Sam Prekop"s work over the last 30 years, whether created primarily on his guitar or on his modular synth, is consistent in its powerful melodicism, delicate arrangements and subtle evolution. Prekop"s singular blend of melody, impressionistic lyricism and quietly intricate rhythms are the core of the singular sound of The Sea and Cake. Since 2010"s Old Punch Card, Prekop"s exploration of modular synthesis and electronic atmospheres, has come into its own. Highly skilled at manipulating the sonic interplay, Prekop has established a sytle all his own, his pieces are complex expressing real movement. Harmonies bloom with granular detail and contrary to their machine sources are able to convey emotion. Open Close is an album that captures the flow and energy of a live performance through the lens of a deft craftsman, an equilibrium of intuitive composition and the excitement of possibility.
Sam Prekop"s work over the last 30 years, whether created primarily on his guitar or on his modular synth, is consistent in its powerful melodicism, delicate arrangements and subtle evolution. Prekop"s singular blend of melody, impressionistic lyricism and quietly intricate rhythms are the core of the singular sound of The Sea and Cake. Since 2010"s Old Punch Card, Prekop"s exploration of modular synthesis and electronic atmospheres, has come into its own. Highly skilled at manipulating the sonic interplay, Prekop has established a sytle all his own, his pieces are complex expressing real movement. Harmonies bloom with granular detail and contrary to their machine sources are able to convey emotion. Open Close is an album that captures the flow and energy of a live performance through the lens of a deft craftsman, an equilibrium of intuitive composition and the excitement of possibility.
múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.
For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.
On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.
Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.
Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.
múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.
For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.
On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.
Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.
Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.
múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.
For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.
On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.
Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.
Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.
Following the vinyl release of Delfonic's reworks of Roy Ayers tracks taken from the BBE Music compilation Roy Ayers-Virgin Ubiquity, it's now Osunlade's turn to add his production and remix enchantment to the music of the master craftsman with these remixes of Brand New Feeling. Featuring the exceptional vocal talents of Merry Clayton, perhaps best known for her blistering performance on the Rolling Stones' Gimme Shelter and her own Webster Lewis penned hit Emotion, alongside Jazz vocalist and Earth, Wind & Fire, Ubiquity and Harvey Mason collaborator Silvia Cox, Osunlade's Yoruba Soul remixes have added new dimensions to this track. Hailing from St Louis, USA Osunlade's CV includes writing music for Sesame Street to working with and producing artists as varied as Patti Labelle, Freddie Jackson, Eric Benet, Martha Wash, Salif Keita, Nadirah Shakoor and Cesaria Evora. He started the Yoruba Soul project and label after his move to New York because of 'the continued need to create the music I wanted' and it is this musical freedom that has made him one of the most distinctive music makers, producers, DJs and remixers around today. Brand New Feeling is released as a vinyl EP featuring two tracks, the Yoruba Soul Mix Parts 1 & 2.
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The line between art and entertainment has always been fuzzy. Certainly, there’s plenty of overlap between the two, but lately it feels like there’s a growing divide, an ever-widening chasm separating our fundamental need for creative expression and our insatiable appetite for disposable content. That’s where T. Hardy Morris comes in.
“I’ve spent a lot of time parsing the difference between the two,” he explains, “not just for myself, but for society at large. What does it mean to be an artist? How do we measure creative success? Where are the boundaries between audience and performer when everyone’s broadcasting their lives 24/7?”
Morris dives into those questions headfirst on his riveting new album, Artificial Tears, and while the answers don’t come easily, the search yields plenty of reward. Recorded in Nashville with My Morning Jacket’s Carl Broemel at the helm, the collection is an electrifying work of existential exploration, a raw, rock and roll reflection on meaning and identity in a modern world that’s simultaneously more connected and isolated than ever before. Despite the weighty ruminations at its core, the result is a remarkably grounded, down to earth album that’s at once honest and abstract, a poignant, clear-eyed look in the mirror from a master craftsman committed to his work for nothing more—and nothing less—than its own intrinsic value.
Experience the Double-Platinum 1996 Album in Audiophile Sound for the First Time
Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set Is Sourced from the Original Analogue Tapes
1/2” / 30 IPS analogue master to DSD 256 to analogue console to lathe
If great art, as many believe, is inherently polarizing, then the Stone Temple Pilots’ Tiny Music… Songs from the Vatican Gift Shop easily ranks as the California-based band’s finest album. Simultaneously celebrated and castigated upon release in spring 1996, the group’s third full-length finds vocalist Scott Weiland and company expanding their “grunge” palette with a smart blend of glam rock, psychedelia, jangle pop, and other related styles. Having benefited from long-view reassessments that shed the biases and meanness of initial criticisms, the double-platinum effort is now largely and rightly seen as a creative masterwork. All the more reason why it deserves reference-grade production.
Overseen by producer Brendan O’Brien, Stone Temple Pilots used bedrooms, hallways, bathrooms, and the lawn to capture a broad blend of textures, spaciousness, and ambience that helped underline the group’s obvious (and somewhat unexpected) leap from normal “alternative” status to an artist whose aspirations went beyond that of many of its contemporaries. You can hear the multitude of details and tonalities with previously unattained clarity, presence, and scope on this fantastic reissue, which also delivers the impact and punch every rock record deserves. Another tremendous asset: The depth, grain, and pitch of Weiland’s voice.
For all the contagious choruses and glossy melodies that help make Tiny Music… Songs from the Vatican Gift Shop sparkle, the vocal performances of the late singer arguably rank as the best that the much-missed Weiland committed to tape. None other than the Smashing Pumpkins’ Billy Corgan — who, like many peers and critics, felt a pressing need to reevaluate the record as both time marched on and the self-importance attached to the “alternative” scene faded — praised Weiland’s efforts by noting: “Like Bowie can and does, it was Scott's phrasing that pushed his music into a unique, and hard to pin down, aesthetic sonicsphere.”
Smooth and diverse, those traits are everywhere on Tiny Music… Songs from the Vatican Gift Shop. From the clever combination of emotional closeness and distance he brings to the catchy albeit ultimately melancholic “Lady Picture Show”; to the lounge-fly balladeering that causes “And So I Know” to lightly swing akin to a bleary-eyed house band’s final number at a 4 A.M. bar; to the effortless cool and laissez-faire casualness he articulates on the grinding “Pop’s Love Suicide”; to the dimensional raspiness, defiant energy, and let-loose wail that sail through the crunchy “Big Bang Baby.”
The latter tune, the record’s first single and per Weiland a conscious attempt by the band to deconstruct its prior approaches, clearly borrows from the Rolling Stones’ “Jumpin’ Jack Flash.” Because of it, the song drew all kinds of barbs from naysayers. Their disdain extended to most material on Tiny Music… Songs from the Vatican Gift Shop, which indirectly references other prized acts such as the Beatles, Cheap Trick, T. Rex, and Lush. Those cynics failed to grasp that Stone Temple Pilots were paying homage and having a blast, with even Weiland, then battling serious substance-abuse and legal issues, getting in on the action.
Stone Temple Pilots’ skeptics also turned a deaf ear to the records’ stellar pop craftsmanship, sticky hooks, and sly commentary on music-industry machinations and fame. Not to mention the band’s intent, made clear from the outset. In an interview conducted in 1994, guitarist Robert DeLeo stated: “The last thing I wanted to do with this band was make everybody believe we invented something.”
Seen through that lens and the hindsight afforded history, and appreciated independent of the self-righteous authenticity standards of the day, Tiny Music… Songs from the Vatican Gift Shop sounds borderline fearless while authoritatively checking all the right boxes for fun, flavor, and finesse. Part winking send-up, part tribute to the glitter rock age, and part middle finger towards the hip crowd that didn’t know what they were missing, this mid-90s classic repeatedly invites you to drop the needle and press play.
Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP Set Plays with Authoritative Tonality, Airiness, and Clarity:
Pressed on MoFi SuperVinyl and Strictly Limited to
3,000 Numbered Copies
1/4” / 15 IPS Dolby A analogue master to DSD 256 to analogue console to lathe
Joni Mitchell is the only artist who could’ve made Hejira. The legendary singer-songwriter said as much when discussing the album decades after its release. Yet that fact seemed obvious from the moment the gold-certified effort streeted in fall 1976. An adventurous travelogue, probing narrative, and offbeat homage to freedom, Hejira remains an inimitable entry in the catalog of recorded music — a spare, gorgeous, meditative series of sonic vignettes comprised of floating harmonic pop, cool jazz, soft rock, and sensitive vocal elements that beckon feelings of motion, discovery, and self-examination.
Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set presents the record ranked the 133rd Greatest of All Time by Rolling Stone with definitive detail, richness, accuracy, and directness. Marking the first time the revered LP has received audiophile treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD.
Playing with a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible reissue reproduces in enveloping fashion the tones, textures, and craftsmanship that help Hejira function as the equivalent of a liberating trip down an open road with nothing but blue sky, natural landscape, and fresh air in the immediate vicinity. Passages bloom, carry, decay as they do amid an acoustically optimized environment. Soundstages extend far, wide, and deep, with black backgrounds and pinpoint images adding to the realism.
The reference-grade immediacy, airiness, and presence put in transparent perspective Mitchell’s dense strings of words, stream-of-conscious-like phrasing, and unhurried albeit forward momentum. Likewise, the instrumental contributions of her A-list support musicians — a cast that includes L.A. Express members John Guerin, Max Bennett and Tom Scott, plus Neil Young, Victor Feldman, and Abe Most — emerges with breathtaking clarity and dimensionality.
While Mitchell, whose intimate vocals and abstract guitar parts center everything, Mobile Fidelity's restoration of Hejira further reveals the visionary breadth of guitarist Larry Carlton and bassist Jaco Pastorius. Though heard on only four tracks, Pastorius' fretless bass epitomizes the fluid, subtle, flexible, roomy, and shape-shifting characteristics of songs that often appear to transpire out of nowhere akin to the formation of a puffy cumulus cloud overhead. In sync with Mitchell’s voice, Pastorius’ fusion hovers and floats, suspended in a fog you want to deeply inhale. The "grace notes" Mitchell desired on Hejira can now be heard in full. Ditto the luxurious tapestries of alinear lines, fills, and supplements unreeled on Carlton’s six-string.
Visually, the packaging of this UD1S set complements its identity as the copy to own. Housed in a deluxe slipcase, the LPs come in foil-stamped jackets with faithful-to-the-original graphics. This version is for listeners who desire to become immersed in everything about Hejira, including the unforgettable album cover — a pastiche of 14 different photos Mitchell used a Camera Lucida to assemble into one image that’s anchored by a portrait of her in a stoic pose — and the interior shots of Mitchell skating on a frozen Wisconsin lake wearing a pair of black skates, black shirt, and fur cape.
The notion of skating, feeling an awakening wind whipping against your face, and losing yourself to the surroundings are extremely apt for Hejira, which Mitchell wrote after a sequence of trips and relationships prompted her to reflect on the complicated conflicts between independence and marriage, success and satisfaction, duty and desire — and, more specifically, “the cost of being a woman.” The Canadian native delved into such themes before. But never as she does on Hejira, whose liberating, running-away aura doubles as another of Mitchell’s rejections of tradition as well as a suggestion of a better alternative.
At once observational and personal, expansive and insular, cheerful and poignant, Hejira spans a sea of human conditions, emotions, and circumstances. It addresses drifting, isolation, pleasure, place, time, and surroundings with strikingly poetic discourse matched with music that, save for the crooned ballad “Blue Motel Room,” forgoes conventional structures and choruses.
The jazz-based arrangements, marked by scaled-down percussion and all manner of bent, rounded, and unsettled notes, hint that Mitchell has no exact destination in mind. Excursions such as the moody “Furry Sings the Blues,” funky “Coyote” and edgy “Black Crow” throw open previously locked doors to possibility and journey. They signal it’s time for a welcome departure from norms and the past, one that leads to a heightened sense of clarity and perspective. Or, as Mitchell said upon choosing the album title, it’s time for “leaving the dream, no blame.”
Madlib’s WLIB AM: King of the Wigflip Returns on Double Vinyl via BBE Music BBE Music is thrilled to announce the long-awaited rerelease of WLIB AM: King of the Wigflip, the final installment in the legendary Beat Generation series from none other than Madlib. Originally released in 2008, this masterful collage of dusty loops, raw beats, and left-field soundscapes remains a high-water mark in the Stones Throw producer’s sprawling discography.
Now, for the first time in years, fans can experience the album in all its analog glory with this deluxe double vinyl edition, carefully remastered to preserve Madlib’s signature warmth and grit. A tribute to pirate radio culture and late-night airwaves, WLIB AM weaves together a rich tapestry of hip-hop, jazz, and soul, featuring an all-star cas t of collaborators, including Talib Kweli, Guilty Simpson, MED, and Oh No. Each track showcases Madlib’s uncanny ability to blur the lines between genres, effortlessly flipping obscure samples into hypnotic, off-kilter rhythms. From the hypnotic bounce of “Blow the Horns on ‘Em” to the smoked-out groove of “The Plan Pt. 1,” this is Madlib at his most playful, unpredictable, and inspired.
This special double vinyl edition, released exclusively via BBE Music, brings one of the Beat Generation series’ most celebrated albums back into circulation for crate-diggers and collectors alike. With original artwork and a high-quality pressing, this rerelease is a must-have for Madlib aficionados and vinyl lovers who appreciate raw, unfiltered beat craftsmanship. Don’t miss your chance to own a piece of hip-hop history—WLIB AM: King of the Wigflip is back and sounding better than ever.
The second solo record by Mike Polizze of Philadelphia psych-squallers Purling Hiss and Birds of Maya, a rainier and more pensive affair than its predecessor_despite its playful humor and plentiful hooks_affirms his status as a consummate (and now not-so-secret) craftsman of instantly memorable bucolic odes of languid beauty, deepening his fingerstyle acoustic guitar magic and finally manifesting the title of the classic Hiss anthem "Run from the City."
Bulbous Monocle focuses its lens further into the legacy and archives of the Thinking Fellers Union Local 282. These Things Remain Unassigned—a phrase coined by Brian Hageman, one of the band’s musical snake appendages emanating from its Medusa crown—is presented as a double LP (gatefold jacket with a twelve page libretto). It gathers together the band’s singles, compilation tracks, outtakes and never before released gems encompassing the arc of TFUL’s musical corpus. Every track has been surgically remastered by Mark Gergis (Porest / Sublime Frequencies / Mono Pause) with his signature craftsman approach. This collection is an auditory and visual feast. The extensive booklet included features band ephemera, concert flyers, photographs, and commentary about each track from Mark Davies. Beyond the rare singles and unreleased tracks from the TFUL archives, are cover versions from such disparate artists and composers as Ennio Morricone, Krzysztof Komeda, The Residents, The Shaggs, Caroliner Rainbow and Pérez Prado. “…In addition to these compilation one-offs, there were also a few studio recordings that were never quite completed or released. Throw in an alternate mix or two and the handful of singles that came out on various labels over the years, and you end up with what I feel works well as its own body of work, a bunch of adopted oddballs that somehow fit together as a family. I hope youʼll agree with me that these things are now no longer unassigned, but part of a somewhat cohesive whole, stitched together into something mysterious and glistening.” —Mark Davies (2023)
Superlux return to make it to double digits with their tenth release, this time extending the family via Tunisian DJ & producer Ahmet Mecnun’s ‘Individuality’ EP.
