Buscar:cur l

Michael Cashmore (u.a. CURRENT 93) mit seinem neuen Solooutput auf Transparent Violettem Vinyl!

The band describe themselves as a spaced out, instrumental loungerock outfit, with added vibes of folk music, jazzy surf, psychedelia, free improvised chill-out, jangly post-rock and travelling bass. Not much for us to add here, apart from possibly a pinch of krautrock. "Tellus" is the quartet's fourth album, and their debut on Rune Grammofon. Being something of an allstar team from the fertile psychedelic spacedrone scene in Haugesund on the westcoast of Norway, the members also pay their dues in bands like Electric Eye, Lumen Drones (ECM), Undergrünnen and The Low Frequency in Stereo, whose album "Futuro" we released back in 2009. On "Tellus" they are joined by Sigbjorn Apeland, a much esteemed musician largely operating in a landscape of folk music, church music and improvisation. He is a member of Nils Okland band (ECM and Hubro) and has collaborated with him for 30 years, also appearing on his two albums for Rune Grammofon; Straum (2000) and Bris (2004). Also appearing on "Tellus" is Ståle Liavik Solberg, a central force on Oslo's thriving improvised music scene. He has performed worldwide with numerous Norwegian and international musicians and curates the excellent Blow Out! festival. With "Tellus" ATS heads into the Hardangervidda (the big plains connecting the eastern and western parts of southern Norway) terrain of wide open spaces, spare vegetation and unruly weather conditions, especially during the winter. The album was recorded in a small studio in Haugesund during two days of heavy rain showers and stormy winds rumbling outside the windows. Per Steinar Lie - Lap-steel and electric guitar Oystein Braut - Guitar, organ and Mellotron Julius Lind - Double bass Orjan Haaland<

Screen Time is a series of instrumental guitar pieces recorded during the summer of 2020 as the world confronted the pandemic shutdown and as the people of good conscious stood up against the oppression of racist police oppression and murder. How much screen time does a parent allow a child? How much screen time does a child need to realise a world which has the means to coexist as a community in shared exchange?
The cover image of Screen Time is of a youngster curled into a book, the pages vibratory with text radiating through the skin, blood and bone – an aspect entirely missing from digital media, though the actuality of transparency in our daily lives through streaming etc we can only hope leads to the awareness of fairness.
Screen Time is in reflection to dream time, a state of meditation, hypnagogia and pillow talk.

Thurston Moore born 1958, moved to NYC 1976, started Sonic Youth 1980, edited the fanzines KILLER, Sonic Death, and Ecstatic Peace Poetry Journal, started Ecstatic Peace records + tapes label, senior editor of Ecstatic Peace Library, and Flowers & Cream, edited books at Rizzoli and Abrams, on faculty at the Naropa University summer writing program since 2011, published through various imprints, worked collaboratively with Yoko Ono, Merce Cunningham, Cecil Taylor, Rhys Chatham, Lydia Lunch, John Zorn, Takehisa Kosugi and Glenn Branca, composed music for films by Olivier Assayas, Gus Van Sant, and Allison Anders, records and tours both solo, with various ensembles and with his own band, resides everywhere.
Mastered by Lasse Marhaug for Southern Lord.

Take cover: there’s a storm coming !

With its lyrical thunderbolts, lightning-flash fretwork and ground-shaking grooves, Black Wind Howlin’ is a record to blow your roof off – and Samantha Fish is stood at the eye of the hurricane. Released on September 20th through Ruf Records, Black Wind Howlin’ flips a finger at the cliché of the ‘difficult second album’, firing off 12 classic tracks that chart Samantha’s evolution as songwriter, gunslinger
and lyricist. While lesser artists work to a template or settle into a pigeonhole, Samantha shifts her shape across the Black Wind Howlin’ tracklisting. She can be brutally rocking on cuts like the tourbus snapshot of Miles To Go (“Twelve hours to Reno/ten hours til the next show”), the swaggering Sucker Born (“Vegas left me weary, LA bled me dry/skating on fumes as I crossed the Nevada line…”) and the
venomous Go To Hell (“Oh, this ain’t my first rodeo/You hit yourself a dead end/ Your voodoo eyes, ain’t gonna cast a spell/ So you can go to hell!”). And yet, elsewhere, backed by the versatile production of Royal Southern Brotherhood guitarist and longtime collaborator Mike Zito, you’ll find Samantha shifting gears to the aching slide- guitar balladry of Over You (“Echoing words, said I’d never make it on my own…”) and the redemptive country strum Last September (“Don’t
remember the curves of my face/Can’t feel the warmth in my embrace/Well I’m here to remind you…”). She might stop off for a gritty cover of Howlin’ Wolf’s.
Who’s Been Talkin’, and co- wrote Go To Hell with Zito, but all other tracks are Samantha’s self-penned originals, and it’s a mix to keep listeners on their toes. “I wanted this record to have a modern rocking sound,” she explains of the lightfooted vibe. “I also wanted it to have elements of Americana, country and roots.”
Therefore she had support from a first- call band that included Royal Southern Brotherhood rhythm section Yonrico Scott (drums) and Charlie Wooton (bass), back- up guitar and vocals from Zito, plus guest appearances from Johnny Sansone (harmonica), Bo Thomas (fiddle on Last September) and Paul Thorn (vocals on Go To Hell). So here it is. Harder, darker, bolder and better than even its revered predecessor (Runaway), this is the sound of an artist on the brink of the huge-time with both hands on the wheel.

Originally released on CD in 2006 - Has it really been 15 years - The
Poems were Robert Hodgens, Bobby Paterson, Adrian Barry, Kerry
Polwart, Ross McFarlane and Andy May.

The album also features guest contributions from the likes of Isabel Campbell, Norman Blake and Justin Currie.Norman will also contribute the sleeve notes to this vinyl reissue.

Tape

Lucia H. Chung is a Taiwanese experimental artist based in London. She performs and releases music under the alias 'en creux'.

Under this alias, Lucia is interested in the underlying structures of what we call noise and is examining the effects of human interventions into its complex web of tones. Repetition and chance operations are fundamental to Lucia‘s music. It is not built on the dionysian maximalism and symbolic harshness of lots of noise artists; catharsis is not reached via an explosion of sound, but via concentration on sound phenomena and small changes, which, not unlike some minimal disco night your usual mind-altering drone ritual, sucks you in more with every tiny alteration. This music is as intense as it is sensitive.

„The Liberated Mind“, in Lucia‘s own words, „is a sort of split release between two no-input configurations“. For „Wyldside“, she tuned two different feedback mixers with identical routings as close possible, as much as tuning is possible at all on these highly volatile instruments. „The two channels naturally phased in and out from each other. I guess the process was actually akin to Steve Reich's tape techniques on Come Out and It's Gonna Rain. The whole release extrapolated from that point onwards...“ Finding and replicating similar routings/settings on no input mixing desks is the nightmare of every control freak and a task doomed to failure, but in letting go and embracing these failures, patterns emerge. And thanks to Lucia‘s careful work, these patterns become hypnotic as she carves out the essence of each feedback loop, or, as she puts it: „Actually, I did remember the setting for the final track „Earthrise“, but for whatever reasons, I just cannot reproduce the sounds and it's forever lost (at least for this point in time, maybe when the conditions are primed again for the machine, the same sounds will emerge again...). I guess that's really the essences of improvised NIMB setup. Every single sound was the effect of the previous iteration and the cause of the next iteration... (Wait... isn't it just like a Blockchain? Ha!)“

A collection of no-input studio sessions improvised with Mackie 1202-VLZ Pro, TAPCO MIX260FX, MXR Phase 90 and Electro-Harmonix Bad Stone Phase Shifter. All tracks recorded live, no overdubs. Recorded in London in February 2020. Mastered by causeandcondition

Lucia also works as independent curator, producer and broadcaster at Happened. Check out Lucia‘s other albums on Hard Return, Falt and SM-LL.

All Away Lou is the new band from Lou Hanman; a 40 something, queer, English woman living in Philadelphia, PA, still playing punk rock three decades in because it's fun and she needs it! The force behind UK punk favourites Caves & Flamingo 50. Lou emigrated to the US 6 years ago to pursue music full time, touring & recording drums, bass, guitar for the likes of RVIVR, Mikey Erg, Thin Lips, Katie Ellen, Queen of Jeans, Worriers. After a significant songwriting drought, the pandemic and a break from touring gave Lou the space to focus on her own musical output and spend some time recording at Headroom Studios in her current hometown of Philadelphia, PA with Kyle Pulley and Jackie Milestone. While she records everything herself, All Away Lou is very much a band, and an opportunity to get loud, sweaty and rock out as soon as the possibility arises. The name simply comes from never feeling at home, always away. She had felt the culture shock of moving to the states from the UK (especially of the political landscape after November 2016) and a breakup that underpinned the realization that life was not turning out the way she had hoped. Lyrics on the record reflect this point in Lou’s life: the need to return to a feeling of “home” and have the courage to change her mind, take a new path and not settle for things that didn’t feel right. All Away Lou will be taking the album on the road with dates in the UK & Ireland supporting Jeff Rosenstock & Fresh in April 2022.

Pressed on recycled vinyl.

Oonops's first encounter with Japanese producer Shin-Ski dates back six years when he asked him for an exclusive guest mix for his show on Brooklyn Radio. He became aware of him years ago through his group ShinSight Trio with Insight and DJ Ryow a.k.a. Smooth Current. After one more mix and two collaborations on his Resense-series plus "Oonops Drops - Vol.1" compilation via Agogo Records they started working together on a whole album of instrumentals.

For this 45 Oonops had the chance to dig through an amount of unreleased tracks and selected some of the essential essences with different influences from Jazz, Soul, Funk and much more.

This special Record Store Day 5 x 45s collection comes packaged in a limited-edition Brazil 45 clamshell collector’s box.

The long-running relationship between Masters At Work and Mr Bongo has been a fruitful affair. Beginning in the 90s, it has included releases such as their seminal 'Brazilian Beat' 12" featuring Liliana, their magnificent rework of Atmosphere’s ‘Dancing In Outer Space’, and their recent hit Surprise Chef remixes 12". The influences of Brazilian music is evident in their DJ sets and productions, take the poly-rhythms of the 'Nervous Track’ as a prime example. We couldn't think of anyone more fitting to curate the third volume in our "Brazil 45 Boxset Curated by" series than one half of the MAW duo, the mighty Kenny Dope.

For his volume of the series, Kenny selected 10 knockout tracks from the golden era of Brazilian music. As you would expect from such a legend, he surpassed the brief of simply compiling the tracks, as he re-edited and remixed a number of his favourites especially for this boxset. Amongst these exclusives is a blazing, heavy psych-funk remix of Antonio Carlos & Jocafi's 'Quem Vem Lá’, and a hip-hop breakbeat bounce woven into Luli Lucinha E O Bando's folky-MPB beauty 'Flor Lilás’. Di Melo and Miguel De Deus are also given the Dopeman remix and edit treatment.

Kenny's selections pull out some forgotten classics and recently overlooked gems, many of which were once top of the want-lists for collectors in the 90s. These include Milton Banana Trio and the irresistible version of 'Berimbao' by Jayme Marques. Along with the Brazilian funk and jazzy-bossa dancefloor-oriented tracks, Kenny has also chosen the leftfield, deeper, trippy psychedelic folk sounds of Papete.

As with previous volumes, the selections are very personal and represent the individual sound and taste of the selector digging from the rich tapestry of Brazilian music. Its unique palate and stamp are exactly what you would expect from a Master At Work.

Studio Electrophonique is James Leesley: a young songwriter and musician from Sheffield.

Since the critical acclaim accompanying his sought-after debut 10" album "Buxton Palace Hotel" in 2019, James has captivated audiences performing at his own curated events in Sheffield, Liverpool, London and Paris as well as at The Green Man and End Of The Road festivals.

In 2020 Studio Electrophonique performed at L'Olympia in Paris at the personal invite of the legendary Étienne Daho as well as across the UK and Ireland with Richard Hawley - both are long-time supporters and admirers of James's work.

James is currently putting the finishing touches to a film featuring Jarvis Cocker and Sean Bean which retraces the fascinating history of Ken Patton's original Studio Electrophonique home recording studio in Sheffield.

Songs come to James Leesley in airless attics, dinner time chippies and late afternoon bookies shops; on long walks through town with a sandwich in each pocket, on morning runs through the park in lost-property trainers or on the top deck of the 52A with rain-laced windows and wet toe-ends.

He records on an old four-track machine using deadstock Metal Maxima cassettes sourced from an unnamed charity shop close to Bramall Lane. This machine kills flashiness. There is no room for garnish. Choice is minimised to serve the song, intimacy is maximised to serve the ache.

Studio Electrophonique is a semi-fictional collective of analogue romantics sent to reassure us that art is not some far off place, that sadness can be enjoyed like happiness and that glamour can descend like a minor key melody on the shoulders of anyone willing to pay their subs and the price of a day-return to Ballifield shops.


Studio Electrophonique's latest 5- song record is a plaintive symphony of love and hope, yearning and hopelessness.

