive liners, download card & pics inside.

Horse Time is the first release from Phonopsia's new label - Horse Category. As a statement of intent for the sounds to come, this debut record shows the breadth of Phonopsia's craft in the studio looking to not be limited by genre or tempo. Across the EP he delivers a slow techno track with housey leanings, a room shaking minimal techno track, up-tempo electro wigged out with oddball elements, and a down-tempo finale that abuses time. Phonopsia has been making and playing music for a good number of years and was Sud Electronic resident from 2007-2009 and regular guest for Bleep43 from 2002-2010.

Modern sounds for the 21st century featuring modal, progressive and esoteric contemporary jazz from the UK, Spain, Netherlands, Finland, USA, Belgium, Canada, South Africa, Sweden, Germany & Italy.

The first 12 volumes of our hugely popular Spiritual Jazz series have unearthed a wealth of historic recordings in the genre, collating a variety of works from the '50s to the '80s by artists from all around the world.

And so, with Volume 13, we turn our attention to what's happening NOW.

Over the course of 24 tracks and spanning 2 x 2LPs, we present an overview of the contemporary exponents of Spiritual Jazz; musicians who are intent on bringing something personal to the table, as much as they recognize the importance of those who have paved the way for them. We feature music recorded within the past 20 years and from 15 different countries, including modern classics from veterans Steve Reid and Idris Ackamoor, providing a vital link between the past masters and the enlightened new generation.

It's pioneers such as John Coltrane, Sun Ra, Pharoah Sanders et al, with their innovations in reaching another plane of consciousness that was and remains uppermost in the minds of exponents of Spiritual Jazz. Fittingly, several of the artists featured on this compilation, such as Cat Toren and David Boykin, are practitioners of the art of music therapy and sound healing, and have absolute conviction in the role of song as solace. The pioneers may no longer be with us, but their saintly selves loom large, shining a light in the darkness, inspiring many a brave new disciple today, as this album will testify: the new wave of jazz is gathering pace and still sounds fresh, vibrant and as relevant as ever.

Following the release of the single of the same name, Dutch duo Tunnelvisions return to Disco Halal with new EP ‘Gold Teeth’, out on Friday 27th November.

A three-track release, ‘Gold Teeth’ opens with an extended version of the title track, an infectiously feelgood house number, characterised by driving synths, busy percussion and catchy vocals. Next up, ‘Hyperfocus’ is a slow-burning progressive house cut that unfurls steadily across its six minutes. Closing things out, ‘Heat Wave’ harnesses an old school house vibe, characterised by deep bass and fluttering percussive elements.

Speaking about the EP, Tunnelvisions says: “We’re proud to present you our next EP called ‘Gold Teeth’. Three tracks combining our percussional and synthpop influences into something we’re very excited about.”

With an unmistakable ear for imaginative, melodic themes and entrancing rhythms, Tunnelvisions hit the sweet spot by seamlessly fusing worldly influences with analog synthesisers.

A diverse collection of tracks, ‘Gold Teeth’ sees Tunnelvisions skilfully explore various shades and tones on the house music spectrum.

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

Guitarist and composer PAT METHENY has won 20 Grammy Awards in 12 different categories including Best Rock Instrumental, Best Contemporary Jazz Recording, Best Jazz Instrumental Solo, Best Instrumental Composition. The Pat Metheny Group won an unprecedented seven consecutive Grammies for seven consecutive albums.

Pat Metheny is one of the few artists in the world who can lay claim to such a description. On his latest album, Road To The Sun, Pat Metheny surprises us once again with his seemingly endless ability to harvest new vistas while retaining the instantly recognizable Metheny sound.

With two major new works, performed by five of the world´s leading guitarists, Metheny charts a new way of obliterating boundaries between genres while simultaneously unveiling new facets of an already expansive personal language.

Grammy-winner Jason Vieaux, described by NPR as “perhaps the most precise and soulful classical guitarist of his generation” was tapped by Metheny to perform his four-movement solo guitar suite Four Paths Of Light.