Already massive fans of the burgeoning North African scene, when Ahmet’s demos landed at Superlux HQ, they were an instant cop. Threading the needle between house, minimal, electro and breakbeat with the intricacy of a master craftsman, the ‘Individuality’ EP perfectly surmises both his and the imprint’s sonic signature.
Superlux Records is honoured to have the opportunity to distribute some of Ahmet’s finest work to the masses.
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FCL presents Can We Try — A Deep House Anthem remixed and
remastered for 2025 including flips from Jimpster, Ben Hixon & Deetron
The ever-reliable FCL—aka Belgian house heroes San Soda and Red D—are back on the block with this remastered remix package of Can We Try, a soul-drenched dancefloor meditation that taps into the timeless tension of love and longing. With its raw vocal hooks (courtesy of Lady Linn), analog warmth, and stripped-down groove, the original cut is pure FCL: emotionally rich, effortlessly deep, and aimed straight at discerning dance floors.
Bringing fresh heat to the 2014 original, three heavyweights of house and techno step in for remix duties—each reworking the track in their own signature style:
Jimpster injects his trademark deep, jazzy finesse, flipping Can We Try into a swirling, soulful roller—lush pads, Moog flourishes, and enough swing to keep bodies moving and hearts locked in. Ben Hixon, the Dallas-based underground wizard, lays down a chunky, hardware- heavy rework full of crunchy drums and woozy funk. It's lo-fi soul with hi-fi intent. Deetron closes it out with a peak-time bomb—big room pressure, hypnotic bass, intense stabs and the kind of tension-release dynamics that only a true craftsman can deliver.
This limited-edition white label 12" vinyl is circulating in the wild—no frills, no hype, just a nod to those who know. Pressed loud and cut for the floor, it’s already making waves in the bags of tastemaker DJs from Berlin to Brooklyn. Can We Try is a reminder that dance music doesn’t need to shout to speak volumes. With this return, FCL prove they’ve still got their finger on the pulse—and their heart in the mix
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Rémi Klein debut studio album, Friend In Need will be released on June 20, 2025 by Tricatel.
Behind his keyboards, between the walls of his bedroom or in studio, Rémi Klein fashions music that is both intimate and generous, instinctive and precise. He is a craftsman who composes, arranges and produces with obsessive meticulousness. Playing with LORD$, Please and now Clara Luciani, he built up a collective experience before recording his own album.
Signed to Tricatel, his first album, Friend In Need, due 20 June, is a plunge into his cinematic universe, where the lush orchestrations of Hollywood's golden age rub shoulders with the best of songwriting. His music and songs, rooted in the present and the future, are visceral and innovative. It's the music of today and tomorrow at its most promising and audacious. There are a million new tracks a week on streaming platforms, no two albums like Friend in Need and no two artists like Rémi Klein.
It has been almost seven years since the release of Alpestres, the impressive debut by Matthias Puech on Hands in the Dark. While that first experience took us on a mystical journey through fascinating fictional landscapes, 'Cabanes' lets its narrative unfold in a confined space: eight pieces each resembling small structures or makeshift shelters that, while enveloping and isolating the listener, remain open to their surroundings. These are not merely interiors; they are handcrafted spaces through which we gain insights into the world. Yet they allow the light from the outside to seep in, reminding us of reality.
According to Puech, each composition has a distinctive two-part story that are both clear and intriguingly interconnected. The first one often revolves around the anecdotal and tangible aspects of instrumental "play," showcasing a technical exploration with his tools, the discovery of sounds in a library, and the serendipitous encounters that inspired them. The second part, however, delves into the more elusive yet profound state of existence that the French artist experienced while engaging with these sounds, reflecting on the moments he listened and re-listened to them, ultimately deeming them worthy life companions. These two narratives, perhaps reshaped over time like distant memories, interact in ways that can either clash or complement each other, creating a lasting impact on the listening experience.
A significant aspect of the compositional process involves distancing oneself from these connections to creation, allowing for the rediscovery of a state of listening that is free from prior emotional influences—what one might call "pure" listening. This method enables the transformation of a sequence of events into a narrative that is independent of its original intent, resulting in a universal object. After spending considerable time with the attached pieces and attempting to induce a form of amnesia to reconstruct an artificial narrative, Matthias Puech has ultimately chosen to relinquish this pursuit. Thus, the album is aptly termed “Cabanes” (“Huts”): fragile structures whose design clearly reflects the intention behind their creation, showcasing all the signs of considerate craftsmanship.
The new and third album from the fabulous Split Squad, an All-Star band founded by Michael Giblin - producer (notably of The Fleshtones) and the band's bassist and songwriter - joined by the now late Clem Burke (Blondie), Keith Streng (The Fleshtones), Eddie Muñoz (The Plimsouls), and Josh Kantor (The Baseball Project). A Power Pop album and a brilliant follow-up to the already highly acclaimed first two records of the band. From classy garage rock to masterful power pop craftsmanship, Less of Everything is already establishing itself as a major classic and a must-have in the band's discography.
XTRICTLY ELEKTRO returns with Volume 2, further establishing its vision of innovative and forward-thinking Electro. Featuring six producers with razor-sharp sound design and solid trajectories across the international circuit, this collective work reinforces Cosmic Tribe’s commitment to rhythmic synthesis, harmonic tension, and the structural discipline of the genre — unafraid to step outside orthodoxy.
EC13 opens the release with another chapter of his retro-futurist signature, marked by strong conceptual intent and cinematic pulse.
Spectrums Data Forces, a side project of C-System, brings the most technical edge from southern Spain, blending depth, precision, and modular design.
Atix, hailing from Lyon, contributes decades of refined energy and craftsmanship, always with a club-oriented focus.
On the B-side, Calagad 13 returns with a deep, introspective electro bass cut, reaffirming his role as a central sonic pillar of the series.
Final Dream, one of Phil Klein’s aliases, delivers a powerful piece built on heavy low-end and epic atmospheres, in line with his legacy as a key figure in UK Electro.
Elektrotechnik, a German producer, closes the release with an industrial-leaning, bold, and uncompromising statement.
Six exclusive tracks showcasing the genre’s vitality and the diversity of creative visions driving its continuous evolution.
Limited to 150 copies.
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I fell into a deep sleep of reason Everything broken and hence when I woke up from that deep sleep of reason it all made sense
A Unique Artistic Partnership This project represents a distinct and carefully considered artistic endeavor. Developed by Mark Springer (Rip, Rig and Panic) and Neil Tennant (The Pet Shop Boys), it combines a suite for piano, quartet, and quintet with vocals, accompanied by lyrics offering thoughtful introspection. The collaboration explores the intersection of divergent creative approaches-one characterized by radical expression, the other by meticulous craftsmanship. The result is a work that invites reflection and demonstrates the potential of disciplined artistic dialogue.
The Sources of the Project Neil Tennant: I bought a book of Goya's print series Los Caprichos which had inspired Mark's music and saw that the artworks were a satirical, cruel, nightmarish portrayal of the politics, corruption and culture of his era, exploring his dreams - or nightmares - while exposing the double standards of the ruling establishment. The lyrics I wrote for "Sleep of Reason", in response to Los Caprichos, are intended to be sardonic and dreamlike, looking back to Goya's nightmares but then reflecting on my experiences in 21st Century popular culture and media in which I have located the "monsters" Goya saw in his dreams. It often feels like we're living in an era dominated by monsters with their grotesque egos hollering through social media, unfiltered and untruthful, leaving a trail of wreckage behind them. Maybe it's always felt like that.
