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From Ellen Allien to U.R. Trax, Miss Kittin to Anetha, or Chloé to Romane Santarelli Discoverall the greatest female producers of Electronic Music in a nice double vinyl LP : Women Of Electro ! - Including - Miss Kittin - Chloé - Romane Santarelli - TDJ - Maya Jane Coles - Anetha - Cinthie The Blessed Madonna - Lilly - Palmer - Helena Hauff - Ellen Allien - Mansfield.TYA DeLaurentis - Grimes - Louisahhh !!! - U.R.Trax - Monika Kruse...

Die Symphonic Metal Piraten VISIONS OF ATLANTIS live vom Wacken Open Air 2022!
2022 setzten VISIONS OF ATLANTIS die Segel, um mit dem achten Album Pirates erneut auf eine symphonische Reise zu gehen. Zum ersten Mal in den 22 Jahren ihres Bestehens stiegen sie in die Top 20
der deutschen Albumcharts ein. Frei wie die sieben ungezähmten Meere hat die Symphonic-Metal-Band ihre rebellische Seite entfesselt und ihr bisher selbstbewusstestes und ehrlichstes Album abgeliefert.

Auf dieser Reise spielten sie ausgedehnte Touren durch die USA und Europa, sowie zahlreiche Festival-Shows.
Um die neue Ära von VISIONS OF ATLANTIS als Piraten für ihre Fans einzufangen, nahm die Band ihren Auftritt auf dem legendären Wacken Open Air im Sommer 2022 auf - jetzt erhältlich als ihre dritte
Live-Veröffentlichung, Pirates Over Wacken, die am 31. März 2023 über Napalm Records erscheint.
Mit Songs von Pirates sowie Fan Lieblinge wie ”A Life Of Our Own”, ”The Silent Mutiny” und ”A Journey To Remember” bot das Wacken Open Air die perfekte Bühne für diese Live-Veröffentlichung. Pirates Over Wacken ist der perfekte Vorgeschmack auf das, was VISIONS OF ATLANTIS 2023 mit erneut ausgedehnten Touren durch Europa und die USA erwartet! L

Girls in Airports has been described as ‘a unique blend of Nordic jazz lyricism, indie-rock
influences and sounds from around the world’. The Danish band is famous for their
captivating soundscapes crossing musical genres and geographical borders. Combining
jazz, indie and urban folk into a unique expression of heart stirring, melody-laden elegiac
hooks and dance-friendly, globally influenced rhythms. Featuring four of the most distinctive
and creative musicians from the Danish music scene, Girls in Airports is one of the most vital
experimental ensembles in Europe. With a coherent and unique sound, their music is both
absorbing and powerfully emotive. The band’s charismatic live performances have quickly
made them one of the most talked about new bands on the international scene.
Based in the Danish capital, the award-winning band has released seven albums and toured
in China, Brazil, the US and across Europe since their formation in 2009

Critically-acclaimed, criminally-overachieving Glasgow-based singer and guitarist Alasdair Roberts is known as a superlative original songwriter as well as an interpreter of traditional songs from Scotland and beyond. For the past twenty years, his recordings have alternated between these two complimentary poles, with "pop" records such as The Amber Gatherers and A Wonder Working Stone nestling in his expansive back catalogue alongside "folk" albums such as No Earthly Man and What News (with Amble Skuse and David McGuinness). Additionally, all of these records possess a further dimension, derived from their collation of songs together into one album-length statement. This is part of Alasdair"s great achievement in his career - for him, this thing of music and song hasn"t come the eons it"s travelled to simply entertain. These impulses fully present and well honed, Alasdair returns to his roots with Grief in the Kitchen and Mirth in the Hall, his fifth full-length collection of traditional song. Recorded live in the studio, it is an entirely solo collection of twelve traditional ballads and songs sparsely arranged for acoustic guitar, piano and voice. The majority of the songs originate in Alasdair"s homeland of Scotland, with a couple from Ireland and one from Prince Edward Island on Canada"s eastern seaboard too. The record takes its title from a line in the final verse of one of its songs, "The Baron o" Brackley" - a ballad of feuding clans and matrimonial betrayal from the north-east of Scotland. Grief in the Kitchen and Mirth in the Hall: it"s a title which goes some way towards encapsulating many of the record"s themes. Collectively the songs treat of various conflicts and tensions - those of gender; of class, status and position; and of geography and tribal belonging - and the roles and responsibilities expected at the various intersections of these constructs. That we should never forget! As with many of Alasdair"s recordings, Grief in the Kitchen and Mirth in the Hall contains ballads aplenty: tragic ("Bob Norris"), supernatural ("The Holland Handkerchief") and dramatic ("Eppie Morrie"). There are love songs ("The Lichtbob"s Lassie") and anti-love songs ("Kilbogie"). There are rare, seldom-heard pieces ("Young Airly") and much more well-known ones ("Mary Mild," a version of "The Queen"s Four Maries"). Woven through all of this - a thread of levity, perhaps - is a triptych of zoological allegories - a panegyric to a mystical steed ("The Wonderful Grey Horse"), a lament for a lost cow ("Drimindown") and a paean to a regal waterbird ("The Bonny Moorhen"), which serves to highlight the intersection of the mythic, the eternal and the mundane at which we all find ourselves in every day of our life on Earth. Grief In the Kitchen and Mirth in the Hall was masterfully recorded by Sam Smith at Green Door Studios, Glasgow over an economical two days, and mixed in one day. Its brevity on all levels is an aspect of its expression. Alasdair"s renowned acoustic fingerstyle guitar is understated yet questing, ever in service to the needs of the song, underpinning his soulful tenor voice. Three songs eschew his habitual acoustic guitar in favour of simple piano arrangements. The spare setting and Alasdair"s deeply committed performance gently reminds of the meanings and melodies of these old songs, chosen instinctively and with care, for all to hear and sing in 2023, and the world beyond that is ever coming.

