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Focus Track: "Good Reason"

Bay Area Thrash Metal legend Blind Illusion returns after 34 years with a follow-up to “The Sane Asylum”, featuring Doug Piercy (ex-Heathen) and Andy Gallon (ex-Death Angel)! Thrash as a primitive, earthy genre has given us many greats: Metallica, Slayer, Exodus, Death Angel, Heathen and the like. But the more calculated, technical, and ultimately colorful inventors of progressive Thrash, a genre that blossomed handsomely after Watchtower’s debut in 1985, are what truly push the limits of Thrash and test its creative bandwidth. Blind Illusion on their new album “Wrath of the Gods”, achieve this to a degree that has seldom been approached, let alone passed, in the rest of Thrash history, just as they did 34 years ago on “The Sane Asylum”. What is most impressive and revealing about this album, however, is not the technical ability of the musicians involved (although there is nothing wrong with their ability). It’s the pure brilliance that shapes every song, and the demonstration of how focusing on the art of songwriting will work wonders for a band. “Straight as the Crowbar Flies” introduces us first to the astral energy this album exudes, with catchy riffing and Marc Biedermann’s raspy, growling vocals. The screeching guitar solos and the abrupt rhythm changes keep the song fresh, but the band’s incorporation of technical Thrash elements crossed with extremely catchy riffing and drum arrangements proves to be the strong attributes of this album. There are numerous instances where the band finds its virtue in slowing down, letting a power chord ring out, and then letting the drums restart and propel the song once again. When the band decides to let their guard down and get cagey or manic with the rhythm, it’s done so with precision and doesn’t come at the expense of the song structure. When they get technical, the notes still vibrate with emotion, and the song doesn’t just become a vacuum for skills to be shown off. This message is most evident in every song, which all feature catchy guitar licks and great guitar riffs. What Blind Illusion does best on this new masterpiece is deliver cleverly-written and fun songs with catchy riffs. At the heart of Thrash, that’s really all you can ask for. The effects of how masterfully composed this album is has lend the production a unique ethos that makes it feel human. This is a group of guys who know what die-hard Thrash fans want to hear, and they know how to put it on their 2022 album “Wrath of the Gods”.

10 zeitlose Weihnachts-Klassiker von Frank Sinatra, erhältlich auf weißem Vinyl in limitierter Auflage. Darunter "White Christmas", "Winter Wonderland", "Let It Snow, Let It Snow, Let It Snow" und mehr!The Voice a comme tous les grands artistes américains sacrifié à la tradition des chansons de Noël. Les plus connues sont rassemblées dans cette compilation au visuel délicieusement vintage mais classe comme Frank : "Jingle Bells", "Let It Snow", "Santa Claus is Coming To Town" etc. - édition limitée en vinyle blanc.

Kinda Kinks ist das zweite Album der englischen Rockband the Kinks, das 1965 veröffentlicht wurde. Aufgenommen und veröffentlicht innerhalb von zwei Wochen nach der Rückkehr von einer Tournee in Asien. Das Album ist ein großer Schritt nach vorne in der Fähigkeiten von Ray Davies und der Band. Sie sicherten sich einen ersten Platz in den britischen Single-Charts mit "Tired of Waiting for You", das gesamte Album stieg auf #3. Ursprünglich veröffentlicht von Pye in Großbritannien am 5. März 1965 und jetzt von BMG auf schwerem
schwarzem Vinyl im Jahr 2022 wiederveröffentlicht.

Das Album enthält auch die Kult-Lieblingsstücke 'Look For Me Baby", "Come On Now", "Something Better Beginning" sowie sowie "Nothin' in This World Can Stop Me Worryin' 'Bout That Girl", mit dem sie in Sachen Ernsthaftigkeit ganz vorne in der der British Invasion in Bezug auf Ernsthaftigkeit und Komplexität, vor vor den Beatles oder fast allen anderen Mitbewerbern Konkurrenten Anfang 1965, aber das hinderte sie nicht dara zum bluesigen "Naggin' Woman" überzugehen.

brand new full length album release from acclaimed rapper Open Mike Eagle

Audio Reflex, aka Anderson, is back, with his final four tracker on Telomere Plastic!

This beautiful EP is another blend of mid tempo and deep electronics. Funky baselines and beats throughout will give you the chance to get moody and groovy deep in the middle of your sets!

Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!

Following the release of their critically acclaimed self-titled debut EP in 2021, Antwerp's Lucid Lucia are set to release their debut album 'Ever-changing Light' on the 7th October via the groove-obsessed Belgian tastemaker label, Sdban Ultra.

Searching to unwrap the mystery that is a human life, across nine tracks of jazz and space funk-infused grooves, Lucid Lucia look to the sound of Herbie's 'Head Hunters' and Miles' acid funk of the mid-70s for inspiration.

'Ever-changing Light' is a mind-expanding celebration centered on freedom and rhythm. Free-spirited saxes, futuristic-sounding keys, monstrous bass lines and shifting drum beats unite, resulting in an uplifting and joyous celebration of jazz, funk and groove. From the loose, laidback stylings of 'Mumpsimus' and the jazz-funk odyssey that is 'Pigeons' to the sonic wonders of 'Reminiscence' and urgent flow of 'Quanked', Lucid Lucia is a marvelous journey of luminous sounds and vibrant rhythms. Elsewhere, the warped aesthetics of 'Oneironauts' and improv 'Pukti part 1' showcase a tight rhythm section, inventive horns, funky keys and guitar while the spiritual magnum opus 'Voor Pieter A.' is a magical example of the virtuosity of Lucid Lucia.

Born from the ashes of fusion outfit BRZZVLL, Lucid Lucia were founded by saxophonist Vincent Brijs, a household name in Antwerp and the Belgian jazz scene. Former winners of the Jong Jazztalent Gent, BRZZVLL released their debut album 'Days of Thunder, Days of Grace' in 2008 and would go on to release five more albums including teaming up with Trinidad-born poet, novelist and musician Anthony Joseph on the 2014 critically acclaimed album 'Engines' and with hip-hop MC, writer and producer Amir Sulaiman on the 2016 album 'First Let's Dance'. The 2017 album 'Waiho', the band's first instumental album and final album received glowing praise from numerous tastemakers including UNCUT magazine, The Line of Best Fit, XLR8R and Record Collector magazine.

To the present day and Lucid Lucia marks a brighter, clearer sound for the sextet. Consisting of Vincent Brijs: saxophones and EWI, Bart Borremans: saxophones, Stijn Cools: drums, Dries Laheye: bass, Dries Verhulst: guitar, Jan Willems: keys and James Williams: drums and percussion, they have honed their skills performing with numerous artists from home and around the world including Ursula Rucker, Joseph Bowie (Defunkt), Amir Sulaiman, Anthony Joseph, Zena Edwards, Ayanna Witter Johnson, Baloji, Mo & Grazz, Kain the Poet (The Last Poets), Marie Daulne, Dizzy Madjeku, Ida Nielsen and many others.

Book of Psalms, the first ever release on the Kibir La Amlak label back in 2010. Originally voiced by Reality SoulJahs as an exclusive dubplate for Kibir La Amlak and Reality Sound System. However the You Tube video clip of the vibes in the studio received so much attention that it was decided to take the mixes back into the studio re-lick the rhythm track and put it out for release. After a session with the veteran bass and guitar player Jerry Lions (Lee Perry, Jah Shaka, Mad Proffesor) and the UK's most recorded bongo player Jonah Dan (Disciples, Inner Sanctuary) the Book of Psalms rhythm took on a new lease of life. It was then re voiced in the Kibir La Amlak studio and then taken to the mixing desk for some old school style dub mixes.

The first is the original, soulful yet bouncy and uptempo vocal piece 'Book of Psalms' from the Reality Souljahs. The vocal is a recital of Psalms 1 and Psalms 2 with a chorus that is so catchy you will find yourself still singing it days later.

This is followed by 'Meditation Dub' a dub mix of the vocal, flashing little pieces of vocal in and out with heavy delay and reverb giving the rhythm track a chance to shine through in between.

Then to offer another flavor 'Psalms 87:7' with the wonderful melodies of Ilodica as he makes his

melodica sing away in tune to the rhythm track.

Followed by 'King David Dub' a raw drum and bass centered dub mix, which shows off the bass playing skills of Jerry Lions and the razor sharp timing of Jonah Dan's bongo playing mixed and blended over the top of the steppers drum beat.

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

Nathan Fake's fourth album, Providence, crafted in the wake of a crippling two year spell of writer's block. Is his most personal and profoundly emotional work to date.
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Providence sees the British producer collaborate with vocalists for the first time, joining forces with Prurient (aka Vatican Shadow / founder of Hospital Productions) and Raphaelle Standell-Preston from Braids. Both arose from chance meetings in Geneva and Osaka as their tour schedules crossed. Prurient contributed the heavily distorted vocal to 'DEGREELESSNESS' - I was a huge fan of Dominic's (Prurient) music before we met and I love the way he situates his vocals in his productions. I really like how you can't make out what he's saying at all...' - whilst Raphaelle, who lends her voice to 'RVK', was introduced to Nathan by their mutual friend Jon Hopkins. I deliberately kept the first half of the track instrumental and I love the way her vocal lands,' he says. It's quite unexpected when she starts singing.'

It's the quickest album I've written and because of that it's got a close thread running throughout,' says Nathan of his creative process. It also has a distinct sonic signature as a result of the producer refreshing his set-up. I was feeling nostalgic and bought a cheap Korg Prophecy on a whim and it ended up being the backbone of the album,' he explains. I remember reading an article in Sound On Sound back in 1995-96 and I didn't really know much about music production then, but I remember thinking that it must be AMAZING. As it turns out, it's actually quite crap really... It's very hard to program, looks unimpressive, doesn't sound great (laughs), but I recorded it through loads of different pre-amps and tape and mixers and roughed it up. I'm always intrigued by low-end gear, I like the challenge and the limitations it poses.'

Norfolk born and bred, Nathan's first encounters with electronic music came via the radio (hearing the likes of Aphex Twin and Orbital) and reading about the equipment that they used in magazines. This was the stimulus for him to buy some gear and begin his own sonic experiments and, linking with James Holden in 2003, Nathan's early output came via his fledgling Border Community label. His debut album Drowning In A Sea Of Love' (2006) was a triumphant record, drawing a rapturous reception from the likes of Pitchfork, The Guardian and Mixmag (who hailed it among the best of the year). Recording two further albums for Border Community, Hard Islands' (2009) and Steam Days' (2012), Nathan found himself in frantic touring mode for two years and, in this nomadic state, found it impossible to write any new music. On his return, events in his personal life intertwined with, and exacerbated, this creative block. I didn't write any music at all for about two years,' Nathan explains. Overall there was roughly a three year break from writing.'

Emerging from this extended period of inactivity with renewed vigour and lust for life, Providence was recorded during the first six months of 2016 in Nathan's home studio / living room. The meaning behind the title is two-pronged: on the one hand it's a nod to the aforementioned Korg Prophecy synth that features so heavily on the record. But on a deeper level it means guidance or divine guidance' - not necessarily in a religious sense but more to be guided by a higher power - or more specifically to Nathan, music as therapy and a path out of a dark period in his life.

Originally released in the UK on 13 May 1996 through Virgin Records, ‘Older’, George Michael’s iconic album, reached the pinnacle of chart success, where it remained for three consecutive weeks, spending 35 weeks in the top 10 overall. The album produced six singles, two of which - ‘Fastlove’ and the haunting ‘Jesus To A Child’ - reached No.1, with the other four peaking in the top three.

The album was a huge global commercial success, going 6x platinum in the UK, as well as verified platinum in another 22 countries – an achievement which is unparalleled to this day.

‘Older’ was George’s third album as a solo artist and would see him experimenting with new musical styles and expanding his artistic horizons. Hailed by critics as a triumph, it told the story of an extraordinary period in the life of the man who wrote, recorded and produced it, as he journeyed through one of the most turbulent periods of his professional and personal life. George channeled all his painful life experiences into one of the most personal, heart-felt albums he had ever written.

They say: "Contemporary synthesizer sounds illustrating wide open space activities, environment and research."

We say: Panoramic proto-techno underwater-electro library dynamite.

One of the hardest pulls on the seminal Coloursound, Open Space Motion (Underscores) isn't just regarded as one of the best releases from library-funk overlord Klaus Weiss. It's one of the very best library records ever.