Next up from Renegade Hardware's 'From the Vaults' rerelease series we have an EP that might have just celebrated its twentieth anniversary, but still sounds as future-proofed as ever. This is the 'Street Level EP'.
First, a bit of background. By 2001, Q Project and Spinback – or Total Science as they're known in combination – were already well-established pillars of the junglist community. Between the pair of them, they'd delivered anthems like the perennial 'Champion Sound', released on labels as disparate as Reinforced, Good Looking, Hardleaders and Metalheadz, and even dropped a full-length album, 'Advance', on their own CIA imprint.
As we journey from 'Street Level' to 'Rebel Soul' onwards to 'Room Service', we hear the influence of Total Science's junglistic roots, a sound that has remained steadfastly relevant across the generations. Breaks and samples are sliced,
twisted and manipulated into heart-palpitating arrangements, with an expert's ear for rhythm programming keeping us just the right side of insanity.
The EP is closed out with Source Direct's remix of 'Out of Touch', reconfiguring Total Science's break and bass workout into an evolving old skool-tinged surrealist landscape. So, we're shown yet another facet of drum 'n' bass music's possibilities drawn out by Hardware's roster.
And again, Renegade Hardware's 'From the Vaults' series delivers. Many current junglists are actually younger than this EP, which is why it's huge that this music has become available for them in an accessible form. Clearly, this era of stylistic meldings as jungle influence combined with drum 'n' bass technique should be a cornerstone of their musical education.

Jlin's new EP "Embryo" marks a key point in the multi-platform artistic growth of the Indiana-based producer. It features a bold and fiery sound palette recalling the futurism of nineties Detroit techno and British IDM without succumbing to their clichés. With faint echoes of classic Model 500, it sounds like music for automated cars, robot cop junctions and virtual freeways in the air. A fifth wave techno? "Connect The Dots" is one of the standouts from her recent lives sets, with the kind of rhythmic complexity only Jlin can bring, underpinned by a glitch reborn and transmuted into something utterly of the here and now. Jlin comments "I wrote all these pieces in between commissions and trying to stay afloat mentally." She singles out final track "Rabbit Hole" as a highlight "It made me feel nostalgia yet connected me to my own evolution." Jlin is currently working on a new full length album for Planet Mu.

Bristol's jazz daddies The Jazz Defenders drop their second album for Haggis Records (home of UK funk kings The Haggis Horns), in March 2022 and it's a real departure from their debut release "Scheming" (released in 2020). Whereas that album was a homage to the late 1950s/early 1960s classic jazz style known as hard bop, this release moves into new territory with hip-hop/jazz, cinema soundtrack flavours, Latin rhythms and soul-jazz all upfront in the mix. Three taster singles from the album released in mid/late 2021 and march 2022, "The Big Man/Love's Vestige, "Live Slow" (featuring US rapper Herbal T), and "Perfectly Imperfect" (feat Doc Brown) received great radio support from the likes of Craig Charles (BBC 6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (BBC Radio 2), Ashley Beedle (Worldwide FM), Colin Curtis (Worldwide FM) amongst many others, all loving the Jazz Defenders' musical fusion of retro meets modern.

The classic sound that has inspired the band this time is very much from the mid-late 1960s era and the merging of soul and funk beats with jazz solos/improvisation. Tracks like "Wagger Jaunt" and "Munch" nod to the piano and organ-led soul-jazz of artists like Ramsey Lewis, Herbie Hancock, Reuben Wilson, and Jimmy Smith. Meanwhile "Saudade" and "Love's Vestige" feature Brazilian bossa rhythms but with some added film soundtrack overtones. Speaking of movie soundtracks, "The Oracle'' is a pure homage to the classic cinematic compositions of maestros like John Barry(James Bond, The Ipcress File) or Lalo Schifrin (Mission Impossible, Bullitt) right down to the very impressive string arrangement, beautifully scored and orchestrated by band leader George Cooper.

A big departure from the previous album comes via the two hip-hop/jazz tracks, both of which feature guest MCs. "Live Slow" has US rapper Herbal T blessing the mic over an uptempo soul-jazz number whilst "Perfectly Imperfect" features London MC/actor Doc Brown rapping on a nice and slow 90's style head-nodding hip-hop groove. Both compositions show George Cooper's love for old-school boom-bap hip-hop (by the way, he also plays keys with renowned UK hip-hop big band Abstract Orchestra). For classic jazz lovers who dug the first album, there are two pure jazz tracks that join the dots between that debut release and this sophomore one - "Twilight" and "From The Ashes" - with plenty of vibrant solos for the discerning listener.

"King Phoenix" is a statement in itself from The Jazz Defenders. After 2 years of music being destroyed by the pandemic and many musicians inactive, the band has risen from the ashes with new vigour, energy and vision to try something new and not just repeat past musical glories. A band that sticks to the same script every release might just end up having a short shelf life but the Jazz Defenders are planning on being around for a long time.










j Live Slow (Album Version) feat. Herbal T

Hailing from downtown Los Angeles, Nuklear Prophet, aka Erik Villalpando, is heavily influenced by West Coast Hip Hop and Electro. Winning multiple DJ awards, including 3x World Records DJ Competition under his DJ Dope-E alias, Villalpando cites his inspiration as coming from some of the most influential Los Angeles DJs of his childhood, including Tony G, DJ Joe Cooley, Julio G, and DJ Aladdin.

With releases on Urban Connections, Abseits Recordings, Diffuse Reality and Bass Agenda Recordings as Nuklear Prophet, the LA-based DJ/producer readies his full-length album 'Prophecies 11:21' for Utrecht-based U-Trax. Formed of an eclectic and energetic collection of gems mined from his overwhelming archive, the album takes in genres such as Electro, Hip Hop, Footwork, Juke, and beyond.
Leading the release is the 808 luminary Egyptian Lover's remix of 'L.A. Rockz', featured on the recently released 'L.A. Rockz' EP, kicking off the LP with his trademark 808-infused sound. A nod to Detroit-flavoured Electro is presented via the dark and brooding tracks 'Nuklear Prophet' and 'Compton', with the lighter atmospherics of the genre covered on 'Solar Winds'. The pounding electro killer '808 Plague' sounds like it came straight from the sewers of The Hague.
'Everlastin' Bass', 'Back Up Off My Tip', and 'The Train Ride To Coconino' offer Footwork inspired bangers, with the latter previously featured on the Legowelt curated U-Trax compilation 'U R Here!' earlier this year.
Moving across a spectrum of tempos, styles, and moods across the album, exemplified on the sluggish trip-hop of 'The Mars Goblin', Nuklear Prophet expertly touches on a range of bass-driven genres, displaying his widespread influences and knack for hard-hitting production throughout.

Some forty years into one of music’s most impactful, sometimes tense and yet curiously enduring partnerships, Tears For Fears have finally arrived together at The Tipping Point – the group’s ambitious, accomplished and surprising first new studio album in nearly two decades. Tears For Fears find themselves back in peak form at The Tipping Point, an inspired song cycle that speaks powerfully and artfully to our present tense here in 2021. This is an album that vividly recalls the depth and emotional force of the group’s earliest triumphs. Imagine a far more outward-looking take on TFF’s famously introspective 1983 debut album The Hurting set in an even more mad world, or 1985’s Songs From The Big Chair bravely confronting even bigger issues in our increasingly unruly world. Or even 1989’s The Seeds Of Love that sows a mix of love and other emotions. The Tipping Point is the bold, beautiful and powerful sound of Tears For Fears finding themselves together all over again. Available as a 1CD Mintpack, a 1CD deluxe digipak (with extra track), a Gatefold Balck 1LP.

Techno pop dance music incoming! Pretty much 10 years after its debut with the „She Knows EP“, Jet Hammer – the collaborative project of seasoned producer Nacho Marco and trusted vocalist Garen Moreno – finally expand its horizon with new songs. The Last Night EP sees the valued tradition of the extended dance mix gets rejuvenated, readjusted and reprised. Recorded between Warm Studio in Valecia and Chief’s Peak Studio in California, with influences ranging from the avant-garde fusion of Tuxedomoon to the groove of the Pet Shop Boys and the subsequent fashion that became Acid House (the UK definition, of course), the EP is home to four tracks that are cut from the same cloth.
Last Night sounds modern on the main mix and like a lost The Cure demo on the 1981 version, it’s hard to resist in either version. How We Started develops the thought into something of a power ballad and last, but not least, the instrumental version of On Your Side delivers the sugarless dessert for allergic subjects. Halcyon dance hall days ahead!

Following up to their acclaimed "Hold" EP from last year, German duo Alma reemerge on Definition with their new transmission, "Mother". Through four cuts dropping anchor down the most remote nooks of our dance-friendly galaxy, Alma move the cursor from proper floor-focused 4x4 grooves to kosmische-informed pop excursions with dextrous style and seamless elegance. Crafting their own blend of emotionally whelming club music, it's material primed for extended use whether you are sitting on some high-rise, towering rooftops at sunrise or enjoying a freeze-dried cocktail on Alpha Centauri. Presented in both original version and remix form courtesy of label head Definition himself, title-track "Mother" is the epitome of a slo-burner, rolling at low speed but gaining tension, weight and impactfulness as it runs. Circuits sizzling and piano stabs blazing, Alma dish out a compelling sample of their cross-dimensional wares, sure to take any dancefloor in the zone without further ado. Definition's Remix revamp trades the original's steady swing for a further syncopated, newbeat-infected swagger, laying further emphasis on the synth leads and lashing drumwork as poetic, bleached-out pads keep painting the sky all shades of pastel. A more Italo-inflected affair at first, the tear-jerking "Lost In The Stars" has us gliding in a parallel universe of its own, where epic-sized synth combers and muscular bass onslaughts avalanche over brittle lines of soft-tongued vocals. As concretely submerging as it is designed to trigger off deep emotional response from the ravers, this one is tailored to weave instant communion between the jockey and his audience. Flinging in the breaks and cross-cutting delays, Kiel outfit Avidus shift the angle of approach towards harder, faster EBM firepower, binding their rowdy, FX-soaked chords with the chorus to create a wholly distinct dancing and listening experience.

"Rush to Riot" is the 3rd EP to be released in mid of July 2021 on the Berlin Techno Label INHERIT. After dropping the first Inherit selection IHT S01 back in May 2021 with tracks by Bacch, Geerson, CLTX and many others we are more than happy to announce that this remarkable journey continues - not only with two more original tracks by the co-founders of Inherit, Daniel Heinrich & Disguised, but rather with two exceptional remixed bangers by Hadone & Hioll on IHT 003.

"Rush to Riot" is definitely one of the most ambitious & remarkable tracks ever published on INHERIT so far. The noteworthy collaboration between the co-founders Disguised & Daniel Heinrich brings together what belongs together: trancey basslines and melodic vibrant tunes captivating you on every dancefloor around the world.

Hadone is one of the most exciting Techno artists from France these days and without any doubt his remix of Rush to Riot adds an unique & outstanding layer to IHT 003. His well-known evocative melodies propped up on pounding kicks unite with a more forward-driven interpretation of the original track that brings so much energy to the EP.

"Against the Current" is the 2nd original track on IHT 003 by cofounder Daniel Heinrich with a remix by Hioll, one of the rising stars within the Cuban electronic music scene. While the original track with the progressive baseline by Daniel Heinrich sounds like a famous club banger already Hioll created with his remix a new and distinctive sound, hypnotic techno supported by industrial elements lifting the original track to a new level.

IHT 003 leaves us with the feeling how hard we crave for the clubs to reopen again soon. Until then enjoy your catchy four track compilation by Daniel Heinrich, Disguised, Hadone & Hioll.

Color Vinyl
Brian Borcherdt (aka Dusted) is the founding member of Holy Fuck as well as LIDS which includes members of Metz and Constantines, and has a single due out this year on Sub Pop. 

The new album is the follow up to the acclaimed 2018 release BlackOut Summer and will provide a welcome musical shot in the arm for fans who have anxiously waited three years for new music from Dusted.
‘The album's process began with Borcherdt finding a long forgotten favourite song, coming back to him in a dream. ‘’That same morning, I found a demo of it, along with countless others, on an old laptop,’’ said Borcherdt. ‘’It was a joyful moment, hearing long lost songs as if I was never part of them. I was a third-party listener thus allowing them to be innocent and unjudged. I added a handful of the favourites to a current set list, which became the inspiration to go into the studio, to lay everything down, live off the floor, simply to preserve them, to keep them from being forgotten again.'
Dusted’s 2012 album ‘’Total Dust’’ was selected for the Polaris Prize Long List in 2013. The support from filmmaker Jean-Marc Vallee earned Dusted two songs in his most recent film Demolition and a cameo role in Wild. With Holy Fuck, Borcherdt has been making music for 15 years and has released 5 albums. Holy Fuck has seen their music played on major TV shows like Breaking Bad and Mr Robot as well as ranking over 200K monthly listeners on Spotify and accumulating over 5 million career streams to date. Borcherdt has been releasing solo music since 2002. Previously to Holy Fuck, he was part of By Divine Right whose past band members count Feist and Broken Social Scene’s Brendan Canning. 

‘’Borcherdt has found a worthy foil who can help him steer clear of sad-bastard solipsism, introducing luminous textures that lend these recordings a greater sense of space and levity.’’ - Stuart Berman, Pitchfork

Black Vinyl
Brian Borcherdt (aka Dusted) is the founding member of Holy Fuck as well as LIDS which includes members of Metz and Constantines, and has a single due out this year on Sub Pop. 

The new album is the follow up to the acclaimed 2018 release BlackOut Summer and will provide a welcome musical shot in the arm for fans who have anxiously waited three years for new music from Dusted.
‘The album's process began with Borcherdt finding a long forgotten favourite song, coming back to him in a dream. ‘’That same morning, I found a demo of it, along with countless others, on an old laptop,’’ said Borcherdt. ‘’It was a joyful moment, hearing long lost songs as if I was never part of them. I was a third-party listener thus allowing them to be innocent and unjudged. I added a handful of the favourites to a current set list, which became the inspiration to go into the studio, to lay everything down, live off the floor, simply to preserve them, to keep them from being forgotten again.'
Dusted’s 2012 album ‘’Total Dust’’ was selected for the Polaris Prize Long List in 2013. The support from filmmaker Jean-Marc Vallee earned Dusted two songs in his most recent film Demolition and a cameo role in Wild. With Holy Fuck, Borcherdt has been making music for 15 years and has released 5 albums. Holy Fuck has seen their music played on major TV shows like Breaking Bad and Mr Robot as well as ranking over 200K monthly listeners on Spotify and accumulating over 5 million career streams to date. Borcherdt has been releasing solo music since 2002. Previously to Holy Fuck, he was part of By Divine Right whose past band members count Feist and Broken Social Scene’s Brendan Canning. 