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A timeless rock & roll band for the modern world, The Prescriptions sharpen their sound with Time Apart. Produced by Ben Tanner (Alabama Shakes) and Brendan Benson (The Raconteurs), the album funnels a half-century of American and British influences including taut power pop, explorative indie rock, jangling heartland hooks, and New Wave nuances into something sharp and singular. The result is a warm, widescreen follow-up to The Prescriptions' 2019 debut, Hollywood Gold, its songs balanced halfway between classic craftsmanship and progressive exploration. Fiery and forward-looking, Time Apart explores both sides of the pop/rock divide. It's a 21st century album rooted in everything that made the classic stuff so compelling sharp songwriting, ringing refrains, percussive stomp, and guitars that chime one minute and churn the next. Time Apart is an album for the heart, head, and hips. The Prescriptions have been never been shy about nodding to the hook-driven rockers who came before them, but here, they carry those influences into uncharted territory, uncovering something that's truly theirs along the way. It was time together that created Time Apart, and The Prescriptions have never defined their ambition or abilities so clearly before. Tracklist: 1 April Blossoms 2 Long Past Tonight 3 Love is Red 4 I Get Lost 5 Compartmentalize 6 Fire Moon 7 On Satellite 8 Not The Issue 9 I Might Try 10 Baby Be Nice 11 Camp Hill
Welcome to the world of Vinterhagen. A sphere where songs grow, sounds expand, and ideas branch into a musical ecosystem where one can dream away into infinity, a world filled with moments of contemplation, whimsy, lazy day shuffling, mercurial abstraction and manic interplay, driving groove, moody atmosphere, chaingang stomps, and happy resignation. Liv Andrea Hauge, Fredrik Luhr Dietrichson, and Andreas Skår Winther have developed a fruitful and dynamic interplay where strong songs and good melodies are underpinned by solid craftsmanship, exploratory improvisations, and creative arrangements.
A timeless rock & roll band for the modern world, The Prescriptions sharpen their sound with Time Apart. Produced by Ben Tanner (Alabama Shakes) and Brendan Benson (The Raconteurs), the album funnels a half-century of American and British influences including taut power pop, explorative indie rock, jangling heartland hooks, and New Wave nuances into something sharp and singular. The result is a warm, widescreen follow-up to The Prescriptions' 2019 debut, Hollywood Gold, its songs balanced halfway between classic craftsmanship and progressive exploration. Fiery and forward-looking, Time Apart explores both sides of the pop/rock divide. It's a 21st century album rooted in everything that made the classic stuff so compelling sharp songwriting, ringing refrains, percussive stomp, and guitars that chime one minute and churn the next. Time Apart is an album for the heart, head, and hips. The Prescriptions have been never been shy about nodding to the hook-driven rockers who came before them, but here, they carry those influences into uncharted territory, uncovering something that's truly theirs along the way. It was time together that created Time Apart, and The Prescriptions have never defined their ambition or abilities so clearly before. Tracklist: 1 April Blossoms 2 Long Past Tonight 3 Love is Red 4 I Get Lost 5 Compartmentalize 6 Fire Moon 7 On Satellite 8 Not The Issue 9 I Might Try 10 Baby Be Nice 11 Camp Hill
Welcome to this wild ride of cheese, wooden shoes, green gold and a whole lotta Dutch rock 'n roll attitude! This album is a high-octane compilation where today's garage, beat and rock'n'roll artists pay tribute to the rich history of Nederbeat and pop Each covering a classic Dutch tune with their own twist, companied with their own original. Think of it as a musical time machine with a detour through the gritty, reverbing walls of Studio Teepdek, guided under strict supervision by studio guru Arjan Spies and released by Soundflat Records / Topsy Turvy Records; home of the best contemporary Dutch artists. Buckle up, because you're about to hear the Netherlands' musical past and present collide in a glorious explosion of sound with a shot of cheap adrenaline.Enjoy the ride and to turn it up to 11.
The Krontjong Devils:The Greatest thing to come out of Holland since the Dutch Treat! Playing Surfmusic since 1991 and still going strong! Mooon: This young power trio consists of brothers Tom and Gijs and their cousin Timo. These cats take you to the Golden Age of pop music: the psychedelic boom of the 60's and 70's. The Kryng:Three jinxed no-good guys with an insatiable appetite for great popsongs. Their ace in the hole is singer/ guitarist/ cult- hero Mark ten Hoor, an extraordinary craftsman //when it comes to writing catchy and powerful songs. Fleur:She has the looks, the moves and a voice that sounds like a cool breeze on a hot summer day. The Heck:High pace, hectic, energetic and wild 60's garagepunk outfit all the way from Klazinaveen. Feel free to place them somewhere in between The Sonics and Reigning Sound. Frankie:The young and aspiring talent Frankie from the Eindhoven writes double edged songs like a head in the clouds and roots from your feet. Written like a dream but grounded in reality. Les Robots: Mechanical men from outer space, stationed in Rotterdam, presumably programmed by legendary producer Joe Meek to make astonishing instrumental music.
First-ever vinyl release of the instrumentals! RSD25
Groove to the sounds of the Free Nationals like never before! Their self-titled album, Free Nationals, is finally getting an exclusive instrumental vinyl release. Fans can experience the full sonic landscape of their signature funk, soul, and R&B fusion with no distractions—just pure, smooth vibes and great music.
Pressed on 180g heavyweight black vinyl, this limited edition release offers pristine audio quality that showcases the musicianship and craftsmanship behind the album’s beloved soundscapes. Whether you’re a fan of their work with Anderson .Paak or just a lover of rhythm and soul, this release is a collector’s dream—an essential for DJs, audiophiles, and anyone who craves the instrumental heartbeat of this incredible record.
Because Sound Matters' meticulous One-Step process creates the definitive sounding audiophile version of k.d. lang Ingénue. This all-analog release comes from the original first-generation master tapes for the first time. Vinyl guru and editor Michael Fremer says, "This k.d. One-Step is insane – It's otherworldly great!"
This One-Step version is strictly limited to 3,000 copies. The album is housed inside a top-quality, foil-stamped, uniquely designed numbered slipcase. The enclosed gatefold jacket will feature an "old style" tip-on jacket with the original artwork.
Special care has been taken to faithfully preserve the original sound with exceptional clarity and depth, capturing the recording's nuances and subtleties at every step to create the best sounding record possible.
The One-Step process is highly regarded among audiophiles and collectors for its unparalleled sound fidelity and represents the pinnacle of vinyl manufacturing craftsmanship.
Ingénue was originally released March 17, 1992 and is k.d. lang's second solo album.
Upon release, the album charted at #18 in the US, #13 in Canada, #3 in the UK and Australia and #1 in New Zealand. Nominated for six Grammy® Awards with the breakout single "Constant Craving" winning a Grammy® Award for Best Female Pop Vocal Performance. "Miss Chatelaine" and "The Mind of Love" were follow-up singles.
k.d. received universal critical acclaim for the album from publications like Mojo, Pitchfork, Rolling Stone, Uncut and dozens more! Today, Ingénue is a true classic album and considered one of the great audiophile recordings of the modern era. This One-Step version certainly proves that!
Notes for This Release:
Ingénue was originally recorded and mixed on analogue tape and produced by Greg Penny, Ben Mink and k.d. lang. The original analogue master tapes were directly used as the audio source for this One-Step pressing! This is the first time the analogue tapes have been used as a vinyl source for this brilliant recording. The results are stunning.
Because Sound Matters used the Neotech VR900-D2 180g High-Performance vinyl compound, which is the same as what is known as Super Vinyl – the best in the world.
Chris Bellman at Bernie Grundman Mastering cut the lacquers with meticulous care! He also did the original mastering of the CD release in 1992.
