Search:cel

Back in 2015, to celebrate the 50th anniversary of the BBC broadcast of Delia Derbyshire & Barry Bermange’s “Inventions For Radio: The Dreams”, The Eccentronic Research Council released their own super-limited edition cassette soundtracking the recalled dreams (and nightmares) of friends, artists, actors, musicians, scientists, poets and filmmakers. The release was called “The Dreamcatcher Tapes Volume 1”. Five years on, and with a large part of the planet under lockdown and with nowhere to go but within their imagination, the ERC put a call out once again to music collaborators, nurses, teachers, truck drivers, writers, journalists and shop workers to upon waking, record their dreams straight into their phones and to then send them to the ERC to soundtrack. And thus, Volume 2 of The Dreamcatcher Tapes was born!

How did you make the album during lockdown?
“We got around 26 dreams sent to us via email over the space of a couple of weeks then Dean Honer my partner in The ERC and I revved up the old analogue equipment and would record music and collage sounds to the dreams (remotely) from our home recording studios and bounce them back and forth to each other till they were done. It was a really good way to work actually, sometimes I didn’t even have to put on any trousers!” says ERC/ Moonlandingz founder Adrian Flanagan. Why a second volume of The Dreamcatcher Tapes? “I was really interested to see how the enforced lockdown and the removal of people’s basic needs such as human contact and hanging out in close proximity to friends was affecting the dreams of my friends, peers and those at the very front line of this horrible pandemic”, Adrian continues. “The Important shared experiences for people’s mental health such as going out to gigs, the pub, the cinema etc. ”It was an interesting experiment. Nurses dreaming of inadequate PPE and having to use blow up Elvis costumes to protect themselves. Teachers dreaming of zombies and lots of people dreaming about sex - where the hair of Greek sorceress’s Circe meets bouncy castle breasts and where other dreamers dream of serial killers or seeing dead family members, or taking baby elephants for a walk, or having discos for one in the middle of the ocean and so much more. I’m really proud of this record. It’s psychedelic in its truest most cerebral form”

Who’s on “The Dreamcatcher Tapes Volumes 1 & 2”? Who are the dreamers?
“Although our long time collaborator Maxine Peake wasn’t on the very first tape (her dream ended up on LTD edition split 7” ERC single we did with Pye Corner Audio) - she was the first dream that we soundtracked when I came up with the idea of doing the concept record. However, on the new vinyl and tape box set - she opens volume 1. Across the 2 volumes there’s film maker Carol Morley, Andy Votel from Finders Keepers records, John Doran from The Quietus (who also wrote the albums brilliant sleeve notes), acclaimed writers Benjamin Myers & Adelle Stripe, musicians such as Evangeline Ling from the group Audiobooks, Lias Saoudi from my ‘semi fictional band’, The Moonlandingz and fat white family, Sidonie from The Orielles, journalists /writers Wyndham Wallace (he wrote lee Hazelwood’s brilliant biography) and Daniel Dylan Wray amongst a whole array of musician friends, eccentrics and people with actual proper jobs!”

Why did you chose Castles in Space for this release?
“Jim Jupp at Ghost Box records suggested them to me so I looked into them and saw they were doing loads of really great strange little bespoke electronic record releases. I think that because this is a very niche limited run release, it required a label that was willing to treat it like a piece of art and not a throwaway mass produced commodity. So making sure the packaging was special, the artwork was bang on point and the sleeve notes were written by a writer we like all were very important to us. “It was also important that we could turn it around from the finished recording to being in people’s hands really quickly as Dean and I have another ten projects between us on the boil - and so far, Castles in Space have been true to their word. It’s an artists label done with love and there’s not many of them about anymore - believe it or not.“

“The Dreamcatcher Tapes Volumes 1 & 2” is an immense collaborative achievement which makes for a thoroughly compelling, and gloriously disorientating listening experience.

It is released as a double coloured vinyl LP in deluxe gatefold sleeve w/insert and a highly limited deluxe double cassette box set. The album is released on March 19th, 2021.

Soft Cell’s 2002 reunion album ‘Cruelty Without Beauty’ is set for reissue in new expanded and remastered 2CD format, as well as being released on vinyl for the very first time.

Long regarded by many fans as an overlooked masterpiece, the album features a lyrical outlook that was as true to Soft Cell’s maturity and perspective back in 2002 as it is relevant and accurate to the world situation in 2020. Harshly honest, fatalistic and bleakly humorous, Cruelty Without Beauty also preserves the band’s highly distinctive and edgy sound, and stands alongside their greatest work.

The new 2020 version includes tracks originally destined for the album, but for various reasons not on the final cut. It also includes brand new 2020 versions of album highlights Monoculture, Together Alone, Darker Times and Last Chance, updated this year by Dave Ball. Also included are a number of unreleased live versions of album tracks, plus rare remixes.

Cruelty WithoutBeauty, Soft Cell’s fourth studio album, and the first since their original split in 1984, happened after Marc Almond and Dave Ball reunited in the studio after Dave’s ‘other’ band The Grid (with Richard Norris). They worked with Marc on some tracks from his 1991 Tenement Symphony album, which eventually opened the door for some live Soft Cell dates and areunion in 2001. As well as this album release in 2002, the band toured thealbum extensively in the UK, and across Europe and the US, including many festival appearances throughout 2002 and 2003.

The album includes the singles Monoculture and a cover of Frankie Valli & The Four Season’s classic The Night, which became the band’s first Top 40 hit since since 1984.

Most recently in 2018, Soft Cell sold out London’s O2 Arena and were the subject of a career retrospective BBC documentary. They have recently signed to BMG and are currently recording a brand-new album, set for release in 2021. Before then, all of their classic Phonogram-era albums will be reissued in new expanded editions via Universal Music.

Marc Almond commented at the time of the album release ‘I always felt it was an unfinished story, and I’m glad we’re able to write another chapter’.

Dave Ball also commented ‘As soon as we work together, we become Soft Cell, you know’. I don’t know what the magic element is, but it just seems to be there’.

soft cell classic on raggae, great

They Say: “New directions in contemporary scoring”.

We say: Contempo is one of the best full album listens in the KPM 1000 library. Succinct smoking soul, super tight breaks and string-drenched sleaze composed by the library master, Keith Mansfield.

The creator of the romping tunes that became the iconic themes to the BBC’s Grandstand programme and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM’s most prolific artist from the mid 1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino is a big fan, going as far as including some of Keith’s work on the soundtracks to Kill Bill and Grindhouse.