‘’Borcherdt has found a worthy foil who can help him steer clear of sad-bastard solipsism, introducing luminous textures that lend these recordings a greater sense of space and levity.’’ - Stuart Berman, Pitchfork

As pieces of musical curation go, Kenny Dope’s reimagining and reediting of the Wild Style breakbeats is outstanding. While the music from the ‘Wild Style’ OST is truly seminal, the story behind it is even more fascinating.

Underneath the voices of important rappers from hip-hop’s first wave – Cold Crush Brothers, Double Trouble, Rammellzee, Busy Bee and more – were a selection of backing beats that have underpinned and influenced a whole lot of hip-hop ever since.

It would be easy to mistake them for genuine breakbeats dug out of crates, but they’re not. Overseen by hip-hop impresario Freddie Braithwaite – better known as Fab 5 Freddy – in collaboration with Blondie’s Chris Stein – the songs from the Wild Style soundtrack are all unique creations intended as a homage to the early breakbeats.

Drummer Lenny Ferrari – who had played for Aretha Franklin before emerging on the punk scene – and bassist David Harper played many of the iconic grooves, two somewhat forgotten participants in shaping a legendary sound. They – and Chris Stein – weren’t even in the same studio at the same time.

Kenny Dope, a long-time fan of the music, later acquired the original reel-to-reel tapes from Charlie Ahearn, the film’s director. Using the Wild Style breakbeats – many just a minute or so long – he transformed them into longer edits that give them more room to breathe. ‘Down by Law’ and ‘Subway Beat’ are two of the most famous, breakdance classics that summon up visions of graffiti’d trains speeding through the South Bronx.

Maylee Todd is a multidisciplinary artist working in songwriting, production, performance art, dance, 3-D projection mapping and curation. ‘Maloo’ is her Stones Throw debut.

She has shared the stage with Janelle Monae, Lee Fields, Aloe Blacc, Little Dragon and more.

‘Maloo’ is a visionary record inspired by ideas from science fiction, futurism and psychology.

Maylee Todd’s debut album ‘Maloo’ is a concept record revolving around a fictional world where empathy, mental health and creativity are the core elements for survival.

The album's themes will be bolstered by additional video content created by Maylee herself, including a VR video, original music videos, animated videos, a graphic novel origin story for socials and
NFT platforms, and digital fashion designed and modelled by Maylee.

Maylee recently collaborated with Eric Andre on his audiovisual NFT piece and guested on Tim Heidecker’s Office Hours podcast.

Artwork designed by Maylee Todd.
Clear vinyl with sticker on jacket.
For fans of FKA Twigs, Tirzah, Kelsey Lu, Julia
Holter, Holly Herndon.

Forming at a Bristol club night in 2019 with a collective
appreciation for all things shoegaze, DAMEFRISØR bring bags
of driving rhythms and swirling guitars. They are Kazhi Jahfar
(vocals), Nyle Dowd (drums), Garin Curtis (guitar), Jamie Brown
(guitar) and Sam Nobbs (synth).
 Taking the typical band route, they spent their time in garages
finding a sound, until they outgrew that space and headed to
the studio. With only a handful of shows under their belts the
band enlisted Bristol producer Dom Mitchsion (Spectres, LICE,
Heavy Lungs) to record their first singles ‘Huile’ plus ‘And You
Know’.
 Taking influence from their admiration for Kevin Shield’s wall-ofsound and the dark undertones of post-punk, ‘Huile’ gave an
indication of what was to come from the band. Following a few
months later with ‘And You Know’, which gained plaudits from
So Young Magazine, DIY, Hard of Hearing and more. The track
became a key part of the energetic, captivating live set; one that
would see them invited to perform with the likes of Talk Show,
ALASKALASKA and Bull.
 Just as the band were gaining the momentum, fans and praise,
the world came to a grinding halt. Cancelled shows and
postponed studio time allowed the band to take a step back and
look for a fresh direction. With the addition of a synth in the mix
the band took on a more progressive sound, experimenting
more with their tones and techniques.
 In February the band finally got back to the basement studio of
The Louisiana with producer Will Carkeet (Robbie & Mona, Pet
Shimmers) to record their new singles. They are now proud to
present their debut 7” single, ‘Do You Think I’m Special?’,
released via Permanent Creeps Records.
 “The track is beautifully textured, drenched in trembling reverb
but basking in a bright, almost optimistic tone - as if finding a
sense of finality in the cacophonous noise washing over them.”
- So Young Magazine

'Memory Box' - the new album by Rodney Cromwell - fuses a European synthpop sensibility with a world of magical realism. It was inspired as much by the literature of Alice in Wonderland, Franz Kafka and Anna Kavan, as by its musical influences of artists such as Kraftwerk, Neu!, The Cure, Silver Apples, Oppenheimer Analysis and Polyrock. The sonic pallet of 'Memory Box' is rich, colourful, often surprising and utterly unique. Since the release of his debut 'Age of Anxiety' album in 2015, Rodney Cromwell has been featured by the likes of NME, Electronic Sound Magazine, Huffington Post, Paste, BBC6 Music and national RNE3 in Spain for whom he recorded a live session. 'Age of Anxiety' was included in a wealth of Best of Lists, not least that of Electronic Sound. He has appeared on compilations alongside Cavern of Anti-Matter, John Foxx, Devo, OMD, Katy Perry and many more. Rodney Cromwell is the project of Adam Cresswell. The first band he founded was SALOON, who were John Peel darlings, who recorded three Peel Sessions and the Festive 50 number 1 of 2002. They released three acclaimed albums on Track & Field (UK) and Darla Records (US) and played with a host of alternative acts including Stereolab, Electrelane, Quickspace, Laika, Of Montreal & Movietone. He followed Saloon with ARTHUR & MARTHA the acclaimed tweetronica duo that released the sole album 'Navigation' before vanishing. In addition to performing as Rodney Cromwell, he runs the Happy Robots record label. The Rodney Cromwell live set is a joyful mixed-media extravaganza, incorporating analogue synths, video visuals and live instrumentation, interjected by Rodney's 'offbeat wit'. His debut festival appearance at Indietracks in 2015 was described as 'like a spiritual experience". He has shared stages with acts including Pram, Marsheaux, Death & Vanilla, Rowetta and Steve Davis. His sole performance in 2020 was as part of Damo Suzuki's backing band. He will be promoting the album with a series of live-dates in 2022. Cromwell's recent singles 'Memory Box' and 'Get Me To Prague' received play on BBC 6 Music as well as national play in Spain, Finland and Japan. 'Memory Box' featured in the Official Festive 50 on Dandelion Radio. To coincide with the album we have early confirmed reviews with Electronic Sound Magazine and interviews with ElectricityClub, Pennyback Music and You haven't heard this music vodcast.

"Two Duos" is pressed from cellist Okkyung Lee's most recent OTO Residency; the first side a duo with Jérôme Noetinger on Revox B77 and the second with Nadia Ratsimandresy on Ondes Martenot. Cut together, the two meetings seem to raise three cellos in the search for expressive voice: the cello, its magnetic reproduction, and the dual controls of the machine invented to expand on its musical qualities. On the A side Noetinger's opening tape hiss establishes a current; an electrical partner who gives Lee room to slide across and stretch out. Progressively the cello is returned, duplicated and manipulated with increased velocity and distortion. Noetinger draws out the full extent of Lee's extended technique; rewinding strands of Lee's horse hair and transmuting her percussive attacks into shuddering echos, before letting his own concrete interjections spin the duo's sonic tussle into an almost romantic daydream. On side B the ondes (invented by French cellist and wartime radio operator Maurice Eugene Louis Martenot and so loved by Bernard Parmegiani, Varese and Messiaen) seems shaken from classical tradition and those long, drawn out horrorscapes it has come to be associated with. In a duel with Lee, Ratsimandresy grasps the ondes' extraordinary capacity for dexterity, nuance and speed, hounding Lee's cello in a bid to drive her instrument out of the past and into the future. Two fantastic pairings and a testament to the freshness with which Lee and her collaborators continue to work with their instruments. Okkyung Lee / cello. Jérôme Noetinger / Revox B77. Nadia Ratsimandresy / ondes Martenot. Recorded live at Cafe OTO on. Mixed and mastered by Lasse Marhaug. Design by Maja Larrson.

Love Tractor's forward-sounding 1988"s "Themes From Venus" will be
treated to a remastered edition on March 18, 2022, by Propeller Sound
Recordings.

Housed in fully redesigned gatefold artwork, the band's fourth release is given a chance to spread the Art Rock pioneers' music out of this world. Considered a founder of the Athens, Georgia alternative music scene'along with The B-52"s, Pylon, and REM. After its original release, Love Tractor embarked on a healthy touring regime to promote the record, including a 60-date stint with The B-52s on
their Cosmic Thing tour. Though the band went on hiatus in the early 1990s, they would return again in 2001 and are currently working on new music.Packaging: CD Remastered & Expanded with 6 Bonus Tracks and Full-Color insert.

2LP with a 4-page colour insert

As Guadeloupean vocalist and composer Marie-Line Dahomay writes in her liner notes to the compilation, gwoka is more than a style of music, it is “a way of living and thinking.” Rooted in the social, musical and ritual practices of enslaved African people and their descendants on Guadeloupe, gwoka has always sought to express the spirit of independence and resistance authentic to the island.Building on its traditional call-and-response form and the ideas of pivotal figures like Gérard Lockel and Christian Laviso, modern gwoka evolved throughout the second half of the twentieth century to include funk, jazz and electronic influences.

Defined by its propensity for innovation and experimentation, this compilation charts the most radical changes to modern gwoka, capturing a sensory riot of traditional répertoires, rhythms and makè techniques fused with genre-defying experimentation.Whether heard in the deeply cosmic, spiritual music of Dao, Freydy Doressamy and Gaoulé Mizik, or the jazz funk inflections of Gui Konket and Horizon, the music here is united by the feeling of santiman ka, crucial not only to gwoka music but the identity of Guadeloupe at large.

As co-curator Cédric Lassonde (Bueaty & The Beats) writes: “What unifies these selections is the depth of the compositions, the experimentation around the santiman ka, and the spirit of resistance and liberation against slavery, be it modern or ancestral. With a thirst for innovation typical of the island’s creole culture, the ka spirit is deeply rooted in collective history and in a quest for identity.”

Co-curator Brandon Hocura (Séance Centre) continues: “The creative energy of these musicians is powerful and demonstrates a universal pursuit of resistance, freedom and identity. Their voices are distinct, but the chorus rises high and carries their message far across the sea.”

Lèsprit Ka: New Directions in Gwoka Music from Guadeloupe 1981-2010 is the first compilation of its kind to bring the sound of modern gwoka to a wider audience, with many of the featured musicians still active today. Presented as a double LP, the release features a specially commissioned essay by Guadeloupean musician Marie-Line Dahomey, and extensive liner notes from Cédric Lassonde and Séance Centre’s Brandon Hocura.

True to the hybrid nature of the music, the compilation seeks not to provide a definitive sound, but express the variety of contemporary forms that have evolved from gwoka. Just as Guadeloupean trailblazers Kassav fused gwoka with funk and cadence to create zouk, so did the musicians on this collection push gwoka in new directions rarely heard beyond its shores.

In the words of Gérard Lockel, “gwoka is the soul of Guadeloupe”

Franz Ferdinand announce ‘Hits To The Head’, a 20-track greatest
hits collection showcasing the world-conquering success of the
band’s career to date.
 Released on Domino, ‘Hits To The Head’ also features two brandnew tracks - ‘Billy Goodbye’ and ‘Curious’, produced by Alex
Kapranos, Julian Corrie and Stuart Price (Dua Lipa, Madonna, Pet
Shop Boys).
 Armed with an astute sense of what constitutes the ‘classic pop song’
(famously proclaiming that they write music “to make girls dance to”),
the music of Franz Ferdinand continues to resonate globally and over
the course of nearly two decades they’ve become, commercially and
critically, one of the biggest UK bands in the world, selling over 10
million albums, 1.2 billion streams to date, 14 Platinum albums,
winning Brit, Ivor Novello and Mercury Prize awards, Grammy
nominations and selling six million tickets for their incendiary live
show worldwide.
 Deluxe CD in hardback book-style sleeve with 48-page case-bound
booklet with liner notes by JD Beauvallet plus lyrics.
 CD in standard jewel case with clear tray and 24-page booklet with
liners by JD Beauvallet.
 2LP into black poly-lined inner sleeves plus 16-page booklet with
liners by JD Beauvallet and digital download card.

High Focus ​Records linchpin ​Fliptrix announces his 8th solo album ​‘Light Work’. The 16-track project is a complete representation of ​Fliptrix as both an artist as well as reflecting the person behind the artistry. The album tackles deep rooted issues within society, the current state of the world as well as portraying an overarching message of peace, openness and optimism.

“Light Work is the culmination of years of experience, emotion, research and love. Crafted to heal, fulfil my desire to create and further raise vibrations.”

The London born, Brighton based lyricist’ creative CV has become one of legends. His long-standing trade as a solo artist is paired with him being one-quarter of the acclaimed collective ​The Four Owls (Big Owl)​, adding in Founder and Director of ​High Focus Records and not to forget becoming a first-time dad earlier this year. Operating at this level has been achieved by years of self-development and his mission is to pay it all forward.