As cult as it gets when it comes to library music, the Klaus Weiss sound was built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums. AND YET! Open Space Motion departs from his drum-heavy approach by being completely...BEATLESS! That's right, the virtuoso beat smith, Mr "drumcrazy of Deutschland", a man known for snapping necks at will, crafted one of the most horizontally sumptuous, elegantly sweeping electronic masterpieces, sans-drums, a good decade before chill-out rooms became a thing. It features organic instruments married to pulsing synth bass atop brilliantly subdued yet irresistibly funky percussion. Possessing a very special vibe, that's at once futuristic yet cinematic, it overflows with atmosphere.

The highlights - unsurprisingly - are many. The very first track - the unstoppable "Wide Open Space Motion" - is a sinister, string-fried electro bomb that rides an unrelenting bass loop. "Incessant Efforts" is more reflective, with pastoral yet probing flutes atop strutting synth chords and head-nod percussion that really swings. The heavenly, uber-kosmiche "Pink Sails" hovers over swirling neon-synthy-strings and yet more unobtrusive percussion. The beautiful "Transiency" is a dramatic piano-led underscore, its creeping unease created by patient strings, unhurried percussion and some wonderfully strident keys. "Driving Sequences" is perhaps the key tune here, and if the Detroit crew weren't listening to this staggering piece then, well, imagine if they *were*.

The bubbling rhythms of "Southern Mentality", at first ominous, give way to a more optimistic vibe as the movement progresses. The lush, gorgeous "Bows" is deep-sea slow-motion magic whilst the bright-eyed "Outset" feels as fresh as the dawn, and no less beautiful. How these tracks haven't been gobbled up by sample-driven producers is beyond us. Equally calming is the sweeping majesty of "Constellation", again conjuring images of being at one with and fully beguiled by the wonders of nature, of space, of underwater worlds. "Changing Directions" is another fidgety, propulsive non-Detroit beatless bomb.

As with all our library music re-issues, the audio for Open Space Motion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

AOTN proudly present a new solo outing from long time friend & contributor to Athens of the North, Other Lands aka Gavin L.Sutherland.

Channelling his considerable improvisational skills to evoke notions of island life, his concept was to create something that could work equally well in the wilds of the Western Isles as in the sunnier spots of the world that we all yearned to escape to at that time. The more he played with this idea of groups of islands, of archipelagos the world over, the more it also became about people themselves experiencing isolation as individuals, while still feeling a sense of togetherness with others in the same boat.

Working a little at home but mainly here at Athens of the North studios, he would come in each day over the course of a few weeks and just hit record, playing at times almost without mind. Sometimes the mood would call for keys, strings, or drums through delays for days and days. Often, the music would happen by chance as much as by design. One rule he tried to adhere to was to not overthink things, capturing moments honestly with minimal editing or digital processing.

What we've ended up with is a beautiful, spontaneous, timeless and honest meditation on what it is to be at once both alone and part of a larger whole.

UK label Expel Your Demons is not slowing down. The entire first division of techno still hasn't tired of extremely playable Rian Wood recent release and they just striked with another standout intensive techno vinyl to keep dancefloors burning. Non Reversible - Change of Tendency EP EXPELVNL02 resemble a failed intergalactic journey that must continue. The direction of the extreme high-speed flight will be determined by repetitive disturbing sounds, distinctive alarms, fading vocals and wildly hypnotic melodies, while your body will be battered by powerful kicks. Futuristic industrial sweat squeezer with a touch of old-school 90's techno style. Pure mad ride through the perseids.

In the discography Berlin based Non Reversible has grown with standout he released on the legendary and highly influential labels like Soma, ARTS, EarToGround Records. In 2019 he has started his own Imprint Non Reversible Structures to pushing forward his vision and signature sound. With upcoming "Change of Tendency EP EXPELVNL02" vinyl release Non Reversible proves once again that he deserves for a place among the bests producers.

Steel, Speed, and Destruction!
*Behold the debut album from Power Trip!!!!
*Drawing from the sacred texts of the Cro-Mags, Vio-lence,Leeway, Exodus, and Nuclear Assault, Texas savages Power Trip have unleashed their debut album with Southern Lord.
*They leave in their wake a multitude of crushed generic and feeble contemporaries. POWER TRIP don't emulate they properly channel the old-school energy of the old cross-over gods and add their own brand of modern thrash warfare.
*'Manifest Decimation' was recorded/produced by Arthur Rizk (War Hungry, Mother of Mercy, Inquistion). The recording is absolutely face-peeling and will ensure
maximum head-banging from the hordes.
POINTS OF INTEREST:
- Huge buzz in underground hardcore, crust-punk and metal scenes. A very highly anticpated debut album
- Have played several high profile festivals including: The Power of the Riff, This is Hardcore, United Blood etc..

Originally released in the UK on 13 May 1996 through Virgin Records, ‘Older’, George Michael’s iconic album, reached the pinnacle of chart success, where it remained for three consecutive weeks, spending 35 weeks in the top 10 overall. The album produced six singles, two of which - ‘Fastlove’ and the haunting ‘Jesus To A Child’ - reached No.1, with the other four peaking in the top three.

The album was a huge global commercial success, going 6x platinum in the UK, as well as verified platinum in another 22 countries – an achievement which is unparalleled to this day.

‘Older’ was George’s third album as a solo artist and would see him experimenting with new musical styles and expanding his artistic horizons. Hailed by critics as a triumph, it told the story of an extraordinary period in the life of the man who wrote, recorded and produced it, as he journeyed through one of the most turbulent periods of his professional and personal life. George channeled all his painful life experiences into one of the most personal, heart-felt albums he had ever written.

One of the UK’s most consistently inventive production minds of recent times, Lil Silva has perhaps one of the most varied resumes in the world. Causing a seismic effect on the world of club music with smashes such as ‘Seasons’ and releases with the likes of Night Slugs, production credits for a diverse range of artists such as Adele, BANKS, Mark Ronson and serpentwithfeet, and a collaborative project with George FitzGerald as OTHERLiiNE even before factoring stellar solo releases under the Lil Silva moniker using his own vocal, he has continuously combined a broad range of influences to create a transformative, varied discography. After the release of ‘Backwards’ last month alongside Sampha, today Lil Silva announces his long awaited debut album, Yesterday Is Heavy.

Over 10 years in the making, ‘Yesterday Is Heavy’ is a cumulative product of an already remarkable career filled with highlights. An album about stepping out: outside of a comfort zone, and, for Lil Silva, outside of himself. It’s a debut album of heft and heart, but most of all hope – and trusting the process. Buoyed on by the encouragement of long-time collaborators like Jamie Woon and Sampha early in his career (they both implored him to commit his own voice to record), and bolstered by incomparable session experience working with Mark Ronson, Adele and more, the Lil Silva story that started aged 10 in Bedford is beginning full circle. Created primarily in the town he grew up in (and continues to live now), the pervading solace of home courses through the project, while providing the thrilling moments of sleight of hand that Silva has always been capable of.

As he so often does, Lil Silva shares the spotlight with an astonishing international cast of guests. He fuses well-versed modern legends in the shape of Sampha, Ghetts, and Little Dragon with rising stars serpentwithfeet, Charlotte Day Wilson and Skiifall to thrilling effect, the whole time never allowing his deftly dynamic yet considered touch to be outshone throughout. The album has also been created with musical direction from Louis Vuitton musical director and BBC Radio 1 tastemaker Benji B, as well as creative direction from award winning visual artist BAFIC. It’s with the opening track ‘Another Sketch’ however, where his singular talent introduces itself.

With a visual directed by UKMVA Award winner Fenn O’Meally, ‘Another Sketch’ is a prime example of the vast array of talents that Lil Silva possesses. A video that transcends generations of Black Britons (featuring Lil Silva’s own family as well as Sampha), ‘Another Sketch’ focuses on the subject of time. Looking at generations of black britons as monuments, the visual centres on the idea that despite time being able to wear down your appearance, what’s inside of you can never depreciate. The main centrepiece of this is heritage, with archive and newly recorded footage showing Silva’s family and friends enjoying the same activities they did generations ago, spliced with footage and voice notes from one of the lands of his dual heritage, Jamaica. The track itself focuses on a central theme of actions, their consequences and changing our inevitable future, with Lil Silva’s stunning falsetto shining alongside background vocals from serpentwithfeet and an instrumental that initially opens minimalistically before gradually unfurling to unveil elements of his electronic beginnings; a thumping hip hop infused beat and swelling melodic embellishments.

With ‘Yesterday Is Heavy’, Lil Silva reaps the rewards of over a decade of influence to create the debut album he’s always imagined. Simultaneously riding the line between pertinent storytelling and virtuosic production, ‘Yesterday Is Heavy’ charts the story of one of UK music’s unsung heroes taking his time to build something that is truly timeless. Yesterday Is Heavy, but tomorrow is forever.

Channeling his background in classical music, SUUNS' Ben Shemie combines string fractals, manipulated vocals, and synth-powered chaos to bridge the universes of past, present, and future. Over the course of ten tracks, Shemie chronicles a wandering soul tangled in its own dark orbit, searching for meaning in a world of stardust and astral mirages. Breathing life into Shemie's orchestral maneuvers was the Molinari String Quartet, one of Canada's most celebrated contemporary ensembles. Recording the album's ten tracks in two single-takes, the urgency and dynamism of these compositions can be heard as much felt. The listener can sense the stuttering pulse of Shemie, flanked by five amplifiers and wading in electronic bedlam, as the Molinari Quartet switchbacks measures of strings and chimes. Sometimes, the only way to make sense of the world is to travel to its absolute end. While Shemie's image of a faraway universe is equal parts inspiring and chaotic, he assures the listener _ everything and everyone is exactly as it should.

With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the 70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips and Darkland. Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers.

In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records - but he was super keen: "It was completely surreal and it still hasn't fully sank in that I have a record in that catalog, sitting alongside those incredible albums that were so influential to me."

Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasised about committing to a record with no distractions, with a proper budget, access to his gear and space to work in - to really dig in and try to write and arrange the best work he could possibly make - it was a real "be careful what you wish for" moment. But, as Frank explained, "it completely saved my year and sanity to have something to focus on and get excited about. It was my lifeline." He spent seven months on it, working almost every day.

Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Enjoying complete creative freedom, “gave me the drive to power through and dig in deep. I'm not sure if I could have kept myself on such a rigorous recording schedule under my own steam, and I think the momentum I had writing and recording it is part of the strength of this record."

Maston’s sleek retro-groove instrumentals emulate the classic KPM “Greensleeve” reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony, Maston's Panorama could be heard as that record's funky follow-up. Yes, it's *that good*. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations.

Opener "First Class" is a blissed-out groove, featuring the soothing vocals of Molly Lewis and a glistening harp over drums, a two-note bass motif (from Eli Ghersinu of L'Eclair) and an assemblage of guitars, synths, French horn and glowing vibraphone. Acid Lounge, anyone? The irresistibly funky "Easy Money" is a gorgeous cut led by more of Molly's vocals, pastoral flute and Rhodes, underpinned by drums and percussion, grooving bass, chilled guitars and synth strings. Kicking the tempo up, the percussive "Storm" is a vibin' filmic-fusion jam where psychedelic guitars (courtesy of Pedrum of Allah Las/Paint) organ, jazzy flute, Rhodes and vibes all compete for a place in the sun, over drums and walking bassline.

The heavenly "You Shouldn't Have" is a delicate, melancholic wonder; a dreamy instrumental where the melody is shared by a whistle, harpsichord and celeste, over a cyclical piano chord sequence and bass, synths, guitars, organ and distant French horn. The tempo rises again with the passionate, sticky "Fling", a summery, nostalgic groove with skipping drums and percussion, warm bass and electric guitar, yearning flute and synth strings. The brilliantly titled "Fool Moon" has that Voices In Harmony sound down pat. A romantic slow-mo dreamscape of Rhodes and harpsichord, piano, light drums and softly strummed acoustic guitar.

Side B opens with "Medusa", a hopeful, mellowed-out track with shuffling drums, feel-good flute, muted horns, glowing Rhodes and synth strings. The soft and gentle "Morning Paper" is an elegant way to start the day; a beatless blend of flute, guitar, percussion, ambient synths and vibes. The upbeat head-nod jam "Scenic" has that widescreen car-chase feel, uptempo drums and percussion, grooving bass, piano, synths and ambient electric guitar. "Adieu" is a smooth summer vibe, relaxing with brushed drums, Rhodes, flutes and horns. Molly Lewis's gorgeous vocals steal the show, alongside vibes, jamming organ and synth strings.