Dorin Sauerbier at Record Technology, Inc (R.T.I.) has been plating records for decades and is considered the best in the world – he also has done more One-Step processing than anybody. This is a vital step in the process to ultimately delivering the absolute best sounding version of Ingénue ever.
Record Technology, Inc did the pressing – using the exact pressing machine used for so many other One-Step releases. The QC team is constantly monitoring each copy as it comes off the press.
Because Sound Matters' slipcases and gatefold "old style" tip on original art jackets were printed by world-renowned Stoughton Printing Company.
This new all-analogue edition will draw you into the music as never before—at least it did me. The sonic picture is rich, well-textured, harmonically saturated, spatially deep and all the rest of the audiophile buzzwords that no doubt the producers (who include lang) intended to give listeners but until now couldn't fully deliver. The musical flow will have you swooning in your seat. Before the opener 'Save Me' concludes you may already feel overwhelmed and in need of lifting the stylus to catch your emotional breath...What a treat!
-Michael Fremer, Tracking Angle, Music 11/10, Sound 11/10
Released in 1990, Permanent Damage is the fifth and final studio album by British alternative rock band The Icicle Works. Fronted by Ian McNabb, the album features the band’s signature blend of melodic songwriting and energetic rock. Tracks like "Motorcycle Rider" and "Melanie Still Hurts" highlight McNabb's evocative lyrics and strong vocal delivery, making the album a memorable conclusion to their career. Permanent Damage reflects the band's ability to evolve while staying true to their alternative rock roots. Although it marked the end of The Icicle Works' original run, the album holds a special place in the hearts of fans for its emotional depth and musical craftsmanship. For those exploring the band’s discography, Permanent Damage serves as a poignant farewell from one of Britain’s cherished alternative rock groups. Permanent Damage is available as a limited edition of 500 copies on translucent yellow coloured vinyl.
Members went on to Sinkane, and Pompeii, This Morning. Originally recorded in the
summer of 2005 out west, while on tour, by Vince Tennant. The recording had been
shelved and unreleased. In 2023, Expert Work Records reached out to Sweetheart and
got the recording re-mastered. It will be released on limited vinyl and digital.
This is also a companion piece/ record with EW018 (Sweetheart- The Process of
Making Us Well). We highly suggest getting both records.
Sweetheart's "The Unbearable Tightness Of Being" is one of those records you should
put on your radar as soon as possible. A rediscovered artifact from 2005, the album is
a sonic panorama that intricately incorporates post- hardcore, noise rock, punk,
screamo, and indie elements into an innovative and complex sonic landscape. The
guitars, wielded with finesse, serve as the driving force behind Sweetheart's sonic
assault. From the opening chords to the closing refrains, they deliver a relentless
barrage of riffs that defy predictability. The interplay between the two guitarists
manifests as a dynamic dialogue - a musical conversation that seamlessly transitions
from chaotic dissonance to moments of clarity. Catchy, intricate, and hypnotic chord
progressions unfold, evoking the spirit of At The Drive-In and Fugazi while carving a
distinct sonic identity.
However, it's not merely about sonic assault; Sweetheart infuses the album with a
nuanced approach to melody. Amidst the aggressive riffage, this material treats
listeners with moments of harmonic beauty and unexpected melodic twists. Themes,
leads, melodies, and harmonies intermingle, creating a rich auditory experience that
transcends the boundaries of conventional post-hardcore.
The production quality of this long- lost gem further accentuates its brilliance.
Recorded in 2005 but kept in the shadows due to financial constraints and a desire for
perfection, the album has now found its moment in the sun. Expert Work's decision to
release the LP in 2024 has allowed audiences to appreciate the intelligent
craftsmanship that went into its creation.
"The Unbearable Tightness Of Being" is more than a musical journey; it's a sonic
exploration transcending all the possible sonic boundaries. Sweetheart's commitment
to experimentation and honesty, as emphasized by band members reflecting on their
creative process, is palpable. The act of listening, treated as a discipline, is evident in
the careful construction of each track - a result of repetitive practice, internalization,
and an unwavering dedication to their craft. In the grander narrative of the album's
release, the band's reflections on the passage of time and the meaning of their work
imbue the music with a poignant depth.
"The Unbearable Tightness Of Being" is a mandatory addition to any record collection.
It's not just a revival of the early 2000s scene; it's a sheer example of Sweetheart's
enduring brilliance and a celebration of a significant part of their musical legacy.
Humphrey Aniakor started Duomo Sounds after a trip to Milan. The idea was to produce a new sound for the emerging generation. A sleek funky but refined, Nigerian disco sound. This compilation captures all of that intention with a broad array of artistes. The music is sometimes sung in local Nigerian languages and sometimes in English but always with an African Accent. Modern grooves for an African market.
After several months spent hanging out at studios in Los Angeles and New York, observing the musicians, producers and engineers at work. He went to nightclubs to study what kind of sonic textures made the crowd move. And when he felt he had gotten the hang of it, he returned to Nigeria to set up his record label. A label that would showcase the au courant, cosmopolitan face of the Nigeria’s emerging young generation. That would encompass the boundlessness of imagination, focus, persistence and craftsmanship. That would deliver music that touched the soul.
There was hardly a shortage of available musical talent by 1980, as Duomo was preparing to launch. The seventies had seen a massive flowering of bands offering a wide array of sounds and styles. But 1980 proved to be the year that would change the topography of the music landscape and its approach to packaging talent. Artistes like Mike Umoh (erstewhile drummer with Bongos Ikwue and the Groovies), Bindiga (Ghanian afrofunk musicians), Christy Ogbah (who worked as a policewoman) bring their personal artistry to create the new sound.
And he would call it—what else?—Duomo. Duomo Sounds Limited.
This combination created high-quality Nigerian music but it also marked the end of bands as the focal point for the popular music marketing. After Okotie’s breakthrough, it became clear that the eighties would be the era of the solo artist. And this would lead to the fracture of established bands as members opted to roll the dice on solo careers.
1/4" / 15 IPS / Dolby A Analogue Copy to DSD 256 to analogue console to lathe
Carlos Santana and Company Return to a Dynamic Blend of R&B, Latin, Funk, and Rock: Amigos Aims for the Hips, Spreads Joy, and Includes “Europa (Earth’s Cry Heaven’s Smile)” Amigos has been beloved for decades by both long-time and recent Santana admirers, with multiple generations of fans drawn in by the record’s contagious blend of R&B, Latin, rock, and funk elements. As well as its immense accessibility. Coming off a series of albums that heavily leaned into jazz fusion, the band returns to the more dynamic and concise approaches of its earlier works without losing the sense of adventurousness, craftsmanship, and virtuosity that turned it into a juggernaut embraced by both the mainstream and experimentally minded communities.
Mastered at Mobile Fidelity’s in-house studio in California, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Amigos presents the 1976 album in audiophile sound for the first time on a domestic release. Part of the reissue label’s Santana series, this collectible version features quiet surfaces and black backgrounds that help reveal the intricate details, distinguished tones, and cohesive interplay that cause Santana’s music to take flight.
The enhanced aural perspectives extend not only to Carlos Santana’s intoxicating fills and solos, but to the rich tapestry of the rhythmic, melodic, and vocal elements that help Amigos feel as fresh today as it did several decades ago. This LP shines a beaming light on the surrounding musicians that simultaneously feed off and inspire their bandleader. The solidity and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the grip and weight of the low-end frequencies; and, possibly the most enticing traits, the textures of the acoustic guitars, numerous percussive devices, and then-modern synthesizers: all come across with tremendous presence and energy.