Both Fliptrix and High Focus Records have been irreplaceable cogs in the UK HipHop machine for well over a decade. He and the label have been there for the hard times and the glory days but have never sought out fame or verification. Albums such as ​‘The Road To The Interdimensional Piff Highway’ and ​‘Patterns Of Escapism’ ​were pioneering amongst peers and resulted in multiple global tours and a dedicated fanbase across the world.

Kicking off the album is the title track ​‘Light Work’ which starts with faded, eerie laughter whilst Fliptrix unleashes a barrage of flows ending with “DMT be elevating my consciousness​”​. An introspective cut,

‘Light Work’ expresses his undeniable passion for his craft whilst tackling personal demons and overcoming them through altered states of consciousness. ‘​Multicolour’ paints a raw psychedelic picture and encourages us to think outside the box and not take everything for face value. His vivid storytelling continues throughout with feelings of being burnt out expressed in ‘​Broken Glass​’ whilst ​‘Powerizm’ ​switches up the tempo and he conveys his daily grind whilst paying homage to his fallen friend and legendary London graffiti artist ‘POW’ as well as his recently born first child. Tracks ‘​Problem, Reaction, Solution & ​The Realisation Part 2​, tackle the world's current situation head-on with a no holds barred viewpoint. Coming full circle, ​Fliptrix closes the project with ‘​Vibes’​ which is full of positivity and hope.

No stranger to talking openly about his mind-altering experiences, spirituality, quest for knowledge and dedication to the exploration of consciousness, Fliptrix’s raw flow and intricate lyricism perfectly portray the albums hard hitting narratives and set him apart from the rest of the scene. Self-reflection, personal improvement, determination and revolution are at the core of ​‘Light Work’ and they come together harmoniously under one roof.

Faitiche presents Beispiel (German for "example", also suggests playing together), a joint project by Frank Bretschneider and Jan Jelinek. Muster is their first album.

Free electronic music, the result of spontaneous improvisations.

“Meaning” is a concept that is overused in connection with music. Muster does not call for the same kind of air quotes. With its title, German for patterns/exemplars, Beispiel’s album frees itself from the ballast of teleological semantics. There is no overarching theme, no preparation, no reading list, no reason for this music. Just two facts: Frank Bretschneider and Jan Jelinek have known each other a long time and appreciate each other’s work; and they share a love of modular synthesizers and of experimental set-ups designed to capture surprise.

Bretschneider and Jelinek got together for their first joint session in 2016 and the years that followed brought more such meetings at Jelinek’s studio for open-ended musical dialog – at irregular intervals and with no clear objective. The improvisations were recorded in two stereo tracks: one track for Bretschneider’s audio, one for Jelinek’s. After each session, the recordings were processed separately, the options essentially limited to cutting and altering the frequency range. The nine pieces for Muster were selected from the resulting material.

This approach reflects an ideal: music is when you play your first note without knowing what the third or fourth will sound like. When your 290th note still sees you leaving the beaten track, and when curiosity grows as the piece unfolds. Duping is part of Beispiel’s practice. Improvisation is about disagreement. It’s a matter of addressing the right issues. What’s happening here? What’s mine, what’s yours? Are “why” and “where next” legitimate questions?

Muster is an exemplary work. Nine suggestions for what can be. Nine ideas for possibilities of listening.

Arno Raffeiner

From the deep depths of Noord Brabant (NL), high school friends and long term collaborators Klont and Whistle aka Wessel and Luuk join forces once again. Growing up a mere few towns away from each other and even appearing in the same punk band albeit at different times, the meeting of minds occurred over their shared persuasion for absurdist humour and a fairly unconventional music taste.

They knew they had something special in their pursuit of gnarly breaks, textures and all things on the curveball spectrum, as Klont the ultra music nerd approached with a desire to sculpt sound whilst the breaks disrupter and club-goer-outer Whistle brought his all-around disruptive energy to the table. Separated by the pandemic they practiced their musical efforts away from each other with lots of late night video call jam sessions fiddling with ableton to produce a certified booty shaking masterpiece for ANUS Records.

Thomas Headon was born in London and raised in Melbourne but dreamt of moving back to the city to pursue music. Thomas’ mum told him he had a year to get a “proper job” otherwise he would have to return home. Arriving in London just before the pandemic hit, Thomas started to build a community online - blowing up on TikTok with 14.7M likes and over 400K followers to date - with his off-kilter live sessions, tongue-in-cheek charm and remarkable song writing ability. Learning to write and produce on his own in his late teens, Thomas has already released a self-written and self-produced debut EP, ‘The Greatest Hits,’ and dropped The Goodbye EP last year, amassing 50M streams world-wide. All before his 21st birthday.

On November 5th, Thomas will announce his brand-new EP, Victoria, due 11th March 2022 and available to pre-order from the announcement. Alongside the announcement, he drops new single ‘Strawberry Kisses’ a few days prior, kicking off the road to the EP officially.
Building an incredibly loyal fanbase over lockdown and amassing 100K followers on Instagram, Thomas’ blend of playful alternative pop that speaks to the Gen-Z experience, has been compared to the likes of the 1975’s Matty Healy, and critically praised by Triple J, naming him a “seriously impressive force in pop music”. Already performing a charmingly energetic live session on Jack Saunders’ BBC Radio 1 show, Thomas has just sold out two nights at London’s Heaven on a 17-date tour in November, following the “Living Room Shows” tour, where he played an intimate acoustic series to thousands of fans across the UK. One of the first artists to curate Spotify’s Our Generation playlist, the 21-year-old has also collaborated with American singer-songwriter Lizzy McAlpine on his single 'Bored’ and gained over 50M global streams.
Thomas will also be supporting Sigrid next year on her European Arena Tour.

Rapper and producer duo ​Verbz & ​Mr Slipz announce their latest album ‘Radio Waves’ ​due out ​13th November 2020​. Released on the acclaimed Hip-Hop label ​High Focus Records​, the 22-track project sits perfectly between present-day greatness and unrivalled nostalgia welcoming us into their unique rap landscape. The cover, designed by ​Matt Littler​, captures the essence of the album perfectly.

Born and raised in Croydon, rapper ​Verbz has proven himself time after time with his innovative rhyming style and distinct flow. The creative partnership wouldn’t be complete without Brighton based producer Mr Slipz who marries ​Verbz’ form with his laid back jazzy sound as well as unmistakable attention to detail. The pair started making music together in 2017 when they released their debut collaboration ‘Lessons Of Adolescence’. This was followed by extensive tours and studio sessions where their musical alliance was cemented and their bond has been untouchable ever since.

Kicking off the album with humour and personality, '​2202 FM​’ is a full-bodied track which sees ​Verbz spit tales of admiration for his city whilst at the same time striving to escape. With London on the brain,

‘Summer In The Bits’ ​is an introspective analysis of a summer's day in the capital full of tense trials and tribulations. Moving throughout the album, ​‘Kno The Status’ welcomes three potent guest verses from Alex Holy​, ​Datkid & ​Upfront ​paired with an unrivaled ​arrangement and instrumentation magnifying Mr Slipz’ craft. Once again his incomparable production delivers on ​‘Weekend Blues’ ​which see’s ​Verbz regretfully address craving more from his weekend to then be greeted by numbness on a Monday morning. ​High Focus linchpin Fliptrix delivers some captivating combinations on ​‘My Wonders’ ​honing n on the current state of the world from his point of view. Up next is one of the lead singles

‘The Feeling’, which is a refreshing and rare representation of the classic Boom Bap sound. Before signing out, ​Verbz’ ​impressive storytelling shines through on ​‘In My Mind’ offering insight into his artistry as he allows access to his inner thoughts via vivid storytelling lyrics. Sandwiched amongst the project are evocative radio skits placed to perfection, offering angles of comedy including a mini-interview acting as the final pieces to the puzzle.

This record is the culmination of two years of hard work packed with skill and finesse, as we have all come to expect. With their unrivalled chemistry, the dynamic duo have proven themselves to be some the most exciting artists on the scene, and '​Radio Waves' is going to cement their position at the top of the ranks.

Causa returns to Infernal Sounds for his debut solo release, after his previous two outings in collaboration with Shu (IFS003) and as part of the VA Crimson LP (IFS025). This time he presents two standout tracks, and a strong message to go alongside. With the world requiring more sustainability and less waste, this record has been created with the most measures possible to create a greener record - The 12" are made in a completely climate-neutral way, the material having been recycled, all unavoidable Co2 emissions have been offset, the cardboard/centre labels are either FSG approved or via recycled means, and even the artwork has been made with all of this in mind, using minimal ink work and a restricted colour pallet to limit the amount of waste throughout.

Not only that, but the two tracks on the 12" absolutely slap, radiating that trademark Causa swampy-sound. 'Haiy' kicks off the proceedings with a reverberating lead before plunging you into a frenzy of mid-range madness, and bass-curdling pressure. 'Untitled R V3 C' has been a long sought after dubplate, having done the rounds for a few years. It's a proper groovy, swinger, providing you with pure invigoration.

Tape

Limited to 100 CASSETTES Fairground of Tears’ ‘Execution’ is a 10 track EP of heavy, noisy techno, containing 5 original tracks and 5 remixes from Melania., Phin, Pre Silent, Antechamber and Tomohiko Sagae. Conceptually, the release explores the multi-perspectival facets of the serial killer phenomenon, both the victim and the killer, but also the role of the voyeur, which in this instance, the listener becomes. Fairground Of Tears is a London based producer, resident DJ at Noise Orchestra and the founder and curator of the London event series, Exiled. credits Mastered by Joe Farr Artwork by Hila Angelica Mazzocco

Mixing funk, jazz, boogie, it is released for the first time on vinyl with remastered audio and new liner notes by Lebanese DJ and curator Ernesto Chahoud. In the early 80's, Rahbani created a landmark album, 'Houdou Nisbi' now considered one of the best jazz funk albums from the Middle East. Featuring such cult tracks as "Rouh Khabbir", a remake of the Crusaders' "Soul Shadow" sung by Rahbani
himself, the modern soul of "Bisaraha" and the Brazilian flavoured "For Sure", the album is both effortlessly groovy and steeped in Oriental music. Held as "one of Lebanon's best kept Musical treasures' by Ernesto Chahoud in his notes, the album is a certified Rahbani cult classic.

"Houdou Nisbi," which means "relatively calm", an expression used by news anchors on Lebanese TV to describe the mood during cease-fire in the civil war between 1975 and 1990 - has been remastered for vinyl from the original masters by David Hachour at Coloursound Studio in Paris. The artwork has faithfully been reproduced for the enlarged format. An iconic cover highlighting the strange life
in war ravaged Beirut during the cease-fire and in line with the political stance of Rahbani, a self proclaimed non- religious leftist. Wewantsounds is delighted to bring the first-ever vinyl release of this iconic album to the world.

ACHTUNG !! Another weighty missive from the desk of Herr Campbell, otherwise known as Consulate - Perth’s preeminent breakbeat bureaucrat, currently stationed in Melbourne, Australia.

Smelling like leather and tasting like metal, the “Assassino” EP features four full-excursion incantations for all the midwinter ravers -- solstice steppers enhanced with dubwise technique and enchanted with ancient foreboding…

Careful what you conjure when the needle hits this platter.

For the third release of Captea, the Italian duo deliver a two tracker EP + remix. Vibra is a tech house joint with a hint of electro, a modern vision of club music that fit any DJ set. Saturnia brings you to another dimension with an acid sequence and voice playing over a badass groove. The B-side is curated by Nuances de Nuit's founder T. Jacques with his reinterpretation of Vibra.

Etran de L'Aïr (or "stars of the Aïr region") welcomes you to Agadez, the capital city of Saharan rock. Playing for over 25 years, Etran has emerged as stars of the local wedding circuit. Beloved for their dynamic repertoire of hypnotic solos and sun schlazed melodies, Etran stakes out a place for Agadez guitar music. Playing a sound that invokes the desert metropolis, Agadez celebrates the sounds of all the dynamism of a hometown wedding. Etran is a family band composed of brothers and cousins, all born and raised in the small neighborhood of Abalane, just in the shadow of the grand mosque. Sons of nomadic families that settled here in the 1970s fleeing the droughts, they all grew up in Agadez. The band was formed in 1995 when current band leader Moussa "Abindi" Ibra was only 9 years old. "We only had one acoustic guitar," he explains, "and for percussion, we hit a calabash with a sandal." Over the decades, the band painstakingly pieced together gear to form their band and built an audience by playing everywhere, for everyone. "It was difficult. We would walk to gigs by foot, lugging all our equipment, carrying a small PA and guitars on our backs, 25 kilometers into the bush, to play for free_ there's nowhere in Agadez we haven't played." Whereas other Tuareg guitarists look to Western rock, Etran de L'Aïr play in a pan-African style that is emblematic of their hometown, citing a myriad of cultural influences, from Northern Malian blues, Hausa bar bands, to Congolese Soukous. It's perhaps this quality that makes them so beloved in Agadez. "We play for the Tuareg, the Toubou, the Zarma, the Hausa," Abindi explains. "When you invite us, we come and play." Their music is rooted in celebration, and invokes the exuberance of an Agadez wedding, with an overwhelming abundance of guitars, as simultaneous solos playfully pass over one another with a restrained precision, forceful yet never overindulgent.