"Hydra" is another laid-back 70s-sounding retro cinema cue with light drums and percussion, walking bass, spacey synths, clavinet, glowing vibraphone, vintage organ and electric guitar. Closer "Jet Lag" is a laconic bow out; bass-driven drum machine soul, featuring hand percussion, Rhodes, vibes, synths and organ.

Multi-instrumentalist Frank played a bit of everything across Panorama. Yet, humble as ever, he believes the time, energy, and enthusiasm of all of the musicians invited to the sessions helped him realise his vision: "There were two Italian flautists who really understood what I was going for. Two french horn players, cor anglais, a vibraphonist and a flügel horn player. I've never involved this many people in my projects before, and yet the result is the most "me" record I've ever made."

Musically, a strong Italian theme runs through the record. Frank is fascinated by ancient Rome and both his parents are Italian (Maston was originally Mastrantonio before anglicisation). So, it felt natural to fully embrace these strands and tie everything together with the striking artwork. The Romans were influenced by Greek culture, emulating their art and architecture, which, in turn, influenced Renaissance era artists. Frank acknowledged this tradition when reflecting on his place in the lineage of library and soundtrack composers. He then asked his friend Mattea Perrotta, a painter and sculptor, for some sketches. What he received was exactly what he had in mind: "Especially the theater mask, which really captures the range of moods on the album". Frank arranged them as per the cover and it soon felt right: "I wanted to make a cover that was reminiscent of the classic KPM albums without making it too pastiche - so it has its own identity and looks at home alongside other library records, while still fitting in nicely in the KPM catalogue." The last step was for us to introduce Frank to Be With-KPM’s Rich Robinson, who helped put together the back and centre labels and align it all within the KPM standard.

Panorama is a perfect title for the album. With no opportunity to travel for tours or recording projects, Frank arranged postcards from his collection on his desk with beautiful views of the mediterranean coast, the Roman Colosseum and Cinque Terre. These also served as visual prompts: "That was part of the sonic concept - imagining myself driving down the mediterranean coast with this music on, with the top down." Additionally, the range of moods and vibes - "I tried to make each song very different from the previous one in terms of tempo and arrangement and feeling" - speaks to the idea of a Panorama of music and sounds and emotions. The last track was originally called Panorama, but KPM already had that title in their catalogue so it was changed to "Jet Lag", which, as Frank notes, "is perhaps even more fitting, since the trip is over".

For Tokyo-born Melbourne-based artist Elle Shimada, the concept of home is ever changing. In fact, it’s the current which flows through her debut album, HOME LOCATION. HOME LOCATION, out on seminal label The Jazz Diaries, is the product of several years of tinkering, culminating in a wholly unique project. ‘HOME is multiple, complex, shapeless. ... Home is in music, a space to share it with you’, Shimada sings on the album opener.

Lithe and loose, marrying incisive political commentary with deep
introspection, HOME LOCATION certifies that Shimada is Australia’s next bright talent. Across eight dizzying tracks which flow from lean, skittish skeletal beats upon which Shimada’s climbs to agile blends of house, bass and candied keys, the album nestles in the subconscious long after the first listen.

Originally released in the UK on 13 May 1996 through Virgin Records, ‘Older’, George Michael’s iconic album, reached the pinnacle of chart success, where it remained for three consecutive weeks, spending 35 weeks in the top 10 overall. The album produced six singles, two of which - ‘Fastlove’ and the haunting ‘Jesus To A Child’ - reached No.1, with the other four peaking in the top three.

The album was a huge global commercial success, going 6x platinum in the UK, as well as verified platinum in another 22 countries – an achievement which is unparalleled to this day.

‘Older’ was George’s third album as a solo artist and would see him experimenting with new musical styles and expanding his artistic horizons. Hailed by critics as a triumph, it told the story of an extraordinary period in the life of the man who wrote, recorded and produced it, as he journeyed through one of the most turbulent periods of his professional and personal life. George channeled all his painful life experiences into one of the most personal, heart-felt albums he had ever written.

"Is it too Sam Prekop?", Sam Prekop asked me in an email conversation in which he delivered his wonderful illustrations which would become the front cover artwork. No, it is not too Sam Prekop at all. His drawings as well as the freeform music on this album are subtly different from anything else he has produced in his solo career. Regardless of the style he is working in, Sam Prekop’s music is always imbued with a sense of wide-eyed discovery and unpredictable exploration.

On »The Sparrow« Sam Prekop expands his electronic cosmos with a remarkable expression of timeless simplicity and coherent execution. It's deceptively simple music that feels accessible without abandoning the experimental legacy of the Modular hardware system which serves, besides a polyphonic Prophet 5 synthesizer, as the centre piece of this production.

The side long title track opens this album with unpredictable synth dissonances and broken step sequenced patterns. »Palm« brings the set to a close with its irregular fragility while »Fall is Farewell« is build around a yearning brassy fanfare which resembles the noir romance theme of Michael Smalls soundtrack for the 1971 film »Klute«. The sparkling essence of »Step and Stair« seems a suitable space for unforgotten summer holidays of our childhood.

On his first solo release for Düsseldorfs label TAL, electronic experimentalist Sam Prekop offers his most captivating yet stripped down modular music. All compositions on »The Sparrow« were gradually developed piece by piece. Best known for his jazz-leaning tropicalismo with The Sea And Cake, a key part of the Chicago scene with the likes of Tortoise or Chicago Underground Duo, he has in recent years established himself as a modular synthesist, building his instrument meticulously to create a unique system that allows him to create highly individual music through mechanical patterns, repetitions and chance. In this context his widely acclaimed community forming public tutorials on fb should be noted as well.

»The Sparrow« is an exciting new chapter in his development as a constant creative influence.

Stefan Schneider, Düsseldorf August 2022

SUBPLATES - THE ICONIC SUBURBAN BASE SERIES RETURNS

Forthcoming on Subbase Progression is the all new SUBPLATES Vol 6 EP. The iconic series of releases from the first wave of SubBase now sees a brand new 4 track EP dropping soon as a stunning picture disc.

Way back in 1993, Suburban Base Records launched the Sub Plates series, a homage to the dubplate culture of early jungle music, it was even released in the 10” vinyl format to reflect the acetate plates DJ’s were playing.

Now in 2022 the way we consume music has evolved, DJ’s are no longer playing the 10” dubs, and the average vinyl buyer is a collector and connoisseur of great music. This iteration of the Subplates series reflects this change. Aimed squarely at the vinyl collectors Subplates Vol 6 is presented as a stunning double-sided picture disc.

Incredible art direction has long been a hallmark of Suburban Base and this release definitely delivers with one of the most stunning looking releases ever from the label. Instantly recognisable as SubBase with the cool graffiti/street art style mural and including the labels original & iconic SB logo within the design.

There’s more to this release than just an eye-catching design though… Imprinted into the grooves of this collectible limited edition vinyl are 4 brand new tracks from some of the labels most recognised artists!

Marvellous Cain, Dead Dread, Cool Hand Flex, Badman& D.B.H each bring a track to this new format Sub Plates release. Original jungle vibes & flavours bought bang up to date for 2022…
Sweet Ting by Marvellous Cain is currently getting radio support from Rampage on BBC Radio 1, Heartless Crew on BBC 1Xtra, and international club support from Brazilian turntable wizard DJ Marky.

LP on 180g white vinyl, standard sleeve, printed inner sleeve. 8 minimal is maximal salvos in 23 minutes that coalesce into a stun-blast soundtrack for today's shattered society. New York City's artistic skyline may have changed immeasurably since the last century, yet the minimalist post-punk/synth-pop duo vividly gouge into the city's immortal outsider spirit and underground cultural tropes, set against a pulsating backdrop of modern apocalypse. Laced with evocatively concise and lacerating lyrics delivered detached and deadpan, 'Closure's spine-chilling onslaught of towering guitar shrapnel, ethereal metallic synth melodies and cold electronic turbulence comes infused with shades of New Order and Jesus And Mary Chain; the kind of modern disco and post-punk grooves that pillaged New York clubs in the 80s. Inevitably, the penetrating spirit of New York electronic trailblazers Suicide haunts the new record with its subterranean gravitational pull, having previously manifested physically when the two-piece befriended the late Alan Vega - leading to collaborations, support spots and Artaud now co-curating the 'Vega Vault' of unreleased material and co-producing and mixing the 2021 lost 'Mutator'

Greetings from Buddhist synth pop hell - Sami "Albert Witchfinder" Hynninen joins forces with Finnish hip hop maverick Olli Hänninen A chance meeting in Hell? No! It was destined to happen: Hip hop maverick Olli Hänninen (Ronskibiitti, Hammaspeikko) teaming up with Doom Metal eccentric Sami Hynninen (Opium Warlords, Reverend Bizarre) to create alternative rhythm music unlike anything that has existed before. Hänninen and Hynninen take a trip to eighteen chambers of Buddhist Hell to reflect on the cold and violent world that surrounds us every day. The music stretches from experimental drones through jazz and marching music to bona fide synth pop, but do not try to label this album. It is impossible. It follows only its own laws. It can caress you or hit you in the head, but it never loses its intensity. Imagine a sober but psychotic COIL, or DAF with a shotgun, and you are not even close. The ambient elements and rhythm tracks defining the tone of each chamber morph together everything from weird crackle boxes, self-made anti-instruments and field recordings of a malfunctioning supermarket wicket or unorthodox paving block structures under a luggage trolley, to noisiest distortion and analogue delay effects on a mindlessly abused electric guitar. It is NOT Rock, it is NOT Metal it is just Alternative

Deluxe Edition

We’re proud to present an extravagant 51st anniversary edition of Wigwam’s game-changing prog rock classic Fairyport. What began as a projected 50th anniversary release turned into a 51st due to the current manufacturing queues for vinyl. To create the anniversary package we teamed up with Jukka Gustavson and went through a plethora of material. Gustavson hand-picked the best possible bonus materials. The legendary jam Rave-up For The Roadies, featuring Jukka Tolonen, was located in its original 36 minute form. The truncated 17-minute version is the closing number of Fairyport, but here the full version received an entire LP. Most original reels to Fairyport are lost, but we salvaged a few demo session tapes plus some eight track reels of the album’s work-in-progress stage. Four tracks were chosen by Gustavson to be added here. It should be noted that the two album session tracks feature the original violin parts, which were left off the final product. All material was mixed from the original reels by Risto Hemmi at Finnvox. The box set also features a live LP. For this Gustavson picked material from a show the band played in Stockholm while working on the album’s demo sessions. There’s an earliest existing version of Losing Hold plus a 15-minute medley of several tracks. Also included is a 20-minute live set from the first ever Ruisrock in 1970, a couple of months before the band entered the studio. Here Wigwam perform three classics by The Band. The vinyl box set is limited to 1000 copies. All material has been remastered at Finnvox by Pauli Saastamoinen in 2022.

“If you can’t say it, you don’t have to,” sings John Fullbright on “Bearden 1645,” the opening track to his new record “The Liar,” out September 30, 2022. The song details Fullbright finding refuge in playing the piano, starting as a child and still today. For fans, it may feel like a bit of a rebuttal to “Happy,” the opener from 2014’s “Songs,” one of several in his repertoire that speak explicitly about mining one’s angst in order to make music. In that way, “Bearden 1645” is also a firm nod to the fourth wall: Fullbright knows you’re thinking about his songwriting. He is, too…but not quite the way he was before. The public at-large hasn’t heard much from him since the critically lauded “Songs,” a chasm of eight years that seemed unthinkable for an artist with so much hype surrounding his early career. Why did it take so long? “Honestly, I don’t know, and that’s been the scariest question to think about and the hardest one to answer,” Fullbright said. Maybe it was a tacit rejection of mounting industry pressure, mixed with a little fear. Or maybe it was the adjustment to a massive upheaval of his way of life. Whether we bore witness or not, it’s been a critical period of change for Fullbright, now in his 30s. Since his last release, he moved out of rural Oklahoma—the aforementioned Bearden has a population of about 130 people—to Tulsa. Once there, he worked to build a place for himself in the context of an established and vibrant musical coterie, performing often as both a bandleader and, more curiously, a sideman: storied loner John Fullbright lugging a piano from this small stage to that one with an uncharacteristic looseness. “It’s been a process of learning how to be in a community of musicians and less focusing on the lone, depressed songwriter…just playing something that has a beat and is really fun,” Fullbright said. “That’s not to say there are no songs on this record where I depart from that, because there are, but there's also a band with an opinion

Sublime unreleased soundtrack by Ron Geesin, to one of the most important and controversial films in British cinema history.
Standard black vinyl (750 Copies) with sleeve art taken from the 1971 film poster. Cool as fuck.
Side One is the score for Sunday Bloody Sunday, the controversial 1971 drama directed by John Schlesinger. Starring Peter Finch, Glenda Jackson and Murray Head, it tells the story of an open love triangle between a gay Jewish doctor, a divorced woman and a bisexual young male artist who makes glass fountains. Daniel Day Lewis also makes his uncredited screen debut as a yobbo scratching up posh cars. The films significance at the time of release lay in the depiction of a mature gay man who was both successful, well adjusted and at peace with his sexuality.