Entirely appropriate for a set that kicks from the start, with the opening “Dance Sister Dance (Baila Mi Hermana)” true to the song title’s combination directive-invitation meaning. Tropical, soulful, upbeat, and liberating, it beckons hips to shake and delicious libations to pour. Clinking cowbells, spirited background vocals, hand-tapped congas, and Carlos Santana’s six-string magma pour forth with abundance. The song sets the mood and expectations for a record that contains not an ounce of filler, and which inspires and spreads joy at practically every turn.
On the gold-certified Amigos, the ensemble never seems to run short of zest or happiness. Key in on the Latin bite and searing guitar architecture of “Take Me With You,” an instrumental that shifts tempo at its midpoint and sparkles with a samba-like outro that aims to put everyone in earshot on the dance floor. Surrender to the slow-burn of “Tell Me You Are Tired,” sent up with Greg Walker’s sympathetic vocals and spun around with whirling funk accents. Marvel at the Spanish guitar introduction, Mexican folk foundation, group vocals, and extroverted grooves of the forward-propulsive “Gitano,” with lead singing by conga/bongo expert Armando Peraza.
Having reached the Top 10 in the United States and spawned the hit “Let It Shine,” Amigos marked the final stint for bassist David Brown, the last of the group’s famed Woodstock lineup to depart. His contributions feel especially spirited throughout the album, compass readings that the group uses to chart their course. Just listen to how his passages pop on “Let Me” and frame the can’t-get-it-out-of-your-head “what you need is what you want” refrain. And while Carlos Santana remains the centerpiece of the brilliant and meditative “Europa (Earth’s Cry Heaven’s Smile),” Brown serves as a trustworthy anchor and friendly advocate.
Veneer made an indelible mark in its understated, expressive brilliance and cemented José González as a meticulous sonic craftsman and songwriter of singular talent. It’s hard to believe an album recorded with the most basic equipment in a cramped Gothenburg flat could end up going platinum, not only in Sweden but also the UK, selling well over 1 million copies worldwide. It’s harder still when one acknowledges that, aside from one brief trumpet solo and the slightest hint of percussion, the record features just one hushed voice and the dexterous picking of an acoustic guitar’s nylon strings. But 2003’s Veneer was such an album, charting in several countries in the world, and eventually making Top 10 in the UK, thanks in part to its delicate, evocative cover of The Knife’s “Heartbeats”.
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Steven Wilson is no stranger to composing music that appears to counter everything else before it in his catalogue. Bass Communion, his long running solo electronic project, is no exception to this perverse streak that apparently likes to turn all expectations upside down. The Itself of Itself, Bass Communion's first album for 12 years, skilfully pays testament to this. Long established as a purveyor of mostly atmospheric or ambient textures, the seven cuts that represent The Itself of Itself take detours from this approach in order draw as much from musique concrete, noise music, abstract electronics and uneasy listening. Whilst still rippled with the same shades of light and dark that can be found throughout all of Bass Communion's work, The Itself of Itself reveals a fascination with analogue sounds and, more importantly perhaps, 'unwanted' analogue artefacts like tape hiss, wow and flutter, static noise, and sonic break-up, taking the music into a space at once different yet familiar. 'Apparition 3' presents a stark nod to Wilson's established command of shifting textures steeped in penumbral gauze, while 'Bruise' is akin to a space probe adrift and headed towards a white dwarf as all communication is reduced to a disturbing and indecipherable crackle. Between the other five cuts we witness fragmented, garbled and buried voices, vast vacillating banks of grainy hum, what sounds like the dying gasps of an oboe, spooky swirls from an indiscernible source, swathes of tape hiss, moody drones, and spiralling slivers of noise. Meanwhile on the title track, a mellotron flute rusts and collapses in on itself in a way that renders it the very antithesis of the one deployed on 'Strawberry Fields Forever'. Everything adds up to a dynamic listening experience where unease, dread and comparatively claustrophobic torrents of sound make (un)natural bedfellows to moments of enchantment and serenity. Above all, The Itself of Itself sees Steven Wilson cutting his teeth on an album that's at once cinematic and moody whilst proving him to be a master in electronic music craftsmanship. It's an album that might surprise some of those who have thus far been paying attention to his work as Bass Communion, but setting out to please everyone was never part of his raison d'etre. The Itself of Itself catches Bass Communion spreading its weatherbeaten wings to embrace new strategies and a strong desire to journey elsewhere. Arriving in a wonderful Carl Glover designed deluxe cover also comprising a 24pp. booklet of his photographs and an obi strip, this version of The Itself of Itself arrives in December on Lumberton Trading Company as a 2LP pressed in an initial run of 1000 copies.
Hybrid is a word used indiscriminately in our daily lives. This record isn't a hybrid; it's beyond hybrid, post-hybrid, so to speak. Does this phrase sound complicated to you, and are you never overly convinced by music theory and its caricatural aspect? Then forget what you’ve just read and listen to both sides of this record. You'll soon realise that these tracks are deliciously deft, drawing their essence from dub while leaving room for some skillful jazz writing. For those of you intrigued by melodies, the art of musique concrète or the exploration of dub music’s deviant angles, this record will easily find its place on your turntable.
The two sides of the record are cut with play, improvisation and effects, while leaving room for themes and ideas. If this record’s first chapter was born from a request to remix and pay homage to Jackie Mittoo, its themes tell another story. They have been declined and even reduced to an explosion point. The tracks are also driven by subtle details of musique concrète, giving the record the effect of an intimate musical production – but, above all, one of uncategorisable beauty.
In Androo’s case, this is hardly surprising. He is a craftsman who is unassailable in every respect, a poetic dynamiter and, for this reason, one of the most unpredictable musicians in Geneva (and beyond). His appetite for dynamite is perhaps an indication of his conception of music as, first and foremost, an experience. His highly personal and inventive tribute to figures from free jazz and contemporary music proves the point. But perhaps it is also an indication of his attachment to Jean-Luc Godard. You'd have to imagine Androo at his mixing desk without a pre-written script. The idea of editing infuses the record. The two sides are very much in this style and spirit: (un-)shot, meticulous, (ir-)reverent. In this respect, this record is a formidable proposition, and perhaps difficult to understand, but not striving to be understood.
Its combination of improvisation and composition is underpinned by a razor-sharp precision and dexterity that's hard to ignore, especially if you're curious about the art of sound mixing and the romantic accidents. It has a dexterity that transforms musical grids into romantic essays and sketches. A romanticism in which Androo takes us on a liberating musical experience that makes us forget the inertia of the ramping formatting of the record industry. In any case, this record is an invitation to (un-)think the category, and will delight any ear curious to wander into territories of intuition where the word hybrid no longer makes sense.
Text by Carl Åhnebrink
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Joni Mitchell Gets Jazzy, Counterbalances Love and Trust with Freedom and Confusion on Court and Spark
Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP
Plays with Definitive Detail and Clarity: Pressed on MoFi SuperVinyl Strictly Limited to 5,000 Numbered Copies
Box Set Features New Liner Notes
1/4" / 15 IPS / Dolby A analogue master to DSD 256 to analogue console to lathe
Court and Spark, the most commercially successful album of Joni Mitchell's trailblazing career, arrived after a year in which she took some time to breathe and kept a low profile. The pause led to more breakthroughs for the singer-songwriter. Marking Mitchell's increasing drift toward jazz (and affinity for Miles Davis and John Coltrane), Court and Spark garnered four Grammy nominations, earned the Best Album of the Year vote in the prestigious Pazz & Jop poll, and ranks #110 on Rolling Stone’s list of the 500 Greatest Albums of All Time.
Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, strictly limited to 5,000 numbered copies, and featuring new liner notes, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set presents the 1974 classic with definitive detail, tonality, and directness. Marking the first time the revered LP has received audiophile-quality treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD sets.