Nonesuch Records releases Ghost Song, the label debut of singer/songwriter Cécile McLorin Salvant. Ghost Song features a diverse mix of seven originals and five interpretations on the themes of ghosts, nostalgia, and yearning. Salvant says, “It’s unlike anything I’ve done before – it’s getting closer to reflecting my personality as an eclectic curator. I’m embracing my weirdness!” Cécile McLorin Salvant plays at Cadogan Hall on November 16 as part of the EFG London Jazz Festival, four shows at SFJAZZ in February, and two nights featuring the music of Ghost Song at Jazz at Lincoln Center in May. Salvant says of the title track, out now, “What if the love has gone, the love has left you and you have the emotions around that, and you’re still going through them, still engaging with the ghost of that love?” She continues, “Some songs are so painful to come out but this one came out pretty quickly. I’ve had some loss the last couple of years: my grandmother, the drummer in my band Lawrence Leathers.”



Ghost Song opens and ends with a sean-nós (traditional Irish unaccompanied vocal style) performance by Salvant, recorded in a church. On track one, she transitions into Kate Bush’s 1978 classic ‘Wuthering Heights’. Salvant says of the song, “Wuthering Heights is a book that really struck me to my core as I was making this album, during the pandemic. And the best interpretation of the novel is Kate Bush’s song.” She continues, “It’s the most classic ghost story. I decided I wanted to do an album called Ghost Song, and I knew that one had to be on it. Then I had the idea to mix it in with the sean-nós ‘Cúirt Bhaile Nua’, which binds it to the traditional ‘Unquiet Grave’, the last track on the album. The ghost is not haunting me; now I am haunting the ghost. They parallel each other so well and they’re such different time periods. I wanted the album to be a circle, with the sean-nós reference at the beginning and at the end. So it is the first track but it’s also the last track and it’s also the middle track, which is how I listen to music, walking around my neighborhood, on a plane, travelling somewhere, putting stuff on repeat.” “All the songs on the album kind of mirror each other. I tried to create this strange symmetry. So as you go in from both ends, the songs are sort of matched together,” Salvant says. “‘I Lost my Mind’ is the center of the Russian doll. I wrote that in the middle of the pandemic. There were nights when I wanted to just scream. It was this deeper part of me saying, ‘It’s OK if this sounds completely crazy, OK to just go with the completely crazy thing and not worry if people think you have lost your mind for doing it.’



“The bands also mirror each other from top to bottom. In terms of the instrumentation, everything,” Salvant explains. “That’s why the songs are there in that relationship: they match each other, they’re like fraternal twins, or one is the evil twin of the other. I, as the living, am visited by the ghost, and then I go visit the ghost in turn. I am haunting the ghost and annoying the ghost, which is saying, ‘Get out of here and go live.’” Of the sonic variety on Ghost Song, Salvant says, “Texture is a big part of how I sing, having multiple textures in one song. It’s almost a compulsion. I can’t allow myself to stay in one texture. The instrumentation creates that but the recording process as well. It’s something I like, even when I’m eating. You want the creamy and chewy and crunchy at the same time. Warm and cold.”



Cécile McLorin Salvant, a 2020 MacArthur Fellow and three-time Grammy Award winner, is a singer and composer bringing historical perspective, a renewed sense of drama, and an enlightened musical understanding to both jazz standards and her own original compositions. Classically trained, steeped in jazz, blues, and folk, and drawing from musical theater and vaudeville, Salvant embraces a wide-ranging repertoire that broadens the possibilities for live performance. Salvant’s performances range from spare duets for voice and piano to instrumental trios to orchestral ensembles. Her unreleased work Ogresse is an ambitious long-form song cycle based on oral fairy tales from the nineteenth century that explores the nature of freedom and desire in a racialized, patriarchal world. Salvant studied at the Université Pierre Mendès-France. She has performed at national and international venues and festivals such as the Newport Jazz Festival, the Monterey Jazz Festival, the Village Vanguard, and the Kennedy Center. Salvant is also a visual artist.

Heiko Voss has earned near mythical status as a torchbearer for the emotional, deeply felt and quietly radical style of electronic music. The blissed-out radiance of his Kompakt Pop single, “I Think About You” remains one of the label catalog highlights and a stellar run of collaborative singles as Schaeben & Voss; others might know him for his stewardship of the excellent, much-underrated Firm imprint. But with his new album, 3:30 Minutes To Live, released by Michael Mayer’s label Imara, Voss returns after a long silence with a beautiful collection of songs that hymn heartbreak with a lusciously melodic touch.

There is something definitive and newly confident in 3:30 Minutes To Live that has it feeling like a real statement of intent if compared to his earlier releases. “Although it’s not, 3:30 Minutes To Live feels like my debut album,” Voss reflects. “All releases before were more song sketches or electronic dance tracks.” Bunkering down in Teary Eyes Studio, Voss worked up somewhere between thirty and forty sketches of songs, which he whittled down to the twelve collected here, all of them situated in a unique space, but very much in accord with Voss’s defining aesthetic, which he describes as “indie pop music with a lot of guitar, electronic elements and a great love for melancholic ‘80s synth-lines.”

Voss is sensitive to both variety and consistency – 3:30 Minutes To Live sits together as an assured, vibrant collection of pop songs, but it’s marked by all kinds of surprising incident, like the guitar solo that erupts out of “This Is My Life”, or the acoustic guitar-led melancholy of the closing “This Summer”. It’s all borne of the alchemy of the studio process and the intimate romance of music-making. “If you constantly feel a little bit like you’re in love while writing and producing your music – simply because of the sound of the synth flowing warmly and gently through the room, or because the sequence of notes awakens something in you, or even a randomly arising groove in the loop of a guitar lick makes you shout, ‘Ha!!’ – then it usually becomes a beautiful song,” Voss nods. “Those moments make me happy.”

There’s also a delicious tension between the push of the music, its melodic lushness and gliding, ballerina-like movement, and the darker currents that pull through Voss’s lyrics, inspired by a “short, dramatic and toxic love affair.” This may read like familiar terrain for a pop album, but the way Voss weaves language through both the extra-linguistic joys of music and the inarticulate speech of the heart somehow allows for direct communication that is simultaneously plain-spoken and deeply profound. “Say It” is a simple, devastatingly effective plaint of alienation; “She Wasn’t Lonely” a simple portrait of everyday living set to chiming, clacking guitars, the music in the bridge taking astral flight as the titular character ‘lets herself go.’

A smart and sharp collection of songs that captures you with its gorgeous melodicism just as it blindsides you with its aching heart, 3:30 Minutes To Live is Heiko Voss at his most assured and open-hearted best.

Heiko Voss hat sich als Fackelträger einer emotionalen, von ganzem Herzen kommenden und nicht auf den ersten Blick radikalen Spielart von elektronischer Musik einen nahezu mythischen Status erarbeitet. Das schiere Glück, welches seine Kompakt Pop-Single "I Think About You" aus dem Jahr 2003 immer noch ausstrahlt, macht sie nach wie vor zu einem der Highlights des Label-Katalogs, wo sie neben einer ganzen Reihe hervorragender Singles als Schaeben & Voss steht; andere kennen Heiko vielleicht durch das tolle und vielfach unterschätzte Label Firm, für das er zusammen mit Thomas Schaeben verantwortlich war. Mit seinem neuen Album “3:30 Minutes To Live”, das am 4. März 2022 auf Michael Mayers Label Imara erscheint, kehrt Voss nun nach einer langen Pause mit einer wunderschönen Sammlung von Songs zurück, die den Herzschmerz – getragen auf den Schwingen unwiderstehlicher Melodien – ausgiebig besingen.

“3:30 Minutes To Live” kommt mit einer gehörigen Portion Überzeugung und Selbstbewusstsein daher, was im Vergleich zu seinen früheren Veröffentlichungen wie ein bewusstes Statement wirkt. "Obwohl es das nicht ist, fühlt sich ‘3:30 Minutes To Live’ wie mein Debütalbum an", meint Voss. "Alle meine vorherigen Veröffentlichungen waren eher Song-Skizzen oder elektronische Dance-Tracks."

Im Teary Eyes Studio arbeitete Voss zwischen dreißig und vierzig Songskizzen aus, die er auf die zwölf hier versammelten Songs reduzierte, die alle ihren eigenen Raum einnehmen, dabei aber sehr gut mit Voss' übergeordneter Ästhetik harmonieren, die er als "Indie-Pop-Musik mit viel Gitarre, elektronischen Elementen und einer großen Liebe für melancholische 80er-Jahre-Synthies" beschreibt.

Voss ist sowohl für Abwechslung als auch für Konsistenz empfänglich - “3:30 Minutes To Live“ ist eine selbstsichere, lebendige Sammlung von Popsongs, die aber auch von allerlei Überraschungen geprägt ist, wie dem Gitarrensolo, das aus “This Is My Life” herausbricht, oder die von einer Akustikgitarre getragene Melancholie des abschließenden “This Summer”.

Das alles ist entstanden aus der besonderen Alchemie des Studioprozesses und der intimen Romantik des Musikmachens. "Wenn du beim Schreiben und Produzieren deiner Musik ständig das Gefühl hast, ein bisschen verliebt zu sein – einfach weil der Klang des Synthesizers warm und sanft durch den Raum fließt, oder weil die Notenfolge etwas in dir weckt, oder sogar ein zufällig auftauchender Groove im Loop eines Gitarren-Licks dich ein 'Ha!' ausrufen lässt – dann wird daraus meist ein schöner Song", nickt Voss. "Diese Momente machen mich glücklich."

Es entsteht eine besondere Spannung zwischen dem positiven Elan der Musik, ihrer melodischen Verschwendungssucht, den gleitenden, Ballerina-artigen Bewegungen und den dunkleren Strömungen, die durch Voss' Texte ziehen, die von einer "kurzen, dramatischen und giftigen Liebesaffäre" inspiriert sind. Das mag sich wie ein vertrautes Terrain für ein Pop-Album anhören, aber die Art und Weise, wie Voss die Sprache sowohl durch die nonverbalen Elemente der Musik als auch durch den nicht artikulierten Ausdruck des Herzens verwebt, ermöglicht eine Art direkte Kommunikation, die gleichzeitig ausgesprochen klar und trotzdem tiefgründig ist. “Say It" ist eine erschütternd einprägsame Anklage von Entfremdung; "She Wasn't Lonely" ist ein einfaches Porträt des alltäglichen Lebens, untermalt von klappernden Gitarren, in dem die Musik einen astralen Flug unternimmt, während die Titelfigur sich "gehen lässt".

“3:30 Minutes To Live“ ist eine kluge und scharfsinnige Sammlung von Songs, die den Zuhörenden mit ihren wunderschönen Melodien fesseln, aber auch mit einer Menge schmerzenden Gefühlen konfrontiert. Ein Album, auf dem Heiko Voss ganz bei sich ist und Euch dabei mehr als nur sein Herz öffnet.

Strut presents the first compilation of legendary Afghan Ghazal singer Dr. Mohammad Sadiq Fitrat a.k.a. Nashenas, recorded at the Radio Afghanistan Studios and later released on singles by the Royal label in Iran. Nashenas first made his move towards music aged 16 in 1951 when he approached Afghanistan’s national radio station, Radio Kabul, with an idea for a broadcast and, impressed with his language skills, they offered him a permanent job. “I was in close contact with some of the big names in Afghan music like Jalil Zaland,” Nashenas explains. “My father had a gramophone and we listened to other singers like Ustad Qasim Khan and Kundan Lal Saigal.” After unsuccessful initial forays into singing sessions for the station, he honed his skills as a writer, singer and musician, playing the harmonium. Inspired by a movie he had seen at the cinema, Nashenas wrote a new poem and sang on air again after the evening news, using the name ‘Nashenas’ (meaning ‘unknown’) for the first time. Following a wave of positive feedback from the public, he was given a new weekend slot and built his reputation through film song interpretations, famous poems set to music and his own compositions sung in Dari and Pashto. Nashenas would witness turbulent times as Afghanistan found itself caught up in the Cold War and the early ‘90s civil war until it became too dangerous to stay in the country. Through a friend in the U.N., he was able to seek asylum for himself and his family and take up residence in London, continuing to work as a musician and giving concerts globally. Most of Nashenas’ recordings during this period were only made for broadcast, later surfacing on singles through the Royal label in Iran. Life Is A Heavy Burden is compiled from these singles by Chris Menist and Mads Jensen. All tracks are remastered by The Carvery and both formats feature new liner notes including an interview with Nashenas. The album is part of the new United Sounds of Asia series curated by Chris Menist and Maft Sai of Paradise Bangkok.

Lorca joins the Shall Not Fade family with a debut LP consisting of 8 melodic tracks with richly-layered soundscapes made up of samples and field recordings taken from his hometown, Brighton.

His first full-length album as Lorca, the Saudade LP sees Sam Cassman return to a melancholic and experimental sound for which he originally made a name for himself since his first release in 2012. The album's title, written in Portuguese - the language native to his current residence, Madeira - translates to English as "a feeling of longing, melancholy, or nostalgia". With stripped-back percussion and plaintive
atmospherics, it's clear to see why. We are soothed into things with the soft melody of "Lullabies" before being transported to Brighton Beach via field recordings of seagulls and the whisper of pebbles on the second track. The driving pulse of deep house track "Are You Gonna Love Me" picks up the pace whilst maintaining a sense of minimalism before the shimmering lull of "Two Pianos" brings things right back with
formless sonic collages and drifting atmospherics.

Flip the record over and the rolling beats are back. "Colraine" and "uTube" see the return of clever use of sampling, the latter including mobile phone recordings of live piano playing by friends, sampled from social media. "Colraine" offers up pulsating jazz rhythms, oozing with groove, before the aptly-named "Polly" ushers in a change of course with a razor-sharp polyrhythmic melody and acid undertones which are more suited to the club. On "Rock Paper", it's sound design that takes centre stage. To close the LP, Lorca manipulates field recordings taken from inside his studio to incorporate abstract, sample-based percussion, making for a truly unique take on techno and synthesis.