The centerpiece of this landmark recording is Road To The Sun, a six-movement piece for fellow Grammy-award winning Los Angeles Guitar Quartet LAGQ – Metheny describes them as “one of the best bands in the world”.

• This is the only LP released by The Mighty Tom Cats, a house band for Paul Winley (who launched his Winley Records in 1956).
• Originally released in 1974 ‘Soul Makossa’ is rumoured to have George Benson, Willis Jackson and Buddy Lucas taking part
• Features a brilliant take on the mighty ‘Soul Makossa’ track made famous by Manu Dibango
• Reissued on 140g black vinyl with original artwork and printed inner sleeve

Live At Robert Johnson kicks off 2021 with a new cut above the rest thanks to Benjamin Fröhlich, who dons a cosmic Acid-to-Italo four-track EP. Whether „Club Fantasy“ insinuates the phantasy of clubbing in times of a pandemic shutdown in global club cultures, or a club by the name of it, lies within the ears of the listeners. Either way, Benjamin’s ties with the Robert Johnson club can be heard resonating throughout this fantastic EP.

Club Fantasy (Club Version) introduces a a happy 303 reminiscent bouncy bassline, supported by relentless rim shots, fast-forwards the Club Version of the title track directly into the uplifting domains of well-established sounds. Sparse echoing vocal snippets, encouraging us to dance, and by the time the piano stabs finally kick in, it’s all hands up for your very own club phantasies. Club Fantasy (Fantasy Version) boasts a less peaky signature, while working a more playful and driving treatment of the title track, supported by mellow strings, a harder kick and subtle room reverberation. On the flip-side, Escape presents a warm, emotional and cinematic Italo soundscape, featuring floating arpeggios, which flash like coloured strobes in the dark. Benjamin’s final track, Dream Machine, is a beautiful kaleidoscope of sounds, slightly more energetic yet moody, that is sure to catch everyone's ears on the dancefloor.

As a co-founder to Munich based record label Permanent Vacation, but also as a DJ and producer, Benjamin Fröhlich’s musical involvement traces back many years in the Cosmic Disco and Balearic scene, and into the networks of both Robert Johnson club and its label.

Standard Light Rose LP! 'Flock' is the record that Jane Weaver always wanted to make, the most genuine version of herself, complete with unpretentious Day-Glo pop sensibilities, wit, kindness, humour and glamour. A consciously positive vision for negative times, a brooding and ethereal creation. The album features an untested new fusion of seemingly unrelated compounds fused into an eco-friendly hum; pop music for post-new-normal times. Created from elements that should never date, its pop music reinvented. Still prevalent are the cosmic sounds, but 'Flock' is a natural rebellion to the recent releases which sees her decidedly move away from conceptual roots in favour of writing pop music. Produced on a complicated diet of bygone Lebanese torch songs, 1980's Russian Aerobics records and Australian Punk. Amongst this broadcast of glistening sounds is 'The Revolution Of Super Visions', an untelevised Mothership connection, with Prince floating by as he plays scratchy guitar; it also features a funky whack-a-mole bass line and synth worms. It underlines the discordant pop vibe that permeates 'Flock' and concludes on 'Solarised', a super-catchy, totally infectious apocalypse, a radio-friendly groove for last dance lovers clinging together in an effort to save themselves before the end of the night. The musician's exposure to an abundance of lost records served as a reminder that you still feel like an outsider in this world and that by overcoming fears you can achieve artistic freedom. Jane Weaver continues to metamorphise_ "A mind-expanding delight, devoid of retro posturing." The Guardian "Ominous and luminous, expansively spacious and sonically imploding, scientific, ephemeral and eternal" The Quietus

I’ve known Alex Bleeker my entire life. Well, okay, maybe not since I was born, but there’s no doubt that I’ve shared a fair bit of memories with him over the years. We’ve acted in high school productions of Shakespeare together, gone on late-night diner runs, argued about which Weezer album is the band’s best, and swapped mutual appreciation for the music of Yo La Tengo on car rides careening around the snaky suburbia of our hometown. Just like his Real Estate bandmates Martin Courtney and Julian Lynch, we attended high school in the New Jersey enclave of Ridgewood, a place where sticky summer days yielded cool nights with a glow so nocturnal that you can practically hear the fireflies buzzing off of this sentence alone.