The music on Side Two comes from two different sources: tracks one to four are from the 1985 Channel Four documentary about Viv Richards. Simply called “Viv” it was directed by Greg Lanning, with words and narration by Darcus Howe. It was (and still is) a fascinating film recounting Richards’ rise from young talented Antiguan to global cricket superstar. It also explored the long history of West Indian players through the English game. Howe later recalled how seeing Viv Richards walking out to bat at the Oval (just down the road from where Howe lived in Brixton) without a helmet on no matter how fast the bowler was - and wearing his Rasta sweatbands of gold, green and red, was inspirational. The documentary was later re-titled ‘Viv Richards - King Of Cricket’ for the video market, and let’s face it, that’s a more commercial title. I’d strongly recommend trying to track it down to spend an hour or so in the company of Viv and Darcus. As I write this it’s still up on a popular online streaming site for free.

The last six cues of Side Two are from a 1970 BBC Omnibus film ‘Shapes In A Wilderness’. Directed by Tristram Powell this was a documentary about the importance and influence of art therapy in mental hospitals, tracing its origins from a painting hut in a wartime military hospital to its successful and widespread incorporation in institutions. It featured fascinating medical insights, disturbing imagery and Ron’s finely tuned accompaniment. On its original transmission John Schlesinger saw it and was heard to say “I must have that composer for my new film!”. And he got his way.

I could spend another paragraph analysing the music and stuff like that but you can listen and work all that out for yourself. But I will say that all the music just confirms the fact that Ron Geesin is one of the most underrated, inventive and versatile composers (and musicians) we have.

‘Was there ever a more perfect film for Glass’s lyrical manner? He refers to his own past, but the way in which the material is treated transforms it inevitably into that eternal present. Such a feeling of fragile beauty is a rare achievement.’ – Gramophone

‘Simple and complex by turn, Glass’s score adds dignity and depth to the movie, and to the tragedies and triumphs, big or small, of ordinary life.’
– Guardian

‘Underpinning the anguish at the heart of The Hours a beautiful score. Glass’s motifs capture the passage of time and the universality of human experience.’ – Classic FM’s Best Soundtracks

Nonesuch releases Philip Glass’s award-winning soundtrack to The Hours on vinyl for the first time to coincide with its 20th anniversary and Glass’ 85th birthday concert season. Originally released in December 2002, Glass’s score to the Academy Award-winning film was itself nominated for an Academy Award, as well as a Golden Globe and a Grammy, and went on to win a BAFTA and a Classical BRIT.

Directed by Stephen Daldry, The Hours is the story of three women searching for more potent, meaningful lives. Based on Michael Cunningham’s 1999 Pulitzer Prize–winning novel, with a screenplay by David Hare, the film interweaves the stories of three women – a book editor in New York (Meryl Streep), a young mother in California (Julianne Moore), and the author Virginia Woolf (Nicole Kidman). Their stories intertwine, and finally come together in a surprising, transcendent moment of shared recognition.

Philip Glass’s score was conducted by Nick Ingman, with Michael Reisman on piano and the Lyric Quartet, and recorded at Abbey Road Studios and Air Studios, London. The score was a key element in this acclaimed triptych of dramatic tales. ‘The inter-cutting of personal stories over a wide span of time,’ said NPR, ‘is held together by a single music approach.’

In his original liner note, Michael Cunningham wrote, ‘Each novel I’ve written has developed a soundtrack of sorts; a body of music that subtly but palpably helped shape the book in question. The one constant since I started trying to write novels, however – my only ongoing act of listening fidelity – has been the work of Philip Glass. I love Glass’s music almost as much as I love Woolf’s Mrs. Dalloway. Glass, like Woolf, is more interested in that which continues than he is in that which begins, climaxes, and ends; he insists, as did Woolf, that beauty often resides more squarely in the present than it does in the present’s relationship to past or future. So, when I heard he’d agreed to contribute the music to the film version of The Hours, it seemed both inevitable and too good to be true. I’m not sure if I can offer any higher praise than this: When I saw the movie with the music added, I thought automatically of how I could use the soundtrack, when it came out, to help me finish my next book.’

“This is a movie about art and how art affects life," explains Philip Glass. “The story is very complicated and the music could take on a very important role in the film, as I saw it – to make it viewable, to make it comprehensible, so the stories of the three women in the film didn’t seem separate, that they were tied together. The music had to be the thread that tied the movie together. There’s no question that the emotional point of view is conveyed by the music. Music is the arrow you shoot in the air. Everything follows that.’

Born in Baltimore, Maryland, in 1937, Philip Glass is a graduate of the University of Chicago and the Juilliard School. By 1974, Glass had created a large collection of music for The Philip Glass Ensemble. The period culminated in the landmark opera, Einstein on the Beach. Since Einstein, Glass’s repertoire has grown to include music for opera, dance, theater, orchestra, and film. His scores have received Academy Award nominations (including Kundun and The Hours, both released on Nonesuch, as well as Notes on a Scandal) and a Golden Globe (The Truman Show). Recent works include Glass’s memoir, Words Without Music, Glass’s first Piano Sonata, opera Circus Days and Nights, and Symphony No. 14. Glass received the Praemium Imperiale in 2012, the US National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018.

Nonesuch’s relationship with Glass began in 1985, with the release of the score for Paul Schrader’s Mishima. In addition to The Hours (2002) and Kundun (1997), over the years other Glass works on Nonesuch have included Einstein on the Beach (1993), Music in Twelve Parts (1996), the soundtracks for Powaqqatsi (1988) and Koyaanisqatsi (1998), Glass Box (2008), and Kronos Quartet’s Performs Philip Glass (1995), amongst others.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

Lee Baggett began a new chapter of his eclectic and varied songwriting career with the 2021 release of Just A Minute, and he’s continuing his experimental streak with his latest full length, Anyway. The seasoned musician is changing his stripes again with this 10-song collection by leaning into a more rollicking sound at times, as evidenced by the brisker feeling “Fruit Dog,” the album’s lead single, and the bustling and twangy penultimate track, “Highway Roll.” By embracing more country-tinged sonic elements like banjo, organ-sounding keys, and harmonica, Baggett is able to weave through winding narratives that poignantly parse through the challenging nature of change and evolution. On “Highway Roll,” he confronts how landscapes and settings he once knew are now unrecognizable, and takes that motif a step further on “Earlier Than The World” by achingly and vividly describing “concrete and rubble” amongst a sea of delicate, yet biting guitar riffs. Escape seems to be a viable option for Baggett with “Sink In My Dreams” and “Dust In The Wind” serving as the album’s soothing remedies, inviting the listener to sit back and get lost in Baggett’s mesmerizing guitar playing. His nimble guitar work is a prominent fixture on Anyway, acting as a crux at several key points. It resonates forcefully and feels emotionally charged. Just take the meandering bridge on “Earlier Than The World” as a prime example of how Baggett can aptly convey feeling through riffs.



Delving deeper into Anyway finds some familiar sounds, with songs like “Oh Well” and “Anyway” evoking the seaside melancholy of Baggett’s prior works. But there’s decidedly more intimacy hidden in the crevices of his words and hooks. Throughout, Baggett uses his refined storytelling skills to share his relatable fears and coping mechanisms, his river-like path to unexpectedly finding love, and his musings on an ever-changing world, amongst other experiences. His conversational disposition, folk-styled lyricism, and emotive sonic backdrops make for an immersive listening experience. - Tom Gallo

Developer Archive returns with its 14th release, this time it's 8 tracks with the moods and grooves changing on each track, it's mostly a slab of Developer made exotic techno, with looped riffs, haunting modular electronics and occasional mind-altering synth lines. Huge TIP

Fresh from the red carpet, award-winning Matt Berry dusts off another of his many bows to bring us a stunning live album.

To be released on November 20th 2015 through Acid Jazz Records, this record, which sees Matt perform his greatest musical moments, lands on shelves the same month that Matt Berry returns to our screens in his BAFTA award-winning comedy series The Toast Of London, placing him once more at the forefront of the public eye.

This album is the perfect opportunity for fans to prepare themselves for the upcoming Matt Berry & The Maypoles tour in December.

Whether you're familiar with Matt's Live shows or want to understand what they are like, this album takes you there! From the excited audience chatter to the clarity of his pulsing KORG, each element resonates with perfect clarity. Berry and The Maypoles' musical prowess shines through their prog-folk excursions and trombone flairs which are reminiscent of an early Acid Jazz release, all with the a nod to Berry's surreal and panoramic world-view.

Available, on Limited Gatefold coloured vinyl, CD, Standard vinyl and digital download. This release offers a format suitable for every Matt Berry fan. It is the first Acid Jazz release to come with a digital download code.

First Live Album
Limited run of coloured vinyls
Each vinyl with download card
Released in the same month as Matt returns in Toast Of London on Channel 4.
A month before Matt Berry UK tour in December
Arrives in the midst of a heavy marketing and promotion campaign based around Matt's TV, and music and his authorial debut.

Limited Edition LP re-press on White Vinyl. At the core of Death Valley Girls, vocalist/multi-instrumentalist Bonnie Bloomgarden and guitarist Larry Schemel channel a modern spin on Funhouse’s sonic exorcisms, ZZ Top’s desert-blasted riffage, and Sabbath’s occult menace. On their third album Darkness Rains, Death Valley Girls churn out the hypercharged scuzzy rock every generation yearns for, but there is a more subversive force percolating beneath the surface that imbues the band with an exhilarating cosmic energy. Album opener “More Dead” is a rousing wake up call, with a hypnotic guitar riff and an intoxicating blown-out solo underscoring Bloomgarden’s proclamation that you’re “more dead than alive.” The pace builds with “(One Less Thing) Before I Die”, a distillate of Detroit’s proto-punk sound. At track three, Death Valley Girls hit their stride with “Disaster (Is What We’re After)”, a rager that takes the most boisterous moments off Exile On Main Street and injects it with Zeppelin’s devil’s-note blues. Darkness Rains retains its intoxicating convocations across ten tracks, climaxing with the hypnotic guitar drones and cult-like chants of “TV In Jail On Mars.” “Death Valley Girls are a gift to the world.” - Iggy Pop

Tracklisting 1. More Dead 2. (One Less Thing) Before I Die 3. Disaster (Is What We’re After) 4. Unzip Your Forehead 5. Wear Black 6. Abre Camino 7. Born Again and Again 8. Street Justice 9. Occupation: Ghost Writer 10. TV in Jail on Mars

San Francisco band touches upon black metal, blues, ambient and more. Of all things, it’s laughter that pervades Mamaleek’s Diner Coffee, the San Francisco metal deconstructionists’ sonically crushing ode to the humor found within catastrophe, American diners, and “the little things.” Featuring a mix of live performances, samples, and field recordings, Diner Coffee laughs through its harsh songs in an attempt to reflect the camaraderie found at the heart of global calamities and changing personal situations. It’s an homage to the quotidian set to the backdrop of the mythologized, sanctuary-like properties of a diner, reveling in irony-less nostalgia. Mamaleek embodies this ethos on and off the record. Originally two anonymous brothers, the past few years have seen Mamaleek adding members and venturing into live performance. Diner Coffee, following in the footsteps of 2020’s Come & See, features new, unfamiliar, unknown voices—including expanded experiments with horns, woodwinds, and strings and a Bay Area-local blues harmonica player who improvised recorded selections during practices. The resulting tracks touch on signifiers from black metal, blues, ambient, and more. Diner Coffee simultaneously represents the band’s artistic progression and the state of the world. Taking a surprisingly optimistic perspective, Mamaleek once again puts forward a project of left-field, wholly unique compositions, eluding easy categorization and furthering their abstraction of genre. “The group cloaks its music in the kind of warm, hypnotic distortion that defines shoegaze, and underneath that haze is a style that’s conceptually abrasive yet altogether beautiful.” Forbes //

Tracklist 1 Libations to Sacred Clowns 2 Boiler Room 3 Badtimers 4 Save Your Poor Wicked Soul 5 Grief and a Headhunter's Rage 6 Wharf Rats in the Moonlight 7 Diner Coffee

After almost a decade-long hiatus, cult 6-piece MFMB announced their
return with the long-awaited album - Sugar
The followup to 2012's critically- acclaimed "Colossus", "Sugar" revives the dark
and driven alt- rock the Swedes made their name with - equal parts rigor and
finesse, wracked with nervous tension. This time around, however, a democratic
approach to the writing process was decided on, with each member contributing
equally to the sound and feel of the record. The result is unmistakably the sound
of MFMB, but reinvented for these tempestuous times. The making of the album
is a story in itself. "Sugar" is seven years in the making. It has been a bumpy ride.
They were not always the best of friends. Priorities changed. Members quit, then
joined again. It was never easy. We believe you can hear it on the album, how
every song is a result of differing opinions fighting it out until they landed. In the
end, it's MFMB, but ringing purer than ever before. MFMB have remained prolific
throughout their hiatus, which includes Joakim Lindberg becoming one of the
underground scene's most in- demand producers, working with the likes of Hey
Elbow, Spunsugar, This Is Head, and many more.

