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L’istruttoria E’Chiusa Dimentichi (internationally released as The Case Is Closed, Forget It) is a 1971 Italian crime drama film directed by Damiano Damiani. It is based on the novel Tante Sbarre (Many Bars), written by Leros Pitton and was awarded at the Tehran Film Festival. The film centres around the architect Vanzi, whom ends up in prison and ends up involved in a plot against an inconvenient witness to organised crime, passed off as a suicide, with the complicity of the security guards. Renowned composer Ennio Morricone created an obscure, yet globally beloved, score to the thriller. Tracks B2 and B3 (“Disordini (Titoli Versione Film)” and “Ordini (Versione Alternativa)” were part of the original recordings but not used for the movie final cut. Available as a limited edition of 1000 individually numbered copies on orange marbled vinyl.

Archives from Stepart ... Old collabe from the dark age of the newskool dub !


Big selecta and great tubnes with a pinch of early dubstep :)

massive !

The album was intended as an experiment using musical styles Brubeck discovered abroad while on a United States Department of State sponsored tour of Eurasia, such as when he observed in Turkey a group of street musicians performing a traditional Turkish folk song that was played in 9/8 time, a rare meter for Western music. Columbia president Goddard Lieberson took a chance to underwrite and release Time Out. It received negative reviews by critics upon its release, but despite this, it became one of the best-known and biggest-selling jazz albums, charting highly on the popular albums chart when 50,000 units sold for a jazz album was impressive. It consequently produced a Top 40 hit single in "Take Five", composed by Paul Desmond, and the one track not written by Dave Brubeck. The cover art is just as important as the LP itself featuring specific artwork created by S. Neil Fujita best known for his covers for CBS Records, which introduced abstract art to jazz LP packaging.

Whtie Vinyl

Freund der Familie invite Christopher Rau, Pole, Roger Gerressen and Van Bonn to remixes cuts from their 2018 ‘Panorama’ EP this February.
Leipzig, Germany’s Freund der Familie, the producer and label name, has long been respected in the world of raw, underground house and techno. The past decade has seen the founders Klaus Rakete & Mirko Hunger unveil a number of releases under the alias,
exploring a wide range of styles influenced by dub, leftfield electronica and much more.
Here the label revisits the ‘Panorama’ EP from a few years back, welcoming remixes from some esteemed artists in the industry.
Christopher Rau returns on remix duties following his take on Symbian for FDF005 and also FDFALFA01, this time round Rau delivers a hazy take on ‘PRS’ driven by raw analogue drums, woozy synths and winding subs. Dub master and Scape mastering head
honcho Pole steps up next with his take on ‘CRM’, delivering a typically intricate twist employing expansive swells, snappy percussion and swirling low end tones.
Irenic boss Roger Gerressen delivers his take on ‘PRS’ next, taking a more groove-driven feel with stripped-back drums, ethereal pad textures and crisp bass stabs before Van Bonn wraps up the package, reworking ‘CRM’ with a heavily swung drum groove,
menacing synth flutters and a dynamic, ever-evolving feel.

“You’re trouble” is an avant-garde electronic pop album about questioning and locating a sense of self in a disorienting, breaking environment of dissolving certainity which grows increasingly chaotic, about dysmorphic dissatisfaction, becoming disillusioned and alienated. It seeks to juxtapose beauty, serenity and vigour with instability, ugliness, chaos and crisis, expressing itself fluidly without genre or otherwise boundaries. A kind of sinister, anxious but still forward-pushing and at times positive and hot-blooded empowering energy can be felt that wants to urge the listener not to give up but to try and take courage and take control of the troubles and fears in their life. The tone is sometimes reflective, sometimes confronting. The album navigates fairly abstract musical territory, cathartic abrasiveness, heavy and unrelenting sounds of post-club music and noise fused with stretches of pop music, never settling down or resting for long, constantly breaking up and re-assembling itself. Between chaos and form, it’s finding relief in imperfection and the in-between. As such the music is ambivalent and is equal parts some kind of crisis club music as well as introspective reflection.
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Fleet Foxes' Robin Pecknold shares, "SHORE feels like a relief, like you'd feel when your feet finally hit sand after getting caught in a riptide. It's a celebration of life in the face of death, honoring our lost musical heroes, from David Berman to John Prine to Judee Sill to Bill Withers, embracing the joy and solace they brought to our lives and honoring their memory. SHORE is an object levitating between the magnetic fields of the past and the future." SHORE was released digitally in its entirety on the fall equinox (22/9) alongside an album length Super-16mm landscape film captured and edited in Washington State by the filmmaker Kersti Jan Werdal. The album was recorded in upstate New York at Aaron Dessner's Long Pond Studio, in Paris at Studios St. Germain, in Los Angeles at the legendary Vox, in Long Island City at Diamond Mine, and New York City's Electric Lady. Fleet Foxes' self-titled debut made a profound impact on the international musical landscape, earning them Uncut's first ever Music Award Prize and a spot in Rolling Stone's 100 Best Albums of the 2000's. The follow-up album Helplessness Blues was met with the same critical praise as its predecessor (MOJO âÿ_ âÿ_ âÿ_ âÿ_ âÿ_, Pitchfork's Best New Music) and earned them a GRAMMY nomination. Both Fleet Foxes and Helplessness Blues are certified Gold in the US. The band's third studio album Crack-Up, released in 2017, had the highest European chart entry at #5. Fleet Foxes has sold over 1 million records in Europe

Ilan Eshkeri and Shigeru Umebayashi score the music to the highly anticipated actionadventure game developed by Sucker Punch Productions and published by Sony Interactive Entertainment. Ilan Eshkeri is a critically acclaimed film, television and video game composer. Eshkeri has been nominated for a BAFTA, an Ivor Novello Award and a International Film Music Critics Association Award. Shigeru Umebayashi is an internationally acclaimed composer who has won numerous awards. He has scored the music for many notable films including ‘True Legend’, ‘Rise of the Legend’ and ‘The Wasted Times’. Triple black vinyl set with tri-gatefold sleeve and printed inner sleeves. Specialist marketing activity.

Grace Ferguson is a Pianist, Composer and Sound Designer based at Eastmint Studios, Melbourne, whose works seek to position the audience in a space conducive to subjective inflections, inarticulate knowledge and felt encounters.

Her debut LP release 'Voler' (out on Music Company) was met critical acclaim and reached number #4 on the Australian Independent Record (AIR) charts. The album now gets a limited vinyl pressing in a custom die cut sleeve.

Calvin Keys’s 1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists— Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash,
who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green. But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys has since become a fixture in the Bay Area jazz scene; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog!

DeWolff return with their new album, Wolffpack, released on 5th February 2021 via Mascot Records.

DeWolff, the kaleidoscopic warriors were not long into their 2019 Tascam Tapes European Tour when the Covid19 pandemic broke and they, like so many others, had to turn back and head home. They started working on the new album Wolffpack.

The album kicks off with the first song they finished, the soulful psychedelic funk of "Yes You Do," featuring Ian Peres and longtime friend of the band, Judy Blank. "We wrote it in a Zoom meeting!" Pablo says. "Treasure City Moonchild," struts in with a funky swagger and Piso's trademark swirling Hammond, with Dawn Brothers' Levis Vis providing some Bass juice. "Do Me," includes Theo Lawrence on vocals and is through the eyes of an anti-hero who realizes he isn't worthy of the woman of his dreams, and dates back to 2019 and the Next of Kin live show. "I consider this the best song I ever wrote, so I couldn't stand the idea that it was only used for those Next of Kin shows and then never again! That's why I brought it to DeWolff, but it needed some rearranging," he says. Another song from the Next of Kin sessions was "Sweet Loretta" and features Dawn Brothers' Stefan Wolfs and Darilyn's Diwa Meijman. "Loretta is the protagonist's childhood sweetheart. She has a rich dad, but he's really conservative, and so she can only inherit his money if she marries a man. But she's lesbian. So, the protagonist, who's also out for this old guy's money, suggests they play pretend and marry so they can split the money."

They sweep through disco on "Half Your Love," swamp rock on "Bona Fide" and take on sci-fi and the Old Testament on "RU My Savior." Their tour buddies The Grand East show up on "Roll Up the Rise." Written in the first days of quarantine, it's about the end of the quarantine - told from a future perspective. "Lady J," came after Pablo watched the documentary "13th." "I was quite shaken up by it," he admits. "The lyrics are based on the idea that Lady Justice seems to have a scale that doesn't measure the "weight" of your crime but the tone of your skin. She is supposed to be blindfolded, but the people who act in "her" name aren't blind at all: they discriminate between white and black."

The album ends with the forlorn "Hope Train." Based on the Pulitzer prize-winning novel by Colson Whitehead about two slaves in the US during the 19th century, who make a bid for freedom from their Georgia plantation. "I found it really hard to envision the world in which it takes place," he says. The band used a 1970s Fisher-Price Toy cassette recorder in the intro, "We wanted to see if we could somehow approach the sound of those very early country blues recordings, like the ones by Blind Willie Johnson.”

From Tromso to Oyafestivalen, to Roskilde Festival, moving to Oslo and now with new label Fysisk Format onboard, Heave Blood & Die is ready to follow up their 2018 effort "Vol. II", with "Post People". A mournful panoramic rock piece that brings to mind the inward explosions of The Cure, Smashing Pumpkins and Killing Joke. Given life through the mix by Graham Walsh (Holy Fuck, METZ, Viet Cong) and master by Paul Gold (Angel Olsen, Preoccupations, Beach House). Post People started as a concept we talked about together as a group, the more we discussed the topic, the more it turned out to it could possibly be so many different things: A fictional universe deprived of an established society, a post-apocalyptic universe of sorts, which the concept Post People very much is. It would be humankind as a whole transcending modern society, leaving capitalism behind, laying waste to non-justified authority, achieving the climate neutral goal, equality for all and ending the war on drugs. Post People is very much an activist piece of art, a critical view on how things are, and always has been, put into rhythm and sounds sequenced in an order that makes melodies that some find pleasant.

Talk about a talented family: Willie Nelson and his Sister Bobbie Nelson each achieved massive success in country music. Even in their late 80’s, the Nelsons continue to make music and their influence can be heard through many artists in the genre. December Day, Willie’s Stash Vol. 1 is a collaboration album between the two, and upon release in
2014 it was met with positive reviews from music critics. The album spawned three singles: “Who’ll Buy My Memories”, “Laws of Nature” and “Summer of Roses / December Day”. The liner notes were written by Willie’s frequent collaborator Mickey Raphael. This record comes as a limited edition on snowy white vinyl.

SOEN TO RELEASE FIFTH ALBUM, IMPERIAL WITH SILVER LINING MUSIC ON JANUARY 29th 2021 The provocative, challenging, imperious and entertaining Swedish-based progressive metal group Soen will unveil their fifth album, IMPERIAL, via Silver Lining Music on January 29th 2021.

Founder members Joel Ekelöf (vocals) and Martin Lopez (drums), along with Lars Åhlund (keys and guitar), Cody Ford (lead guitar) and Olekseii 'Zlatoyar' Kobel (bass) have never shied away from challenging our perceptions of life and humanity, and IMPERIAL continues Soen's unique journey through the psyche of our species and the conundrum of our times, complicated yet further by the COVID-19 pandemic crisis.

Lead single "Antagonist" storms through the gates with a massive heavy riff of intent, followed by an epic blend of strength, beauty and defiance which will excite old school Soen-ers and new fans alike. With the sleeve art's beautiful yet deadly dark snake further informing a deep and twisted series of tales within, IMPERIAL stands to be another outstanding chapter in Soen's ever-expanding legacy.

Velvet Season & the Hearts of Gold is the musical adventures of Gerry Rooney & Joel Martin. They have a rich musical history with Gerry Black Cock Records & Joel Quiet Village.

Aldo Tamborrelli – ‘Voices’ (VSHOG Special Version)

VSHOG present their official special version of this highly desirable hidden treasure of hypnotic electronic sleaze excavated from the cult soundtrack to a 1983 Italian ‘Apocalypse Now’ cash-in, and transform it into an 8 minute erogenous bump n’ grind trip to the twilight zone torture garden, cruising leather boys & fetish girls looking for Love in all the wrong places !

‘Voices’ is a narcotic synthesised masterpiece of body music to completely immerse your dark desires on the dancefloor. A dark risqué world of crisp chugging drum machines, mesmerising warm bass pulses, and the erotic wails of seductive screams in the night !

Stefano Torossi – ‘Having Fun’ (VSHOG Special Version)

The VSHOG version of 'Having Fun', from Stefano Torossi's 1974 album 'Feelings' (a holy grail of Italian library music) is an uplifting lush orchestral string laden funky breakbeat feel-good track to raise your vibrations!