Indie rock—a type of music that can easily be made or listened to in someone’s garage—often dominates teenage suburban preoccupations, and both Alex and I were no exception. You can hear this legacy of listening on his new album Heaven on the Faultline, which departs from his last full-band outing as Alex Bleeker and the Freaks, 2015’s Country Agenda. Whereas that album had a more full-bodied explicitly folk-y feel, Heaven on the Faultline finds Bleeker getting back to his homespun roots over the course of its 13 songs, from the jangly guitar pop of New Jersey heroes the Feelies and YLT’s hushed, acoustic reveries to the open-hearted folk rock that marks so much of the Grateful Dead’s early catalog.

Written and recorded over the last several years, Heaven on the Faultline’s songs were initially recorded straight to GarageBand in Bleeker’s bedroom before receiving further studio refinement in co-producer Phil Hartunian’s Tropico Beauty space in Los Angeles. With contributions from Confusing Mix of Nations’ Josh Da Costa, Cameron Stallones of Sun Araw, singer-songwriter Kacey Johansing, and Parting Lines’ Tim Ramsey, Heaven on the Faultline achieves a warm and intimate feel that defines Bleeker’s mission for the album: “I wanted to capture the moment in which I fell in love with making music to begin with. This is music for myself—me getting back to music for music’s sake.”

The unsteady times we live in certainly creep into view on Heaven on the Faultline. The deceptively easygoing “D Plus” was written on the day of President Donald Trump’s inauguration with the cursed event in mind, while the anxiety of climate change hovers just above the lovely guitar loops of “Felty Feel.” “The album is very much about dealing with the anxiety of a sense of impending doom,” Bleeker states while discussing the album’s portentous vibes. “When is the hammer going to fall? How do we go forward in the face of such anxiety and experience the complexity of life?”

Tough questions with few answers, but try not to stress too much. It’s possible to experience such existential doubt while also enjoying the simple pleasures that life has to offer, and that ethos is square at the heart of Heaven on the Faultline. It defines who Alex Bleeker is, too, and is one of many reasons why I’m proud to have known this special person and artist for so long.

Larry Fitzmaurice

Philly-based indie rock band Tigers Jaw release
their new album and Hopeless debut ‘i won’t care
how you remember me’.
Described by the members’ moms as Saves The
Day meets Fleetwood Mac, Tigers Jaw have been
carving out their own legacy in the indie,
alternative and emopunk genres since 2006.
The band’s last two albums, 2014’s ‘Charmer’ and
2017’s ‘Spin’, were their most successful to date,
receiving critical acclaim from the likes of Pitchfork
and Stereogum, as well as charting at #3 in the
US vinyl charts and #11 in the current rock and
alternative album charts.
For fans of Joyce Manor, The Front Bottoms,
Turnover.

Green Man Rising 2020 winner, Nuha Ruby Ra, announces her debut EP ‘How To Move’ out on Brace Yourself Records on 5th March 2021. A visceral and striking debut from the East London avant-punk, Nuha delivers frenzied poetic energy across the seven tracks bearing comparisons to Lydia Lunch and Sonic Youth.

Nuha Ruby Ra has spent the last few months cultivating a dedicated following and racking up an impressive catalogue of collaborators from around the world. Nuha has performed alongside the likes of Bo Ningen, Uncanny Valley, Charlie Boyer and more, and appeared on recordings by Flamingods and Warmduscher. In the short time she’s been playing these tracks she’s amassed support slots with Fat White Family, Surfbort, Amyl and the Sniffers, Bambara, Japanese Television.

The EP 'How To Move' began as bedroom projects, before Nuha developed the tracks in the actual vintage synth cave of the Psychedelic Furs, joined by members of Liars and Insecure Men. It was produced by Tony Visconti protégé Erin Tonkin (David Bowie’s ‘Blackstar’) and mastered by Pete Maher (Patti Smith, Lana Del Ray etc.)