Many library records are a game of two halves and Contempo is certainly one of those. The first side cooks on a high funk breaks flame whilst the flip is something altogether more tranquil, yet no less groovy. It lays back with dreamier, post-coital grooves.

Rugged funk opener “The Fix” confidently displays its low slung languid grooves with heavy drums, horns and bass. Smokin’ in slow motion. The punchy “What’s Cooking” follows and has a lighter, more whimsical touch. But the drums still roll and the clavs wiggle in fascinating opposition to those horns. The dark and moody intro to “Cut To Music” gives way to a more inclusive, relaxed funk that’s all irresistible bass and stabbing horns. The mid-tempo “Man Alive” signals the time to really get down. A percussive monster jam. If you can’t strut to this then we really can’t help you! Closing out the A side, fresh guitar licks drip all over the slick drums of “Funky Footage”, with a New Orleans piano vibe coming on to really light a fire.

Whilst the dramatic crime funk of the A side is enough on its own to have earned this record its place in the great library record canon, it’s undoubtedly the more smoothed out B side for which Contempo is rightfully adored and celebrated. It’s so chilled and mellow, with beautifully arranged, sweeping strings, sax solos aplenty and a real 70s soundtrack feel. Think Love Boat, CTI label, Bob James, Grover Washington Jr.-type jams.

The super sleek and sexy jazz funk of “Breezin’” is as light and magical as you’d hope. An open-air masterpiece, its indulgent sound is just a taster of the sophisticated funk to follow. The elegant, romantic feels of “Good Vibrations” (used brilliantly by Odd Future’s Mike G for “Swiss Army”) is a string-drenched, wah-wah fuelled ode to living your best life. Nonchalantly. Whilst it keeps a very West Coast feel, the blaxploitation strut is certainly more Blackbyrds than Brian Wilson. “Sun Goddess” will blow your mind with the sensuous sound of glorious horns and beautiful keys. The luxurious “Love De Luxe” and its horizontal grooves have been much sampled, but here it proves that it doesn’t need any help to get you in an intimate mood. Closer “Snake Hips” is a cool mid-pace slouch. Just divine.

Originally released in 1976 but, like the very best KPM records, wonderfully timeless, Contempo is also no mere LP-length collection of loosely related tracks. This is a rare example of a library record that is a genuinely great listen from start to finish.

As with all of our KPM re-issues, the audio for Contempo comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.
: Contempo (KPM) (LP)

Legendary Chicagoan General Juke aka Gant-Man returns with Distorted Sensory, his brand new acid house adventure. A longtime veteran who's been behind the decks since before he was even a teen, he's been an essential part of Chicago dance music history since the Dance Mania days in the mid 90s, and a major pioneer in jumpstarting the juke movement that followed. This new single, and his debut solo releaseon the Teklife imprint explores the time honored tradition of jacking, channeling the very essence of house music though a modern lens. Employing an enigmatic 303 bassline that mutates and breathes as if it were alive, Gant plays malicious melodies that run up and down octaves in a freaky, hallucinatory manner. Squelchy synth movements are met by eerie FM tones, reminiscent of Cajmere's classic Chicago staple the Percolator. A rugged 909 drum kit bangs the track along in true jacking fashion, making it the perfect tool for shaking the floors of dark, sweaty warehouses. In addition to the original, two of the UK's finest contribute remixes as well. Hyperdub boss Kode9 puts things into overdrive with his 160 BPM warped vision of Gant's acid, sliced up to appeal more to the footworkers and fans of psycho tempos. Dubstep pioneer Loefah strips back the original percussion and lets the 303s float over a cloud of deep sub bass, adorned with lovely splashes of rolling snares and micro percussion. With an array of stone cold classics under his belt, from ghetto house anthem Juke Dat Girl to his brilliant collabs with the late DJ Rashad Heaven Sent and Juke Dat Juke Dat, Gant-Man is a true renaissance man. For over 20 years, he's consistently shown the world the complexity that makes up his city's dance culture, never sticking to one area or tempo. Distorted Sensory is a beautiful celebration of Chicago house music, a return to its true raw design, and a reminder of just how timeless an art form it really is.

2001’s God Bless The Go-Go’s was the first new album released by LA legends The Go-Go's in 17 years following 1984’s Talk Show, which featured the hit “Head Over Heels”. The original lineup is intact for this 13-track outing, produced by Paul Kolderie and Sean Slade (Hole, Radiohead). Green Day's Billie Joe Armstrong is also featured on the first single, "Unforgiven."

To celebrate the 20th anniversary of the original release the CD and digital deluxe versions will include 2 bonus tracks, “I Think I Need Sleep" and “King of Confusion”

Acid Steve's Avinit label was founded to celebrate the concept of free parties and the culture of acid techno. This release continues the theme in typical brain-melting ribcage-rattling style. We're talking pounding kickdrums, frenzied 303s and standout synths, all surging throughout. A 4-tracker for playing in dark warehouses, sweaty raves, or when driving past VIP nightclubs.

Bad Boy Pete delivers a strident call to reject elitist superclub culture with an standout vocal over thunderous percussion and bubbling acid lines.

Biri 'N' Chris Liberator unleash a snarling beast of mind-twisting 303s and warehouse-ready 909s from the fiery depths of the acid techno underground.

The Geezer serves up a masterclass in rolling techno with uplifting synths swarming all over his trademark relentless rhythms.

Acid Steve brings growling acid, thumping kicks, and a defiant vocal celebrating the underground scene's unrelenting spirit of resistance

Statistique Synthétique draws as much from the history of computer sound synthesis as from its latest developments. But well beyond developing simply as a proof of concept, this piece aims to transcend the abstract status of synthetic sound objects and lead them to a properly hallucinatory state, that is to say to a meeting point where the object and perception dissolve into each other, in a sort of transcendental field. Beyond, also, hylomorphism, to reach the world of matter-form fusions, where perception knows how to see "shoulders of hills", as Cézanne wrote.
Teum (the Silvery Slit) is, as the title suggests, an overture, an opening to the game of multiplications, fragmentations, duplications. But it is also the opening understood as the void that blossoms between two borders, a break from which escapes a double tension, both the pulling force of these two edges which move apart and the opposite force of reconciliation, of compression. Okkyung Lee invites us to a truly telluric moment, a rare moment of expression where tectonic movements and shear stresses become music. If the earthquakes were, as we thought in the 18th century, due to underground thunderstorms, there is no doubt that this piece of music, both celestial and continental, could have been their audible manifestation.
Text by François Bonnet