Opening with a chunky stripped down drum & bass intro, the strings entice you further in & then the Disco Funk Psyche guitar riff really lifts the track to the sweet spot & you are completely hooked! A beautiful piece of music for all occasions - Balearic Sunsets/Sunrise, Disco dancing, B-Boys and Hip-Hop heads, Jazz Dancers & library music connoisseurs!

Another fantastic offering from the VSHOG Special Version series of releases.

Nahawa Doumbia's new album Kanawa concisely captures this current moment in Malian history. The singer, whose storied career spans more than four decades, reflects on the immigration crisis from the Malian perspective in the title of her new album Kanawa. Across eight songs recorded in Bamako with a band including traditional and modern instruments, Doumbia merges her early work that relied on a spare expression of her trademark didadi rhythm with the bombastic range of contemporary Malian pop. The beautifully complex musical accompaniment that results is courtesy of the large ensemble she pulled together with producer and arranger (and day one collaborator) N'gou Bagayoko. The band features two highly expressive Malian string instruments, the ngoni and the slightly smaller kamalé ngoni, as well as a variety of percussion, drum programming, karignan (a metal scraper) and acoustic and electric guitars. Doumbia's daughter, a celebrated singer with her own group and busy concert schedule, Doussou Bagayoko sings on "Adjorobena," a song about patience, tolerance and living in peace. Doumbia weaves together a roadmap of her psyche when it comes to the good and bad life has to offer. She talks about marriage and women leaving home to join another through the metaphor of a tree in the garden; she includes gunshot samples in the song "Foliwilen" to honor the bravery of hunters, soldiers and other courageous people; she uses a bird in "Djougoh" to talk about lazy people; and, in "Ndiagneko" she advises people to ignore critics, just do you. Mali has gone through an intense period of regional strife and terrorist incidents over the last ten years and Doumbia roots the album in tragic local concerns with deep global implications. "The meaning of Kanawa is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them die while crossing the Sahara. But I ask them why do they leave their country? They said that they leave because of the family situation or problems like poverty and unemployment. I ask them to stay and work in their country. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. That's why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. So that some will hear the message and stay home and grow the land. Leaving is not the only solution. My message is to help the youth find jobs."

Before he was Kemba, YC the Cynic released the critically acclaimed album "GNK," a journey into the experience of being labeled 3 different (often conflicting) things as an Black Man in America: A god, the "N-Word," and a king.

Cocteau Twins were a Scottish rock band active from 1979 to 1997. The original members were singer Elizabeth Fraser, guitarist Robin Guthrie, and bassist Will Heggie, who was replaced by multi-instrumentalist Simon Raymonde in 1983. The group has earned much critical praise for its innovative, ethereal sound and the distinctive soprano vocals of Fraser.

Four-Calendar Café is the seventh album by Scottish band Cocteau Twins. It was originally released on 18 October 1993 on Fontana. The album distinguished itself from the rest of the Twins' catalogue in two major areas: The sound was much more pop-oriented and less ambient than previous works, and Liz Fraser's lyrics were much more intelligible than usual.

Milk & Kisses is the eighth and final studio album by Cocteau Twins, issued by Fontana Records in March 1996. It proved to be their last

The song ''Rilkean Heart'' was a homage to Jeff Buckley, who was a lifelong lover of the work of poet Rainer Maria Rilke.

"Don't Turn Me From Your Door" - John Lee Hooker (g, voc), Earl Hooker, Eddie Kirkland (g), a.o

John Lee Hooker is not only a mystery but also an interesting man to study. Some, like the author Jacques Demêtre called the musician from Mississippi »the most raw and African of all blues players from a musical point of view«, while the critic Net Hentoff was awestruck by Hooker’s unfiltered power of expression that could scare the pants off a listener taken unawares. The numbers on this LP bear witness to the fact that Hooker’s musical language could stir one’s emotions deeply, even without the meaty 'boom boom'. Each title is like a raw diamond, which is intentionally uncut and is to be perceived with directness. With a stutter and a slur in his speech, the singer declaims his song over a twangy guitar, which is driven along by the rhythmic meter. A final farewell is taken sluggishly and sullenly in the forthright text of "You Lost A Good Man", and even a song without words ("Misbelieving Baby") ponders a question in a purely instrumental monologue. Apart from a dash of boogie ("Pouring Down Rain") Hooker avoids all manner of sweet sounds and harmonies. He remains austerely raw, mercilessly honest, occasionally unforgiving and denies all thoughts of any kind regarding going 'back to the roots'. This sound IS the root of it all.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue.

All royalties and mechanical rights have been paid.

Recording: 1953 in Cincinnati (OH) and July 1961 in Miami (FL)

Production: Henry Stone

monstrously rare private pressing from 1973 originally on the deroy imprint, motiffe play twisted king crimson esque progressive rock with dark jazz elements, 99 were pressed with just a handful having hand drawn covers, record deals were offered but musical differences split the band, with the mighty Flux emerging jn the aftermath, before ace guitarist Grimaldi joined Argent to help craft their masterpiece 'Circus'. valued at £2000, this is the first fully authorised legal edition with all members consent and full history written by the band in the inner gatefold. The Gryphon image is also drawn by the band for the cover.

From Shrine to Stax, Isaac Hayes to Gloria Ann Taylor, The Mad Lads to The Staples Singers, Detroit to Atlanta, Kendrick to Pusha-T, Dale Warren’s singular voice is the lone constant. Beneath the ethereal beauty of his productions was a genius crippled by his unbridled id. His everevolving 24-Carat Black project spanned the ’70s, producing a masterpiece and an unfinished follow up. Discovered in a storage space were Warren’s 1980s demos cut with grown n’ sexy divas Princess Hearn, Vicki Gray, and LaRhonda LeGette right before his untimely death at the age of 50. III is an unfinished symphony that peels away the final layer of Dale Warren’s mysterious oeuvre.

What hides in the fog that keeps people apart, and what does it take to cut through it? These questions hang heavily over
Sarah Beth Tomberlin's music, whose hushed and intimate tones orbit answers as much as they savor the unanswerable.
To be in relation to another human being is to engage with a deep mystery: We are all fundamentally alone, siloed into
confusing bodies, and yet occasionally we ¬nd someone who lets us feel as if we weren't. Tomberlin, the Louisville native
who recently relocated to Los Angeles, delights in articulating and amplifying that mystery, picking out its details and
marveling at its scale. In singing her aloneness she soothes it, and extends a hand to others reckoning with their own
solitude--a paradox that warms her spectral songs.

Tomberlin's new Projections EP continues the arc of her critically acclaimed 2018 debut At Weddings, weaving new collaborators and new techniques into her signature dusky milieu. Since the LP's release, Tomberlin has toured with Pedro the
Lion, Andy Shauf, American Football, and Alex G, played a Tiny Desk concert for NPR, and given a riveting performance on
Jimmy Kimmel Live! The ¬ve-song EP, capped with a cover of Casiotone for the Painfully Alone's stunning "Natural Light,"
re ects this period of intensive growth and self-discovery. "I wrote these songs while getting to know myself outside of
people's perceived notions of who I was," says Tomberlin. "I just started being like, What am I interested in? What do I want
out of relationships and friendships? What am I looking for that I don't have in myself already?"

FULL OF HELL make their Relapse debut with their most explosive album to date, Weeping Choir. Dynamic, pissed, and wholly urgent, the highly-anticipated Weeping Choir is a definitive statement of intent by one of the underground’s most dynamic and virulent entities. FULL OF HELL have once again culled the extreme elements from hardcore, metal, and power electronics to redefine darkness and sheer brutality. Distorted guitars and ominous, disparate electronics grind and gnash against rapid-fire drumming as FULL OF HELL take themes of religion, loss, hatred, and set them ablaze. Recorded by the critically acclaimed Kurt Ballou at GodCity Studio, Weeping Choir sees FULL OF HELL fully unleashed. Abrasive, confrontational, none equal!

It’s about time that our partner in crime Lostsoundbytes joined us for a ride. Kept on the back burner for a while, the debut album by the Belgium-based producer and Vastechoses label honcho couldn’t have come out at a more convenient time. Keeping with the madness that we all have buried within ourselves, Degenerate Brain sounds like it’s been recorded and corrupted by some artificial intelligence in the grips of mental disorder and paranoia. Frantically exhibiting a wide stylistic palette by means of irradiated kicks laid out on top of distressed electronic modulations; worn out electro bangers and slo-mo keepsakes from imaginary performances to crooked minimal wave ramblings led by a man-machine flying off the handle. A seemingly meaningless stroll orchestrated by a mind that has lost control over some data dump coming in hot — which may fry your brain unless you manage to pull yourself out before it’s too late.

‘Del Rio’ is the third album from the Austin triumvirate of guitarist Craig Clouse (Shit and Shine), bassist Nate Cross (Marriage, Expensive Shit) and drummer King Coffey (Butthole Surfers) and the band’s first release to feature vocals from Colby Brinkman (Taverner). While their two prior albums (2017’s ‘Laredo’ and 2019’s ‘Matamoros’) were somewhere on the periphery of rock music , ‘Del Rio’ is a step or several beyond and a real testament to human imagination (maybe you’re impressed by Tesla Powerwall batteries but that’s because you’ve not heard “Soft Taco”, yet)

Coming off a pair of records their respective labels could barely keep in stock and critical assessments that put reviewers’ own chops to the test (see below), USA/Mexico have delivered their most fully realized statement to date.

Prior praise for ‘Matamoros’ :

“Laredo was a bent-out sunstroke of processed vocals and noise-laden riffs, and its follow up Matamoros is slower, freakier, and somehow louder…too defiantly weird and alien for pigeonholing, that’s how they fit inside Austin’s storied noise rock and experimental music scenes: by refusing to fit exactly in anywhere.” Andy O’Connor, Pitchfork

“Monolithic without being monotone: dirty sounds and gritty textures sliding over each other like sandpaper wiped across a chalkboard.” Marc Masters, Bandcamp

“The amplifiers sound broken, the vocals suggest someone's got their leg caught in a mantrap while deep in the woods trying to poach fat brown hares, and the mixing desk squeals as if it is undergoing physical tort

22-20s is the debut self-titled album by English blues rock band 22-20s. The album was met with critical acclaim upon initial release in 2004. NME called it one of the best British rock albums of the year, praising the band’s ability to sound fresh and vital, while remaining intense. The album features the track “Devil in Me”, which was famously used on a Vauxhall Astra commercial in 2016. It provided the band with a rise in popularity, even though by that time they had already split up. Their eponymous debut is now available on
180 gram audiophile vinyl and comes in a gatefold sleeve.

Cobalt Chapel release ‘Orange Synthetic’, the follow-up to their much lauded self-titled debut album and its companion piece ‘Variants’. ‘Orange Synthetic’ is an exploration of the epic county they call home, Yorkshire. Written during this tumultuous turn of the decade, it is inspired by the humanity, anecdotes and folklore of the region, and the surrounding landscape.

The album delves into stories which exist at the edge of history and myth: the drowning of a village under Lake Semerwater, the mystery of the lost geodesic domes of RAF Fylingdales, the fate of John Hotham of Hull, beheaded for treason during the English Civil War, a psychedelic folk song about an infamous Cragg Vale farmer killed in a fight over a flock of sheep, the cry of Skylarks over Erringden Moor.

The album’s name stems from a line in the title track, telling the story of the fateful Yorkshire Folk, Blues & Jazz Festival in Krumlin, fifty years ago. Hit by a violent storm, it resulted in the devastation of the site, near-deaths from exposure and the promoter being found wandering the moors, days later.

Cobalt Chapel’s atmospheric style remains distinctively their own, through Cecilia Fage’s crisp English vocals and choral arrangements, and Jarrod Gosling’s use of organs such as the Vox Continental, Philicorda, and the USSR-era Elektronika Organ. These are the foundations of their rich, experimental yet melodic sound, and this album sees them expand on it with the addition of mandolin, guitars, and drawing on Cecilia’s classical background, with clarinets and recorders.

First Base is an album by British rock music group Babe Ruth. It was released in September 1972 and went gold in Canada, and sold very well in the US. It was their biggest success, both in terms of popular and critical acclaim. This LP defines an interesting junction between hard rock and progressive rock. The album contains “The Mexican”, the band’s classic song which includes a theme by western soundtrack composer Ennio Morricone. “The Mexican” has been covered and remixed many times. Other highlights include the powerful rock number “Wells Fargo”, “King Kong”, and “Black Dog”. The album cover was painted by Roger Dean, who also illustrated many Yes albums.

Frolic Through the Park is the second studio album by American thrash metal band Death Angel. It was their last record to be released on Enigma Records before signing to Geffen Records in 1989. It was a critical success, with Loudwire ranking it number eight in their list of best thrash albums that weren’t released by Metallica, Megadeth, Slayer or Anthrax. It was also a commercial success, resulting in the band’s first world tour. Frolic Through the Park features the single “Bored”, which was used in the 1990 film Leatherface: The Chainsaw Massacare III and was played regularly on MTV’s Headbangers Ball. This LP is an expanded edition, containing a bonus D-side, making it a unique release. It is pressed on silver coloured vinyl and comes in a limited edition of 2000 individually numbered copies.