Though it’s hard to pick a winner among the estimable Black Jazz catalog, this 1972 release from bassist Henry “The Skipper” Franklin would have to be near the top of the list. Franklin got his start woodshedding with Latin maverick Willie Bobo in the mid-‘60s and went on to play with The Three Sounds, but probably his most notable gig prior to this debut album was his stint in Hugh Masekela’s band (that’s Franklin playing bass with Masekela at the 1967 Monterey Pop Festival). For The Skipper, Franklin assembled a crack outfit that included a horn section of trumpeter/flugelhornist Oscar Brashear (Bobby Hutcherson, Ry Cooder, Donny Hathaway) and tenor & soprano sax man Charles Owens (Buddy Rich, Horace Tapscott, John Mayall) along with a Masekela bandmate in electric pianist Bill Henderson and ace drummer Michael Carvin (Pharoah Sanders, Lonnie Liston Smith, Freddie Hubbard). This is such a unique, organic recording that it’s hard to make comparisons; definitely a little fusion, a little ‘60s Blue Note feel, and the usual Black Jazz journey to the more lyrical, pop-inspired (“Little Miss Laurie”) and funk-infused (“Plastic Creek Stomp”) sides of jazz, but perhaps the best comparison is late-‘60s Miles before he went electric. In any case, The Skipper is just a joy to listen to from start to finish, beautifully recorded by Black Jazz producer Gene Russell and blessed with some really fine writing, most of it by Franklin himself. First-time LP reissue and a must-have!

Hawkwind have always been associated with music festivals, most notably the free festivals, where Dave Brock has said that, at

those events, the band is not shackled to appease an audience by giving them what they expect and have paid to see. With that obligation removed, the band can relax and experiment more than usual and gigs become even more fun. Their sessions, where they played for free, sometimes with the Pink Fairies, at Canvas City, outside the official site of the Isle Of White Festival in 1970, are a matter of legend and Nik Turner gained much attention when he painted his face silver and was much photographed as a result. During his set, Jimi Hendrix referred to him as 'the cat with the silver face'. However, when we think of Hawkwind and festivals, the word Stonehenge leaps to the fore.

The band always loved being there, enjoying the whole event as well as the freedom of how and when they played. This was not a time of business, but a time of fun. The most important one of these was Stonehenge 1984, which proved to be the last festival before the authorities moved in the following year to block the festival from being set up and Hawkwind ended up playing a few miles away instead. It was the sad end to an era. It had taken place twelve times and, had it been allowed one more time, it would have become a public event and the powers that be were determined to prevent that from happening. Happily, the 1984 festival was recorded and filmed and the Hawkwind Solstice Eve and Solstice Morning were both preserved...and we should be grateful for that.


The fact that Hawkwind were playing for free didn't mean it was a basic show. As well as the line-up of Dave Brock, Harvey Bainbridge, Huw Lloyd Langton (who played the evening session, but not the following morning), Nik Turner, Alan Davey and Danny Thompson, there were half a dozen dancers, a mime artist and fire spitting. A free event, it was the ideal time to introduce the new rhythm section to the band in the form of Danny Thompson on drums and Alan Davey on bass, with Harvey moved to keyboards. A move which was to have a long term affect in the way he made music, leading to his solo career, as well as years playing synths for Hawklords, in years to come, after his stint as the Hawkwind keyboards player came to an end.. Danny fitted the bill comfortably and drummed for the band until he left in 1988, to be replaced by Richard Chadwick. Danny went on to play for other bands including Bedouin and Pre Med. He also recorded a cassette album called Skinwalker. Alan made a good team alongside Dave Brock and it can be seen on the video just how pleased he was to be playing alongside Dave Brock, a man whom he had only met for the first time in November 1982, backstage at the Ipswich Gaumont. He went on to be the longest serving Hawkwind bass player, before moving on to pursue solo projects and form a nmber of bands. So in terms of the line-up, Stonehenge 1984 had a notable impact on the formation of the band for a number of years and, indeed, the destinies of Harvey, Danny and Alan. As if that were not enough to make the event special in the annals of Hawkwind, they played an interesting and varied main set in the evening, featuring a blend of old and new Hawkwind songs, along with numbers from Inner City Unit and

Bob Calvert's Lucky Leif And The Starfighters album. In keeping with the relaxed atmosphere, there was a considerably extended

version of Ghost Dance, lasting around ten minutes. The sunrise set was special too, with a long, laid-back, jam at dawn, in fitting with the occasion.