HeckerStatistique Synthétique2020 / 25'15Computer-generated sound with resynthesized situated texture recordingsWritten and produced by Florian Hecker, 2019 - 2020Texture analysis and resynthesis algorithm: Axel Röbel, Analysis/Synthesis Team, IRCAM, ParisMastered by Rashad BeckerPhoto by Mauricio Guillén, 2019
Thanks to Axel Röbel for his commitment to the project and special appreciation to GRM, Luke Fowler, Mauricio Guillén, Dirk Mayer and Porta33
Location Texture Recordings, using DPA 4060, DPA 4017B, DPA 4021 and DPA 4060 microphones to Sound Devices 702 recorder; except segment 04:31 - 05:37, recorded by Luke Fowler, April 2019 using Sony M10.
00:00 - 02:00 Lopud, Croatia, June 200802:00 - 03:12 Ponta do Sol, Madeira, ER 101, April 201903:12 - 04:14 Prentiss St, Cambridge, MA, February 201504:14 - 04:31 Anjos, Ponta do Sol, Madeira, ER 101, April 201904:31 - 05:37 Atelier Cézanne, Aix-en-Provence, April 201905:37 - 08:31 Anjos, Ponta do Sol, Madeira, ER 101, April 201908:31 - 09:46 Praia dos Anjos, Ponta do Sol, Madeira, ER 101, April 201909:46 - 10:39 Private garden, Kissing, September 200910:39 - 11:15 Praia dos Anjos, Ponta do Sol, Madeira, ER 101, April 201911:15 - 15:11 Porto do Paul do Mar, Calheta, Madeira, April 201915:11 - 16:53 Prinz Eugen Strasse, Vienna, June 200816:53 - 24:27 Risco, Rabaçal, Madeira, April 201924:27 - 25:15 Bois de Boulogne, Avenue du Mahatma Gandhi, Paris, September 2015
:::::::::::::::::::::::::::::
Okkyung LeeTeum (the Silvery Slit)2019 / 20'03Performed, recorded and composed by Okkyung Lee (ASCAP)Mixed by Lasse MarhaugMastered by Guuseppe IelasiPhoto by Lasse MarhaugPart of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union.

Cut by Andreas Kauffelt at Schnittstelle, Berlin, September 2020Sleeve design by Stephen O'Malley

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.

As a rock icon and filmmaker with a unique vision, ROB ZOMBIE has continuously challenged audiences as he stretches the boundaries of both music and film. He has sold more than fifteen million albums worldwide, and is the only artist to experience unprecedented success in both music and film as the writer/director of eight feature films with a worldwide gross totaling more than $150 million.
ROB ZOMBIE has achieved great success in the music industry, first as a member of the multi-platinum band WHITE ZOMBIE and later as a solo artist with even greater results collecting numerous multi-platinum and gold albums along the way including Hellbilly Deluxe, The Sinister Urge and Educated Horses. In 2013, the seven-time GRAMMY® nominee released his fifth solo album, Venomous Rat Regeneration Vendor, on his Zodiac Swan label through UMe. The album debuted at No. 7 on the Billboard 200 and spawned two Top 10 Active Rock singles, “Dead City Radio and the New Gods of Super Town” and Zombie’s spin on GRAND FUNK RAILROAD’s anthemic “We’re An American Band.”
In April 2016, ZOMBIE released his 6th studio album, The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser. The album debuted at number six on the Billboard Top 200 making it the sixth consecutive release to debut Top Ten. Produced by Zeuss, it was recorded and mixed at Goathouse Studios. A full return to form by the rock icon, The Electric Warlock… features John 5 (Guitar), Piggy D (Bass) and Ginger Fish (Drums).
October 2020 sees the release of the first new ZOMBIE track and video in over four years — “King Freak: A Crypt Of Preservation And Superstition” off of the forthcoming full-length album entitled The Lunar Injection Kool Aid Eclipse Conspiracy. A classic ZOMBIE album through and through with high-energy rages like The Eternal Struggles of the Howling Man and Get Loose to heavy-groove thumpers like Shadow Of The Cemetery Man and Shake Your Ass-Smoke Your Grass. This new slab of ZOMBIE madness hits in early 2021
For the past two decades ROB ZOMBIE has also directed dozens of music videos for himself as well as other artists including Ozzy Osbourne. ZOMBIE was also the first self-directed artist to win an MTV Video Music Award. He’s also directed a special episode of CBS’s CSI: Miami, two Comedy Central specials, and uncharacteristically macabre commercials for various brands.

The debut mixtape from Bad Boy Chiller Crew, includes the hits ‘450’, ‘Guns Up’ and ‘German Engineering’.
The debut mixtape from Bradford’s Bad Boy Chiller Crew (BBCC). With over 150 million+ organic streams on their own channels, a feature-length fly-onthe-wall VICE documentary and broadsheet tips for 2020 stardom, the group already have a formidable fanbase and infamy to be reckoned with. In fact, they’re already a fully-fledged organic phenomenon.
MCs Kane, GK, Clive are deeply influenced by the ‘bassline house’ clubbing heritage they grew up around in the North of England as well as emergent UK and US rap. The boys’ have created something of their own new sound, lacing pacey 4x4 bass-quakes with a frantic lyrical fire that veers from infectious
ear-worm hooks to wry observational punchlines. Think The Streets meet T2’s ‘Heartbroken’.
Embracing the term ‘charva’ as a way-of-life, together they channel the nuances and absurdities of northern street life into hugely addictive tunes. These lifelong friends are already celebrities around their Yorkshire locale, with a rabid social media following that devours both their singular brand of bassline-rap bangers.
12-inch gatefold LP on heavyweight 180-gram vinyl. Includes BBCC kingsize rolling papers. A2 fold out poster. Full lyrics and unseen images