• 180 GRAM AUDIOPHILE VINYL
• DELUXE HEAVYWEIGHT JACKET WITH LEATHER
LOOK LAMINATE
• CRITICALLY ACCLAIMED 1991 SOPHOMORE ALBUM
BY JAY FARRAR, JEFF TWEEDY AND MIKE HEIDORN
• INCLUDING “STILL BE AROUND”, “GUN” AND
“LOOKING FOR A WAY OUT”
• 30TH ANNIVERSARY EDITION OF 1500 INDIVIDUALLY
NUMBERED COPIES ON CRYSTAL CLEAR VINYL

Still Feel Gone (1991) is the second album by American alternative country pioneers Uncle Tupelo. While its predecessor No Depression was filled with uptempo tracks, their follow-up effort showcases a band taking a closer look at the middle ground by acoustic guitars. “Still be Around” and “Looking For A Way Out” are great examples of tracks with high-strung acoustic guitars. On this album, Uncle Tupelo sounds even more powerful than before. And the broader picture of the abilities of Farrar, Tweedy, and Heidom confirms a strong combination. This reissue gives the album the special treatment it deserves. Still Feel Gone is now available as limited edition (only 1500 copies) on crystal clear vinyl. Each album in individually numbered and housed in a deluxe heavyweight jacket with special leather-look laminate finish.

The Sea and Cake's fifth album Oui is back on vinyl. Pressed on color vinyl for the first time (yellow with white!) and packaged in a high gloss jacket with a free download card. Oui marks the triumphant return of The Sea and Cake after a three-year absence which saw the members of the band pursue a variety of interests; musical, professional and personal. The line up of the band remains Sam Prekop, Archer Prewitt, Eric Claridge and John McEntire. The Sea and Cake formed in 1994 out of the ashes of Shrimp Boat (Sam and Eric), and The Cocktails (Archer). John was a friend of the three and had just begun playing with Mosquito, which would later rename itself Tortoise. In fall of that year the band released their self- titled debut record and followed it with three more for a total of four in four years, each gaining in popularity and critical acclaim. In 1997 after months of touring in support of their most successful record The Fawn, the band decided to take some time off to focus their energy in other places. Eric went to work on his paintings with a series of shows in Chicago and a bi-monthly insert in the Chicago Reader. Archer recorded his second solo record, toured and continued to concentrate on his Sof' Boy merchandise and comics (published by Fantagraphics). John played with Tortoise, built a studio (SOMA) and engineered the Stereolab record among many others. Sam painted for his debut solo show in Chicago and a July 2000 show at Clementine in Chelsea, released his debut solo record and toured extensively. When things began to quiet down in late 1999, the four began setting aside the time to record what would become their finest record yet, Oui. "Surprisingly the long lay off didn't seem to pose any ill effects, somehow the distant perspective supplied a new necessary focus", says Prekop. There were no impediments as far as reconvening and songwriting were concerned. Sam added that "I think (the fact that) Archer and I continued to work together during The Sea and Cake's down time was crucial. So when we started writing it wasn't like we were starting over, we were just working in a new context."

Nahawa Doumbia's new album Kanawa concisely captures this current moment in Malian history. The singer, whose storied career spans more than four decades, reflects on the immigration crisis from the Malian perspective in the title of her new album Kanawa. Across eight songs recorded in Bamako with a band including traditional and modern instruments, Doumbia merges her early work that relied on a spare expression of her trademark didadi rhythm with the bombastic range of contemporary Malian pop. The beautifully complex musical accompaniment that results is courtesy of the large ensemble she pulled together with producer and arranger (and day one collaborator) N'gou Bagayoko. The band features two highly expressive Malian string instruments, the ngoni and the slightly smaller kamalé ngoni, as well as a variety of percussion, drum programming, karignan (a metal scraper) and acoustic and electric guitars. Doumbia's daughter, a celebrated singer with her own group and busy concert schedule, Doussou Bagayoko sings on "Adjorobena," a song about patience, tolerance and living in peace. Doumbia weaves together a roadmap of her psyche when it comes to the good and bad life has to offer. She talks about marriage and women leaving home to join another through the metaphor of a tree in the garden; she includes gunshot samples in the song "Foliwilen" to honor the bravery of hunters, soldiers and other courageous people; she uses a bird in "Djougoh" to talk about lazy people; and, in "Ndiagneko" she advises people to ignore critics, just do you. Mali has gone through an intense period of regional strife and terrorist incidents over the last ten years and Doumbia roots the album in tragic local concerns with deep global implications. "The meaning of Kanawa is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them die while crossing the Sahara. But I ask them why do they leave their country? They said that they leave because of the family situation or problems like poverty and unemployment. I ask them to stay and work in their country. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. That's why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. So that some will hear the message and stay home and grow the land. Leaving is not the only solution. My message is to help the youth find jobs."

NEP was a loose multimedia collective formed in 1982 Zagreb, ex-Yugoslavia. The founder Dejan Krsic collaborated with various artists in a quest of re-thinking the stale concepts of art history, position of the author and the barriers between pop and elitist high culture. Heavily influenced by Walter Benjamin and Andy Warhol in theory and Brian Eno and Kraftwerk in music, Krsic created NEP as an umbrella term (meaning Nova Evropa or New Europe) of diverse rule-breaking activities, covering graphic design, music, photography, video, news-media and theoretical work. Musically NEP focused on experiments in ambient and tape-music, self-released and hard to find compilation tapes like "The Cassette Played Poptones" (1988). Deeply immersed in pop-culture, politics and art theory Krsic's search for perfect pop music with cutting critical edge peaked in 1989, the year 'Decadance' track was conceived in studio. Fox & His Friends published the single in 2017 with Snuffo Remix on B-side. It received rave reviews in music press like MixMag and DJ Mag and it is still played on dance-floors around the world. But the story around the NEP is musically (as well as artistically) much wider: for the first time Fox & His Friends team compiles best cuts from unreleased and rare NEP tapes, covering the period from 1985 to 1989 on POP NOT POP abum. Dejan Krsic is now famous graphic designer and art historian in Croatia. Other collaborators include Laibach and Borghesia photographer Jane Stravs, artist and TV director Gordana Brzovic, Jovan Culibrk, now Bishop at The Serbian Orthodox Church and Anja Rupel, singer of cult Yugoslavian synth-pop group Videosex as well as the other members of Videosex, Iztok Turk and Janez Krizaj who produced some of the tracks. Other collaborators were talented producers Robert Logozar and Davor Daga Devcic, singers Linda Cooper, Natalija, Alexx Kovacs... The list of collaborations is long. Some of the memorable moments on POP NOT POP album are early demo version of Decadance 'How Do I Dance To This Music?' with blue movies samples and drum machine experiments like early Cabaret Voltaire, then Krsic's reinterpretation of legendary Kraftwerk's Trans Europe Express anthem as 'Transcendance', or 'Radical Chic', where Dejan himself and Anja Rupel from Videosex make lovely couple of dandy-esque fashionistas, singing chart-friendly radio synthpop tune that contrasts the A-side (The 'NOT POP' side) - full of experiments, dark wave and industrial nods to Test Department and Cabs. B-side is 'THE POP' side that will surprise most of the NEP followers from their early experimental cassette days. Sunny, danceable, joyfull pop that reveals the many faces of NEP. As Kraftwerk today is more of a concept than a band, NEP does the same by re-writing its products (musical, graphical, theoretical, activist) and constantly puts them in permanent state of change or re-mix. In the future, only NEP logo will be enough to consider something an art piece, and NEP will be everybody who wants to, as their Art Manifest claims. Until that day comes, 'POP NOT POP' is a document of how the vivid and creative were art-scenes in socialist Yugoslavia. Some of the graphic work, cut-ups from theory and Manifesto are also included on this LP, designed by Dejan Krsic aka NEP himself. This release is made from the original master tapes and published for the first time on vinyl.

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

LTD. LOSER EDITION

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

- Rare P-Funk album from 1983 - Funkadelic/Parliament All-Star Line-Up - First ever vinyl reissue - Comes with a repro of the original insert - 180g Black Vinyl Edition - Limited to 500 copies, comes with obi strip // Jerome "Bigfoot" Brailey is an American drummer who started performing in the early 1970s with several R&B groups from the likes of The Unifics, The Chambers Brothers and The Five Stairsteps where he developed his unique style and finesse on drums. Later in 1975 he joined George Clinton's P-Funk collective and has appeared on many of Parliament & Funkadelic's most popular recordings (some of which he also co-wrote). Brailey played on classic albums like `Mothership Connection' and `One Nation Under A Groove'. Samples from that body of work (and his drum arrangements) have since then appeared on hundreds of hip hop and contemporary R&B songs by renowned artists such as Kendrick Lamar and Childish Gambino. Jerome Brailey is a member of the Rock and Roll Hall of Fame (inducted in 1997) and part of their `50 greatest drummers in the Hall' list (stating that his drum style kept Parliament-Funkadelic rooted in the old-school `James Brown-style funk')_next to this achievement, he was proclaimed by Rolling Stone as one of the `100 Greatest Drummers of All Time' for his steady kick drum, shifty hi-hat action and intricately unpredictable snare patterns. Brailey earned numerous Gold and Platinum records with the P-Funk Organization and has worked as a session drummer for many talented artists such as Herbie Hancock, Buddy Miles, Snoop Dogg and Pharoah Sanders. George Clinton's funk empire was not without its disagreements and Jerome Brailey's `Mutiny' project was a direct result of just such a disagreement (as well as one of the more notable offshoots of the P-Funk axis). Mutiny performed in a style not far removed from the classic P-Funk style and with a lot of emphasis on the dual lead guitar work, but what makes them unique compared to their contemporaries is that at times their recordings also emit a darker, more sinister feeling. Besides Brailey on drums (and on most of the lead vocals) Mutiny featured a funk-alumni line-up and released three amazing and collectible albums: `Mutiny On The Mammaship' (CBS, 1979), `Funk Plus The One' (Columbia, 1980) and `A Night Out With the Boys' (J. Romeo, 1983)_these were followed by two comeback albums: `Aftershock' (Rykodisc 1995) and `Funk Road' (Catbone, 2013). The `Mutiny' album we are proudly presenting you today (A Night Out With The Boys) is an underrated gem made by musicians who defined the funk scene of the '70s and '80s! Featuring an all-star line-up that includes Rodney Curtis (Fred Wesley, Maceo Parker), Michael Hampton (Funkadelic-Parliament, Deee-Lite), Kenni Hairston (Cameo) and Maceo Bond of Osiris/Afrika Bambaataa fame! `A Night Out With The Boys' has it all: Jerome's trademark drumbeats, funky bass grooves, driving riffs accented by stinging synth parts, slow spacey (and prominently featured) guitars, top-notch lead vocals and chants that recall Sly Stone's "Loose Booty". The whole album is a hot dance jam with crisp percussion_an extremely infectious, locked-in-the-pocket bass-heavy monster-funk-bomb that any serious self-respecting funk fanatic must have in his/her collection!

Demon Records presents Distortion: 1996-2007, the second in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould.
Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume two in this new series covers 1996 to 2007, beginning with the 1996 self-titled solo album and continuing through to Mould’s 2006 collaboration with Rich Morel BLOWOFF.

• 6 studio albums across 8LPs, including – Bob Mould, The Last Dog And Pony Show, modulate. (first time on vinyl), Long Playing Grooves. (first time on vinyl), Body Of Song, and BLOWOFF (first time on vinyl).
• Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects.
• Accompanying the studio albums is a new compilation Distortion Plus: 1996-2007 which features an array of bonus tracks including the demo version of ‘Dog On Fire’ (Theme from The Daily Show), B sides and other rarities (pressed on clear vinyl).
• Includes a 28-page companion booklet featuring: liner notes by journalist Keith Cameron; contributions from Death Cab For Cutie’s Ben Gibbard and Best Coast’s Bethany Cosentino; lyrics and memorabilia.
• Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston.

Before fronting classic post-punk group The Sound, Adrian Borland was a Wimbledon teenager enamored of Iggy Pop and the Velvet Underground. With friends, he formed The Outsiders. In 1976, they home-recorded Calling On Youth, a searching full-length that straddles nihilo-punk argot (“Terminal Case” and “I’m Screwed Up”) as well as smudged glam balladry (“Start Over” and “Weird”). Its release in 1977, on the group’s own Raw Edge label, with Borland’s cityscape abstraction on the cover, marked the first independent punk full-length in the United Kingdom.

The Outsiders, featuring bassist Bob Lawrence and drummer Adrian “Jan” James, were punk in the moment before punk cut ties with solos and five minute songs. (Close Up, released in 1978, is more streamlined.) Like the Saints or Crime, they still trafficked in rock ’n’ roll. Calling On Youth, though, announces Borland as more than a precious teenage bandleader. The nervous introspection, wiry leads and negative space that he would refine solo and in The Sound, Second Layer and Witch Trials glistens throughout Calling On Youth, beckoning rediscovery.