Benefitting from a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible edition reproduces without compromise the textures, details, and breathtaking craftsmanship that help make Court and Spark into what many fans believe is the Canadian native’s finest hour. Notes bloom and decay as they do amid an acoustic live environment. Soundstages extend far and deep, with black backgrounds and balanced tones adding to the uncanny realism.
The reference-grade presence and openness put in transparent view Mitchell’s incisive words and unique phrasing, as well as the contributions of her prized support musicians — including Tom Scott and the L.A. Express as well as guest turns by the likes of David Crosby, Graham Nash, Jose Feliciano, and Robbie Robertson. Mitchell, experimenting with the melodic parameters of guitar and piano, is rightly found at the center of it all. The jazz-rock rhythms of drummer John Guerin, slippery guitar lines of Larry Carlton, vibrant horns and reeds laid down by Scott — crucial to the songs’ shape-shifting arrangements — can now also be heard with fresh ears.
Visually and physically, the packaging of the Court and Spark UD1S set complements its distinguished status. Housed in a deluxe slipcase, both LPs come in foil-stamped jackets with faithful graphics that illuminate the splendor of the recording. This reissue is for listeners who desire to engage themselves in everything involved with the album, including Mitchell’s “The Mountain Loves the Sea” painting — a picture of waves embracing and receding away from a mountain, a metaphor for the record’s lyrical themes — on the cover art.
Pitching deceptively light compositions against underlying tensions, Court and Spark witnesses the singer-songwriter finding her footing with a group of top-shelf musicians who seemingly understand her visions as well as expanding her lyrical palette and venturing further into territory no artist had dared explore. Mitchell’s accessibly complex structures, beat-propelled rhythms, and spirited interplay with Scott & Co. both give the music a different identity than her prior efforts and point in the directions she soon headed.
Lyrically, Court and Spark matches the wit, integrity, originality, and intellect of anything in Mitchell’s oeuvre — no small feat. Offsetting positives with negatives, and considering circumstances from multiple angles, Mitchell explores issues connected to love and freedom, certainty and confusion, and trust and fear with unfettered boldness and introspective empathy. She teeters between surrender and retreat, and spends a majority of the record sussing out the complications and sacrifices involved with such actions.
Mitchell addresses the transactional nature of desire (the intimate title track, the upbeat “Raised on Robbery,” complete with rock ‘n’ roll pep from Robertson and zesty sax from Scott); anticipation and disappointment of romance (“Car on a Hill,” “”Down to You); fame and celebrity (“A Free Man in Paris,” “People’s Parties”); and sanity (the dark and stormy “Trouble Child,” a satirical cover of Annie Ross’ “Twisted”). Throughout, she sings with an emotionally penetrating beauty and devastating honesty that teaches about ourselves.
Or, as Mitchell relays on “People’s Parties”: “Laughing and crying/You know it’s the same release.”
As with most things, this project started with a conversation in the pub between me and Martin.
As we discussed what J-Walk and BiD could do next we chatted about our mutual love of DIY, Post Punk, Reggae, Digital & Dub, how about using that feel as an initial jump off on the next thing and see how you get on? I suggested.
As is his way Martin considered the suggestion, then promptly disappeared, 6 weeks later something landed in my inbox, it was titled Broken Beauty and the music contained embraced all those symbiotic ideals and culture.
Nailed it!
Recorded entirely in Stockport using a mixed kit bag of cheap forgotten keyboards, guitar, bass and effects pedals, this LP takes the J-Walk aesthetic and applies the wider palette of these influences to create something unique, those past and present influences forged together to bring you something truly DIY - instructions below.
How To Make Such A Thing...
Deactivate social media. Ignore the internet, don't answer text messages, avoid other music, the telly and other people. This is a process where it's only you in the room with whatever's in your mind. You will be there for some time and the loneliness can hurt a little.
Forget any predetermined ideas. Forget everything you've ever done before. This is an opportunity to start from scratch, but with years of accumulated knowledge and craftsmanship. Trust yourself.
Be scared. Be excited about not knowing what will happen and what will result.
Don't use midi sequencing, virtual instruments or samples. Just plug a toy instrument into an amp, press a rhythm and play around to see what happens. If it sounds good and fresh then record it. Plug a bass in to jam around and you'll soon hear and feel what sits in the pocket of the beat. Record it as it is. Dirty is real and good. Cleanliness equals sterility. Loop the bassline. Plug a guitar in and do the same.
Don't think when doing any of this. Just experiment with interest and curiosity and the music will take care of itself. You will now have a groove which is also about half a song minimum. Play some keys from the toys on top of what you have. Put 'em through effects pedals. Again, don't overthink it and don't try to get it clean. Add sound effects in right and random places.
There you go. Something you've never made before. But more importantly, it's something you've never heard before.
You don't have to die to be reincarnated.
BROKEN BEAUTY...You can't be either without also having been the other.
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Last delivered 22 months ago available to reorder, subject to availability
Mac DeMarco's breakthrough sophomore album, Salad Days - released on April Fools', 2014 - garnered widespread critical acclaim, landing on over 30 Year End lists. It was the album that catapulted DeMarco from "loveable slacker" to "mature songwriter with a gaptoothed grin," all at the tender age of 23. DeMarco's demos for Salad Days, originally included in an expanded edition of the album only available on Captured Tracks Mail Order site, peel back the curtain of said artist, who, up until then, may have been more known for his raucous live shows than his genuine talent as a songwriter and craftsman. This collection of demos and sketches as well as previously unreleased instrumental demos offer a rare insight into Mac's world and process.
The highly anticipated follow-up to Thee Sacred Souls's breakout 2022 self-titled debut, Got A Story To Tell, features 12 all original new songs, a soaring statement of exquisite craftsmanship from this young band from San Diego whose story grows bigger by the day. Recorded and produced by Gabriel Roth at Penrose Recorders, in Daptone’s Riverside, CA studio, and written in the throes of supporting their 2022 album, which was met with significant excitement and major touring that brought them across the world. What swirls together on Got A Story To Tell is an appreciation of decades of soul music, and beyond - a sound and feel that is timeless, lived in, and very much in the now. Album opener “Lucid Girl” champions independent women, set to some of the toughest sounding drums and bass the band has yet to put to tape. “Waiting On The Right Time” slinks with a touch of slow-burning psychedelia. A plea for empathy punctuates “One and the Same,” with Lane singing: “We’re one and the same, I feel one day / We learn to live with each other / In love, not fear / Just for a moment, why can’t we be together.” “On My Mind” is a sweeping orchestration, with Lane navigating the complexities of finding happiness while balancing the good with the bad. The album is punctuated with strings and squelching guitar, trundling piano, pops of conga, horns - it makes for a thrilling, layered listen that rewards with multiple spins.
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Last delivered 7 months ago available to reorder, subject to availability
In a simultaneous act of defiance and impishness, Sham Family are etching their name in the wet concrete out front of the establishment. Hailing from the vibrant music scene of Toronto, Canada, the dynamic quartet is emerging as a prominent voice in the contemporary post- punk landscape.
To know Sham Family is to witness them perform live in the flesh. From the very first note, the room teeters between collective catharsis and a sort of beautiful, focused chaos. Blisteringly loud and remarkably lush, their live show is not only a testament to the meticulous craftsmanship of their music, but a downright physical feat. Broken strings, sweat, and the occasional minor lesion are collateral damage that only serves to strengthen their ultimate goal: deliver the loudest, most captivating show utte rly possible. Catching the attention of the newly formed Wavy Haze Records, spearheaded by indie icons Born Ruffians, Sham Family were the first non-Ruffians to join the label’s esteemed roster.