First pressing of 400 units comes as yellow vinyl! "I was guzzling wine at my favorite bar in San Francisco, the Rite Spot, and the entertainment that night was some local opera singers singing along with a big video screen showing a collage of various operatic moments with subtitles. One particular subtitle, 'Ah!-(etc)' made me laugh, I thought it was a perfect description of life - the joy of existence against the etcetera of it all, the struggle. With a heavy head of rose' it seemed like ecstatic poetry! I scribbled it on a napkin and thought it might make a good title for something" And so the mystery behind the title of Kelley Stoltz new record is solved. Less of a mystery is the quality contained therein_ after 12 self-titled releases and a several more under pseudonyms, Stoltz is the word for "one-man-band-home-recording-pop-songs of idiosyncratic character." A quick follow up to his more power pop and pub rock LP only "Hard Feelings" offering in the summer, "Ah-(etc)" finds Stoltz returning to his sweet spot, writing songs that never were, but should have been in the 60's and 80's. As with other LPs Stoltz makes virtually every noise on the album which was written and recorded in 2019 at his Electric Duck Studio in. San Francisco. A few friends popped in to play along_ Stoltz former bandmate, Echo & the Bunnymen's Will Sergeant adds electric guitar to "The Quiet Ones" a sort of Scott Walker lyrical take on strangers and neighbors. Karina Denike formerly of Dance Hall Crashers adds gorgeous vocals on the bossanova groover "Moon Shy", where Sergeant pops up again in a spoken word role on the outro. Allyson Baker of SF's Dirty Ghosts sings on "She Like Noise", a song Stoltz wrote for her in celebration of her love of seeing live bands. The album was mastered by Mikey Young in Australia.

Tape

Dylan Henner is back on Dauw with his new album "Great Prairie Plains: studies of American Minimalism". The album is a celebration of two pieces of music that he loves and have been hugely important to his musical life and education.

The album starts with an arrangement of Terry Riley's In C. During his school-time, Henner was allowed by his music teacher - with plenty of persuasion, in an environment of mostly much straighter classical music - to study this piece. He not only had a deep familiarity with it, but also the pdf scores that he transcribed for his homework. The arrangement was created mostly with the marimba, as an instrument that can layer very deeply without muddying the frequency range and also includes some synths, piano and a VST choir.

“I tried to balance my boundless admiration for the piece with a personalised arrangement. It would be pointless to copy Riley's original - it's too good - but I can at least try to do well by it.”

Alongside In C is an arrangement of Su Tissue's 2nd Movement, from her near-mythical "lost" album Salon de Musique. After trying to buy a copy of this record for years - they are so scarcely found he suspects he never will – Henner wondered if the next best thing would be - instead of owning a copy - to create his own copy. He started this arrangement with as much faith as he could. According to Henner, Su’s work is too rare to warrant changing, but instead should be honoured with autencitiy.

“It's not until the end of the piece that my arrangement begins to take a different shape to Su's. Once I started playing along on the piano, the rest fell into place.”

Dylan lives in Brighton, works as a photographer's assistant for his day-job and plays analogue synths, tuned percussion and cello. Last year Dylan released well-received albums on Dauw and AD 93 (fka Whities) among others. Even though he is a relatively new name, with these albums he already came to the fore as a promising artist within the electro-acoustic field.


a 01. In C [Terry Riley]
[b] 02. 2nd Movement [Su Tissue]

[a] 01. In C [Terry Riley]
[b] 02. 2nd Movement [Su Tissue]

Originally released in 1970 and still seen as one of Neil Young’s greatest albums, After The Gold Rush celebrates 50 years since its release with this special edition.
Featuring timeless classic Neil Young songs such as Southern Man and Only Love Can Break Your Heart, this new edition also includes a version of the track Wonderin’, originally written around the time of After The Gold Rush, which only previously appears on the Archives boxset plus a previously unreleased outtake from the recording sessions for that track.

Looking back, Jimmy Edgar has a lot to be proud of. Over the course of the last decade-and-a- half, the Detroit native has proven both a celebrated favorite and consistent fixture of dance music in its multitudinous forms. Looking over the arc of his lengthy and diverse discography, both under his own name as well as pseudonymously, it’s hard not to see him as one of the most innovative producers and skilled sound designers to emerge this millennium, an artist whose legacy has touched untold numbers of home listeners and dance floor revellers alike. His upcoming album, CHEETAH BEND, achieves its ethos with the aid of some well- placed vocal guests. On "GET UP," a tough love motivational set to springy synth flourishes and bass rattling, Edgar links w/ fellow Detroiter Danny Brown who does irreparable microphone damage. FOR FANS OF: Flying Lotus, TNGHT, Danny Brown, Vince Staples, Schoolboy Q

Back in October 2009, Strut’s Inspiration Information series was in full swing. Following an acclaimed collaboration between Mulatu Astatke and The Heliocentrics, Finnish maverick Jimi Tenor hit the studio for a mouth-watering head to head with Afrobeat drumming legend, Tony Allen.

Tenor had already built a reputation as a fascinating enigma in modern day music. Consistently one of the most inspired and unpredictable live artists around, his work since his breakthrough album ‘Intervision’ (Warp, 1997) had involved open-minded projects ranging from live film soundtracks and orchestral pieces to a series of Afro-based albums with his band Kabu Kabu. Enjoying a burgeoning revival, Tony Allen had continued to attract new fans. Celebrated as the creator of the Afrobeat rhythm and a lynchpin of Fela Kuti’s Africa 70 band, his work at the time of this recording had included the first album as The Good, The Bad & The Queen with Damon Albarn and his debut recording for World Circuit Records, ‘Secret Agent’.

Recorded at Lovelite Studios in Berlin during November 2008 ith further sessions in Finland and Paris, the Tenor / Allen collaboration whipped up a raw, heavy analogue sound mixing the full range of Allen’s Afrobeat repertoire with Tenor’s off-kilter brew of dark humour, tongue-in-cheek lyrics and tight, firing musicianship. The sessions involved key members of Tenor’s Kabu Kabu band and Berlin-based guest MC Allonymous with tracks evolving naturally from jamming ideas together over five intense days of recording, fuelled by plenty of African food and whisky. Tenor’s trademark range of home-made instruments rubbed shoulders with vintage keyboards and traditional African percussion.

The resulting set became one of the best recordings that both artists produced during this period. Tracks range from Jimi’s S&M tableau, ‘Darker Side of Night’ to the apocalyptic commentary on our times, ‘Path To Wisdom’ and the hilarious lampooning of the UK immigration system, ‘Mama England’, composed on the Tenor tour bus. The album also featured fusions based around more traditional low-slung Afrobeat structures (‘Sinuhe’, ‘Got My Egusi’) and ended with the epic freestyle juggernaut, ‘Three Continents’, a life affirming, mesmeric groove built around another rough-as-nails Allenko rhythm base. 'Inspiration Information: Jimi Tenor / Tony Allen' is re-released on 22nd February 2021 and is dedicated to the memory of the great, incomparable Tony Allen.