Following the 2020 release of RoundAgain, Nonesuch reissues on vinyl Joshua Redman's first album with his own band — pianist Brad Mehldau, bassist Christian McBride, and drummer Brian Blade — originally released in 1994. MoodSwing was Redman’s third recording as a band leader and his first featuring all-original compositions. The young saxophonist sought to change what he believed to be the public perception of jazz — a largely academic and overly intellectualized form of music devoid of the emotional themes that drive many other genres. As he explains in the original liner notes, jazz was seen as, “an elite art form, reserved for a sophisticated intelligentsia who rendezvous in secret.” With MoodSwing, Redman makes the case that jazz can be an accessible musical medium that could evoke basic and visceral emotional reactions.

From the playfully coy ‘Chill’ to the urgent energy of ‘Rejoice’, Redman offers up a communicative and inspired record ofemotional diversity. Joining him in this task was a young band of his peers, all of whom have since become established and esteemed figures in jazz. MoodSwing was one of the first exposures the jazz community had to young pianist Brad Mehldau, then beginning his career in Redman’s quartet. Mehldau anchors these compositions behind Redman’s lyrical playing, occasionally stepping out front to show his talents in ‘The Oneness of Two (In Three)’ and ‘Past in the Present’. The band’s rhythm section has since been recognized as one of jazz’s best, with Christian McBride on bass, and then little-known Brian Blade on the drums.

As the follow-up to his breakout Wish, MoodSwing was universally praised by critics and enjoyed commercial success, selling over 300,000 units worldwide. Entertainment Weekly wrote, ‘saxist Redman finds ingenious ways of creating a modeof acoustic jazz that is both entertaining and enlightening.’ This record continues to provide a cornerstone for Redman’s currentcareer; many of these compositions are still featured in the saxophonist’s live sets today.

Redman’s previously announced European summer 2020 tour dates with Mehldau, McBride and Blade have been rescheduled for 2021, including London’s Barbican, now on July 11.

THERION have always been a band that have challenged themselves to explore new paths, while remaining true to their musical core values. For their 17th studio album, mastermind Christofer Johnsson and his collaborator Thomas Vikström have created something that has been previously unthinkable to the guitarist and the singer. "We have done the only thing that was left of all the different angles to explore", explains Christofer. "We have decided to give the people what they kept asking for. 'Leviathan' is the first album that we have deliberately packed with THERION hit songs."

True to the Swede's words, the album opens with the catchy and swift tune 'The Leaf Of The Oak Of Far' featuring female and male antiphonal singing as well as a choir that seems to have evolved straight out of THERION's breakthrough full-length "Theli" (1996). This is immediately followed by the obvious highlight 'Tuonela', in which Christofer cleverly underscores this hit-track's Finnish vibe by employing NIGHTWISH’s "metal voice" Marko Hietala. Next up in this parade of future fan-favourites is the title track 'Leviathan' that offers classic THERION material with operatic female vocals and a massive choir.

Christofer Johnsson's passion for classic voices, choirs, and orchestral elements as well as his penchant for epic melodies in combination with rock and metal shines clearly through the following sing-along ballad 'Die Wellen Der Zeit', which indicates another nod to German romantic composer Richard Wagner. "Ever since 'Theli', Wagner has been and will always be at the core of THERION", emphasises Christofer. "When we started to combine metal and opera, it was something new and original. Today, symphonic metal has long been a firmly established genre."

When THERION came into being in 1988 by changing name from the already existing band BLITZKRIEG, which was founded a year earlier, Christofer had rather taken inspiration from SLAYER's "Reign In Blood" among other classic metal albums. At the beginning, the Swedes were firmly rooted in death metal, a genre which they helped to define, as witnessed by their debut album "Of Darkness...." (1991). Yet even back then, there were hints of "something else" lurking beneath the rough surface.

The use of female vocals is another core ingredient of THERION today, which developed gradually. CELTIC FROST had basically introduced the female element to extreme metal on "To Mega Therion" in 1985. THERION began with both a female and male vocalist emulating a church like choir already in their sophomore full-length 'Beyond Sanctorum' (1992). With Symphony "Masses: Ho Drakon Ho Megas" (1993) and "Lepaca Kliffoth" (1995), Christofer continued to developed his trademark sound by gradually drifting towards cleaner vocals and more keyboards. With "Theli", the Swedes had firmly established a reputation of pushing the boundaries of metal in the 90s – among such acts as their compatriots TIAMAT, THE GATHERING, and MOONSPELL that were often referred to as "gothic metal" at the time.
THERION continued to break new ground leaving inspiration for others to follow in their wake: On "A'arab Zaraq - Lucid Dreaming" (1997), Christofer further explored the use of Near Eastern music in metal which he had already begun in 1992, while "Secret Of The Runes" (2001) dared to have Swedish lyrics in some songs. While critics were left confused and fans challenged, THERION were often ahead of their times and vindicated in hindsight. Even the band's 25th anniversary excursion "Les Fleurs Du Mal" has by now overcome the initial shock the album caused and is only beaten in terms of streaming by the classic "Vovin" (1998).
When Christofer faced the question of where to go next after the dramatic "Beloved Antichrist" (2018) had finally fulfilled his musical mission, his answer is "Leviathan" named after a giant sea monster from Judeo-Christian myth that has roots in Babylonic lore: THERION have created a giant hit album – and for the first time in the history of the Swedes, their fans are not asked to explore something new, but simply to lean back and enjoy the best from their band!

This limited edition vinyl release is a double disc pressing on 180g
heavyweight, translucent ORANGE vinyl. The beautiful record sleeve is a gatefold design to fit both LPs.
This vinyl is a limited release to 1000 pressings; each vinyl is hand numbered.
Kate Rusby’s album, Hand Me Down, started life a few years ago whilst she was rehearsing for the Jo Whiley Show on BBC Radio 2. Jo asks her live music guests to perform songs of their own plus any cover version of their choice, Kate’s choice at that time was Oasis’ “Don’t Go Away”; on her second visit to the show she chose by ‘Friday I’m in Love’ by The Cure.
“As a folk singer, it’s what I do, re-interpret existing songs, but usually the songs are much, much older. After playing a version of Oasis’ ‘Don’t Go Away’ on the BBC Radio 2 Jo Whiley show, about 5 years ago, it dawned on me that not just the very old songs are handed down through the generations, but also favourite songs of any age, of any generation.
Songs are precious for many different reasons. With ‘Don’t Go Away’ proving so popular on the last album and hearing the reaction when we performed it on tour, I decided, “Right, that’s it! I am doing a whole album of covers.”
It was always the plan to make this album this year, lock-down just made it more intimate. We have laughed and we have cried, we have danced and we have sung. All of that is here, engrained in every track.”

Niscitam is the debut album by Australian musician and songwriter Blake Scott. Better known as a member of The Peep Tempel, Blake is revered for his character driven lyrics and pointed songwriting, evident across the band’s three critically acclaimed albums.
Written in the months leading up to the birth of his first child and during a period of extended sobriety, Niscitam is a recollection and reflection on dreams, memories and the pressures of everyday existence. Blake partnered with multiinstrumentalist and engineer John Lee to produce the album at Phaedra Studios in Melbourne with musicians Jacey Ashton and Nick Finch.
It remains voluminous and bold in arrangement, whilst taking a more introspective path lyrically. On one hand, the album explores the fear, anxiety, and questions of adequacy ahead of pending parenthood. On the other, it celebrates health & mobility, love & possibility and is an attempt by the artist to reconcile with his past, as well as cultivating a positive and nourishing path forward. The result is an astonishing debut album.

Lande Hekt’s voice in music is one that’s socially aware yet often
introspective, drawing awareness to serious issues but at the same time baring her soul. Much of Hekt’s compositions act as a personal diary of what’s going on in her life at any given time.
This is evident in her discography with Muncie Girls, the band which she formed in her hometown of Exeter as a teenager and have released two critically acclaimed albums to date.
This knack of combining her own experiences and feelings whilst highlighting larger socio-economic issues has carried through to her more contemplative solo material, which began life in an EP ‘Gigantic Disappointment’, self-released
in 2019.

Netflix's acclaimed series Suburra: Blood on Rome (available in over 190 countries) focuses on the deep connections between politics and organised crime in the Italian capital. The soundtrack to the third and final season was written, produced and performed by Roman rapper and songwriter PIOTTA, whose "7 Vizi Capitale" was already the theme song for seasons 1 and 2. His music beautifully complements the gripping plot and the characters' journey, capturing the atmosphere of a side of Rome unknown to many. The vinyl LP contains 10 previously unreleased tracks, including 2 instrumentals and a remix; the CD features 3 bonus tracks.

With 9 albums under his belt, Tommaso Zanello, also known as PIOTTA, is one of the pioneers of Italian hip hop. Active on the Roman rap scene since the mid-90s, he earned national fame with his award-winning single "Supercafone" (1998), which was later used by Sky Japan as a theme song for the Italian football championship. He can boast collaborations with hip hop legend Afrika Bambaataa and English musician Captain Sensible and has toured the United States with the Vans Warped Tour.

La Locura de Machuca is the story of one man’s bizarre odyssey into Colombia’s coastal music underground, and the wild, hypnotic sounds he helped bring up to the surface.

One night in 1975, a successful tax lawyer named Rafael Machuca had his mind blown in Barranquilla’s ‘Plaza de los Musicos’. Overnight he went from a high ranking position in the Columbian revenue authority to visionary production guru of the newly formed record label that bore his name, Discos Machuca, and for the next six years he devoted his life to releasing some of the strangest, most experimental Afro Psychedelia Cumbias ever produced. La Locura de Machuca is the story of one man’s bizarre odyssey into Colombia’s coastal music underground, and the wild, hypnotic sounds he helped bring up to the surface.

The Colombian music industry was thriving in the mid-seventies, but while homegrown bolero and vallenato tunes were doing well on the charts, it was imported African records that were setting crowds on fire at the picos – the sound-systems that fuelled neighbourhood parties – and wherever those records were played there were always a handful of groups who were inspired to plug traditional Cumbia directly into the electric currents coming from across the Atlantic.

It was these obscure bands, who fused Colombian and African rhythms with the swirling organs and psychedelic guitars of underground rock, that fired Machuca’s imagination. While the label made its money releasing popular hits by legends such as Alejandro Durán and Aníbal Velásquez, that money was poured back into a unique run of experimental releases by fringe artists such as La Banda Africana, King Somalie, Conjunto Barbacoa, and Abelardo Carbono, one of the godfathers of Champeta Criolla.

When Machuca couldn’t find groups to realise his particular vision, he simply created them himself. Drawing on a fearsome roster of musicians associated with the label, he assembled bands that lasted only as long as it took to record an album ,and unleashed the results – complete with arrestingly unusual album covers – under a series of different names such as Samba Negra or El Grupo Folclórico. This unorthodox approach led his longtime recording engineer, Eduardo Dávila, to describes Machuca’s productions as the “B-Movies of Colombian music.”

The story of Doctor Machuca and his eccentric exploits tells of one of Colombia’s most atypical and peculiar record companies; a defining pillar of Afro-Caribbean psychedelia. His productions have come to represent the roots of Champeta and set the pedigree standards for Afro and Costeño avant-garde. The seventeen tracks on La Locura de Machuca, harvested from the darkest, strangest corners of the Discos Machuca catalogue, sound like little else recorded before or since.

Following the stellar trip through Woo’s Arcturian Corridor , Quindi Records continues to explore intimate, inviting sounds with an experimental bent by facilitating the return of overlooked Italian duo Cabaret du Ciel.
Initially formed in 1986, Cabaret du Ciel’s debut album Skies In The Mirror was a low-key and extremely rare cassette release of spellbinding electro-acoustic ambient music created by Gian Luigi Morosin and Andrea Desiderà. A reissue on Hybride Sentimento in 2018 brought renewed attention to the startling music contained within this unique project.
The Breath Of Infinity is an album comprised of new works recorded over the past year, either as new pieces or reworked from old ideas with the assistance of Giorgio Ricci. Morosin and Desiderà’s natural instincts as multi-instrumentalists shine through across the record as they did on Skies in the Mirror , although these tracks were in fact composed as raw live takes using electronic workstations (with a little additional fretless bass provided by a close friend Giampaolo Diacci on “Different Suns” and “Climatic Variations”).
There is a crisp, digital timbre to the worlds Cabaret du Ciel shape out on The Breath Of Infinity – utopian pastureswith an air of optimism similarly expressed in the first waves of ambient electronica. Folk traditions exert a guiding influence on the sparkling, ethereal melodies and full-frequency harmonisation, but this is music enamoured with timeless plateaus rather than hackneyed interpretations of the past, present or future.
It’s also an album of variety. “Different Suns” tumbles with a pastoral, elemental earthiness thanks to the interwoven rhythmic murmuring of percussion and live bass, while “Lakota” pivots in sharply rendered bio-mechanical formations.
There’s a widescreen bombast to “Theatre Azure” which calls to mind mid-90s US electronica, while “Meredith” reclines in a blissful bath of plush 80s FM synthesis. “Sunset Parade March” has a distinct sense of propulsion thanks to its overdriven, broken techno rhythm and “Highlands” skips with an infectious energy despite not using any formal
kind of percussion, but even in these more kinetic moments a preference for mellow musicality maintains the dreamlike mood.
Consider The Breath of Infinity like an archipelago, where each track functions as its own distinct island of ideas while being intrinsically interconnected to the others. In a similar fashion to acts such as Ultramarine (who appeared as remixers on Quindi 001), Cabaret du Ciel emphasise the musicality in their electronic music, shaping out an
evocative, imaginative environment to idly glide through or attentively explore.