In 2022, they released their debut self-titled EP: a strikingly raw introduction to their leave-it-all-on-the-floor brand of shoegazey punk. The release quickly gained traction, propelling Sham Family onto stages across the United States and Canada. Now, Sham Family are gearing up to release their highly-anticipated full-length album, A Deaf Portrait of Peace, in 2024. Produced by the renowned Graham Walsh (METZ, Debby Friday, Preoccupations, Alvvays), the record promises to embody the propulsive ener gy of their live performances while venturing into uncharted sonic territories.
It is summer dawn . . . and you are alone. Here is music for your strange mood. The piano starts the first track, slow tempo beat, a strict beat, a swinging beat. Lillemor—here minor harmonies give the tune a rural, romantic feeling of some place in Spain or France. The tempo changes to medium fast—the flute solos. Light phrasing contrasts beautifully to the earthy, swinging beat of the rhythm section and the repeating piano figures. The trombone adds a new color, a counterpoint of sound and phrasing, backed by the pulsating beat of this wonderful rhythm and the driving piano. Summer dawn . . . This music has more to offer, because it shows the personality of Sahib Shihab at its best. Sahib is a universal musician who reflects musical experiences in jazz since the end of the thirties. He lived through the important periods of modern jazz with his heart and mind wide open toward everything that was good music, regardless of being termed "Mainstream", "Bop", "Cool", "Westcoast", "Eastcoast", "Hard Bop'', et cetera. When you listen closely to his music, you will find traces of all these, but they are immersed in his deep musicianship and his true jazz personality. Sahib Shihab's background reads like the record of a master of advanced studies. Furthermore he played and collaborated with the coolest jazz musician of that period. Above all let's name Budd Johnson, Theolonius Monk, Tadd Dameron, Milt Jackson, Dizzy Gillespie, Illinois Jaquet, Elmer Snowden, Luther Henderson, Larry Noble, Fletcher Henderson, Roy Eldridge. In his early professional years, Sahib was heard mostly on alto sax; later, more often on baritone sax and flute. Today, his name is inseparably connected with these two instruments. The unity of his jazz performances is not alone bound up with the com¬positions and the arrangements of Sahib Shihab, though in their understated simplicity they have a melodic beauty that is seldom found in jazz of today. The rhythmical subtleties add to the overall qualities of being relaxed vehicles for free-blowing, but there is an immediacy that you hear and feel every moment when listening which defies analysis. The playing of the rhythm section helps greatly to promote the sense of flux and contrasting constant renewal that makes listening to this record so invigorating an experience. Well, this is no surprise, with Kenny Clarke as the nucleus of the rhythm group. Kenny 'Klook' Clarke is a major figure and contributor in jazz, one of the founders of modern jazz, and is ranked as one of the all-time great drummers. He influenced a whole generation of musicians with his playing, though living in Paris since the middle of the fifties somewhat dimmed his name to the general American public. Nevertheless, his name alone will assure a connoisseur to expect top class musical experiences. Talking of the rhythm section we have to name Jimmy Woode's bass, which together with Kenny's drumming, is the driving force for the group and the reliable harmonic anchor for the improvisors. By the way, Jimmy has been with the Duke quite a while, and this alone is an award for extraordinary craftsmanship and artistry. The good sounding rhythm with its full-bodied color is also a result of the added bongos of Joe Harris, who manages to stay out of the way of the players—a quality not often found with drummers—but his playing is felt through the set. There are two members of the group not yet mentioned. Two Europeans, pianist-composer-arranger Francy Boland from Belgium, and trombonist Ake Persson from Sweden. Francy Boland this time is a sideman, though normally he is a leader of recording sessions, both as composer-arranger and as musical director of the band. In the fifties he was in the States writing arrangements for different name-bands, such as Basie and Goodman. In Europe, he is famous for his swinging modern big band arrangements; and his inventiveness as a writer is reflected in his piano playing. He has the talent of using the right dynamic approach every moment, thus making his playing helpful to soloists and interesting for listeners as well. Ake Persson has been Scandinavia's out-standing trombone player for about ten years. There are only a few trombonists in Europe who might match his talents at times, but they lack the consistency of his playing. He is impressive, whether playing in a big band, or whether main soloist in his own small groups. American musicians love the sound of his slide trombone and his easily flowing romantic improvisations, so he often joins American name-bands as they travel in Europe. The music speaks alone . . . , we said it before. You have your soul to feel the beauty, to follow lines and structure, and to enjoy the spiritual excitement. Whether you enjoy the flowing, easy sounding theme of "Please Don't Leave Me", or the climaxing piano solo in the same piece—the bass solo in "Waltz For Seth" or the swinging baritone sax—listen to the first bars of this solo and pay attention to Kenny. Whether you listen to "Campi's Idea", (named after Gigi Campi, the well known Cologne jazz enthusiast who organized this recording) with the romantic flute solo of Sahib, the interesting tempo changes, the piano comping, the moving trombone solo; or to the up-tempo "Herr Fixit", with the cooking Kenny and humorous, driving flute solo, you know that these six musicians where in the right mood, in the right stimulating surroundings to feel what we all feel when it's: SUMMER DAWN.
The highly anticipated follow-up to Thee Sacred Souls's breakout 2022 self-titled debut, Got A Story To Tell, features 12 all original new songs, a soaring statement of exquisite craftsmanship from this young band from San Diego whose story grows bigger by the day. Recorded and produced by Gabriel Roth at Penrose Recorders, in Daptone’s Riverside, CA studio, and written in the throes of supporting their 2022 album, which was met with significant excitement and major touring that brought them across the world. What swirls together on Got A Story To Tell is an appreciation of decades of soul music, and beyond - a sound and feel that is timeless, lived in, and very much in the now. Album opener “Lucid Girl” champions independent women, set to some of the toughest sounding drums and bass the band has yet to put to tape. “Waiting On The Right Time” slinks with a touch of slow-burning psychedelia. A plea for empathy punctuates “One and the Same,” with Lane singing: “We’re one and the same, I feel one day / We learn to live with each other / In love, not fear / Just for a moment, why can’t we be together.” “On My Mind” is a sweeping orchestration, with Lane navigating the complexities of finding happiness while balancing the good with the bad. The album is punctuated with strings and squelching guitar, trundling piano, pops of conga, horns - it makes for a thrilling, layered listen that rewards with multiple spins.
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Last delivered 15 months ago available to reorder, subject to availability
Gil Tamazyan is the founder and president of Capsule Labs, a boutique pressing plant, record label and analogue mastering studio in Los Angeles. He has been making cultured sounds for twenty years and does everything from deep house to Italo disco while drawing on a wide range of influences from the words of jazz, funk and more.
-On “Morning Cleanser,” Gil Tamazyan beautifully crafts a deep house record with notes of jazz sprinkled throughout.
-Pressed on 180g black vinyl for the best listening experience.
Gil Tamazyan unveils "Morning Cleanser," a musical gem that masterfully blends house and jazz, showcasing his signature authenticity and groove. The EP begins with "Bumper Car Theater," where Gil's craftsmanship paints a spacious sonic landscape. A steady bassline anchors the track, while ethereal chords drift, inviting introspection and calm. As dawn breaks, the title track "Morning Cleanser" emerges with vibrant chords and infectious beats. The groovy bassline sets the rhythm, and spirited vocals infuse the track with energy, awakening the senses and stirring the soul.
Continuing the journey, "My Body" offers a sultry exploration of sound and sensation. Smooth keys intertwine with dreamy vocals, creating a warm and intimate ambiance. The rhythmic groove carries listeners away, transporting them to a realm of pure musical delight. Closing the EP, "News Cast" weaves a tapestry of rhythm and melody. Powerful kicks and a punchy bassline drive the track, while a sultry saxophone ties back to the opening track, adding a sense of allure. With "Morning Cleanser," Gil Tamazyan delivers a mature and grounded musical experience, inviting listeners to tune in and vibe out.
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Last delivered 2 years ago available to reorder, subject to availability