A lovely and relaxing start to the day and the kind of jam they couldn't really play to a paying audience. It's good to have the

memories of this significant festival gathered together in three formats.

Enjoy this special set, which commemorates a special event, not only in the history of Hawkwind, but of the saga of Stonehenge festivals.

The music on Dance Nos. 1-5 was originally conceived as a three-way collaboration between composer Philip Glass, choreographer Lucinda Childs and artist Sol LeWitt. Dance received its world premiere in Amsterdam on October 19, 1979 and its New York premiere at the Brooklyn Academy of Music on November 29, 1979.

Post-dating Einstein on the Beach - Glass’s 1975-76 collaboration with director Robert Wilson - Dance was another Glass collaboration, this time with choreographer Lucinda Childs, known for her austere, athematically exact dances, and artist Sol LeWitt, who provided a ghostly, gigantic black- and-white film for several of the piece’s five sections.














RELEASE: 5-3-2021





• 180 GRAM AUDIOPHILE VINYL
• DELUXE HEAVYWEIGHT SLEEVE WITH GLOSS LAMINATE
• PVC JACKET
• THE COMPLETE ALBUM, AVAILABLE ON VINYL FOR THE FIRST TIME IN ITS ENTIRETY ON A 3LP-SET
WITH FIVE SIDES OF MUSIC
• INCLUDES PHILIP GLASS CATALOGUE WITH INFO ON THE PHILIP GLASS SERIES ON MOV


SIDE A

Dance has an abstract purity that easily earned it the label “minimalist,” a term that Glass himself disavows but that seems appropriate, at least in this case. After Dance, Glass’s music took several turns, not so much in style as in the various new contexts in which it was presented: major opera commissions and film scores led him to write for forces other than those of the Philip Glass Ensemble. At the same time, an attempt to reach a wide audience resulted in some shorter, perhaps more accessible, narrative pieces. Dance marked the blossoming of the composer’s experimental work. Here, though, the music - particularly Dance Nos. “1”, “3” and “5”, all written for the Ensemble— has an unforgettable exuberance that somehow speaks all at once of joyful innocence, intense erotic desire, tenderness, regret and, finally, acceptance. On the other hand, Dance Nos. “2” and “4” see Glass composing several large-scale works for solo organ; for instance, Dance No. 2 originated as a 1978 work entitled Fourth Series Part Two. This piece, later incorporated into Dance, and Dance No. “4” as well, have a more subdued, more darkly romantic quality than the work’s other sections and are quite unlike anything Glass had previously written. Still, they too, with their mysterious tilts of time and key signatures, continue the exploration of polyrhythms and harmonic complexities within the context of Glass’s repetitive, “minimalist” style.

The complete Dance Nos. 1-5 album is now available on vinyl for the first time in its entirety on a 3LP-set with five sides of music. The 3 LP’s are housed in a heavyweight sleeve.

Glenn Miller, leader of the best-loved dance band of all time
enlisted in 1942 in a personal crusade to entertain Allied
troops with his own distinctive brand of music. Whether
delivering ballads or setting the dancefloor moving with
‘Pennsylvania 6-5000’ and ‘The Woodpecker Song’, Miller
and his merry men set the mood of not only his fellow troops
but whole nations. He, and they, will never be forgotten.

A jazz musician playing spirituals? In a sense that is what Louis
Armstrong has been doing all along. Anyone who has ever read a
history of jazz knows that there’s supposed to be a relationship
between jazz and spirituals, jazz and work songs, jazz and the
blues. The patterns which the sax and reed sections use in swing
band arrangements are drawn from the “call” (the preacher) and
“response” (the congregation) patterns used in churches. This
album clearly shows Armstrong’s heritage and what an outstanding
and versatile musician he was.