Southern Lord announce Crush The Machine, the debut EP from West Coast hardcore punk collective D.E.A (Dead End America), formed by the late, great Steve "Thee Slayer Hippy" Hanford of Poison Idea, with current and former members of Queens Of The Stone Age, Eyehategod, The Accüsed A.D, World Of Lies, Ape Machine, and more.

Captured before Hanford’s passing earlier this year, D.E.A's debut shall be released on 7" and digital EP on 30th October (Non-Returnable) Recording details, liner notes from Mark Lanegan and more info below.

Crush The Machine sees the primary writers, drummer/vocalist Steve Hanford and guitarist Tony Avila (World of Lies, Why Won't You Die, Aborted Cop, Here's Your Warning) joined by lead guitarist Ian Watts (Ape Machine, Minmae) and bassist/vocalist Nick "Rex Everything" Oliveri (Mondo Generator, The Dwarves, ex-Kyuss, ex-Queens Of The Stone Age), with additional lyrics and vocals from Mike IX Williams (Eyehategod, Corrections House, Outlaw Order) and Blaine Cook (The Accüsed A.D, The Fartz, Toe Tag).

"A perfectly appropriate title for this 7 inch EP of jack-hammering, oldschool style hardcore tunes released by Southern Lord, written and played by a rogues gallery of real deal music lifers as a condemnation of the criminal Trump administration and republican party, in the same spirit of those by-gone days when Ronald Reagan or George Bush was the crooked, self-serving president of the crumbling United States empire. Never before has there been a more obvious target, as Donald Trump and his mafia family cabinet rape the country while Rome burns. D.E.A. is Tony Avila, Ian Watts, Nick Oliveri, Mike IX, Blaine Cook and the legendary and beloved, late producer and drummer of Poison Idea, Steve "Thee Slayer Hippy" Hanford. Dying shortly before the completion of this record, it stands as a final testament to his genius, one last hot-wired blast of his epic musical brilliance."

Mark Lanegan
Los Angeles
August, 2020

LTD. CLEAR VINYL

Repressed in quantity for the first time in years. Includes the hit single "Strange Harvest". Tempers, comprised of Jasmine Golestaneh and Eddie Cooper, have carved out their own niche within dark indie, electronica and synth-pop circles. Their sound is about exploring tonal and emotional tension as much as it is about actual tracks or singular moments. Adrenalizing yet hypnotic landscapes layer mechanical and sensual impulses, as crystalline vocals weave fever dreams of yearning and alienation. Informed by both Golestaneh's involvement in musical performance and visual art and Cooper's electronic production resume, as well as their time in the States and abroad, they operate as a multi-disciplined entity in the spirit and ethos of Factory Records. Tempers describe their creative process as a telepathic kinship they've developed since they started making music together: "We have these sort of unspoken criteria when we're writing music. We never really need to explain what that is but we both know when it's missing or when we've hit it." After a string of critically acclaimed singles beginning in 2013 with "Eyes Wide Wider" b/w "Hell Hotline," the duo released their debut LP "Services" (2015) on cult imprint Aufnahme + Wiedergabe resulting in the underground club hit "Strange Harvest", extensive international touring and sold-out shows. The album's vinyl edition soon became a sought after collectors item. Their 2017 EP "Fundamental Fantasy" was released as a result of the Vinyl Factory's Volcano Extravaganza artist residency on the Aeolian island of Stromboli. Following their unique creative compass, in 2018 they indirectly moved from the dance floor to galleries, releasing "Junkspace" a conceptual collaboration with famed architect Rem Koolhaas. The record is available in the world's most select cultural hotspots, from The New Museum in New York to Walther Konig museum stores throughout Europe, a testament to Tempers' love for experimental output and unorthodox presentation. In 2019 Tempers signed with Dais Records, promptly releasing "Private Life" and the lead single "Capital Pains," a meticulous evolution of the dark pop that marked the duo's earlier output.

Just when America received a Grammy Award for Best New Artist in
1973, they released their second album Homecoming to great critical and popular acclaim. The single “Ventura Highway” preceded the album and hit a Top Ten status. The album followed suit and stormed the Billboard Top Ten. Polishing their sound, they built further on the Folk Pop formula they invented on their debut America a year earlier. Dewey Bunnell, Dan Peek and Gerry Beckley delivered a compelling and top quality set of songs, by many regarded as their best work..

Available as a limited edition of 1500 individually numbered copies on
flaming gold coloured vinyl.

• 180 GRAM AUDIOPHILE VINYL
• TRIFOLD SLEEVE, FOLD OUT SLEEVE
• LIMITED EDITION OF 1500 INDIVIDUALLY NUMBERED COPIES ON FLAMING GOLD COLOURED VINYL

Spirit is the seventh studio album by Earth, Wind & Fire, released 45 years ago, in, 1976 by Columbia Records. The album rose to No. 2 on both the Billboard 200 and Top Soul Albums charts.

Two singles became huge hits; “Getaway” reached No. 1 on the Billboard Hot Soul Songs chart. The single also rose to No. 12 on the Billboard Hot 100. “Saturday Nite, peaked at No. 4 on the Billboard Hot Soul Songs chart and No. 21 on the Billboard Hot 100 chart.

Spirit received critical acclaim. The New York Times wrote; “What is most interesting about Maurice White and his musicians, is their refusal to be locked into any stylistic format Mr. White’s record will be labeled ‘disco’ in some quarters, and indeed parts of if, would not sound out of place in a disco. But, generally, Earth, Wind and Fire is closer to
jazz, or to jazz‐rock, than to the thumping formulas of disco. And yet the group isn’t afraid
to slip in a ballad, either.”

Issac Hayes called Spirit one of Earth, Wind & Fire’s five essential recordings. Spirit was also nominated for an American Music Award for Favorite Soul/R&B Album. A song from the album called “Earth, Wind and Fire” was also Grammy nominated in the category of Best Instrumental Composition.

'Available exclusively on Disney+ beginning Dec. 25, 2020, Disney and Pixar’s feature film “Soul” introduces Joe Gardner, a middle-school band teacher with a serious passion for jazz music. The story is particularly relatable to the artists behind it. For Jamie Foxx, who lends his voice to Joe, it begins with jazz. “Like Joe, I hear music in everything,” said Foxx. “When you’re a jazz artist, man, you talk a little different: ‘Hey, cat!’ I got a chance to go to a few jazz fests and meet Herbie Hancock, Chick Correa—hang out with those guys. They have a way of talking, a way of dressing—everything funnels toward their music, toward the jazz."

Pantera’s final opus, Reinventing The Steel, represented a recommitment to everything the band loved about heavy metal. Released in 2000 at the peak of nu-metal’s popularity, the album’s back-to-basics approach flew in the face of the trend and served as a potent reminder of the enduring power of primal metal.

Pantera’s 9th and final studio album turns 20 this year and is celebrated with this 2LP set, pressed onto 180g audiophile silver vinyl, featuring the new Terry Date mix on one album, plus eight rare bonus tracks making their vinyl debut on the other.

The album received widespread critical acclaim as well as high praise from fans, who voted the album as Album of The Year 2000 as well as voting the single “Revolution is My Name” Single of The Year 2000. The album also ranked No.2 on Guitar World’s readers’ poll for Top 10 Guitar Albums of 2000.

A ‘satire about satire’, WASTELAND is a wild Burroughsian adventure melding science-fiction, absurdism and magical realism, calling fora revolution against the reductive ‘good versus evil’ narratives of popular satirical music. Arguing that through experimenting with the form of the song lyric (our most widely disseminated form of creative writing) we can build more nuanced popular discourse around the implicit forms of bias that ail us, WASTELAND presents complex characters changing their minds–along with their bodies and places in spacetime. Set in an unearthly liminal space populated by shape-shifters, time-travellers, talking genitalia and ectoplasmic spectres, the prose text evolves as the characters do: warping into cut-ups, soliloquies and even plays.Created over two years, the album draws from LICE’s rise in ‘the punk world’ (sharing stages with IDLES, The Fall, Squid, Fat White Family, Girl Band etc.) and eventual disillusionment with the limits of its prevailing ideas.

WASTELAND is a concept album structured as an experimental short story, taking cues from Brian Catling, William Burroughs and Kurt Vonnegut Jr. Its core argument is that, through reworking the prevailing forms of satirical song lyrics, we can build more nuanced popular discourse around the implicit forms of bias that ail us–the song lyric being the most widely disseminated and commonly ‘engaged with’ form of creative writing there is. In this allegory for crises in society and art (from commodification to ideological state apparatuses), the moral, physical and temporal transformations of its characters are paired with the text’s transformation: breaking from prose into cut-ups, soliloquies and even plays. In the wild, liminal space of the Wasteland, this story

Jamie xx releases a remastered version of his debut album ‘In Colour’ on Young Turks.

Jamie’s definitive ‘In Colour’ is a bold, celebratory and emotional artistic statement that received critical acclaim across the board as well achieving huge commercial success.

The eleven track LP was widely regarded as one of the best albums of 2015 and was voted in the top 25 of Pitchfork’s Best Records Of The Decade. ‘In Colour’ went on to receive Grammy, Brit and Mercury Award nominations, reaching Gold status in the UK Official Charts, and its lead single ‘I Know There’s Gonna Be (Good Times)’ featuring Young Thug and Popcaan is certified Gold in the USA.

As well as continued success with The xx (whose third album ‘I See You’ was released in 2017), Jamie released a new single ‘Idontknow’ in April this year, which has sold out on 12”.

Repressed in quantity for the first time in years. Includes the hit single "Strange Harvest". Tempers, comprised of Jasmine Golestaneh and Eddie Cooper, have carved out their own niche within dark indie, electronica and synth-pop circles. Their sound is about exploring tonal and emotional tension as much as it is about actual tracks or singular moments. Adrenalizing yet hypnotic landscapes layer mechanical and sensual impulses, as crystalline vocals weave fever dreams of yearning and alienation. Informed by both Golestaneh's involvement in musical performance and visual art and Cooper's electronic production resume, as well as their time in the States and abroad, they operate as a multi-disciplined entity in the spirit and ethos of Factory Records. Tempers describe their creative process as a telepathic kinship they've developed since they started making music together: "We have these sort of unspoken criteria when we're writing music. We never really need to explain what that is but we both know when it's missing or when we've hit it." After a string of critically acclaimed singles beginning in 2013 with "Eyes Wide Wider" b/w "Hell Hotline," the duo released their debut LP "Services" (2015) on cult imprint Aufnahme + Wiedergabe resulting in the underground club hit "Strange Harvest", extensive international touring and sold-out shows. The album's vinyl edition soon became a sought after collectors item. Their 2017 EP "Fundamental Fantasy" was released as a result of the Vinyl Factory's Volcano Extravaganza artist residency on the Aeolian island of Stromboli. Following their unique creative compass, in 2018 they indirectly moved from the dance floor to galleries, releasing "Junkspace" a conceptual collaboration with famed architect Rem Koolhaas. The record is available in the world's most select cultural hotspots, from The New Museum in New York to Walther Konig museum stores throughout Europe, a testament to Tempers' love for experimental output and unorthodox presentation. In 2019 Tempers signed with Dais Records, promptly releasing "Private Life" and the lead single "Capital Pains," a meticulous evolution of the dark pop that marked the duo's earlier output.

* Modern day classc roots reggae vocal set from England-based female singer Donette Forte.
* A criminally under-recorded artist with only handful of recordings to her name, including three 45’s already released by Partial and featured on this LP: `Jah See and Know’. `Homeward Bound’ and `Time For a Change’.
* `Wilderness’, produced by Rej Forte was originally released on the Jah Works label 1991 and has been out of print ever since.
* This reissue features two additional dub versions which were not featured on the original release.
* Limited to 500 copies only.

Mennie returns to INFUSE with his latest EP ‘Pressure Disco’, backed by a remix from London’s Laidlaw.