First reissue of long out-of-print and sought after release from 2009
Unique fusion of Afrobeat drumming and psychedelic Jazz
Vinyl cut from original sessions

Guedra Guedra presents Vexillology, an elevation of tribal consciousness and futurism from underground musical universes. The album offers listeners an immersive experience made from hypnotic and rhythmic arrangements, rooted in ancient culture. Referring as much to Sub-Saharan as to North African cultures, Guedra Guedra presents a synthesis of his pan-African appreciation and a full immersion into the traditional rhythms of these lands, especially within the Berber culture which is found in countries such as his home of Morocco, and across Tunisia, Algeria, Libya, Northern Mali, Northern Niger and beyond. The body of work is a complete celebration of cultural roots and future bass, bubbling in hotbeds of the global underground. Guedra Guedra is synonymously known for his ability to explore tribal rhythms and instruments of the past, as well as dancefloor innovations from contemporary underground scenes. For Vexillology and in true Guedra Guedra style, a myriad of immersive recording techniques were applied. The album is built upon a multitude of field recordings capturing live and 'in the moment' cultural happenings, encountered in everyday life, at tribal festivities and also on his travels. By also using video in his field recordings, Guedra Guedra enables himself to encapsulate the heat and entirety of the moment, applying this 'moment' and evolving it into his productions.

Back in 2018, Four Flies Records unearthed the previously unheard 'Africa Oscura', considered by many as the "dark side" of 'Zoo Folle' – Giuliano Sorgini's masterpiece (reissued by Four Flies Records in 2016) – and partly recorded during the same session in 1974.
The original work portrays a fictional and mysterious continent, providing a soundtrack tinged with dark
moods and cosmic shades. 'Africa Oscura' was entirely recorded by the composer, who played all instruments in his studio in Rome. This resulted in a formal spareness, a minimalism that gives it a
modern quality, something which makes it stand the test of time, or at least resonate with contemporary taste.
Since its release, 'Africa Oscura' has become a classic – a pivotal release not only within Sorgini's discography, but also one that made his name more known and accessible to a new generation of music professionals, DJs and fans of electronic music.
Four Flies have thus decided to celebrate its modernity with a double 12" featuring 7 reworks by six of Italy's most visionary DJs/producers: Jolly Mare, L.U.C.A. (aka Francisco), pAd, Painé, and Quiroga & Dario Bass.
The original tracks have been reworked with different approaches, sometimes into full reinterpretations, and with demanding dance floors in mind. The result is a stunning collection of electronic, cosmic, downtempo and Balearic reworks that preserve the spirit of the original versions while projecting them into the future.

Next up on MOM is another exploration of the link between art and music. This time it is dance performance. The musical artist is Okkre (Uge Pañeda) producer of the Spanish duo LCC, who have released two albums on the celebrated Austrian imprint, Editions Mego. Okkre is a composer of soundtracks, DJ and she is currently immersed in researching her "landscapes series" project, connecting countries and cultures that are seemingly unconnected to each other through field recordings... MOM 012 is the soundtrack to a very special performance named ÉPICA. Directed by Barcelona based choreographer Aimar Pérez Galí, it was premiered at Sonar 2017. EPICA brings clubbing culture inside the theatre, to deliver a highly energetic performance, joining bodies, sound and voices of historic and political dissidence. It is about communication between bodies (without language) and the liberty of being on the dancefloor. Freedom of movement, expression and happiness through music! Okkre has provided a startling soundtrack. This soundtrack complements the performance of the dancers beautifully but also deserves to be listened on its own. It is both powerful and dramatic, fitting the title. The music of the soundtrack has been adapted for its imminent release on vinyl. The piece begins with the rhythmic movement of beats, which provides a structured backdrop. They are complemented by a swirling bassline. Overlayed percussion of differing styles comes in and out. Harsh almost metallic synths enter after a few minutes, which also have the sensation of breathing. Later on, powerful synths battle sturdy cymbal assisted percussion. In the latter stages, everything gets even more intense techno feel and the A Side ends with dense dark synths. The music is alive! While the other side gently mixes a melodic bassline that moves like the wind with intertwined chorus and voices, which appeal to the spirit of the artistic work, evoking space for feeling and touching. At the same time, insistent beats offer a club feeling. Scary yet empowering strings create a hypnotic atmosphere alongside falling keys and vocal impressions. The final few minutes provides a strong climax to the record. This features hammering beats, a circling bass and powerful keys. A mighty performance! ÉPICA is indeed epic.

LP Ltd edition GOLD vinyl, DL card (First pressing 500 copies only). New album from brothers John and Michael Gibbons, the guitarists from psychedelic drone legends, Bardo Pond. A "heavy ambient" instrumental masterpiece that explores the symbiotic relationship of the duo as they build and dismantle sounds on a unique ethereal trip. A full-length follow up to 'Joint Chiefs' from 2006, 'Celestial Scuzz' is a monumental sound piece created from hours of jam sessions and crafted into a cohesive mind-blowing trip. The result has a heavy ambience, like Eno locked in a dark room with Sunn-O))))) rehearsing next door. While Bardo Pond's trajectory takes them deep into rock music's ever-imploding sound, the brothers Gibbons surf a more ethereal and eclectic plain; from a heady and consuming space, a "sanctuary; balm for the soul." Describing the writing process, Michael Gibbons explains it as "a kind of spiritual experience. Most of the time it leaves us stunned; the more stunned we are the better the jam." // Bardo Pond: "One of underground rock's most extraordinary enigmas." The Quietus // "An exquisite and enjoyable side trip into harmonious interstellar regions with stripped down instrumentation, they drift into shimmering passages of temporal displacement." Brainwashed

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.

Legendary pedal steel player Susan Alcorn presents her music as curated and arranged by cellist and composer Janel Leppin. This recording is from a live performance from her residency at Issue Project Room in July 2012. Leppin’s arrangements and curation emotes the brilliance, transparency and resonance of the pedal steel guitar. Through this ensemble, the mastery of Susan Alcorn's compositions shine.