New one by Montreal singer-songwriter Deb Edison, working once again as The Submissives and willfully unchanged from 2016's Do You Really Love Me? cassette (Fixture). Six years into the most tumultuous period in global history since WWII – a pandemic, right-wing infiltration, attempts at government overthrow, climate catastrophe looming, a near-complete loss of the moral compass, conspiracies lording over facts natural resources running out – and Deb's still here, staring a hole through the floor/your head. "No one ever changes," she coos on "In a Pinch," and these songs are a textbook example of that sentiment, and her artistic embodiment of psychosexual desire, ready to shatter some lives and walk away looking for the next one. "I'm waiting for your signal/I'm several years older," she drones on "Sick Kinda Love," further reinforcing a long-held stance that the obsession, internalization of feelings, and the human power dynamic of The Submissives are on the menu once again. You'll find whatever it is you want to find in here, just dig in. Deb might even be talking about you, though there's a good chance she's not, and if you don't have the goods you can be sure she's gonna be doing all she can to passively drive you away. "Chirp Like a Bird" reads as Deb's bottom-looking-up retort to Whitehouse's "Wriggle Like a Fucking Eel," and might even be more severe, because she doesn't need microphonic feedback and screaming to intimidate. If you're in for surface thrills, scrape up the Shaggs-esque rock stumble, swooping viola, and behind-the-beat bash tapping out each of these eleven tracks. This is how it is; you get what you get, and you might be upset, but that's all on you. You'll never get to the bottom of this sketch. TRACKLIST: A1 Wanna be your thing A2 When it was all new A3 In a pinch A4 Sick kinda love A5 Chirp like a bird A6 I'm a mirror B1 Goodbye Betty B2 Four five B3 Isn't you B4 Think of me B5 Sweetly

This album marks the debut recording for Venezuela's Velvet label by pianist Ray Pérez and his trombone-led salsa band Los Dementes. Heavy dance numbers and the distinctive vocals of Perucho Torcat make this historic 1967 rarity a sought-after collector's item. Now the LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere. First time reissue. Salsa pianist, vocalist, composer and arranger Ray Pérez, acquired his nickname "Loco" by being a free, independent spirit, an innovator and iconoclast who was initially branded as "crazy" for the freshness and audacity of his sound. Amazingly, he is not that well known in the US, where he spent some time in the late 1960s and salsa was king during the 1970s. Yet he was quite popular in his home country from the beginning, especially amongst the working class of Caracas and Maracaibo, who adopted Cuban music played by New York Puerto Ricans as their own and called it "salsa" years before the term was employed by US labels like Fania as a marketing tool. Pérez is revered in Venezuela, as well as in Mexico and Colombia, and his storied career, which spans seven decades and thousands of concerts, has yielded more than 35 albums recorded by his various bands, including Los Dementes, Los Kenya, and Los Calvos, all of which are collector's items today. At the start of 1967 Pérez debuted Los Dementes, with vocalists Claudio Zerpa and Perucho Torcat backed by an ace band featuring only trombones in the brass section. Titled "¡Alerta mundo! Llegaron los 'The Crazy Men'" the record was released on the small Venezuelan label Prodansa. Soon after, Prodansa folded and Los Dementes were left without representation or much compensation for their efforts, being paid only in records. In the end of February of that year, Pérez returned to Caracas from a stint in Maracaibo in order to finish his first LP with the well-established and larger Velvet label, entitled "Manicomio a locha". In the first quarter of 1967, Velvet unleashed a trilogy of salsa records in order to compete with rival label Palacio and their recent success with Federico y su Combo Latino: "Porfi '67 Salsa & Boogaloo" by Porfi Jiménez y su Orquesta, "Guasancó" by Sexteto Juventud and lastly "Manicomio a locha". The LP begins appropriately with the boisterous title track, written by the band's conguero Carlos "Nené" Quintero, who would become a legend in coming years. Torcat describes a jam session in mental institution and introduces the band, with tasty solos by trombonist Rufo García followed by Ray on piano. Already you can hear something was different about Ray and his "Crazy Men"-a sound as wild and innovative as what was happening in New York with Eddie Palmieri, but with a more unhinged, raw feeling in line with Willie Colón and other younger Nuyorican bands. Next up is an intriguing track sung in a mix of Italian, English, Spanish and Papiamento by Pérez himself, performed in the complicated rhythm of the mozambique, an Afro-Cuban carnival beat developed in the early 1960s. This is followed by the heavy dancer 'Rico guaguancó', penned by Angelito Pérez, which changes from the guaguancó to the mozambique rhythm mid-way through, proving that Los Dementes were "different from the rest" as the lyrics say. 'Puerto Libre', sung by Torcat, is dedicated to the Venezuelan island of Margarita in the Oriente region, and the independent spirit of its working people. The rhythm changes from guaguancó to guajira and back again but remains danceable all the way through. The side closes out with a "3 in 1" medley inspired by the popular formula of the mosaicos of Billo's Caracas Boys, seamlessly knitting together several different tempos, rhythms, moods and compositions. Side two starts strong with the fierce yet satirical 'Corte e' patas', then 'Alma Cumanesa', a typical folk song refashioned as a guaguancó. This is followed by the funky 'Guajira con Boogaloo'. The tune echoes the sound of young Latin New York, pointing out the connection between Cuban and African American soul music. The pace picks up again with 'Fiesta de trombones', a hot descarga and then the album closes with another medley. Though this marks the end of a rather short album, it also signaled the emerging success of Los Dementes and their involvement with the salsa boom in Venezuela, quickly selling out of its initial run of 1000 records and making for a memorable debut on the Velvet label. Now this rare and sought-after LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere.

Los Cotopla Boyz: Millennial Cumbia For The End Of The World. The newest psychedelic space ranger Cumbia band from Bogotá's infamous DIY scene have been sent to earth to save the party! Los Cotopla Boyz make the walls sweat, they set fire to your feet on the dance floor. It all started in Bogotá, which you might say is the tropicanibal venue par excellence, a place that has brought life to acts like Frente Cumbiero, Los Meridian Brothers, Romperayo, Chúpame el dedo, Dub de Gaita, Los Pirañas, Onda trópica and León Pardo, among other eccentricities that have taken the world and stand out not only for their virtuosity but also the connection that lives between that salvaging of traditional folklore and lysergic futurism that expands hypnotically around the world. From this musical hotbed that emerged in the second decade of the new millennium, there is now a new generation to continue the tropicanibal scene, with groups such as La Sonora Mazurén, La Tromba Bacalao, Los Yoryis, El Conjunto Media Luna and, of course, Los Cotopla Boyz, a five-piece that formed in Bogotá in 2018 but inhabit a post-pandemic dystopian multiverse where their mission is to save the party. So their live performances have that illusion of frantic Power Rangers singing about their adventures, as if these were epic chants, except instead of heroic feats they sing with humor about their everyday lives, like the drama “N’sync” about that chat where they leave you on read, or “Me Malviajé con las Ganlletas” about the hallucinogenic experimentation of ingesting cannabis and flipping out. These experiences also lead to songs like the clumsy love lost of “Dama tu Wasap,” the cathartic “Tren de Cotopla” and the ode to excess that is “Raspafiestas,” that moment in your life when the night seems eternal and you only want to go from one party to the next until the world ends. These songs, together with “Plankton (Abanico Sanyo)” and “El Peruanito” are part of Mamarron, Vol. 1, a compilation of seven millennial cannon shots inspired by Los Mirlos, Los Hechizeros Band, Anan, Wendy Sulca, La Sonora Cordobesa, Bad Bunny, Yandel and Los Corraleros de Majagual, tracks laid down on their debut record that saw the light in 2020 in the middle of the pandemic and will be re-released in 2022 by AYA records (ZZK Records imprint.) As well as being pressed on vinyl the album will include the bonus track “El Peruanito” remixed by Colombian producer Santiago Navas and taken from Mamarrón, Vol. 2, their album of remixes by figures such as Frente Cumbiero, Cerrero, Prendida, Sonido Confirmación, DJ Rata Piano and Felipe Orjuela, local producers and musicians with a global scope and vision who expand the raspafiesta universe to the limits of the world. Los Cotopla Boyz are a sweaty, schizophrenic cumbia experience that has been witnessed by emerging Bogotá clubs like Matik-Matik, Boogaloop, El Chamán, Tejo Turmequé, Videoclub and the festival Hermoso Ruido, providing nights of wild abandon to the beat of an outrageous big cumbia sound, a ritual of release giving those present a maximum catharsis that has no compare, not even the most animalistic moves of any metaller shaking his powerful mane. Los Cotopla make the walls sweat, they set fire to your feet on the dancefloor, drawing amorphous moves from their fans on exquisite nights. Tracks SIDE A: 1. Plankton (Abanico Sanyo) 2. El Peruanito 3. Dame tu Wasap 4. N’sync SIDE B: 1. Tren de Cotopla 2. Me Malviaje con Ganlletas 3. Raspafiestas 4. El Peruanito (Santiago Navas Remix)

There’s no escaping the motherlode - that eternal continuum of high drama and overheated amp stacks fit to raise the pulse and revivify the spirits. It’s merely an unmistakable band chemistry that transforms base hard rock into gemstones, and this process is an increasingly rare phenomenon in the here and now. Luckily for Stockholm’s alchemists LUGNET, they are one of the few. Here in these steamrollering grooves and strident anthems is just the kind of swagger and bravado on which rock built its foundations in the ‘70s, yet without any of the cliches or the bloated self-importance. The roots of LUGNET may be visible to see, and the primal stomp of early Deep Purple, the apocalyptic sermonising of Black Sabbath and the cinematic majesty of Rainbow can easily be detected in the almighty sturm-und-drang. Yet this sound is delivered with charisma and maverick energy that effortlessly summons fresh vibrant life to a classic form. The spark that lit LUGNET originates in 2009, when Fredrik Jansson-Punkka (also drummer of Angel Witch, and whose storied history includes stints in Witchcraft, Abramis Brama and Count Raven) met bassist Lennart ‘Z’ Zethzon at Sweden Rock Festival and the two first discussed getting together to jam. Three years later this finally came to fruition and guitarists Bonden Jansson and Mackan Holten joined the fray, alongside vocalist Roger Solander. An original plan to play ‘70s blues-rock with Swedish lyrics was ultimately warped and transformed into the monumental attack of 2016’s self-titled debut proper on Pride & Joy Music. The road to ‘Nightwalker’ saw changes afoot in the band, as Solander was replaced by the soulful pipes of Johan Fahlberg, who matches the swashbuckling charm of the Dio/Coverdale tradition with flourishes and personality all his own, whilst Bonden Jansson made way for wunderkind new guitarist Matti Norlin. This was a quantum leap on from the debut, replete with fiery interplay and incisive song writing, from the slow Zeppelin-esque catharsis of ‘Death Laughs At You’ to the monstrous ‘Stargazer’-esque grandeur of the mellotron-assisted finale ‘Kill Us All’. The aftermath saw Lugnet traverse from strength to strength, a notable highlight being packing out their tent at Sweden Rock Festival in 2018 even whilst a certain Birmingham-birthed Prince Of Darkness himself occupied the main stage across the field. Michael Linder (formerly of Troubled Horse) soon replaced Mackan Holten, and this line-up has subsequently amassed enough material for two albums, with all members throwing their hat into the ring song writing-wise. One of these ‘Tales From The Great Beyond’ has already been recorded at SolnaSound Recording with the dream-team of Simon Johansson (Wolf/ Soilwork) and Mike Wead (King Diamond/ Mercyful Fate) at the helm / mixed by Marcus Jidell (Avatarium/ Candlemass). Just like for the debut album, the front cover artwork was designed by Vance Kelly. Whatever the future holds for Lugnet, only a fool would bet on the result not being a spectacular explosion of righteousness. This machine is firing on all cylinders, and rockers of all persuasions would be well advised to get on board or get out of the way. Track listing: Still A Sinner; In Harvest Time; Another World; Out Of My System; Svarv; Eaten Alive; Pale Design; I Can’t Wait; Black Sails; Tåsjö Kyrkmarsch