A resident at Florence’s iconic Tenax, with releases via the likes of Rawax, Moscow Records and Adult Only in the past few years alone, and regular collaborations with close friend Julien Sandre, Italian talent Mennie continues to evolve and develop as an exciting name within the European house circuit. Having debuted on the label last November to remix Wax On Mare St., early December will now welcome a return to INFUSE as he delivers three fresh original productions via his latest EP ‘Pressure Disco’, whilst welcoming a label debut from London event regular and BEEYOU Records boss, Laidlaw.

Opening cut ‘The A Track’ offers a up a fun-filled yet slick production as off-kiltersonics, funky samples and snaking basslines go to work, whilst title cut ‘Pressure Disco’ travels down a hypnotic and wandering spiral of crisppercussion, hazy synths and eerie melodies. On the flip, ‘Jam’ welcomes the introduction of swinging drums in abundance, whilst glitchy flourishes and twisting synths go to work, before closing proceedings via Laidlaw’s lively interpretation of the title track – delivering an impressive combination of twisting electronics, infectious bass stabs and bubbling core grooves throughout.

Dark Green Marbled Vinyl

One town, three times of the day, a triarchy of Techno music, rolling into the deep – coming as green marbled vinyl with an exclusively designed festival wristband!
Rico Puestel rears a monument to his growing-up-town „Uslar“ with three different approaches on this second part of the home-loving „Solling“ series that dig deep into a downscaled and natural framework of sound (all recorded and produced right at that place).

The initiation ritual on A1 with Uslar at 6'23 in the morning starts off with an actual electric guitar theme, originally recorded back in 2003, that builds the foundation hub to one crisp and point-blank Techno-Electro ceremony. The clean minimalistic sound will showcase all the details of any structure within while one's certainly getting caught by the overall force of melodic attraction like the sun working its path through the misty valleys.

At 13'35 noon, a rising rhythmical and progressive interpretation of the initial morning sounds makes an appearance on the flipside that doesn't allow much time to leap right into the centre of the da(y)nce, immediately creating the guesswork where side AA is leading all along.
The evening hours at 21'55 then take a flying leap into the mystical peak of the whole process, taking the morning sounds from side A into some uneasy realms and sceneries, prevailed by an almost voodoo-like momentum and a dance into the depths of its surrounding woods that will coherently dignify 90's loop Techno par excellence.

This fourth record on Exhibition is and feels right here and right now, paying tribute to the past and many different streams of Techno while cherishing a future that has yet to be written, celebrating the

Subheim adds a new chapter to his catalog of shadowy raves with ΠΟΛΙΣ – the fourth long player. Pronounced "Polis," the Greek word for "city," ΠΟΛΙΣ doesn't so much evoke the rapid cadences of life in a modern metropolis as it does the unspoken tension between longing to escape and being trapped in some kind of concrete stasis – living together with millions of souls in an expansive emptiness.

Subheim uses ΠΟΛΙΣ as a vehicle to depart from traditional songwriting structures, crafting each track as a piece of a larger sonic collage. Songs come out of nowhere, abruptly come to end before they even get a chance to start or introduce new motifs and surprise reprises long after we expect the next track to cue up. These stutter-start forms reflect the four years it took for the record to take shape: a series of failed musical experiments, indecision, balancing an unstoppable creative drive with the unavoidable emotional ebb and flow of life.

Though this is clearly Subheim working at a new level, listeners will recognize the sound of ΠΟΛΙΣ instantly as his, with both hints of the IDM/electronica of Approach era and the unmistaken human element that is present in all his work. The natural, off-grid time feel of the record is effortlessly augmented with field recordings and found sounds, this time around with the addition of more grit and power, and with heavier use of analog synthesizers.

Despite the album being born out of a feeling of alienation from one’s surroundings, it's impossible to ignore the sense of hope that runs through this LP. In ΠΟΛΙΣ, we hear an arrival at a deeper understanding of oneself, an inner peace amidst the decay and a cautious optimism that comes from someone who just happens to feel most at home in darkness.

2023 Restock

Within the elusive confines of this film awaits an unreleased album that defies categorisation by a musician who in a different time and space would be revered amongst some of the most important exponents of progressive rock, dark ambient, Krautrock and pioneering synthesiser composition - not to mention sound design and art-house film scores. As a protégé of François Bayle and Luc Ferrari who had studied classical music before immersing himself in found-sound manipulation and oscillators, Alain Pierre quickly became an enthusiastic go-to man for sound sculpture and technical studio proficiency in Belgium’s small film industry.

To the many generations of dedicated fans of the visual work of Philippe Druillet it might seem virtually impossible to adequately “score” the alien, futurist landscapes of the man who many called the “space architect” (on account of his space age reductions of Gothic cathedrals, Art Nouveau, and Indian temples), but once you have heard the sonic reactions of Alain Pierre on this the first-ever dedicated Druillet documentary, Ô Sidarta, complete with his own equivalent sound palette, it will be difficult to “hear” Druillet’s world via any other composer. Despite Druillet’s truly incredible record sleeve designs for projects like cosmic disco ensemble Black Sun, concept albums such as Attention by Jean-Pierre Mirouze (composer of Le Mariage Collectif), Parisian metal bands like Sortilège, gatefold portraits of Jimi Hendrix, later period albums by William Sheller and most relevantly on albums by Igor Wakhévitch (Docteur Faust, 1971) as well as separate releases by both Richard Pinhas and Georges Grünblatt (both from the cosmic prog outfit Heldon), it is fair to say that this criminally unreleased album by Alain Pierre would conjure up the closest synergy between sound and vision that either artist would come close to.

The almost twelve of continuous music that Alain Pierre supplied for Ô Sidarta in 1974 fortunately appears in its entirety, unedited, as it does here for the first time ever away from its original broadcasts. Broadcast on Belgian and French TV that autumn, the film received a warm reception from Druillet fans, prospective film producers and space rock fans lucky enough to catch the short feature.

Throughout his career Alain’s commitment to conceptual music excelled within both cinematic realms as well as with the live arena. Never shying away from the constraints of transporting heavy synthesiser technolog and unpredictable analogue equipment to public spaces, Alain took his self-initiated “live” work very seriously. It was within his lesser-documented performances that you would find the closest sound to the music on Ô Sidarta, proving that the Druillet collaboration was naturalistic and conceptually close to Alain’s personal stylistic agenda. A rare recording of a one-off concert at the Université libre de Bruxelles in October 1976 reveals a very similar set of movements and soundscapes found on Ô Sidarta. This rare artefact has been included on the second side of this record under its original title Notions de physique intérieure (Notions Of Interior Physics) and stands as a perfect companion piece to Ô Sidarta - complete with a very similar “kit list” including the welcome addition of an Arp Sequencer, a Korg Vocoder and a Theremin (a back line whose total would far surpass any stationary studio of the era never mind a live show!).

By looking back at his original composition for one of his very first solo soundtrack commissions, Ô Sidarta, you can hear that back in 1974 Alain had already successfully managed to combine more unlikely musical influences, experimental techniques, and previously unheard soundscapes and studio tricks in to one twelve-minute score than most musicians fail to cram in to a whole discography. But still there is so much music yet to be discovered and Ô Sidarta is just the tip of the iceberg in the middle of a cosmic sea. Much like a character from one of Philippe Druillet’s books, Alain Pierre is a rogue pilot, steering his own ship in to the unknown, uncharted, unnoticed and quite unbelievable.

In March of 2020 bassist Dezron Douglas & harpist Brandee Younger were nestled in their apartment in Harlem, New York, not long after every live concert in the world was cancelled and most folks in the United States were forced to shelter in place for the covid lockdown. With all their gigs cancelled and their incomes strapped.. the two came up with an idea. They would host a live-stream performance from their living room, where they would perform classic tunes for friends and family to watch online, and folks could send them donations. They called it “Force Majeure: Brunch in the Crib with Brandee & Dezron,” the first part in homage to the ubiquitous contract clause that never seems to have any use (except all of sudden, c/o a covid-induced live music industry collapse). The immense popularity of their first performance roped them into doing it again, and again, until it eventually became a weekly ritual for Douglas, Younger, and their many friends and family who tuned in every Friday morning (ourselves included). Knowing the beautiful, natural sound they made in their living room would be as enjoyable (or more) as a record as it was through a social media stream… we mailed them a microphone to record themselves. What’s heard on this album, Force Majeure, is a collection of highlights from Douglas & Younger’s legendary lockdown livestream brunch sessions. It includes gorgeous interpretations of songs by Alice & John Coltrane, The Stylistics, The Jackson 5, Pharoah Sanders, Kate Bush, Sting, and The Carpenters… plus some solid gold nuggets of their banter between tunes. It’s an uplifting suite of real, soulful comfort music – a spiritual salve, emanating warmth from the hearth of a Harlem sanctuary.

Dezron Douglas & Brandee Younger are long time companions in life and in music. The two East Coast natives met early in life and have accompanied each other, personally and professionally, through their equally prolific careers. Douglas, a bassist who has established himself as a musician’s musician, is known to many for his work with Pharoah Sanders, Ravi Coltrane, David Murray, and Keyon Harold. Younger, a harpist who has distinguished herself as one of the premiere voices in her field, is known for her work with Jack DeJohnette, Charlie Haden, Stevie Wonder, The Roots, Lauryn Hill, and Moses Sumney. To the day Douglas and Younger often accompany each other in many of the ensembles they lead, respectively. The two played together in sessions for Makaya McCraven’s 2018 release Universal Beings, on which they are both featured artists. Of Force Majeure, McCraven says: “It’s a testament to the power of music to uplift us through the most challenging times.

2X12" repressed !

Welcome to - Industrie & Zärtlichkeit , the raw, quirky yet emotional debut album from Moon! Although the Berlin-based duo is revered for dancefloor bangers such as - Ze power', Johannes Albert and Johannes Paluka (better known as Iron Curtis) have put much effort into making this album a true listening experience without sacrificing their roots in House Music. - Industrie & Zärtlichkeit (which translates into - Industry & Tenderness ) effortlessly achieves what is claimed in its title, namely a fusion of seemingly disparate elements: the rough and the smooth, dirty beats and soothing harmonies, bizarre sounds and comforting chords. The title track is a fine example of this perfectly-dosed blend with its detuned strings that glide over a crisp electro beat and an infectious melody which would make Kraftwerk proud. Cafe Del Landwehrkanal' is a lighthearted and kinky gem while - Light Of Virtue combines warm synth pads (Detroit is not far) with dusty drums and an acid bassline. MFB Nights' and Machine Rhythm Tomorrow' are also illustrations of the duo's undeniable savoir-faire, with the former celebrating garage classics thanks to its cheeky vocal sample and gorgeous rhodes chords while the latter plays out as a dedication to the early 90's, a time when people didn't care about genres and just dived in the novelty of electronic dance music.
But as we all know, there is a dark and secret side of the Moon, an aspect which is best expressed via the freaky organ chords of - Proto and its detuned melody. Not to mention the excellent ambient pieces - Fjordig or - The Bitter End which showcase the duo's ability to venture into uncharted territory.
All in all, Industrie & Zärtlichkeit feels like drinking fresh orange juice gently sparkled with chilli... and it concludes flawlessly with two reworks that prolong the album's laidback yet assured vibe. First off is Black Spuma (Lauer of Tuff City Kids fame and Italian disco legend Fabrizio Mammarella) who rework the title track into a hands-in-the-air boogie monster that will definitely be a festival staple this summer. Finally, Lerosa emphasizes the deeper shade of the album's spectrum with an impressive new wave rework of - Appeal .

“dego & 2000Black Remixes / Fish Factory Sessions” features two remixes from renowned broken beat innovator dego and 2000Black of “Sour Face”. One rooted in Brazilian funk and boogie and the other delving into a deeper Bruk realm, the reworkings showcase the versatility of the original track. Taken from Bryony Jarman-Pinto’s critically acclaimed debut LP ‘Cage and Aviary’, “Sour Face” focusses on the wider frustrations of everyday life; “of break ups, environmental issues, the album and myself” she confesses.
Alongside a selection of beautifully recorded as-live sessions of album tracks from the songwriter and vocalist, performed with a full band at London’s legendary Fish Factory Studios. “The sessions were meant to feel live, like a performance.” Bryony explains, “All the musicians have put their ideas into the songs, transporting them to somewhere beyond the album versions and allowing them to take on a new life”. Released last summer, the much-anticipated ‘Cage and Aviary’ was written over the course of three years and created with long-time friend, collaborator and Tru Thoughts label-mate Tom Leah AKA Werkha. Tying together personal reflection to wider social issues, the album gives an intimate insight into what it means to come of age in today’s world. Sophisticated song writing layered with jazz, soul and elements of folk charmed many major tastemakers including Gilles Peterson, Jamie Cullum, Lauren Laverne, Tony Minvielle, Toshio Matsuura, Laurent Garnier, Clash, The Telegraph, Bandcamp and EARMILK.