‘Free World’ is the first full-length issue from an
ongoing collaboration between Behavior (Bedros
Yeretzian, Evan Burrows, Justin Tenney, Robbie
Cody) and Mayako XO (Sara Gernsbacher). It was
tracked between 2019 and 2020 and assembled
over the course of the last year in Los Angeles.
 The album reflects its creation under open-ended
yet intent circumstances. What’s recorded is a
tangled pas de deux between discredited and
demonstrative characters, singing through shifting
voices over a living, melancholic music rendered
legible by surveillance.
 Mastered by Sarah Register.
 For fans of Sonic Youth, Velvet Underground,
Dead C, Blonde Redhead.

Andrew Tasselmyer is a musician from Baltimore, MD currently living in Philadelphia, PA. He utilizes samplers, field recordings, and lo-fi recording techniques to make textured and tactile sounds.

In addition to his solo catalog on labels such as Seil Records, Eilean Recs, Constellation Tatsu, Home Normal, and more, he is a member of Hotel Neon, Gray Acres, and Mordançage

On their Dualtone Records debut 'Sticking With It', Seattle-based sevenpiece The Dip deliver the kind of unbridled soul/R&B that hits on every
emotional level, inciting everything from raw catharsis to heavy-hearted
reckoning to wildly exuberant joy
In a major breakthrough for the band, the self-produced album fully channels the
vitality of the freewheeling live show that's earned them an ardent following over
the last decade, expertly matching their sophisticated musicianship with a
fantastically loose energy. When met with The Dip's lyrical reflection on matters
both timely (the crush of late capitalism, the glaring need for true community)
and undeniably timeless (the vast complexities of love and loss), the resulting
body of work captures the mood of the current moment while offering immediate
escape into a more elevated state of mind.

Back in stock! Ghanaian Afro-Rock From Producer/Composer JJ Whitefield, Inspired By His Karl Hector & The Malcouns And Whitefield Brothers Projects JJ Whitefield, who in the early ‘90s revived the gritty, analogue Funk sounds of the ‘60s and ‘70s with his Poets Of Rhythm, has been working with Now-Again Records for over decade, releasing a flock of acclaimed projects with Karl Hector & The Malcouns, Whitefield Brothers, Rodinia and the Original Raw Soul anthology. He first started exploring African rhythms with the Whitefield Brothers in the late ‘90s, continuing in the ‘00s with Karl Hector & The Malcouns. He’s been instrumental in launching Ghanaian Afro Beat/Funk legend Ebo Taylor´s international career, decades after the maestro recorded the landmark albums that have inspired thousands. Whitefield recorded two new studio albums with Taylor and toured in his band between 2009 and 2013, where he met Taylor’s son Henry and percussionist/Singer Eric Owusu. The trio now front the Johnny! band and find inspiration not only in Ghana’s hypnotic grooves, but also the full frontal fuzz guitar assault heard on the legion of 70s Zambian Zamrock albums reissued by Now-Again. Indeed, Whitefield credits his tours with Zamrock godfathers Rikki Ililonga and WITCH’s Jagari Chanda as instrumental in creating the Johnny’s sonic backdrop. The band is rounded out by Turkish drummer Bernd Oezsevim (Woima Collective, Rodinia) and Indonesian bassist/multi instrumentalist Tomi Simatupang (Whitefield Brothers). This is what was oft-called “Afro Rock” at the core, with the possibilities to stretch out into swinging highlife, sweet soul or psychedelia . The results, point at a new direction for the music inspired by the Great Continent. One that takes a direction once mocked as derivative and asserts its importance on the globe’s current musical stage.

From the meeting of the legendary Tsugaru Jamisen Maestro Chisato Yamada with volcanic mind of the composer Tasheshi Terauchi and his Oriental Fantastic Orchestra, a collaboration and a unique record, a conceptual work, is born in which innovative songs transcend the boundaries of traditional music by mixing modernity, rural and electronic atmospheres, local arias and contemporary music.
A record with strongly evocative and cinematic sounds.

Comes with OBI and a two-panel fold out sheet with original liner notes of the time translated in English that explains in an exhaustive way the inspirations from tradition and popular music and the very accurate digital recording techniques of the time that make it a record sought after by audiophiles looking for sounds unedited in the Western tradition.

Party starting outfit Spaghetti Club dive into 2022 with a hop, skip and a wobble as their third release sees the light of day this January. The four track VA maneuvers between dynamic moods for the dance floor, including sounds from label founder, Pierre Codarin, Harry Wills, Philipp Boss, and Jealous Lover.

Carrying the torch for the first track is UK producer, Harry Wills with “Longbags”, his animated sound fitting the ethos of the label entirely, cruising on a slinky arrangement, and sub heavy bass. Next up is Activo founder Philipp Boss, with a deeper and curious encounter, riding his synths around subtle house movements in “Serious Cat”.

Head chef Pierre Codarin provides a pacey and elasticated groove in “Smoke The Gap”, mechanical beeps and bleeps breathing life into the forward motion of the track. On a more mysterious trip is the last track of the EP from Jealous Lover. “Dresses For The Ride Not The Slide” is a hazy trip, crammed full of rippling shades of electro, calling in the shadows of the afters.

Breaking News! DJs Pareja and Matias Aguayo have joined to form the dance project MDM Factory!

Modern transcendental Techno music for those who know, and those who want to learn!

In a turmoil of events nightlife would change forever, and confined to their respective places - A flat in Buenos Aires and a house in the jungle Diego Irasusta, Mariano Caloso and Matias Aguayo joined forces to create new communication on distance via music.

Taking all their dance floor knowledge and dreaming of sound systems and togetherness in a better future, DJs Pareja & Aguayo put their minds, bodies and souls to work on this stunning EP that will please the forward thinking underground freaks as well as the big room techno pros.

Let’s dive into this divine mess of glorious dance floor jams from the future...

A1. Curvas Peligrosas

With the first track it becomes clear what this is all about: Wobbly metamorphous sounds from outer space jamming with stomping and bass driven techno beats of tomorrow, a new kind of rave, hypnotic and seductive, utterly strange but wonderfully catchy and contagious in a good sense, harsh shuffled hiatus and alternating kick drums, a relentless bassline and sophisticated electronic sounds in a a permanent evolution resembling and invoking altered states of consciousness.


A2. Love Boat

This new rave anthem seems like a classic you haven’t heard about. Muscle memories from dancefloor days trigger your body as you listen on your headphones, awaiting the chance to play it out soon, hopefully, as the dance floors slowly reopen. Alternating between parts of kickdrum, clap and snare awesomeness, and the mangled rave signals that slowly morph into a more concrete melody reminiscent of ancient dreams of the future, this track has it all for the club kids of today.

B1. La Vida Loca
The title track is a tech banger that will please those who dig Kenny Larkin, Claude Young, The Surgeon, Dave Clark or any other star in the nocturnal sky of Techno Techno, as well as the lovers of DJs Pareja’s classic Cómeme Clubbangers, or the more Techno side of Mr. Aguayo. Definitely has the potential to become a huge hit if enough djs that don’t rely on algorithms get their hands on it


B2. Las Llaves

The closer is hyper modern tech funk at its best. Percussive greatness as you can find it on many Cómeme releases is triggered in a different way, “sabroso” rhythms that are played in the light and purposeful way of an elegant jazz drummer, pave the way for an always evolving psychedelic lead synth sound, that will be a useful tool for the dj who knows when to keep the groove, prolonging those magic times between the risings...

Curtis Godino’s first album producing for The Midnight Wishers. Mastered by Shimmy-Dic’s Kramer. “Golden Wish” Yellow Vinyl LP ltd edition of 500. RIYL: the Shangri-Las, the Chiffons, the Crystals, the GTOS, Ween. What if a cute girl group scored a hit song about a car crash, then actually died in a car crash, but decades later, David Lynch conjured their spirits for a beach-themed Halloween special? That’s a feeble attempt to describe the fun, spooky universe evoked by musician, songwriter and producer Curtis Godino with his latest project, Curtis Godino Presents the Midnight Wishers. “I’ve always been a fan of girl groups and old generic love songs,” says the Brooklyn-based artist, previously known around town for his psychedelic band Worthless and his ’60s-style light projection shows. “No matter how cheesy, they always get stuck in my head, so I decided I would try to make some of my own, with the help of my friends.” Chief among those friends are the Midnight Wishers: lead vocalist Jin Lee and backing singers Rachel Herman and Jessica McFarland, all of whom Godino recruited for the project. Lee also contributed lyrics, which she tends to recite as often as she sings in a dreamy, earnest voice. The trio are the perfect messengers for Godino’s tunes, visually as well as sonically. In photos, they pose before bubble-gummy backgrounds, playing with a ouija board by candlelight, elemental like a cartoon crime-fighting team with their respective black, red and blonde hair. But make no mistake: This project belongs to Godino, a musical ringmaster in the tradition of Phil Spector or more aptly Shadow Morton, whose noir sensibilities spawned such uncanny pop marvels as the Shangri-Las’ “Leader of the Pack” and “Remember (Walking in the Sand).” In this case, Godino built the wall of sound almost entirely by himself, recording on his eight-track tape machine during the pandemic shutdown. Starting with drum tracks from Andrew Max and Adam Amram, he would add picked bass guitar in the style of L.A. studio legend Carol Kaye, then go bonkers with fuzzy guitars, Farfisa organ, mellotron, analog synthe- sizers, glockenspiel, an arsenal of other percussion instruments and an array of mysterious electronic effects. To fully realize the vision, however, Godino knew he needed more firepower. The Wishers’ multilayered harmonies and other vocal tracks were recorded and engineered by his roommate, Paul Millar, at Millar’s Bug Sound East studio. “I'm sure all those incredible old records were recorded on a four-track or whatever, but I don’t have the same discipline,” says Godino, whose stated goal was to create “songs so sweet they’ll give you a cavity

Cut For The Original Analog Tapes At Bernie Grundman’s Mastering. Includes Hi Res Audio Download Card. Black vinyl re-issue For Europe (2000 copies). CURTAINS is the eighth solo album by JOHN FRUSCIANTE. It was originally released on February 1, 2005. The album features contributions from AUTOLUX drummer CARLA AZAR, upright bassist KEN WILD, and THE MARS VOLTA guitarist OMAR RODRÍGUEZ-LÓPEZ. John Frusciante is an American guitarist, singer, composer, and producer. He is best known as the former guitarist of the rock band RED HOT CHILI PEPPERS (1988 until 1992 and from 1998 until 2009). He recorded five studio albums with them and was recently inducted into the ROCK & ROLL HALL OF FAME. Frusciante has an active solo career, having released twelve solo albums and five EPs; his recordings include elements ranging from experimental rock and ambient music to new wave and electronica. He has also recorded with numerous other artists, including the Mars Volta, for whom he was a studio guitarist (and occasional live performer) from 2002 until 2008; JOSH KLINGHOFFER and JOE LALLY, with whom he released two albums as Ataxia; and various collaborations with both Klinghoffer and Omar Rodríguez-López. He has also produced and/or recorded with Duran Duran, Wu-Tang Clan, Swahili Blonde, Black Knights, The Bicycle Thief, Glenn Hughes, Ziggy Marley, Johnny Cash, George Clinton, Johnny Marr, Dewa Budjana and others.

I was invited to perform in Melbourne, Australia. It happened thanks to my dear old friend Mick Glossop, who made the suggestion to Sophia Brous, at the time the curator of a music-festival called Supersense' at the Melbourne Arts Centre in summer 2015. In addition to the solo performance I'd planned, Sophia proposed an additional collaboration or session performances with some of the other participating musicians. I had never been very happy in performing public sessions". I've always tried to first look for a conceptual approach, and my wife, Ilona J. Ziok, came up with the idea of performing some Ash Ra Tempel classics. That's when the idea for an Experience' was born. I decided that pieces from the second and third Ash Ra Tempel albums Schwingungen' and Seven Up' (both from 1972) would be most appropriate for a group performance with Ariel Pink, Shags Chamberlain and Oren Ambarchi. We conversed by email, and much to my surprise, they all claimed to be very familiar with this music. ... It felt a bit like pushing at open doors - or, to put it another way - it felt like being welcomed with open arms. We finally met in Melbourne for a relaxed afternoon rehearsa

A staggering collection Detroit techno-soul music, beamed directly into your consciousness from 1994. Kenny Larkin should need no introduction to those whose ears are trained in the ways of the motor city and her musical sons and daughters. He is one of a handful of artists from the city whose original and unique sonic output has helped shape and advance techno as an art form and as a serious musical movement across the world and it's galaxies beyond, a formidable DJ and producer whose music continues to push the envelope today. 'Azimuth' gives us what would be Larkin's first full length offering, and across 11 tracks of blistering hi-tech machine funk, ambient, soul drenched rhythms and futurist club music he deftly crafted a classic. This is the album you hold in your hands now, here in 2021. Originally released on Warp Records, 'Azimuth' is back here in it's expanded form of a 2 x LP and bonus 10" reissue. A record that effortlessly sounds like it came to earth yesterday while being 25 years old, a true Detroit classic that still makes waves across the planet today. File under - 'Essential'.