Susan Alcorn has taken the pedal steel guitar far beyond its traditional role in country music. Having first paid her dues in Texas country & western bands, she began to expand the vocabulary of her instrument through her study of 20th century classical music, visionary jazz, and world musics. Struck by the music of Messiaen she began transcribing classical music from recordings and scores on her instrument. Soon, she began to combine the techniques of country-western pedal steel with her own extended techniques to form a personal style influenced by free jazz, avant-garde classical music, Indian ragas, Indigenous traditions, and various folk musics of the world. By the early 1990s her music began to show an influence of the holistic and feminist “deep listening” philosophies of Pauline Oliveros. As her records gained a cult following she moved to Baltimore, MD. She performs internationally and is a key figure in the free improv scene in the US.

Janel Leppin is a core member of the Washington, D.C. experimental, jazz, punk and improvisational scenes and is a celebrated visual artist as a weaver. DownBeat Magazine describes her as “An absolute virtuoso”, NPR Music says “instrumental intimacy swept up in arrangements that cluster around her voice, as delicate and as imposing as a sheet of falling ice.”. Janel leads and writes for her free jazz sextet, Ensemble Volcanic Ash “a rarity..ahhh-vant garde at it’s finest." -Capital Bop. Leppin and Alcorn also recorded the composition “Thick Tarragon” by Eyvind Kang from the album Visible Breath on Ideologic Organ. Leppin appears as a string arranger on many recordings on labels from Dischord Records to Sacred Bones.

We can’t think of many artists that have had as diverse a career and who have been involved in as many different genres of music as Asha Puthli. A musical pioneer who forged a path through 60's psych, free-jazz, pop, rock, disco, and more.

Asha's 1976 album 'The Devil Is Loose' is maybe her most well-known record. Featuring the beautiful disco-funk-classic 'Space Talk’, Asha's ethereal soaring vocals take us on a journey that almost mirrors Asha's eclectic career. The track was championed by a wide-range of musical scenes and movements, and over space and time it has been commandeered as their own. You would hear it played by David Mancuso at the now ‘mythical’ underground New York party 'The Loft’, in the most discerning disco nightclubs across the globe, in the Rare Groove scene, and also being sampled by hip-hop heavyweights such as The Notorious B.I.G / P Diddy, and The Pharcyde. The appeal and lifespan of ’Space Talk’ keeps on extending and morphing as new audiences gleefully discover it for the first time - it still sounds as relevant and fresh on the dancefloor today - a sign of a true classic.

Here at Mr Bongo we are thrilled to be releasing records by such an iconic musical maverick as Asha, from her roots in India to becoming a globe-trotting artist with a celebrated career in music and acting, whilst always staying true to her art. She has blazed a trail so that others could follow. Whether you are buying this album as a replacement for your worn-out original copy or it's the first time you've heard of Asha Puthli and you're just intrigued and drawn in by the cover, we hope you enjoy this quintessential slice of Asha's world.

• Featuring the legendary ’Space Talk’.
• Played by David Mancuso at the ‘mythical’ underground New York party 'The Loft’.
• Sampled by hip-hop heavyweights such as The Notorious B.I.G / P Diddy, and The Pharcyde.
• Also available on Limited Edition Pink Vinyl

Tape Works Vol. 2 is the second album from the UK's leading musique concrète ensemble, Langham Research Centre, on Nonclassical. This album presents recent substantial pieces that contrast with the shorter pieces found on Tape Works Vol. 1 (2017) which showcased some of the group's earliest tape experiments. This album features 'Dinotique', commissioned for Café Oto's Stereo Spasms festival in 2019, a celebration of the work of the late French composer Luc Ferrari to mark his 90th birthday.

Langham Research Centre - Felix Carey, Iain Chambers, Philip Tagney and Robert Worby - make experimental music using resources and ideas that, until recently, were considered obsolete, redundant or outdated. Their music is made using tape recorders, cassette machines, shortwave radios and specialist devices found in recording studios. Their inspiration and enthusiasm is driven by the soundworlds produced by maverick composers working in the middle of the 20th century. The four members met at the BBC, where they all work in production. Their music has received significant radio airplay on BBC Radio 3 and more.

The album will be featured along with an interview with the group in the February 2021 issue of Electronic Sound Magazine.

Tape Works Vol. 2 is the second album from the UK's leading musique concrète ensemble, Langham Research Centre, on Nonclassical. This album presents recent substantial pieces that contrast with the shorter pieces found on Tape Works Vol. 1 (2017) which showcased some of the group's earliest tape experiments. This album features 'Dinotique', commissioned for Café Oto's Stereo Spasms festival in 2019, a celebration of the work of the late French composer Luc Ferrari to mark his 90th birthday.

Langham Research Centre - Felix Carey, Iain Chambers, Philip Tagney and Robert Worby - make experimental music using resources and ideas that, until recently, were considered obsolete, redundant or outdated. Their music is made using tape recorders, cassette machines, shortwave radios and specialist devices found in recording studios. Their inspiration and enthusiasm is driven by the soundworlds produced by maverick composers working in the middle of the 20th century. The four members met at the BBC, where they all work in production. Their music has received significant radio airplay on BBC Radio 3 and more.

The album will be featured along with an interview with the group in the February 2021 issue of Electronic Sound Magazine.

“Our first ever show in the UK was the opening slot at Brixton Academy so this is just totally emblematic of the support that has grown overseas we are ever grateful for. It’s still the greatest show we have ever played and we will never forget that night. See you all soon! Stay safe.” DMA’S
On March 6th, 2020 a sold-out audience filled the O2 Academy Brixton’s cavernous space from wall-to-wall. The band played the biggest headline show of their career to date half a planet away from home, yet the show conjured the atmosphere of an intimate homecoming celebration.
The O2 Academy Brixton show was immediately hailed as one of the highlights of the band’s career so far, and it has taken on whole new significance given the events that have followed. For many fans it was their final show before live music events were halted.
From early favourites ‘In The Air’ and ‘Lay Down’ to new material such as ‘Silver’ and ‘Life Is A Game Of Changing’ from ‘THE GLOW’ The show is documented in the ‘Live at Brixton’ album, which will be released almost a year to the day later on March 5th. ‘Live at Brixton’ will be released on a striking smoke-effect pink/orange limited edition double vinyl. Its design was inspired by a flare that was set off during the show. The album offers a chance to reminiscence on the life-affirming power of live shows, and also an inspiring reminder of what we’re all looking forward to returning to.