Limited edition remastered, originally released on F Communications 2004. A beautiful release for the French label here provided by a man that very rarely puts a foot wrong. - RA review (4.5/5)

The brilliant Jori Hulkkonen returns to the French based F Communications to help the label celebrate 10 years in this volatile industry by gracing them with 2 original productions of his own in his A Letter From Cardassia EP. Expect trademark quality house that Jori has become famously known for in his years of producing.

First up on the EP is Fermi Paradox. Retro at its finest, the track features some very nice crisp drum patterns and a bouncy baseline to get very excited about. As the track builds, the baseline forms into a bouncing retro synths, accompanies by fantastically produced drums and percussion. Funky house with a electro and techy edge, it really must be heard to understand the appeal!

On the flip is the Live Version of 7 Strange, 7 Faith. The beats are quirky, and the baselines bouncy in this production that is just as impressive as the tasty a-side. A brilliant groove is created by the low end sounds, and also by the beautiful string patterns that ride the track for the majority of the record. A quirky vocal line doesn’t harm its allure in a track that increases in emotion as it progresses.

A beautiful release for the French label here provided by a man that very rarely puts a foot wrong.

Despite current circumstances, Speedy have had a busy year. The London-based label run by producer Dan Carey alongside Alexis Smith and Pierre Hall were recently coveted with the Best Small Label Award by AIM after being nominated for the second year in a row. Carey also picked up UK Producer Of The Year earlier in the year at the prestigious Music Producer Guild Awards. He also produced the critically acclaimed sophomore album ‘A Hero’s Death’ by Fontaines D.C. which landed a welldocumented No. 2 position in the official album charts.
Speedy Wunderground released their fastest ever selling 7” - The Lounge Society’s timely tour de force ‘Generation Game’, the second band to be signed to the label for a forthcoming EP release following Squid’s ‘Town Centre’ EP in 2019. They also announced the label’s first ever full album release - Tiña’s ‘Positive Mental Health Music’, with recent single ‘Golden Rope’ having just come off the A-list at 6 Music.
Bringing bands into the studio wasn’t an option so the label started an ongoing project called ‘The Quarantine Series’ in which Carey under his Savage Gary techno/electronic alter ego collaborated with artists and friends, old and new over the internet and then uploaded them to the label’s Soundcloud/socials with little or no fanfare - no PR-ing or radio pluggers, just let the bands do their own thing, organically.
The common thread throughout all is Carey, whether it be in his regular name or his Savage Gary guise. However, collaborators in the series so far have included a wide range of people: Kae Tempest, PVA, Willy Mason, Heartworms, Warmduscher, Charlotte Spiral, Boxed In, Stephen Fretwell, Goat Girl and more.
“We chose two tracks/artists that I think we really wanted to shed some more light on” says label co-runner Pierre Hall. “Two that we really didn’t want to go under the radar - and in our opinion reflect this parallel strand of the label that’s forming - with new artists we’re really excited about - and that will hopefully draw people in to explore the series as a whole.”
First on the release is ‘Wait & See’ from rising Bajan artist RoRo. A hypnotic masterful flow which meanders seamlessly around Carey’s pulsating electronics. It’s bursting with attitude and originality. “I saw Dan Carey play with Kate Tempest on one of my first few times ever being out in London” she says, “it was such an amazing show. I was extremely excited to then get the chance to work with him. I’d been trying to do so while in London, but it didn't quite work out that way. We did manage to make it happen remotely whilst I was back in Barbados though, and we knocked it out!”
Second is ‘Cigarettes Pt. 2’ from the enigmatic Londoner youngblackmale AKA Rutare Savage: “It’s a poem, transformed into a song by the ever amazing Dan Carey. It touches (lightly) upon the topics of fear of the police, drug and alcohol abuse, family, and pulling oneself out of a nihilistic worldview driven by a newfound lust for life. This is me trying to reason with the void.”

A contemporary dance score for award winning British choreographer Wayne McGregor inspired by Sergei Pavlovich Diaghilev (1872-1929). 'My composer for Dyad, Icelandic musician ?lafur Arnalds, is coming in next week to finish work on the score. It's an amazing piece of music ? it's melancholic and spatial then cuts to extreme rhythmic violence - it's hauntingly inspiring' ? Wayne McGregor (Random Dance) 2009 has already proved quite a year for Iceland's neo-classical export ?lafur Arnalds. Still high on the success of his 7-song series 'Found Songs' ? recording a song a day for 7 days and instantly making each track available via Twitter; ?lafur was approached by the world renowned and critically acclaimed choreographer Wayne McGregor to create a 30-minute score for his ambitious new work 'Dyad 1909'. The dance piece, inspired and created 'In The Spirit of Diaghilev' premiered at the Sadler's Wells theatre this October and became an unpredictable and much talked about 5-nights of live music, dance and visuals. This 'fascinating collaboration' (Guardian) will go on a EU-wide tour this autumn with Arnalds included in an impressive creative line-up alongside visual artists and filmmakers Jane and Louise Wilson. In December ?lafur's 'evocative and lyrical score' (The Times) will see a 10" vinyl, CD and digital release via Erased Tapes ? the label behind his previous releases as well as Peter Broderick's recent and much noted dance score release 'Music For Falling From Trees'. Born in 1987, ?lafur hails from the suburban Icelandic town, Mosfellsb?r, just a few kilometres outside of Reykjav?k. He has immersed himself completely in a world of delicate symphonic compositions generating near weightless orchestral pieces. Arnalds explores the crossover from classical to pop by mixing chamber strings and piano with discreet electronics which makes him a perfect fit for cinematic pop label Erased Tapes. His motivations are clear: "The classical scene is kind of closed to people who haven't been studying music all their lives. I would like to bring my classical influence to the people who don't usually listen to this kind of music?open people's minds." This young artist is steadily gaining recognition worldwide since his 2007 debut 'Eulogy for Evolution' and the 2008 follow-up EP 'Variations of Static'. In April 2009 online experiment 'Found Songs' received more than 200,000 downloads via foundsongs.erasedtapes and the physical edition released this August has instantly become a best seller, demonstrating that music in its physical format still attains a particular charm. ?lafur conceived 'Found Songs' as a way to collate several lost and found musical sketches and ideas in a 'very challenging, but fun' series. The experiment offers its listeners an intimate insight into ?lafur Arnalds' creative world with artwork contributions from fans via Flickr. With the next full-length release due in 2010, 'Found Songs' hasn't just inspired 2-D work. Esteban Di?cono ? a young motion graphic artist from Buenos Aires, Argentina ? created an astonishing animation video for 'Lj?si?', which found its way into the heart of UK illusionist Darren Brown among over 400,000 others within 4 weeks via Vimeo and YouTube. The music video is now available for download via iTunes. ?lafur is currently in the studio with Bardi Johannsson (Bang Gang) who will be co-producing his upcoming and highly anticipated second full-length album.

Icelandic contemporary composer Olafur Arnalds created and released a new song, one per day for one for one whole week during the month of October 2011. The songs were recorded and filmed live in the living room of his Reykjavik apartment and released instantly for free as streamed videos and mp3 downloads. Thousands of fans followed this exciting project online at: livingroomsongs.olafurarnalds Living Room Songs will now also be released on CD, Vinyl and as High Quality Downloads via Erased Tapes on December 5th, 2011. Following in the spirit of ?lafur Arnalds' critically acclaimed Found Songs (2009) where he wrote, recorded and released a free song every day for a week - now comes Living Room Songs. This time ?lafur takes the idea further and invites the audience into the comfort of his living room, where the songs were recorded live and the whole process filmed. The songs were instantly released in form of a free mp3 download and video stream- straight from ?lafur's Reykjavik apartment. In his own words: 'One night I was just playing my piano here in this apartment and I was writing a new song and I didn't have my phone on me which I usually use to record ideas. So I actually took out my MacBook and I didn't want to open like a proper recording program, so I just opened Photo Booth and recorded a video of myself playing the song so that I would remember the song. And I really liked the atmosphere of that video and that's when I thought I should do a series of songs in my living room...' ? ?lafur Arnalds

FILM Recordings will release the debut LP from Denial of Service.

The album follows up EP's Sensou (2015), and more recently Contour & Shape (2017) - but marks the producer's most expansive release on the label thus far by some margin. Clocking in at 15 tracks, the lengthy opus draws from the same palette found on previous work - drum machine driven, heavily mutated Electro and IDM sit alongside low slung Techno cuts and arpeggiated EBM references. As ever, the production is stunning - crisp and plosive, as much a record for the club as it is a tempered headphone experience; whilst the mood channels that same dank, claustrophobic energy found on previous missives.

As a body of work, the LP displays the distinctive touch of a production veteran. The transformative shifts in structure on opener A Fine, New Mother Now belie a kind of boldness found less often across the contemporary electronic music landscape; and the drum programming on IDM-leaning explorations Autoimmune & Supercell bear the hallmarks of a perfectionist with time on his hands and in full control of his art. Space and the placement of sonic components plays a huge role in the artist's work and the 3 Stigmata of Palmer Eldritch displays this canny knack for generating both textural, wide angle soundscapes whilst maintaining that wrought-iron edge to drums and percussive elements - even more fervent, noisy compositions like Dr Manahattan manage to keep hold of this remarkable balance. It's impressive stuff, a fine and well worked meeting point between artistic vision and engineering prowess.

An elongated discussion, no doubt - but worth hearing every word. Each twist and bend, however sharp, remains carefully placed and beautifully recorded. Dryer works Slither & Junkie Foxtrot towards the LP finish offer a less introspective, more hard hitting angle to the work, and by the time the listener arrives at dual closer the Daisy Chain - Adults - they're ready for its heady catharsis.

The debut album from Denial of Service is a trip, and the line between club space and home listening environment is decidedly blurred - an emotive exploration of true psychedelic Electronica, delivered direct from the source.

WRWTFWW Records is profoundly enchanted to announce the full official reissue of Somei Satoh’s magnificent Avatamsaka Sutra inspired Mandala Trilogy with one additional never-released piece, sourced from original masters and available on double vinyl in heavy 350gsm sleeve with liner notes by passionate Japanese music connoisseur/collector/critic/dj Masaaki Hara.

Deep deep deep into the abyss…

The Mandala Trilogy blends Somei Satoh’s own slowed down Buddhist chant vocalization and early electronics to create a radiant and meditative atmosphere conveying serenity and timelessness. It includes three pieces recorded separately. "Mandala" was recorded at the NHK Studio of Electronic Music in 1982 and was included on the album Mandala/ Sumeru, released on Kojima Recordings’ ALM. "Mantra" was a NHK commissioned work, recorded at the same studio in 1986. "Tantra" was recorded at Victoria University of Wellington’s Lilburn Studios for electronic music and recording in 1990.

Included as a bonus is the 20-minute "Mai", a composition commissioned by harpist Ayako Shinoza-ki and recorded at the Kioi Hall in Tokyo on November 11th 2004. The piece was conducted by Tetsuji Honna and performed by the Kioi Sinfonietta Tokyo. Satoh says: "The harp is one of my favorite instruments. Also, by combining my affectionate percussion instrument, the chromatic gong and steel drum, with the harp’s most beautiful tone, I attempted to bring out a mystical sound." Alt-hough it is not an electronic music piece, the stunning composition elegantly complements the deep mystical world that Satoh expresses in his Mandala Trilogy.

Mandala Trilogy + 1 is reissued in conjunction with Somei Satoh’s Emerald Tablet / Echoes LP, also available on WRWTFWW Records.

WRWTFWW Records is feeling total bliss as it announces the full official reissue of two major works from the great Somei Satoh gathered into one LP: the mystic and meditative Emerald Tablet (1978) and Echoes (1981), sourced from original masters and available on vinyl with liner notes by passio-nate Japanese music connoisseur/collector/critic/dj Masaaki Hara.

Fall into the ambient vastness, let yourself go…

Originally released by highly respected label ALM, these pivotal pieces of late 70s / early 80s Ja-panese experimental music majestically showcase Satoh’s intuitive approach to composition and mastery of creating infinite worlds of sound from very, very little.

Emerald Tablet, recorded at the fabled NHK Studio of Electronic Music in 1978, is a spellbinding take on musique concrète meets tape music relying solely on sound harmonics from tubular bell, cymbals, and 'kin' (Buddhist standing bell) overdubbed endlessly, voyaging into vertiginous sonic depths.

Echoes was composed for the Mist, Sound, and Light Festival, a 10-day event organized by the hot spring tourist association of Kawaji, Tochigi Prefecture, held on May 20-29, 1981. It was played in the Kawaji hot spring's Ojika river valley, with 8 gigantic loudspeakers set up on hills surrounding the stream and connected to an octuple channel-tape system - thanks to a combined length of cables exceeding one kilometer - while artificial fog rose from a ravine and laser beams shot up on the mountains. Cinematic and resonating, this breathtaking piece from Somei Satoh is a transcending sonic experience.