'Azimuth' has been legitimately reissued for 2021 on Kenny’s own Art Of Dance imprint. Remastered from DAT tapes and original sources by Curve Pusher. Designed by Atelier Superplus

Happy Floating is the debut LP of Italian composer, producer and reed player Damian Dalla Torre. Over the course of two years, the Leipzig-based artist recorded 19 musicians in all kinds of places to bring to life his unique blend of Avant Folk and Electronic. With reeds, brass, guitars, bass, drums, mallets, synthesizers, organ and electronics, the album feels like a mindful walk through a flowering meadow, tickling and caressing all at once.
Born in Northern Italy to a family of non-musicians, his knack for woodwind instruments was uncovered by the sight of a big shiny baritone saxophone in a red velvet case that belonged to his grandma’s neighbour. It was and still is an odd instrument for anyone to play in the Val di Vizze, which may have added to young Damian’s excitement. He opted for the slightly smaller tenor saxophone, took up lessons and eventually studied music in Vienna and Leipzig, where he’s currently living and working within a spirited network of musicians, of which many are featured on this record.

“Revel in Time”, the third album from ARJEN ANTHONY LUCASSEN'S STAR ONE, is as much of a reaction as it is a contrast to Arjen Lucassen’s previous album, “Transitus” from Ayreon. While “Transitus” is a cinematic experience that you may almost call a musical, “Revel in Time” is a heavy album that is very riff driven and there is more focus on virtuoso musicianship. Similar to its predecessors, “Revel In Time” works as a concept album. All tracks are inspired by different movies that deal with some kind of manipulation of time. There is one thing this time around that is quite different compared to the earlier STAR ONE albums: The first two had the same cast of four singers: Floor Jansen, Russell Allen, Damian Wilson and Dan Swano. However, this time Arjen decided to generally have mainly one singer per track, and a different for almost each track. This shows especially on CD 2, the “Same Songs, Different Singers”-CD as Arjen likes to call it. The guide vocals that were recorded (for the other singers) were way too good to just be guide vocals. Thus, Arjen decided to release a second version of the songs with the guide vocals on them as CD2. At some point he started spontaneously inviting other singers to sing some of these tracks, because he was curious how the songs would sound with their voices. Ultimately CD2 ended up with no less than 9 different singers, all equally as good as the ones on CD1. A total of about 30 different musicians contributed to the new album, not all of them being singers though. The core of STAR ONE remains Ed Warby’s powerful drums as well as Arjen’s guitar and bass work that hold it all together and give it that typical STAR ONE sound. The icing on the cake is the front cover art that was created by Arjen’s trusted favorite artist Jef Bertels.

Noon Garden is an exotic psych-pop odyssey from one of the founding members of Flamingods. Drawing on worldly sounds from the likes of Francis Bebey and Dur Dur Band to Shintaro Sakamoto, tearing up the sonic rule book and conjuring up a distant land where you find yourself cutting loose to grooves that meander their way through a wide spectrum of African disco, funk, exotica and psychedelia. Noon Garden has received support from the likes of Clash and The Line Of Best Fit and recent single Decca Divine was playlisted on Amazing Radio. The track also picked up love at DSP playlists including Spotify’s ‘Fresh Finds: Indie’ and Apple’s ‘New in Alternative’. British born with Nigerian & Jamaican heritage, Prest spent his childhood living in Bahrain surrounded by people, like himself, who were all living on an island away from their homeland. Seeing the world from a young age and the experience of 10 years of globe-trotting touring with Flamingods are imprinted on his new project and have been a huge influence on shaping Noon Garden’s tropical adventurism. As a talented multi-instrumentalist Charles has written, self-produced and played all the parts on the single himself. Noon Garden says of the album: "This debut was an experiment to get to know myself better. Taken from the name of an area not too far from my family home in Norwood south London, the literal words ‘Beulah Spa’ conjured up imagery of being a place to contemplate in warmth and complete tranquility. Writing music is a therapeutic process for me and it’s taken about eight years on and off to finish this album by myself, to try understand what it was exactly that I wanted to say lyrically and explore sonically. The album’s lyrics have shape-shifted so much with time but they take a curious look at the human experience; in my case growing up and soaking up a lot of cultures from an early age in the Middle East, the UK and briefly in Singapore. It’s a reflection on what’s past and what’s yet to come, my connection with others over the years and how that inevitably shapes your outlook on what’s around you. All of this told through the lens of psychedelia which has always given me a sense of possibility. Beulah Spa is the first marker of where I’ve gotten to so far in my life, channeling it all into a musical odyssey that lays the foundation for a lot more to come.”

A genre blur of decorative art punk psych overflow, mixed and mastered by KRAMER on “Blessence Blue” Vinyl LP ltd edition of 500. RIYL: WEEN, Lee “Scratch” Perry, Dat Politics, Prince Buster, Captain Beefheart, Deerhoof, Thinking Fellars Union Local 282, Young Marble Giants, Jad Fair. As an energetic force in the downtown New York perfor1mance art noise scene for over ffteen years, Lumberob is releasing his debut solo LP - Language Learner - on Shimmy-Disc. Having collaborated now for over 23 years, Kramer and Lumberob understand how to make rather majestic messes. This music is urgent madness, overfowingly decorative, lusciously spastic, with an unpredictably eclectic sonic vaudeville energy. Lumberob emerged from a year in Costa Rica with a bag full of pandemic recordings. As a rejuvenated yet still scrappy loop artist expanding his sound with synth bass and drum machines, yet still rooted in improvised vocal phrase looping and skanky guitar, Lumberob insists this album Language Learner to be a bold exercise in genre discovery or genre blur, proudly assuming its position in high contrast to other recent gorgeously crafted Shimmy-Disc releases. It is this contrast that’s reminiscent of the wildly divergent and inventive catalog curated by Kramer from decades past. This debut is an odd blend of ingredients, but the concept is relentlessly pure Lumberob. Participants in Costa Rica include David Mendez playing nylon string, Alicia Cigna singing, Ariel Soto playing partial kit and conga, and Juan Jose Lopez playing bongos. Additional sessions in Brooklyn include Tobin Scroggins playing guitar and Becca Stabile singing. Kramer added bits and pieces throughout during his mixing and mastering of the album. Call it Dada Ska - a skanky electro-bounce. This is dance music for working things out. This is workout music for dancing things, and the live show is truly the dafy psychedelic roughneck business.

Straight from the fertile imagination of Pigs Pigs Pigs Pigs Pigs Pigs Pigs guitarist Sam Grant comes Rubber Oh - a place where an irreverent magpie spirit has its way with the eternal psych-pop continuum. ‘Little Demon’ is the first sample of this fresh foray - a bass-driven, blissed out mantra that sets out its stall where the travails of the everyday fade into the transcendental realm of the astral plane. A whole new box of sonic delights from a curious and artful talent, this track maps out a refreshing new landscape on which shameless melodic suss and wayward aural eccentricity lock horns. Some may be reminded of the likes of Air’s ‘10000Hz Legend’ and Super Furry Animals ‘Radiator’ by the montage of 60s-tinged mind-melt and sleek futurism here, but the truth is that Rubber Oh is a manifestation of a very personal vision. Alchemically assembled in his own Blank studios in Newcastle, ‘Little Demon’ - in all its thundering, earcandy glory, and accompanied by a Faustian, abstraction-embracing remix by friends and cohorts Richard Dawson and Circle’s Jussi Lehtisalo - is merely a first step into the unknown. “It’s a reference to when you’re lying in bed and your thoughts sabotage you” reasons Grant of ‘Little Demon’ - “It’s all meant to be this fixed loop - the lyrics, the riff, the drums - a constant repetition that keeps going round, maybe like a fever dream. The little demons that when you’re in bed suddenly start in your psyche, opening a door that just leads to another door” Wherever this door leads, ‘Little Demon’ is a psychic journey to be returned to on repeat.A. Little Demon B. Little Demon (Richard Dawson’s Haunted Wine-Cellar Version – Feat: Jussi Lehtisalo

Curtis Stigers veredelt seine großen Hits und Lieblingssongs mit neuen, unter die Haut gehenden Versionen.
Vom langhaarigen Frauenschwarm mit Nummer-Eins-Balladen zum gereiften R’n’B- und Jazz-Sänger -
in den 30 Jahren seiner Karriere hat Curtis Stigers nicht nur Millionen von Alben verkauft, sondern auch
internationale Hits hervorgebracht, die man heute noch im Ohr hat.
Jetzt schließt sich der Kreis: auf seinem neuesten Album ”This Life” blickt Stigers zurück auf Welterfolge wie “I Wonder Why” und “Never Saw A Miracle”, und Songs aus seinem Schaffen, die ihm besonders
am Herzen liegen. Er interpretiert die Pop-Klassiker neu in der jazzig-intimen Weise, für die er heutzutage
beliebt ist. Das ist mehr als ein nostalgischer Rückblick: ein zeitloses Album eines Sängers und Musikers,
der lässig Genre-Grenzen überschreitet.

"The Beast Within" is the new album by Brazilian artist, Diego Garcia; exploring gender identities within contemporary electronic music. The artist uses two of their distinguished artistic identities: The Princess of Death, her feminine identity - where there is an exploration of a more introspective and corrosive textures commonly associated with patriarchal values; and Projekt Gestalten, his masculine identity - where melodic and hypnotic sounds, often associated with matriarchy, are emphasized.

In this project, Diego's aim is to dichotomize their gender identities inspired by a point-and-click adventure game from the 90's called "Gabriel Knight 2 - The Beast Within". The story was written by American game designer, Jane Jensen with original music composed by her husband, Robert Holmes. The protagonist is on the trail of a strange wolf, murderer of a little girl. Gabriel was asked to take care of this evil and suspects that this case is paranormal in nature. Together with his assistant, Grace Nakimura, he discovers the dark truth behind the history of Bavaria. The gameplay alternates between Gabriel and Grace and its storyline is only explored indirectly by Diego - as it is deeply connected with their childhood and formative years and still remains as one of their all-time favorite games.

Just like in the gameplay, Diego alternates between both of their feminine and masculine identities in order to create original pieces of music. As Projekt Gestalten, an array of dance tracks are functionally presented; ranging from melodic and trippy to club-ready driving techno; dissecting a more rational aspect of the game's storyline. In contrast, The Princess of Death goes into an ambient and experimental approach; exploring liturgical themes that includes a dark and dystopian cover of the traditional gospel song "When The Saints Go Marching In", a song that is featured throughout the whole franchise of the game in many different versions. In the end, the gender polarizing concept is extrapolated and both aliases are finally merged into one another; leading to the Gestalt principle, alluded to in Diego's main alias, being fully applied as a whole.

The project's ultimate goal is to challenge preconceived notions of how a specific gender should sound/behave and to explore light/dark, sacred/secular, good/evil, male/female using, as the blueprint, a gender-neutral game where the player is forced to assume a feminine and a masculine role in order to navigate through the story. All of these ideas are perfectly aligned with Diego's own trajectory as an artist and their distinct artistic identities featuring distorted gender values - which comes full circle in this project.

As the tides change and the majesty of the moon once more begins to illuminate our forgotten domain, the hotly-tipped Incus has made the jump to hyperspace and determined that now is the time to unleash his neoteric creation into the macrocosm of music. At the behest of the sonic social masters, "INC.AUDIO" will be deemed a passion project, but in reality it will rip the very fabric of what it means to have a personal creative outlet, curtailing boundaries and expectations alike. Based on the creed of freedom of experimentation, the label will allow Incus and close friends within the industry to share their creative expressions within a familial and contemporary framework free from third-party limitation.

For now we start at the first chapter of the INC.AUDIO narrative, and the inaugural release which comes from the architect himself. His first solo EP contains 4 tracks conceived at home during lockdown, combining new sound design techniques developed through the mediums of trusty Korg Hardware and Ableton live. The end product is a consummate representation of the benefits of free time, reckless abandon and zero red tape.

Kicking off with "Design Your Mind", Incus draws on his longstanding influences collected via years of crate-digging and supporting underground idols in the UK and Ibiza. Shuffling percussion, jittering stabs and percolatin' chords wax and wane, submitting us to the will of its deep, minimal groove with a sultry sensibility. Next is "New Dog Old Tricks", the one with "that" bassline. No holding back from the get-go, the punching percussion is waylaid sporadically by erratic tones and steadied by placid, ambient chords. The charming breakdowns are peculiarized by a haunting saxophone sample, firmly establishing the clear-cut level of advancement and attention to detail achieved by the creator.

"Calm in the Chaos" steps back from straight-up grooving, inviting an equatorial temperature to come and play. Tantalising acid-inclined bass notes perforate the horizon, aiding the insistent percussion and creating a sunny, party-ready disposition infectious as they come. Feel like you're on a beach or in a rainforest? Snap. After the party we finish in the "Morning Haze". Alien-like frequencies and UFO bleepology steer the good ship Incus on this extra-terrestrial journey through the tech-house heavens to its final resting point. The seductive vocal cut adds a beautiful edge to the track, creating a minimal yet also expansive soundscape perfect for disembarkment. So, now you see what INC.AUDIO is all about, why wouldn't you stick around? Fight the bureaucracy and become who you need to be today, not tomorrow.

Regal shares the final remix EP of his debut album, "RWYS Remixes Pt.03". With reworks from Alignment, Thomas P.Heckmann, _asstnt & Roll Dann, Sita Abellan & the Involve Records head himself.

Regal's "Remember Why You Started" LP faces its final rework. The last package welcomes Regal and Sita Abellan, Thomas P.Heckmann, _asstnt & Roll Dann and Alignment to shine their production skills to the Spanish techno luminaries first album.

Regal & multi-faceted Spanish artist Sita Abellan collaborated for the rework of "Cult Of Personality". Their rendering leans heavily into the realm of electro, with heavily distorted synth lines marching through like a freight train. Darting keys rush and reverberate back upon themselves before a powerful female vocal sample takes over from the male voice that commanded the original. Germany's Thomas P Heckmann takes on "Before I Die". Heavier and beefier than the original, the kick drum and baseline of Heckmann's remix take control and dominate the landscape. He retains Pau's distinct vocals, leaving a familiar dash of the original in this bolder rework. Percussion takes a front seat in this version, with snare drums and cymbals combating the bitter main synth melody.