The first collaboration album between Noveliss and Dixon Hill comes in the form of a concept album based on the I Ching or Book of Changes. The track list was constructed using the ancient text and its overall theme stems from the wisdom therein. Conceived, written, and recorded in isolation, Book of Changes sets Noveliss as a hermetic sage seeking balance and enlightenment over Dixon Hill's ethereal musical backdrops. Dixon Hill used samples, live instruments, and field recordings to create the sonic template for this record. Each song transition smoothly from one to another using melodic elements and natural sounds to tether the songs together for a cohesive listening experience. TRACKLIST: 1. Empty 2. Feng Shui 3. Loss for Words 4. Sincerity and Reverence 5. Scheminonameanin' 6. Truthsayer 7. Escaping 8. Spirit Bomb 9. Cold Mountain 10. Permanent Waves

Die vierte Staffel der Netflix Erfolgsserie Stranger Things zeigt signifikanten Einfluss auf einige Songs, die in den Episoden Verwendung fanden. Einer dieser Schlüssel-Songs ist ”Pass The Dutchie” von Musical Youth. Der Titel warim Jahr 1982 ein internationaler Riesenhit: in den Single-Charts belegte er im UK die
#1, in Deutschland erreichte er die Nummer 2 und entwickelte sich auch in den USA zu einer Top-10-Hit.

”Pass The Dutchie” zeigt zuletzt bei den Musikstreamingdiensten exponentielles Wachstum und gehört mittlerweile auch zu den Titeln, die beim Videoservice TikTok für jedeMenge ”Creations” sorgt.

P&F Recordings takes a quick break from original material to welcome back everyone’s favourite Episcopalian Minister/DJ: JAZ.

When it comes to left-field floor fillers, JAZ (née John Zahl) is in a league of his own. Over the past 13 years, he's churned out celebrated home listening mixes, jaw-dropping DJ sets, and extended edits with a pace that belies the usual slow-motion tempo of the majority of his selections.

Here, he serves up four colourful, cosmic, dance floor delights. EP opener ‘Cloud Worship’ marries a chugging prog-rock-esque bassline with virtuosic synth work. Then ‘Pick a Toy’ gets us sweating with some serious Caribbean flair.

On the flip side, ‘Puzzle’ delivers exotic chants and an infectious, serpentine beat - and lastly ‘Friday Night’ closes things out with infectious, retro positivity.

While one might wonder how JAZ consistently unearths these obscure -yet essential- gems, it's obvious that he's driven by a higher purpose.

Let the ceremonies begin!

Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music, jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove movements. His first single release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa Nostra, still today one of Irma Records main acts. Their first album had Vicky Anderson as special
guest and today is still considered one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records:

Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru and had Taka Boom and Jackson Sloan among the guests. Two of the main tracks on the album are brazil house classic Sombre Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations.

After making countless productions for Irma Records, including their second album When The Rain Begins To Fall (with the participation of the historic Spanish-American singer Joe Bataan), and the recents singles as ORGAN MIND / I LOVE YOU (favorite track by Larry Heard ) & ON THE FLOOR / SOUND MACHINE, LTJ is devoted almost exclusively to re-edit and reconstruct tracks from the past with the addition of sounds and rhythms in post production for labels like SUPER VALUE, SMALL WORLD DISCO, HOT GROOVY RECORDS, OH CRISTO! increasing the production of this new musical genre that is currently defined as beatdown/slo-mo, working with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R. Music For Dreams, Apersonal Music, Roam Recordings, !K7.

As the sun sets on a quaint East Nashville house, a young man bares a piece of his soul. Facing the camera, sporting a silky suit jacket/shirt/slacks/fingerless gloves ensemble that announces "singer" before he's even opened his mouth, Lee Tracy Johnson settles onto his stage, the front yard. He sways to the dirge-like drum machine pulse of a synth-soaked slow jam, extends his arms as if gaining his balance, and croons in affecting, fragile earnest, "I need your love… oh baby…"

Dogs in the yard next door begin barking. A mysterious cardboard robot figure, beamed in from galaxies unknown and affixed to a tree, is less vocal. Lee doesn't acknowledge either's presence. He's busy feeling it, arms and hands gesticulating. His voice rises in falsetto over the now-quiet dogs, over the ambient noise from the street that seeps into the handheld camcorder's microphone, over the recording of his own voice played back from a boombox off-camera. After six minutes the single, continuous shot ends. In this intimate creative universe there are no re-takes. There are many more music videos to shoot, and as Lee later puts it, "The first time you do it is actually the best. Because you can never get that again. You expressing yourself from within."

"I Need Your Love" dates from a lost heyday. From some time in the '80s or early '90s, when Lee Tracy (as he was known in performance) and his music partner/producer/manager Isaac Manning committed hours upon hours of their sonic and visual ideas to tape. Embracing drum machines and synthesizers – electronics that made their personal futurism palpable – they recorded exclusively at home, live in a room into a simple cassette deck. Soul, funk, electro and new wave informed their songs, yet Lee and Isaac eschewed the confinement of conventional categories and genres, preferring to let experimentation guide them.

"Anytime somebody put out a new record they had the same instruments or the same sound," explains Isaac. "So I basically wanted to find something that's really gonna stand out away from all of the rest of 'em." Their ethos meant that every idea they came up with was at least worth trying: echoed out half-rapped exhortations over frantic techno-style beats, gospel synth soul, modal electro-funk, oddball pop reinterpretations, emo AOR balladry, nods to Prince and the Fat Boys, or arrangements that might collapse mid-song into a mess of arcade game-ish blips before rallying to reach the finish line. All of it conjoined by consistent tape hiss, and most vitally, Lee's chameleonic voice, which managed to wildly shape shift and still evoke something sincere – whether toggling between falsetto and tenor exalting Jesus's return, or punctuating a melismatic romantic adlib with a succinct, "We all know how it feels to be alone."

"People think we went to a studio," says Isaac derisively. "We never went to no studio. We didn't have the money to go to no studio! We did this stuff at home. I shot videos in my front yard with whatever we could to get things together." Sometimes Isaac would just put on an instrumental record, be it "Planet Rock" or "Don't Cry For Me Argentina" (from Evita), press "record," and let Lee improvise over it, yielding peculiar love songs, would-be patriotic anthems, or Elvis Presley or Marilyn Monroe tributes. Technical limitations and a lack of professional polish never dissuaded them. They believed they were onto something.

"That struggle," Isaac says, "made that sound sound good to me."

In the parlance of modern music criticism Lee and Isaac's dizzying DIY efforts would inevitably be described as "outsider." But "outsider" carries the burden of untold additional layers of meaning if you're Black and from the South, creating on a budget, and trying to get someone, anyone within the country music capital of the world to take your vision seriously. "What category should we put it in?" Isaac asks rhetorically. "I don't know. All I know is feeling. I ain't gonna name it nothing. It's music. If it grabs your soul and touch your heart that's what it basically is supposed to do."

=

Born in 1963, the baby boy of nine siblings, Lee Tracy spent his earliest years living amidst the shotgun houses on Nashville's south side. "We was poor, man!" he says, recalling the outhouse his family used for a bathroom and the blocks of ice they kept in the kitchen to chill perishables. "But I actually don't think I really realized I was in poverty until I got grown and started thinking about it." Lee's mom worked at the Holiday Inn; his dad did whatever he had to do, from selling fruit from a horse drawn cart to bootlegging. "We didn't have much," Lee continues, "but my mother and my father got us the things we needed, the clothes on our back." By the end of the decade with the city's urban renewal programs razing entire neighborhoods to accommodate construction of the Interstate, the family moved to Edgehill Projects. Lee remembers music and art as a constant source of inspiration for he and his brothers and sisters – especially after seeing the Jackson 5 perform on Ed Sullivan. "As a small child I just knew that was what I wanted to do."

His older brother Don began musically mentoring him, introducing Lee to a variety of instruments and sounds. "He would never play one particular type of music, like R&B," says Lee. "I was surrounded by jazz, hard rock and roll, easy listening, gospel, reggae, country music; I mean I was a sponge absorbing all of that." Lee taught himself to play drums by beating on cardboard boxes, gaining a rep around the way for his timekeeping, and his singing voice. Emulating his favorites, Earth Wind & Fire and Cameo, he formed groups with other kids with era-evocative band names like Concept and TNT Connection, and emerged as the leader of disciplined rehearsals. "I made them practice," says Lee. "We practiced and practiced and practiced. Because I wanted that perfection." By high school the most accomplished of these bands would take top prize in a prominent local talent show. It was a big moment for Lee, and he felt ready to take things to the next level. But his band-mates had other ideas.

"I don't know what happened," he says, still miffed at the memory. "It must have blew they mind after we won and people started showing notice, because it's like everybody quit! I was like, where the hell did everybody go?" Lee had always made a point of interrogating prospective musicians about their intentions before joining his groups: were they really serious or just looking for a way to pick up girls? Now he understood even more the importance of finding a collaborator just as committed to the music as he was.

=

Isaac Manning had spent much of his life immersed in music and the arts – singing in the church choir with his family on Nashville's north side, writing, painting, dancing, and working various gigs within the entertainment industry. After serving in the armed forces, in the early '70s he ran The Teenage Place, a music and performance venue that catered to the local youth. But he was forced out of town when word of one of his recreational routines created a stir beyond the safe haven of his bohemian circles.

"I was growing marijuana," Isaac explains. "It wasn't no business, I was smoking it myself… I would put marijuana in scrambled eggs, cornbread and stuff." His weed use originated as a form of self-medication to combat severe tooth pain. But when he began sharing it with some of the other young people he hung out with, some of who just so happened to be the kids of Nashville politicians, the cops came calling. "When I got busted," he remembers, "they were talking about how they were gonna get rid of me because they didn't want me saying nothing about they children because of the politics and stuff. So I got my family, took two raggedy cars, and left Nashville and went to Vegas."

Out in the desert, Isaac happened to meet Chubby Checker of "The Twist" fame while the singer was gigging at The Flamingo. Impressed by Isaac's zeal, Checker invited him to go on the road with him as his tour manager/roadie/valet. The experience gave Isaac a window into a part of the entertainment world he'd never encountered – a glimpse of what a true pop act's audience looked like. "Chubby Checker, none of his shows were played for Black folks," he remembers. "All his gigs were done at high-class white people areas." Returning home after a few years with Chubby, Isaac was properly motivated to make it in Music City. He began writing songs and scouting around Nashville for local talent anywhere he could find it with an expressed goal: "Find someone who can deliver your songs the way you want 'em delivered and make people feel what you want them to feel."

One day while walking through Edgehill Projects Isaac heard someone playing the drums in a way that made him stop and take notice. "The music was so tight, just the drums made me feel like, oh I'm-a find this person," he recalls. "So I circled through the projects until I found who it was.

"That's how I met him – Lee Tracy. When I found him and he started singing and stuff, I said, ohhh, this is somebody different."

=

Theirs was a true complementary partnership: young Lee possessed the raw talent, the older Isaac the belief. "He's really the only one besides my brother and my family that really seen the potential in me," says Lee. "He made me see that I could do it."