Emerald Tablet / Echoes is reissued in conjunction with Somei Satoh’s Mandala Trilogy + 1 double LP, also available on WRWTFWW Records.

Over two years in the making, and it’s finally here. Amsterdam based, brand new old-school label “Betonska” kicks off with this highly diverse release for the selector, collector, radio host and club DJ.

Crisp instrumentation, tight retro drum computer programming and propulsive danceable bass lines are what you will find here. The Amsterdam based label will be focusing on previously unreleased and tough-to-find material from the 80s and 90s – all re-mastered, officially licensed and in collaboration with the original artist. In addition to the original material an occasional modern twist will be given by contemporary artists who cherish that signature sound.

The first release is an alternative issue of Flo Sullivan’s “Higher” release, originally recorded in 1984 in the world famous Amazon Studios in Liverpool and released in 1985. On the A-side both the 12” and the 7” version of the hard-to-get, firm synth-pop track “Higher” will be pressed on a loud 45rpm vinyl. The 12” version is the (bass-)heavier one, while the 7” version sounds more “organic” with an extended intro and an added horns part. The tracks on the A-side have been pressed before and are made available now again for the wider public, giving those tracks the recognition and attention they deserve.

The B-side focuses on previously unreleased original downtempo material by the same artist but released under her real name: Gayna Rose Madder. This, accompanied by a refreshing club-ready remix of one of those tracks by Vienna’s top-notch selector, producer and Neubau label owner: Heap.

Neither of the two original tracks “Over” and “Element” have ever been released on vinyl before, up until now. “Over” was written and recorded in 1983 in Splash Sound Studios in Liverpool. A beautiful melancholic synth-pop track, which was meant to be released, but unfortunately never saw the light of day. At the time it was recorded Gayna left her band “Shiny Two Shiny” and therefore needed a new deal from a different company for her solo releases. But by the time she found the right one, many newer songs needed release. Much later, in 2005, Gayna decided to self-release “Over” on a compilation CD to sell copies online.

“Element” is a spoken-word poem accompanied by a fire-crackling tribal kind of rhythm. It was written for a musical play and recorded in Sparks Studio Liverpool in 2004 and has never officially been released before. (For a short period it was available on a self-released CD on Gayna’s website; a compilation of the songs written for one of her musicals).

And last but not least, the icing on the cake is Heap’s remix of “Element”. He translated this spoken word poem into a refreshing 90s-style and danceable club-track to complete the diversity of Betonska’s first release. A chugging acid bass, breakbeat rhythms, crisp claps and sharp snares and a screeching lead synth to get you screaming on the dance floor.

The band that modernised Zimbabwean music, and by doing so revolutionised the music industry in their country. Available for the first time on vinyl (180 gramms) with gatefold cover, and now all tracks fully remastered !

In 1972, the country of Rhodesia – as Zimbabwe was then known – was in the middle of a long-simmering struggle for independence from British colonial rule.
In the hotels and nightclubs of the capital, bands could make a living playing a mix of Afro-Rock, Cha-Cha-Cha and Congolese Rumba. But as the desire for independence grew stronger, a number of Zimbabwean musicians began to look to their own culture for inspiration. They began to emulate the staccato sound and looping melodies of the mbira (thumb piano) on their electric guitars, and to replicate the insistent shaker rhythms on the hi-hat; they also started to sing in the Shona language and to add overtly political messages to their lyrics (safe in the knowledge that the predominantly white minority government wouldn’t understand them).
From this collision of electric instruments and indigenous traditions, a new style of Zimbabwean popular music – later known as Chimurenga, from the Shona word for ‘struggle’ – was born.

And there were few bands more essential to the development of this music than the Hallelujah Chicken Run Band. The band came into being when a young trumpet player named Daram Karanga offered to assemble a group to entertain the workers at a copper mine in the town of Mhangura.

The original line-up – which included legendary singer Thomas Mapfumo, who would bring the sounds of Chimurenga to the world in the early 1980s with his band the Blacks Unlimited, and Joshua Hlomayi, one of the pioneers of mbira- style guitar – started out playing the Rumba and Afro-Rock styles popular in the capital. Although this was a hit with the white owners of the mine, the workers greeted it with indifference. But when they started adding electric arrangements of traditional Shona music to their repertoire, the audience went wild.

With the addition of “Zim” sounds to their arsenal, the HCR Band became unstoppable. Their reputation spread quickly and, in 1974, they were invited to the capital to compete in a national music contest organised by the South-African Teal label. Not only did they win the competition, but they also attracted the attention of famed producer Crispen Matema, who quickly organised their first recording sessions.
On their first day at Jameson House studios, they recorded half a dozen songs, including “Ngoma Yarira” and “Murembo”, two singles that would alter the course of Zimbabwean popular music.
During the next five years, the band would relocate from their small mining town to the capital city, go through numerous line-up changes and pay a few more visits to the recording studio, without ever losing the raucous urgency that had transformed them from popular entertainers into titans of Zimbabwean culture.

Conjunto Papa Upa returns with “Todo Parao” (“Total Shutdown”), another boundary pushing tropical smasher. Bringing you the ultimate (humourous) hymn to the pandemic over an exquisite blend of highly danceable Caribbean rhythms (zouk, cadence, kompás, guaracha) and classic synths. Backed by a deep sea dub on the flip, complete with resplendent cowbell(!), timbales and Wurlitzer solos. Another stepping stone that showcases yet another angle of the unique and radical production style of Alex Figueira. Drop this 45 at your next virtual party and watch everybody leave their computers in a desperate search of a dancing partner.

Conjunto Papa Upa is the Afro Caribbean centered solo project of Figueira, backed live bysome of the best musicians from Amsterdam’s Latin and free jazz scenes. Their debut LP was recently released on legendary American indie label Names You Can Trust. Figueira is also known for his percussive work on tropical psych power trio Fumaça Preta or his regular live incursions with Amsterdam’s turkish psych folk powerhouse, Altin Gun.

Having spent the whole night working on the melodic structure of the song, Figueira took a break to take advantage of the different time zones and check on his dad in Venezuela, and ask how the pandemic was unfolding there. His answer: “Todo Parao” (“Total Shutdown”). The same two words he had used multiple times before, this time pronounced in a hilarious Rum-infused way, giving Alex an unexpected flush of inspiration in the form of an instant infectious chorus. He excused himself and immediately got locked back in the studio. The result is this incredibly catchy tune, displaying the optimistic approach of a boyfriend to the chaos, uncertainty and worrying of his girlfriend about the pandemic, presenting her with his own lascivious lockdown plan for the two, declaring at a certain moment: “while everyone is lamenting, you and I are going to enjoy”.

In the musical side, rhythms from Haiti, Guadaloupe, Martinique, Puerto Rico and Cuba are unscrupulously mixed with the most diverse and strikking elements: strident cowbells that evoke the toughest salsa of 70's New York, harmonized guitars evidencing the inconfesable influence of 80’s heavy metal, a delicate Wurlitzer piano reminiscent of Black America’s greatest Soul ballads, Casio keyboards rescued from a child’s toy cabinet and a whole plethora of half-broken classic Synths, to create an equally irresistible and unclassifiable hybrid.

On the flip side, Part 2 opens with a prominent dose of the lead guitar that appeared briefly on the A side, working as a preamble to an instrumentalist frenzy that is not concerned about displaying technique. Its mere intention is to tell you the rest of the story without using words. A few bars into the song, the first gear shifts with a monumental solo given by the least probable of all “soloist” instruments: the cowbell (!). After it, a crispy Timbal crashes the party, making a statement out of its only appearance in the entire recording. Finally, the longed-for turn of the melodious Wurlitzer, who left everybody craving for more on the other side of the record, giving the modest keyboard skills of Figueira an imposing pentatonic virtue.

Gaudi follows up his critically acclaimed album “100 Years of Theremin (The Dub Chapter)” with a cover of Lee Perry's classic 'Bird in Hand' production.

Released in 1981 and seamlessly blending passion, sleaze and synths, this was the stunning debut album by the influential duo Soft Cell. The album's critical and commercial success was helped by the worldwide success of its lead single single 'Tainted Love', a cover version of a soul song by Gloria Jones, which topped charts worldwide. The album produced two more wonderful top five singles in the UK in the shape of 'Bedsitter' and 'Say Hello, Wave Goodbye'. Meanwhile the infamous 'Sex Dwarf' caused something of a national furore. Bravo, Soft Cell! 180g, Back To Black vinyl with an MP3 Download voucher.

Four Flies are proud and honoured to release the first vinyl reissue of Bruno Nicolai's outstanding original score for GEMINUS, a 1969 Italian TV mini-series directed by Luciano Emmer and starring Walter Chiari, Alida Chelli, and Ira von Fürstenberg.

Originally released under Italian label Gemelli, Nicolai's soundtrack has been remastered from the original master tapes and comes in a glossy, tip-on style jacket featuring the restored original cover artwork, as well as extended liner notes by film critics Francesco Cesari and Roberto Curti.

Bruno Nicolai composed and directed an eclectic score that brings together different music genres and influences, from 60s beat, psych, and progrock to baroque and experimental music. He did not hesitate to mix classical forms and structures with new instruments andremarkable, eccentric arrangements.

In 'Giano' (Janus), the interplay between a distorted electric guitar and a hypnotic harpsichord creates a strange, somewhat troubling ambience.

The delicate, celestial voice of Edda Dell'Orso leaves its unique emotional imprint on the most lyricalpiece in the soundtrack, 'Tema Barocco' (Baroque Theme).

The main theme 'Il cielo cade' (The Sky Is Falling) features a luxurious arrangement and stunning orchestration enhanced by enchanting vocal harmonies sung by 'I Cantori Moderni di Alessandroni'.

In other pieces, such as 'Larve' (Larvas), 'Il sognatore' (The Dreamer), 'Eclisse di luna' (Moon Eclipse), 'Visioni' (Visions), 'Catacombe' (Catacombs), and 'Notti romane' (Roman Nights), expressive and experimental solo passages played by instruments such as the vibraphone, sitar, harmonica, or percussions, contribute to the sombre, mysterious atmosphere of the score as a whole.

On’t miss this FUTURISTICA 12” single featuring remixes by DJ SPINNA, KAIDI TATHAM & NICOLAY of tracks from DEBORAH JORDAN’s critically acclaimed new album “SEE IN THE DARK". DJ SPINNA & KAIDI both individually remix “HORIZON” while NICOLAY handles “SENSES". Also included is the bonus gem “POWERLIGHT” produced by BUSCRATES!

solid pink vinyl edition

De:tuned lines up the seventh release in their ten-part anniversary series. A blend of old and new material, deep grooves and inventive textures brought together by venerated producers Spacetime Continuum, Scanner, Ross 154 and Leo Anibaldi. A heartwarming ambient techno trip from start to finish makes for an immersive listening experience. Do yourself a favor, we love it!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. This 12" is pressed on 180 gr vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

The album 'Balance' by Frank Bretschneider & Taylor Deupree was originally released in 2002 by Mille Plateaux on CD only. The 9 tracks on 'Balance' are a perfect example for the aesthetics to arise within the Click & Cuts scene and (ambient-)glitch music movement of the late 90s and early 2000s.

The two masters of microscopic sounds and sine wave/white noise-based music constructed these seamlessly mixed pieces around rhythms and melodies, which grants the album plenty of dynamics. The wide variety of carefully chosen ambient sounds throughout the whole work endows 'Balance' warmth and intimacy.

The recordings are now available for the first time on vinyl within the KeplarRev series, presented in a new updated artwork based on the original layout with photographs by Taylor Deupree.

From the original press release in 2002:

"Balance is the first and so far only collaborative release from Frank Bretschneider (Berlin) and Taylor Deupree (Brooklyn). Both of these artists are no strangers to the ears of many; Taylor Deupree is one of New York's most vibrant electronic producers. From his early techno days as a member of Prototype 909 to his current status as one of N. America's key "microscopic" electronic composers and to add runs the prestigious 12K and LINE labels. Frank Bretschneider is a key member and founder of the prestigious Raster Music label, he has critically acclaimed releases under the names Komet and Produkt. It's easy to say that Frank Bretschneider has created some of the most influential spatial electronics of the late 90's.

Utilizing both artists keen ears for carefully crafted sounds, Balance blends the clean sine wave / white noise of Bretschneider with the defined grit of Deupree's granular synthesis. Realized entirely on Nord Modular synthesizers, Bretschneider and Deupree exchanged patch files through email and began constructing foundation loops. Bretschneider then created initial mixes of 9 songs and then sent them to Deupree who remixed and re-processed them. This digital exchange allowed for them to work using their own methods and aesthetic while combining the similarities of each others interests. The result is a looping and churning rhythmic work that is both synthetic, warm, dubby and tonally challenging. Thus Balance creates an engaging balance between the 2 artists aesthetics."