Barbarossa, AKA British singer songwriter and producer
James Mathé, releases his new album ‘Love Here Listen’
via Memphis Industries.
For this latest batch of songs James Mathé collaborated
with producer du jour Ghost Culture (Daniel Avery, Kelly
Lee Owens, Falle Nioke) at his studio in Margate, Kent in
the South East of England. The pair worked with a
limited range of vintage synths - a Mono Poly, Korg MS-
20 a Roland SH-101 and a Juno 108 borrowed from the
local skate store Palm Bay Skates - with the recordings
bounced down to Mathé’s Fostex R8 reel to reel to give
it that undeniable warmth.
Mathé says of the recording process: “It was probably
the most stress-free record to date and so much fun just
messing around with synth arps. It’s easy with James as
we really understand each other and I trust him totally.
He lives five minutes’ walk along the seafront from me.
We even jumped in the sea a couple times after lunch.”
‘Love Here Listen’ is Mathé’s sixth album since his debut,
‘Sea Like Blood’, released on the Fence Collective back in
2006, since which time he’s joined the Jose Gonzales
live show, become a member of Junip, toured with
Poliça and This Is The Kit and morphed from acoustic
troubadoury to electronic song smithery all the while
seemingly searching for an elusive balance between
hopefulness and melancholy. On ‘Love Here Listen’,
thanks to a reconnecting with the visceral forces of nature, it feels like he’s found it.
Yellow vinyl LP.

Frank Nuyens, alias Rainman, was the guitarist for bands like Circus and a founding member of Q65. His solo debut album from 1971 is a slice of psychedelic folk & rock sounds and features fellow Q65 member Jay Baar, Dick Beekman and Eelco Gelling (Cuby & The Blizzards). Rainman is a very rare and hard to find album from the Dutch psychedelic
70’s era. The album is part of Music On Vinyl’s Behind The Dykes series, which comprises rare and sought-after albums from the Netherlands.

Rainman celebrates its 50th anniversary in 2021. This release includes an insert with song lyrics and is available as a limited individually numbered edition on transparent green vinyl.

The new duo album by Yuri Honing and Wolfert Brederode contains
compositions by both artists complimented by pieces from Charlie Haden Friedrich Hollander and Billy Strayhorn.
“Avalon is inspired by an ancient Celtic myth of an island in dense fog where the Holy Grail is said to be located, King Arthur is buried and where Excalibur is hidden.
I use it as a metaphor for the present time in which we live in which it is not clear to anyone what the world will look like after the pandemic.
The single Avalon is a dreamy piece of music that is also used for the exhibition in De Fundatie that will run until the spring of 2021.” - Yuri Honing

The Roman on the cover soldiers on in silence. This album is the product of excavations in materials recorded at home, EMS in Stockholm, Worm in Rotterdoom, and Willem Twee Studios in 's-Hertogenbosch, much of which has been collaged, recollaged, broken apart, bleeped backwards and put back together with the kind of casual elegance that takes years of practice to perfect. Hiele is a very busy man: aside from his music (solo, commissions, and in collaboration with far too many people to mention here) he co-runs Table Dance - a bar-restaurant-venue in Antwerp's red light district - and Universal Exports, a shady organisation that occasionally releases records. Limited edition of 300 copies. Includes a poster/insert, download code and a UE sticker.

The Pet Parade,” the title track to Fruit Bats’ newest album, might be a surprising opening track for longtime fans of Eric D. Johnson’s beloved indie folk-rock project. The six-and-a-half-minute tone poem smolders and drones over just two chords, inspired by the strange and silly community events that he saw growing up outside of Chicago, in La Grange, Illinois, in which people dressed up and showed off their pets. Decades later, The Pet Parade emerges in troubled times, living within what Johnson refers to as the beauty and absurdity of existence. While many of the songs on The Pet Parade were actually written before the pandemic, it’s impossible to disassociate the record from the times. As an example, producer Josh Kaufman (Bob Weir, The National, and Bonny Light Horseman, in which he plays with Johnson and Anaïs Mitchell) was brought in for his deep emotional touch and bandleading abilities. However, Johnson, Kaufman, and the other musicians on The Pet Parade drummers Joe Russo and Matt Barrick (The Walkmen, Fleet Foxes), singer-songwriter Johanna Samuels, pianist Thomas Bartlett (Nico Muhly, Sufjan Stevens), and fiddler Jim Becker (Califone, Iron & Wine) were forced to self-record their parts in bedrooms and home studios across America. Still, says Johnson, “The songs have enough intimacy that it doesn’t sound like it was made a million miles away.” Such tension and turmoil also impacted the lyrics of The Pet Parade. While “Cub Pilot” and “Here For Now, For You” began as more traditional love songs from a personal “I” to a specific “you” Johnson quickly realized that these songs needed to comfort broader audiences, changing the words to a more inclusive “we” and “us.” So too in “The Balcony,” a song ostensibly about a particular space in his grandmother’s apartment, but one that evolved into a metaphor on patience. At times upbeat and reassuring (“Eagles Below Us”) and at times quietly contemplative (“On the Avalon Stairs”), The Pet Parade marks a milestone for Johnson, who celebrates 20 years of Fruit Bats in 2021. In some ways still a cult band, in other ways a time-tested act, Fruit Bats has consistently earned enough small victories to carve out a career in a notoriously fickle scene. And Johnson himself who has played in The Shins, composed film scores, gone solo and returned back to the moniker that started it all, and most recently, earned two GRAMMY® nominations with Bonny Light Horseman doesn’t take this long route of life’s pet parade for granted. “I’m still really excited to make records,” he says. “Lucky and happy and maybe happier that things went slower for me. I’m savoring it a lot more.

“The rumors are true; Providence, Rhode Island is permeated with a mysterious energy”. So says Dave Litifreri, guitarist and vocalist of
Urdog. “Some of us focused this energy, learned to live with the ghosts and tell their story.” It’s a story chronicled on Long Shadows, the new Urdog retrospective on Rocket Recordings - the work of a mercurial band whose music may have been summoned from fog and ghosts, yet possesses considerable staying power beyond their brief time on the planet. “We were influenced by the horror of late-capitalism in general every day” says drummer and vocalist Erin Rosenthal, “This glued and glues us together, also love of bicycles, french fries and faerie folk. Big influences for me were Robert Wyatt, Incredible String Band, Dagmar Krause, but especially This Heat, Riot Grrrl and 90’s hardcore.” From such disparate inspiration came psychically heavy jams and wild improvisational voyages from this triumvirate which chart an instinctive and wild journey, drawing the interplanetary dots between early ‘70s freak-flag-waving transgressions and the folk-tinged frontiers of the early 21st century US underground. Mantric repetition, ceremonial ambience
and fuzz/wah tinged blowouts take equal prominence in this dreamlike realm. Drawing the interplanetary dots between the drone ’n’ klang of Amon Düül II and the cultish hallucinations of Sunburned Hand Of The Man, and replete with both an earthiness of approach and a powerful celestial intensity. “We used our intuitive connection to let three distinct voices be heard” reflects Dave. “There was no foundation; they supported each other. Once that is achieved, a vibe develops. Getting into the space of a song is something you can’t notate. We had the keys, but getting to the door was the trick. Some nights we got all the way through the roof to the stars.”