Isaac long being a night owl, his house also made for a fertile collaborative environment – a space where there always seemed to be a new piece of his visual art on display: paintings, illustrations, and dolls and figures (including an enigmatic cardboard robot). Lee and Issac would hang out together and talk, listen to music, conjure ideas, and smoke the herb Isaac had resumed growing in his yard. "It got to where I could trust him, he could trust me," Isaac says of their bond. They also worked together for hours on drawings, spreading larges rolls of paper on the walls and sketching faces with abstract patterns and imagery: alien-like beings, tri-horned horse heads, inverted Janus-like characters where one visage blurred into the other.

Soon it became apparent that they didn't need other collaborators; self-sufficiency was the natural way forward. At Isaac's behest Lee, already fed up with dealing with band musicians, began playing around with a poly-sonic Yamaha keyboard at the local music store. "It had everything on it – trumpet, bass, drums, organ," remembers Lee. "And that's when I started recording my own stuff."

The technology afforded Lee the flexibility and independence he craved, setting him on a path other bedroom musicians and producers around the world were simultaneously following through the '80s into the early '90s. Saving up money from day jobs, he eventually supplemented the Yamaha Isaac had gotten him with Roland and Casio drum machines and a Moog. Lee was living in an apartment in Hillside at that point caring for his dad, who'd been partially paralyzed since early in life. In the evenings up in his second floor room, the music put him in a zone where he could tune out everything and lose himself in his ideas.

"Oh I loved it," he recalls. "I would really experiment with the instruments and use a lot of different sound effects. I was looking for something nobody else had. I wanted something totally different. And once I found the sound I was looking for, I would just smoke me a good joint and just let it go, hit the record button." More potent a creative stimulant than even Isaac's weed was the holistic flow and spontaneity of recording. Between sessions at Isaac's place and Lee's apartment, their volume of output quickly ballooned.

"We was always recording," says Lee. "That's why we have so much music. Even when I went to Isaac's and we start creating, I get home, my mind is racing, I gotta start creating, creating, creating. I remember there were times when I took a 90-minute tape from front to back and just filled it up."

"We never practiced," says Isaac. "See, that was just so odd about the whole thing. I could relate to him, and tell him about the songs I had ideas for and everything and stuff. And then he would bring it back or whatever, and we'd get together and put it down." Once the taskmaster hell bent on rehearsing, Lee had flipped a full 180. Perfection was no longer an aspiration, but the enemy of inspiration.

"I seen where practicing and practicing got me," says Lee. "A lot of musicians you get to playing and they gotta stop, they have to analyze the music. But while you analyzing you losing a lot of the greatness of what you creating. Stop analyzing what you play, just play! And it'll all take shape."

=

"I hope you understood the beginning of the record because this was invented from a dream I had today… (You tell me, I'll tell you, we'll figure it out together)" – Lee Tracy and Isaac Manning, "Hope You Understand"

Lee lets loose a maniacal cackle when he acknowledges that the material that he and Isaac recorded was by anyone's estimation pretty out there. It's the same laugh that commences "Hope You Understand" – a chaotic transmission that encapsulates the duality at the heart of their music: a stated desire to reach people and a compulsion to go as leftfield as they saw fit.

"We just did it," says Lee. "We cut the music on and cut loose. I don't sit around and write. I do it by listening, get a feeling, play the music, and the lyrics and stuff just come out of me."

The approach proved adaptable to interpreting other artists' material. While recording a cover of Whitney Houston's pop ballad "Saving All My Love For You," Lee played Whitney's version in his headphones as he laid down his own vocals – partially following the lyrics, partially using them as a departure point. The end result is barely recognizable compared with the original, Lee and Isaac having switched up the time signature and reinvented the melody along the way towards morphing a slick mainstream radio standard into something that sounds solely their own.

"I really used that song to get me started," says Lee. "Then I said, well I need something else, something is missing. Something just came over me. That's when I came up with 'Is It What You Want.'"

The song would become the centerpiece of Lee and Isaac's repertoire. Pushed along by a percolating metronomic Rhythm King style beat somewhere between a military march and a samba, "Is It What You Want" finds Lee pleading the sincerity of his commitment to a potential love interest embellished by vocal tics and hiccups subtlely reminiscent of his childhood hero MJ. Absent chord changes, only synth riffs gliding in and out like apparitions, the song achieves a lingering lo-fi power that leaves you feeling like it's still playing, somewhere, even after the fade out.

"I don't know, it's like a real spiritual song," Lee reflects. "But it's not just spiritual. To me the more I listen to it it's like about everything that you do in your everyday life, period. Is it what you want? Do you want a car or you don't want a car? Do you want Jesus or do you want the Devil? It's basically asking you the question. Can't nobody answer the question but you yourself."

In 1989 Lee won a lawsuit stemming from injuries sustained from a fight he'd gotten into. He took part of the settlement money and with Isaac pressed up "Saving All My Love For You" b/w "Is It What You Want" as a 45 single. Isaac christened the label One Chance Records. "Because that's all we wanted," he says with a laugh, "one chance."

Isaac sent the record out to radio stations and major labels, hoping for it to make enough noise to get picked up nationally. But the response he and Lee were hoping for never materialized. According to Isaac the closest the single got to getting played on the radio is when a disk jock from a local station made a highly unusual announcement on air: "The dude said on the radio, 107.5 – 'We are not gonna play 'Is It What You Want.' We cracked up! Wow, that's deep.

"It was a whole racist thing that was going on," he reflects. "So we just looked over and kept on going. That was it. That was about the way it goes… If you were Black and you were living in Nashville and stuff, that's the way you got treated." Isaac already knew as much from all the times he'd brought he and Lee's tapes (even their cache of country music tunes) over to Music Row to try to drum up interest to no avail.

"Isaac, he really worked his ass off," says Lee. "He probably been to every record place down on Music Row." Nashville's famed recording and music business corridor wasn't but a few blocks from where Lee grew up. Close enough, he remembers, for him to ride his bike along its back alleys and stumble upon the occasional random treasure, like a discarded box of harmonicas. Getting in through the front door, however, still felt a world away.

"I just don't think at the time our music fell into a category for them," he concedes. "It was before its time."

=

Lee stopped making music some time in the latter part of the '90s, around the time his mom passed away and life became increasingly tough to manage. "When my mother died I had a nervous breakdown," he says, "So I shut down for a long time. I was in such a sadness frame of mind. That's why nobody seen me. I had just disappeared off the map." He fell out of touch with Isaac, and in an indication of just how bad things had gotten for him, lost track of all the recordings they'd made together. Music became a distant memory.

Fortunately, Isaac kept the faith. In a self-published collection of his poetry – paeans to some of his favorite entertainment and public figures entitled Friends and Dick Clark – he'd written that he believed "music has a life of its own." But his prescience and presence of mind were truly manifested in the fact that he kept an archive of he and Lee's work. As perfectly imperfect as "Is It What You Want" now sounds in a post-Personal Space world, Lee and Isaac's lone official release was in fact just a taste. The bulk of the Is It What You Want album is culled from the pair's essentially unheard home recordings – complete songs, half-realized experiments, Isaac's blue monologues and pronouncements et al – compiled, mixed and programmed in the loose and impulsive creative spirit of their regular get-togethers from decades ago. The rest of us, it seems, may have finally caught up to them.

On the prospect of at long last reaching a wider audience, Isaac says simply, "I been trying for a long time, it feels good." Ever the survivor, he adds, "The only way I know how to make it to the top is to keep climbing. If one leg break on the ladder, hey, you gotta fix it and keep on going… That's where I be at. I'll kill death to make it out there."

For Lee it all feels akin to a personal resurrection: "It's like I was in a tomb and the tomb was opened and I'm back… Man, it feels so great. I feel like I'm gonna jump out of my skin." Success at this stage of his life, he realizes, probably means something different than what it did back when he was singing and dancing in Isaac's front yard. "What I really mean by 'making it,'" he explains isn't just the music being heard but, "the story being told."

Occasionally Lee will pull up "Is It What You Want" on YouTube on his phone, put on his headphones, and listen. He remembers the first time he heard his recorded voice. How surreal it was, how he thought to himself, "Is that really me?" What would he say to that younger version of himself now?

"I would probably tell myself, hang in there, don't give up. Keep striving for the goal. And everything will work out."

Despite what's printed on the record label, sometimes you do get more than one chance.

Spanish producer Divorce From New York (AKA Alvaro Granda) returns with his brand new LP ‘Sausalito’ on London’s High Praise. With his previous full-length 2021 offering ‘This Ain’t Jazz No More’ having gained support from Tom Ravenscroft (BBC 6 Music), Jamz Supernova (BBC Radio 1Xtra), Worldwide FM, BBC Radio 1, Errol (Touching Bass), DJ Mag & many more - the stage is set for this heady and potent sophomore release.

Known for his work as one half of San Sebastian based production duo Reykjavik606 (who have previously collaborated with the likes of Tenderlonious and Ishmael Ensemble) Granda creates a rich web of broken beat flavours, uplifting sonics and syncopated rhythms - melding elements of jungle, house and bruk with jazz sensibilities.

Featuring seven brand-new and flavour-packed tracks, ‘Sausalito’ is an uplifting and joyous listen from start to finish. Immersing himself in his extensive collection of Jazz, Soul and Disco vinyl, Alvaro channels golden sunshine-injected influences into a wonderfully cohesive and infectious record. First single ‘Last Ray Of Sunset’ sees Alvaro join forces with long-term collaborator Piek. As its classic disco sounds meet jaunty, MPC- driven drums, and an irresistible bassline - leaving us dreaming of hazy summer terraces, and those last fleeting moments of daytime as evening takes hold.

‘Holly Grove’ evokes a sense of mystery and intrigue with it’s celestial rhodes and flute flourishes, before being joined by syncopated bruk-beats and the alluring vocals of Sarah Zoyaya, who’s tones entwine with some wild synth playing and twisting polyrhythms. Final single ‘I Haven’t Recovered From Last Night With You’ entrances the listener with it’s hypnotic saturated percussion, swirling vocals and reverb-laced key stabs. Creating visions of endless and vast expanses, it shows Alvaro’s ability to weave textures and melody to incredible effect.

With this record, Divorce From New York solidifies his position as one of Europe’s most authentic and original beatmakers. With a range of styles and influences ‘Sausalito’ takes us on a dancefloor leaning journey from sun drenched rhythms through to detroit-techno esque programming. With extensive live performances scheduled for Summer 22 (including a performance at Kala Festival) you can expect to hear this one doing damage on the world’s dancefloors.

Captained by Hugo Mari and Josh Byrne, High Praise is a london-based record label and party. A vessel for uplifting music, made with good energy - they have released music from Yadava, EVM128, Lay-Far, Partner Music & more.

Divorce From New York will release ‘Sausalito’ on 2nd September ‘22 via High Praise.

'Body Riddle', ein Highlight des frühen Clark-Katalogs, von Produzenten wie Arca, Rustie und Hudson Mohawke als massgeblicher Einfluß bezeichnet, wurde unter persönlicher Betreuung von Clark neu für mehr Dynamik remastered und erscheint erstmals wieder seit 16 Jahren.

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BIO: Chris Clark arbeitet seit 20 Jahren mit Musik und Ton. Schon in jungen Jahren wurde er von Warp Records gesignt und veröffentlichte bis dato 13 Alben und eine Vielzahl an EPs und Singles. Sein jüngstes Studioalbum 'Playground In A Lake' für das Klassik-Label Deutsche Grammophon verschmolz sein Markenzeichen, die elektronische Musik, mit den Streichertönen des Cellisten Oliver Coates, der Geigerin Rakhi Singh und des Budapest Art Orchestra.

Nach seiner ersten Filmmusik für die Sky/Canal+ TV-Serie 'The Last Panthers' schrieb Clark die Scores zu 'Rellik' (BBC1/HBO) und das Drama 'Kiri' (Channel 4/Hulu). Kürzlich lieferte er die Filmmusik für Apple TV+ 'Lisey's Story', basierend auf Stephen Kings gleichnamigem Roman, sowie für 'Daniel Isn't Real', einem psychologischen Horrorfilm von Spectre Vision, der Produktionsfirma des Nicolas Cage-Kultfilms 'Mandy'. Dieser OST wurde ebenfalls von der Deutschen Grammophon veröffentlicht.