Straight from Madrid's underground scene are producers _asstnt & Roll Dann, who team up for the remix of "Respect". A cut up, distorted rework that grows darker and more robust throughout. Bottomless kick drums ring out, while a heavily distorted electric guitar sample brings grime and a sonic haze to the track. The American male vocal sample is kept on from the original and remains even more powerful in it's reworked state than before. Italian producer Alignment wraps up with the accurately placed track "The Last Dance". In this final remix of the series the kick drum received a complete overhaul, instantly pivoting the track into a darker place. Only the curious melodic key sequence pours light into the track and brings with it an overwhelming sense of positivity to the closer. The baseline backs up the melody before percussion breakdowns take centre stage and the two fight for dominance until the final beat.

John Carroll Kirby brings his talents as a composer
and producer to film scoring. His vivid imagination,
dreamy compositions and knack for storytelling with
instrumental music make for a perfect match with
comic book writer, artist and filmmaker Dash Shaw’s
vibrant, fantastical animated feature.
 Kirby’s score is at once deeply evocative and
mysterious, evoking nostalgia, wide-eyed innocence,
and ethereal otherworldliness. As with all of Kirby’s
music, the score resists easy genre classification,
melding together sounds from new age, exotica, library
music and the sweeter side of electronic music.
 ‘Cryptozoo: Original Motion Picture Soundtrack’
features the voice of Kacy Hill.
 Artwork by the film’s director, Dash Shaw.
 ‘Cryptozoo’ won the NEXT Innovator Award at
Sundance, premiered internationally at the 2021
Berlinale, and was bought by Magnolia Pictures.
 The film is currently streaming on MUBI UK and
Ireland as a MUBI Release and will be on the platform
for several months.
 ‘Cryptozoo: Original Motion Picture Soundtrack’ is
Kirby’s latest album following the release of his
electronic-jazz album ‘Septet’ in June 2021. He will be
touring the UK and Europe in March 2022.
 For fans of Bibio, Tangerine Dream, Susumu Yokota,
Laraaji, Joanna Brouk.
 Support from AV Club, New York Times, The Guardian,
Cinemacy, Collider, The Wire, BBC 6 Music, triple j
and KCRW, among others.

A sequel to the 2001 series Blue Planet, it took 4 years to complete this seven part new exploration of the underwater worlds, with 125 expeditions across 39 countries and 6000 hours of underwater filming. The series was broadcast on BBC One on 29 October 2017 with viewing figures exceeding 10m and its exposure of plastic pollution in our oceans has started a global conversation about reducing plastic waste.

With over 120 soundtracks to his credit which have grossed 24 billion dollars at the box office, Hans Zimmer has been honoured with many accolades: an Academy Award, two Golden Globes, three Grammys, an American Music Award, a Tony Award and The Henry Mancini Award for Lifetime Achievement. His Academy Award nomination for Interstellar marked his 10th Oscar nomination.

The composition is completed by Jacob Shea and David Fleming from Emmy and BAFTA nominated Bleeding Fingers Music. Bleeding Fingers has created original music for productions including the Fox’s The Simpsons, BBC’s Planet Earth II, National Geographic’s Princess Diana In Her Own Words, NBC’s hit Little Big Shots, Sony’s Snatch (TV), Amazon’s American Playboy, AMC’s The Making Of The Mob, Netflix original Roman Empire and History Channel’s Mountain Men.

VALKYRJA'S FOURTH STUDIO ALBUM OF MAJESTIC SWEDISH
DARKNESS PRESENTED ON THE VINYL FORMAT FOR THE FIRST TIME,
IN GATEFOLD SLEEVE
Valkyrja, one of the prominent acts among the current Swedish black metal
scene, was originally founded in 2004, "with the common collective goal of
channelling violence, deprivation & loathing through means of extraordinarily
potent audio emissions"; a parallel & extension of their own philosophies -
boundless & without limitation in their art.
'Throne Ablaze' was the band's fourth studio album, originally released in 2018 &
was a spectacular assault of finely honed Scandinavian black metal, steeped in
ritualistic darkness & seething grimness. Upon release, the album was considered
a highpoint for the band among an already highly revered repertoire, capturing the
attention of the metal world with eight tracks of pure majestic malevolence,
showing once more why Valkyrja is considered a prime force in today's black
metal climate.
'Throne Ablaze' was again recorded at Necromorbus Studio (Watain, Mayhem),
with Tore Sjerna at the helm handling production duties.
This edition of 'Throne Ablaze' is presented on vinyl for the first time, including
gatefold sleeve..

Reissue of George Duke's classic 1973 jazz-funk-fusion album 'The Inner
Source'
In 1971 George Duke, having just recently done his time with the Mothers of
Invention, was engaged by the Cannonball Adderley Quintet. Beginning in April of
that year, Duke made two recordings over a short timespan that on their release
in 1973 as a double LP (against the desire of the artists, by the way), would be a
major statement.
On Chapter One of his fusion autobiography, "Solus", Duke, along with the
skeleton crew of bassist John Heard and drummer Dick Berk, tries out the new
compositional philosophy he had absorbed from his work with Adderley. On
Chapter two, "The Inner Source" " Duke lives it up as he shows off his exuberant
experimental synth side and also begins to vary the line-up here as some tracjs
are reinforced with Latin percussion, incisive horn and reed instruments or with
Duke on his first instrument, the trombone. As a curiosity, two basses compete
with each other on "Twenty Five".

Napalm's 2000 album now re-released on Red Vinyl

Soul departure time. Drowning in a dreamlike state where drifting with the current is free movement. Driven by echoes of serious intentions and playfulness. The order of music takes you further. In time, on the floor, under the skin, melting measures and dimensions. On a way back to where the future of your comfort has dawned. Through zones of whispers and expanding beauty. On a memory lane while passing all your favourite things and sentiments. On a straight, gently quantized line through tunnels of love and liberation. To a vanishing point where the soul is exposed to a scattered radiation of joy, content, revival, liveliness, melancholia. Feels like an arrival, no detour or deviation. Soul: its vulnerability becomes a superpower.

Boot Records proudly presents the Jazz T remix of Roughneck Jihad & Senz Beats' track "Catastrophe", from their 2021 EP (also on Boot Records) "The Little Assassination Handbook". The B-side offers up an exclusive cut from Lex Boogie From The Bronx & Senz Beats entitled "War of the Worlds", featuring scratches by DJ Jazz T.

DJ Jazz-T, owner of Boot Records, was the 1999 UK ITF Advancement champion. He has laced cuts on hundreds of tracks since 1995 and produces under the name of Jazz T and Boot Productions, which is Jazz & genius Dr Zygote. He was Tim Dog's tour DJ before he passed away, and he currently DJs for Gawd Status, Jehst, Micall Parknsun, Ramson Badbonez, Leaf Dog & BVA, Joker Starr and Diversion Tactics.
Jihad the Roughneck MC started rhyming in the late 80's and was a member of one group before Third Sight (with Dufunk & D-Styles). He is originally from the city of Santa Clara in Northern California, relocating to the Los Angeles area in 2004. He has played shows in California, Nevada, Oregon and toured Japan twice with Third Sight.

Lex Boogie From The Bronx grew up as a kid around the jams in the parks. He carries The Bronx with him wherever he goes. His different chambers of production and raps have seen him work with the likes of Stahhr, Marq Spekt, Boog Brown, Vordul Mega, billy woods, Mike Flo & more.
Originally from Brussels, now based in Montreal, Senz' first approach to cutting records up was on a pair of Technics 1200s, which he and his best friend claimed mutual custody over (1 month each) in 1998. After over 15 years spent producing on MPC ("War of the Worlds" was produced on a 2000xl), 2020 saw Senz switch to Koala Sampler app, by Elf Audio. His crazy beats have grabbed the attention of legends such as Dibia$e & Grap Luva.

His last LP has barely touched record store shelves and Ivan ave is back with a EP for Mutual Intentions. Mid Season finds Ivan Ave in bloom as he evokes the sounds of
spring on his latest offering. The EP title also refers to a mid-album-recording process, which Ave currently finds himself in. Mid Season gives the listener insight into a
forthcoming full length album, entitled All Season Gear.
The prolific Norwegian rapper continues to charm with a seductive baritone that blows like a cool breeze through the production’s warm accompaniment. Dusty drum
machines under glacial keys and guitars offer a platform from which Ivan waxes lyrical about everything that touches him. He has crafted a unique voice in Hip Hop echelons, finding quirky analogies in the mundane. While in the past, he could find a parable for love in a bicycle lock or existential questions in an worn out sock, he turns his
attention increasingly to social realities.
He regularly takes aim at the ridiculous aspects of our contemporary society throughout Mid Season, with lyrics that poke fun as much they ask what the fuck?
“Spotify owner 'bout to buy a whole ball team… That mean I own a corner flag or some seats at least?,” he sings on «What a Day!!!». The record is peppered with these
types of anecdotal metaphors that come together like a social media story through a bionic AI. Ivan Ave is the product of this generation and it’s only right he should reflect
that. He does it in a unique way that requires the listener to untangle these preternatural allegories.
Playing with a dichotomy of words, he doesn’t labour on a thought before he’s lazily propelled onto the next at the turn of each bar. His laissez faire approach is only
emboldened by the slow moving percussion and keys that have come to define his sound. Picking up on early nineties influences from the likes of Native Tongues or Dilla,
the music on Mid Season continues to reassess and revolutionise these archetypes. It’s in the keyboard sounds of this latest EP, that Ivan Ave and producers have found
yet another new evolution in his sound.
Synthesisers that sound like they belong to a Maynard Ferguson record rather than a Hip Hop EP make the record come alive over a chugging and forceful rhythm section. It provides an airy and playful contrast to the more serious elements on the track, and much like Ivan Ave’s lyrical prowess offers an extra layer of depth that often
eludes Hip Hop’s most successful stars. The more you listen to Ivan Ave the more you get entrenched in his work and Mid Season continues to send the artist on an
exciting trajectory.

White Lies’ new album ‘As I Try Not To Fall Apart’ was
recorded at Sleeper Sounds and Assault & Battery
studios in West London, and sees long-term
collaborator Ed Buller, who has worked on many of the
band’s albums, including their debut ‘To Lose My
Life…’, return to produce several tracks along with
Claudius Mittendorfer (Weezer, Panic! At The Disco),
also producing and mixing the entire record.
 Arguably one of the biggest guitar bands in the UK,
White Lies’ last album, ‘Five’, garnered much acclaim
in 2019, with a sold out UK tour including multiple
Brixton Academy shows.
 Having also released ‘Ritual’ in 2011, ‘BIG TV’ in 2013
and ‘Friends’ in 2016, the past decade has also seen
the band establish themselves globally with sold out
tours in Europe and beyond, and they recently
announced details of an extensive run of shows in the
spring of this year.

Led By Saxophonist Rob Mitchell, Abstract Orchestra Have Been A Consistent Presence On The U.k. Music Scene, Touring Constantly In Promotion Of Their Debut Lp "dilla" And Follow Up 45 "new Day Feat. Illa J", Steadily Building A Loyal And Supportive Fanbase.inspired By The Legendary Live Performances Of The Roots With Jay-z And The 40 Piece Orchestral Arrangements By Miguel-atwood Ferguson Of The Work Of J Dilla, Classic Arranging Techniques Underpin Modern Loop-based Structures, Breathing New Life Into Familiar Material.

The Band Itself Is Based On The Classic Jazz Big Band Instrumentation Of Saxes, Trumpets And Trombones And Features The Cream Of The North Of England's Jazz Scene Who Collectively Have Played With Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & The Roots, Roots Manuva And Amy Winehouse.

"madvillain Vol. 1" Takes The Template Of Their Debut Lp "dilla" And Applies The Same Approach To The Collaboration Ofmf Doomandmadlib, Akamadvillainand Their Albumsmadvillainyandmadvillain 2. Sampling The Likes Of Sun Ra, Bill Evans, Freddie Hubbard, George Duke, Dr. Lonnie Smith, Quincy Jones And Stevie Wonder Gave The Albums A Jazz Oriented Feel And Ethos Which In Turn Lend Themselves Perfectly To The Deconstruction And Re-imagining Of Abstract Orchestra. As With Their Debut, All The Tracks Were Recorded Live In The Studio With Very Few Overdubs.

Abstract Orchestra'smadvillain Vol 1. Explores The Jazz, Tv Soundtrack And Film Score Aspect Of The Original Work, Combining It With Classic Big Band Writing And A Focus On Improvisation. There Is A Strong Influence Ofquincy Jones, Lalo Schifrinanddavid Shire(composer Of The Soundtrack Tothe Taking Of Pelham 123) On The Album, And The Arranger Rob Mitchell Crafts His Own Sound That Inhabits The Space Between Madlib's Production And Quincy Jones' Writing. Bandleader And Arranger Rob Mitchell Says Of The Record: "'madvillainy' Is A Jazz Album As Much As It Is A Hip-hop Album And I Wanted To Explore This Reciprocal Territory There Has Always Been Between Jazz And Hip-hop. 70's Cop Show Soundtracks Have Always Captured My Interest And Imagination, And I Discovered So Much Amazing Music Through Tv Themes, Quincy Jones And Lalo Schifrin In Particular. They Explored Sounds That Were Menacing, Angular, Dissonant, Frantic And Yet Captivating. They Were Also Able To Write Music That Was The Flip Side Of All That Dark Chaos, And Write Lush And Beautiful Music. Arranging And Scoring Up Madvillain Vol 1. Has Allowed Me To Explore These Sounds That I've Always Loved, Yet Keeping A Strong Hip-hop Identity As The Core Of Its Sound."