Originally released on Celluloid Lunch (Canada), really excited to do the Euro edition. Drawing influence from the looser end of the Ork records catalogue, the sensitive side of Ohio’s proto-punk scene and the grittiest and most sluggish tangent of 70’s power pop, Itchy Self’s debut 12” is an exploration of fully formed songs treated with spontaneous delivery. The group got together in early 2020 for 3 practices and a recording session and here are the results, laid out in their raw form. This is cross-generational racket n roll music that wears its heart on its loosey goosey sleeve. ‘B what you B’ is a life affirming testament to living against the grain that calls to mind the Modern Lovers’ aggressive positivity. Title track ‘Here’s the Rub’ is a barrage of abstract lyrics and skronky shred. ‘God Bless the Ego’ is an ode to the looseness and blurry eyed lucidity of indie rock’s forbearers such as Chilton, Kilgour, Pollard and Malkmus. ‘Reprobate’ is a Stones style ballad that channels the Saints and Johnny Thunders in equal measures. ‘Playing MTV’ is an audacious end remark to the record, that rips on classic Velvets strut and testifies it’s own ridiculous merit through boastful and catty lyrics. All in all, of course, it’s only Rock n Roll. This record is 1 part follow up to the Protruders “Poison Future” 12” on Feel It records (2019) and 1 part the first chapter of a new and exciting group formed in Canada’s capital of de-proffessionalized rock music. Recorded to 1/4 inch tape by Scott Munro (Preoccupations) and mastered by Mikey Young (Total Control), this record should provide a concise opening statement to anyone with the least bit of concern about Itchy Self. You’re gonna need an ocean of calamine lotion. Sorry State Records

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Deep Seven No.10, the infamous final 12” from Deep Seven that never reached a full release. Only a short promo run hit the shops in 1993 before the label closed for good. ‘Release’ brought to the series a continuation of the huge tracks that graced local label ‘Contagious’ in the early 90’s. As time passed, ‘The Jungle’ / ‘Musical Movements’ reached cult status, exchanging hands for hundreds of pounds when a copy surfaced on the market. The rarest of all the Deep Seven releases, with an additional version of ‘The Jungle’ that was not included on the original press. Remastered from the original DAT and presented on our 180g vinyl, this final 12” completes the entire Deep Seven back catalogue.

Promotion across chosen internet websites and Hardcore 12” vinyl communities.

Since the February release of Suddenly - Dan Snaith aka Caribou's critically acclaimed seventh album - tracks from the album have been remixed by Four Tet, Morgan Geist and Floating Points. Snaith follows up with a new EP of remixes by four exciting new artists - Shanti Celeste, Kareem Ali, Logic1000 and India Jordan - each with their own unique takes on standout tracks from the record.

Clive Phillips, Dominic Goodman, Peter Blundell are Mosquitoes, a somewhat inscrutable London-based outfit in operation for something close to seven years now, and have released music across a host of celebrated and broad-minded underground labels. Give or take the occasional interview in the less-straight parts of the music press, this is as much formal biography as their music has thus far allowed, for there's something essentially unknowable at the centre of what makes Mosquitoes what they are. So murky is their early history in fact, the first two self-released Mosquitoes records seemed to disappear from sight before really becoming visible. As more records have emerged, those first communications accumulate new meanings, acting as vital documents in tracking the evolution of a band who stand at the vanguard of contemporary British music.

The second of these records, recorded to tape in summer 2016 and first released as a single-sided 12" under the name MOS-002, is arguably the first true iteration of Mosquitoes. Now fittingly renamed Mosquitoes for its reissue as a dubplate-style 10" on World of Echo on 5th March, these five cryptically titled, shape-shifting tracks, see the trio embrace a near-genre-less fluidity, and in doing so express a unique combination of both freedom and intent. By design or instinct, Mosquitoes stand at their own inverted rock nexus, presenting a music that's turned inside out, and in doing so, music that twists the listener the same way.

In that sense, Mosquitoes plug into a long lineage of DIY savant iconoclasts, those outliers who would deny orthodoxy in order to excavate new languages and ideas - The Dead C, This Heat, the anti-formalism of No Wave, David Toop's General Strike. As such, Mosquitoes rely on a musical pluralism in order to take it apart - you must know how something is made before you reassemble it anew. Labelling this an EP may possibly underplay the breadth and ambition of what's on show. Later records would arguably be more cohesive, but what stands as particularly startling with this early work is their fearless and all-encompassing dive into the avant garde. Consider the anti-rockism of the scorched earth 90s re-imagined through a distinctly avant filter of free jazz and dub aesthetics. And it's the latter which perhaps shapes Mosquitoes most, dub the perfect vehicle for the articulation of such wilful anti-formalism. Make no mistake, this is music that's unafraid to be tough, to demand something of the listener and to not ask permission. And to bear witness to a rejection of formalism so aggressively pursued is to be reconciled.

• Funkadelic’s first album, eponymously released in 1970, gets the HIQLP treatment to celebrate its 50th anniversary.

• In a thick card sleeve with 180g orange vinyl pressing

The Sushitech label turned 15 years old in 2020 and to celebrate this milestone Yossi Amoyal has put together the Fluere compilation across four discs, plus this extended fifth part, titled Fatum. Juan Atkins' remix of 'Someone' by Killer Loop takes up residence on the A-side of this three tracker, all swirling, warm pads and spiralling filters, the percussion almost leaning towards disco with its syncopated handclaps, although the overall effect is as shiny and futuristic as you would expect from this Detroit legend. Flip it over for Terry Brookes' 'Breaking Cycles', a calm spoken word narration providing a meditational mantra to accompany the chugging house foundations, full of gentle tease. 'Limits of Likeness' by MSL completes the package with restless electro machinations and shifting clouds of synth floating across its horizon. Sheer bliss all round.