Chris arbeitete mit der Choreografin Melanie Lane zusammen und vertonte 12 zeitgenössische Tanzprojekte, darunter die Aufführung ihres Soloprojekts 'Tilted Fawn' im Sydney Opera House und zuletzt 'Personal Effigies', das im März 2018 mit dem Kier Choreographic Prize ausgezeichnet wurde, sowie 'WOOF' für die renommierte Sydney Dance Company.

Chris' umfangreiches Verzeichnis an Remixen für Künstler wie Thom Yorke, Massive Attack, Depeche Mode, Max Richter, Battles und Nils Frahm wurde 2013 als Doppelalbum 'Feast / Beast' veröffentlicht.

'What's always set Clark apart is his eclecticism, dynamism, and flair for the dramatic... His tracks don't drop as much as they slip or swerve... He'll end a techno album with eight minutes of beatless, sky-cracking ecstasy and it will make sense. He's allergic to the idea of standard sounds and presets. And unlike many of his more insular peers, Clark can be open to sentimentality — not schmaltz — as much as a belief in humanness and all its inexact wonder. In electronic music's never-ending battle between man and machine, he's seeking a third way.' - Pitchfork

Dans cet opus enregistré entre Colombie et Cuba et édité pour la première fois en 2011 en CD, Sergent Garcia évoque tour à tour la tolérance, le combat de la vie des musiciens et les nombreux mensonges.
Très rapidement c’est un succès international qui lui apporte une nomination aux fameux Latin grammy
Awards dans la catégorie meilleur album de fusion tropicale ! Plus de 10 ans après sa sortie, l’artiste offre à son public une version limitée rééditée en format vinyle orange pour le Disquaire Day.
Album de joie et de fête mais toujours engagé poétiquement sur le monde, le disque comporte une dizaine de chansons dont la plus célèbre est Una Y Otra Vez. Hymne au courage et à la résistance, voilà tel est le message que l’artiste veut transmettre pour lutter contre l’oppression mentale et économique.
Il puise sa force dans les expériences propres de Sergent Garcia durant ces années où il a dû lutter pour son indépendance artistique et retrouver son inspiration.

Tini Trampler & Playbackdolls senden genre-transzendente, deutschsprachige Chansons aus der utopischen Zukunft als kosmopolitische Folklore ins Jetzt!

Tini Trampler & Playbackdolls sind bekannt für ihre lebensfrohen, tanzbaren & politischen Lieder, die mit Herz, Empathie und Phantasie zu geistigen Rebellionen führen. Ihre 'Chansons 2084' sind Liebesbriefe aus einer utopischen Zukunft an die Gegenwart im poetischen, deutschsprachigen Wortgewand à la Hildegard Knef und Marlene Dietrich. Vaudeville kulminiert mit wienerischem Blues, Folklore, Rumpelrock à la Tom Waits, Ragtime und Reggae zu hochemotionalen und tanzbaren Chansons.

Repress

'Gold: Greatest Hits was originally released on September 21st 1992 and has been called one of the most influential compilation albums ever released. Gold is the best-selling ABBA album, as well as one of the best-selling albums worldwide. This limited edition double vinyl reissue is on 180 gram gold coloured vinyl.

LIMITED 180GM BLACK VINYL INCLUDES DOWNLOAD CARD WITH 8 BONUS TRACKS. GATEFOLD + BOOKLET INCLUDED.

During this feverish time, founding member Guy Smith was motivated to make music that reveled in always trying out different things. Normil Hawaiians was a very fluid ensemble at this point, Guy often accompanied by Kev Armstrong and Jim Lusted encouraged saxophones, violins, synths, pianos and a select pack of female backing singers to take their post-punk sound into wilder directions. One of the earliest line-ups of Normil Hawaiians featured a 15-year old Janet Armstrong on vocals alongside Guy, ‘Ventilation’ best showcases her deadpan digressions. Janet went on to sing alongside David Bowie a few years later on his breathtaking mid-80’s gem ‘Absolute Beginners’. By this point Kev Armstrong was also guesting for Bowie on guitar duties too.

Another guest to join the ranks of Normil Hawaiians during this fertile time of cross-pollination was Bertie Marshall (aka Berlin of the proto-punk Bromley Contingent). ‘Sang Sang’ is a good example of how he was inspired to deliver his poetic treatises over the band’s atmospheric, floating improvisations. Bertie’s impressionistic influence helped the group uncouple further from rock tropes, as they became restless and more rhythmically-focused. ‘Still Obedient’ fidgets, soars and careens across the dancefloor, “if you’re ahead close your eyes, you won’t notice the subtitles” chants Guy.

By the end of this transformative two years Normil Hawaiians had spun an exceptional chrysalis around themselves. The dark world surrounding wouldn’t win out, they’d eaten-up the music and grown continuously, wrote and recorded rapidly, covered Zappa & even David Lynch and could feel the light beginning to shine through. ‘Dark World’ is a snapshot of a band in flux, finding their feet, stretching their limbs. Normil Hawaiians cover an awful amount of ground in such a short time-frame on this record and these tracks document all the glittering debris from their magpie’s nest. Emergent, hopeful and resistant in sound and ethic.

In the very depth of Rummelsburg the one has arisen. And his name was Franzis Skanner. Him and his accomplices are meant to change the world. Forever.

Lindenberg Support is the man behind 'Ode To Gallantry', a complex and emotional tale of mistaken identity, trust and honor.

The story begins with the beggar Shi Po Tian, aka the Bastard, stealing a bun which contains the Black Iron Token, created by skilled pugilist Xie Yanke, which grants the holder one wish. 'C20/25' and its pounding and pacy rhythmics, carrying pads and heavy hitting vibe, perfectly set the journey's energetic and warm tone.

Xie appears yearly, demanding that the clans repay in blood for any heinous act they committed throughout the year. The only way that a rude clan can avoid the cull is for the clan's leader to sacrifice himself for them. With 'SKS (101)' and its soothing and floating pads carrying the gentle lo-fi drums, the story heats up and evolves to a deeper intricacy.

Fearing that Bastard might make him promise to stop his annual harvest of death, Xie spirits him away and trains him in martial arts so powerful that he is certain it will kill him, but instead, it makes him strong and resilient. The uplifting pads in 'Gate', supported by a reckless broken beat and pinging vocals, create a celestial vibe that pushes Bastard to his limits.

He is rescued by the Chang Lo Clan that mistakes him for their villainous leader Shi Zhongyu and then treats him as their boss. With each case of mistaken identity, he becomes drawn into a number of heated conflicts between several rival schools and gangs - a dilemma that he just isn't prepared to deal with. The dreamy ambiance of 'Kinda Weak' and its well-wrought drum pattern slowly shroud the memories of his old life.

The final point is set with 'Pol-1 (For Stefan)' - an emotive and profound ambient piece to close the story. He's sure to learn some valuable lessons about brotherhood and honor, but at what price?

Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.

Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.

Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.

Micah is a special one. His playing has a restlessly inventive and futuristic tilt while simultaneously remaining deeply rooted in the history of the music – all delivered with curiosity, patience, humor and care. I make a point to hear him as often as I can, as he always inspires and is constantly evolving. Micah is one of the most exciting musicians of his generation. One who has a unique style as well as all the tools needed to make a major contribution to the world of jazz piano.

"When we decided to produce Micah Thomas, the project involved a recording of five titles only. In the first part of an approximately one hour session, Micah beautifully played first takes of up to ten titles, with fantastic artistic fervor and great freshness. Taken by surprise, joy and admiration, we decided on the spur of the moment to change our initial plans, so we could capture the magic of that


session for a little longer. Here is the result, a 12 titles double vinyl that takes you back to October 31st, 2020 at Big Orange Sheep studio in Brooklyn, NY. Twelve songs when we encountered the art of Micah Thomas as a solo pianist for the first time."

Temples is a tempting invitation into another world, full of light and movement. From the second the synth comes in this track has got us deep in its pocket. Shotter manages something that is hard to achieve - he has us floating completely, yet steadily carried by tip-toeing metallic rhythm elements and the relentless swells of bright synths. The game changer in the second half is a new, gritty bass quality, which couldn't roll in any more fiercely. At its fullest the track has us in an uncompromising trance, a relentless movement that we don't ever want to escape from. Breaking back down to pleasantly gentle hi-hat reverb-tails and inducing synth patterns Temples lets us down easy, with the unspoken promise to return.

Ueno claims the room to itself completely and immediately. The rise and fall of melodic synth lines lead us through a labyrinth at first, leaving plenty of space for imagination. Before we notice playful call-and-response rhythms are teasing our ears, until the track surrenders itself to an ever-growing wave of synth patterns and their behind-the-beat-delay. It climaxes into a haunting silence with tenuous high-pitched sounds and a clear outer space feel. Finally, all elements lock into a comforting groove, driving us forward, not too fast, not too slow - exactly right.

The track starts off with a blissfully nostalgic vintage-feel - slightly muffled, like the humbling quality you get from an old Technics playing your favourite LP. But don't be fooled, Cube March is bold. And unexpected. Stomping rhythms take over quickly and full-blown gritty synth-stabs cut the air effortlessly, like blades. An unapologetic and careless pumping bass line makes us want to move with every cell in our body. Shotter demonstrates his fearlessness in experimenting with heavy contrasts and elements from different genres here. A break with tastefully placed repetitive rhythm elements is complemented by the constant ebb and flow of melody lines. Both in volume and presence they fluctuate, one handing over the spotlight to the other seamlessly, keeping us hooked until the very end.

This remix lures you away from reality in a matter of seconds, with Definition's signature heavy hitting bass dominating. He expertly weaves shimmery fills into buoyant synth lines and brings us a skilful mix of dark minimal techno, breaks and infectious monster synth lines. Every so often, he adds a new layer, increasing the depth of the track, before letting it all crumble in a breakdown where time stops and tension grows, as we impatiently await the next rise to carry us away. The lengthy build-ups give this remix the energy to fill any room, easily. It is subtle, yet propulsive, too - a lane that Definition seems to manage regularly.

Black White Splatter Vinyl

When two musicians intensively work together for a period of time, at some point the whole becomes greater than the sum of its parts. If Paul Boex and Dave Miller hadn't already reached that status under their Abstract Division moniker, they certainly have now, with the release of Midnight Ensemble, their first full length album.

Those who have followed the duo since their early days of playing dj-sets together, know that it's hard to define their style anywhere beyond techno or even electronic music, as it is ever evolving and always dependent on the time of the day or night. When listening to this album, the resemblance between their unpredictable selection behind the decks and the eclectic range of subgenres on this album is more obvious than ever before. Midnight Ensemble could be interpreted as an ode to nightlife; a reminiscence of all that happens between dusk and dawn, captured and compressed into about one hour of music. An hour in which they so delicately time their changing of styles and tempos, always reading the room and always being one step ahead of the crowd.

This album is a reflection of that skill, starting its journey with soothing, moodsetting ambient, followed by timeless pieces of Detroit and dubtechno. A daring electro cut providing a refreshing break from the four to the floor tradition, only to be followed by the stripped down sound the duo is so comfortable with.

The final minutes consist of experimental breaks, one last banger to pull out the last bits of energy that is left and a beautiful outro, which concludes the allnighter vibe. There are no open endings, it doesn't make you want to stay in the dark forever. Rather it makes you want to close your eyes one last time before walking outside to see the sun come up again before going home, overwhelmed and satisfied.

In 1992, The Wedding Present decided to release a limited edition single every month, each featuring an original track on the A side and a cover on the B side. The tracks were compiled as two LPs called Hit Parade 1 and Hit Parade 2 and re-released as a double CD in 2003 called The Hit Parade.

The plan to release 12 singles in a year was an attempt to match Elvis Presley's record of 12 top 40 singles in a year which he had achieved in 1957. The singles, each in an edition of 10,000, were deleted soon after release. They were critically acclaimed and each charted in the top 40


Pressed on black vinyl.

A retrospective double LP compilation of the work of dutch producer Aad De Mooy. Specifically focusing on the first half of the 90's with his aliases as Interface, Time Warp and Paradise 3001 on ESP Records. This compilation attempts to encapsulate and expose the masterful prowess of Aad's work as a producer with a focus on maximum dancefloor efficiency. This double LP consists of 10 tracks ranging from downtempo acidic breaky chuggers to full on floor activators channeling tribal and early progressive trance inducing elements perfectly arranged in highly effective compositions. Can't go wrong – all killer no filler is all one can say about Aad's meticulous productions. Compiled by Castro & Nemo and re-mastered for vinyl at manmade mastering.