Red Vinyl

ASSASSINS did what many bands do: they grabbed a moment out of the air and slammed it onto tape machines and hard drives with relentlessness, cunning, and an attitude.
It was in Chicago, mid 2000’s, and though there was energy in the music scene, it wasn’t coalescing into anything you could use as a heading in the musical encyclopedia. Drag City, Thrill Jockey, Bloodshot, Tortoise, Andrew Bird, 90 Day Men – amazing labels and bands, but discrete and siloed and separated by boundaries that weren’t very real.
In the midst of that complicated morass, ASSASSINS generated a collection of songs that became the album YOU WILL CHANGED US. And it did.
There was confidence built into the fabric of the project: 5 members, 2 singers, massive synced video walls and samples streaming from laptops swirling in three dimensions around the stage. They could go from subtle atmospheric moments to a gargantuan wall of sound instantly. It was hard to do- months in cold practice rooms troubleshooting sections of songs or reworking synthesizer patches put the band through a self-imposed boot camp. And it brought them together as a sort of hive-mind focused on one thing: that these songs could connect. They could cut through the noise and share a state of mind with other human beings.
And it worked. Those early shows were mind bending. It was fun, loud, drunken, and rewarding- that time together, before the record deal, before the tragic let down of being traded and gobbled up by the major label system. The years after that got more difficult, more complicated, more human.
Leading us here: the musical journey of the Assassins has ended. With the up-coming release of their second and final album THE YEAR THAT NEVER CAME, we finally get to hear, and feel, the final statements of their inspiring chemistry.
In July of 2021, founding member, songwriter and singer Joe Cassidy unexpectedly passed away. THE YEAR THAT NEVER CAME is the culmination and end point of a collaboration that started in the early 2000’s with a chance meeting and excited conversation with Aaron Miller at a gig in Chicago. Quickly joined by David Golitko on keyboards, Merritt Lear on vocals and guitar, and Alex Kemp on bass.
It was Miller who saw Joe Cassidy’s song writing in a new context. Cassidy had been known for his beautiful, post- pop inflected BUTTERFLY CHILD, a thoughtful, regal project where Joe’s emotions could soar. Miller saw a different context for that voice- not dreamy, but immediate, not just hopeful, but demanding. He took Joe’s open hand and suggested that it could be a fist, raised in the air, with a crowd of other people doing the same.
At the time of his death legendary composer and songwriter Jimmy Webb (who wrote such hits as ‘Wichita Lineman and MacArthur Park) said Joe ‘was a creative and generous producer but, more importantly, he was a creative and generous friend.’
With the release of THE YEAR THAT NEVER CAME, this band, this relentless creative force, has to finally relent. No one in the band could see a future ASSASSINS that doesn’t include Cassidy. So in one last act of will, for the love of their friend, they did the rigorous work of finishing the songs that they had started together for the second album.
Assassin’s obsession with the notion of time, from YOU WILL CHANGED US to THE YEAR THAT NEVER CAME, flows from the most natural question we all have to ask ourselves: what do I do now? Because: how we react today to life’s unpredictability - that is the tomorrow we build for ourselves.

Stiller vertont auf seinem Debütalbum 'Stiller II' die Sehnsucht nach einer heilen Welt!
Geboren in Buenos Aires, aufgewachsen im steirischen Ennstal, macht Klaus Meissnitzer Musik, seit er denken kann. Stiller ist sein Soloprojekt, in dem der Sänger der Psychedelic Rock-Band Amanda auch mal abseits des Fuzz musizieren kann. Deswegen auch das Alias Stiller, nach dem Roman von Max Frisch, als Ausdruck des Sich-neu-erfindens. Auf Stiller II wird gelacht, getanzt und geliebt, ohne Scheuklappen, dafür mit Dialekt-Pop vom Feinsten.

Nachdem 2013 zum 10-jährigen Jubiläum die Deluxe Version veröffentlicht wurde, ist ,Give Up" nun wieder als einfache LP im Original Format zu haben. Man kann alle Zeit und alles Geld der Welt darauf verwenden, das perfekte Pop-Szenario zu erschaffen, aber manchmal müssen sich die Sterne von ganz allein in die richtige Position rücken. Und obwohl die Mitglieder von THE POSTAL SERVICE schon früh darüber Witze machten, dass ,Such Great Heights" der ,Hit" ihres Debüalbums ,Give Up" sei, konnte niemand ahnen, was für einen Einfluss diese Album haben sollte, das in Schlafzimmern des Mittleren Westens konzipiert wurde. Über zehn Jahre sind ins Land gegangen, seit das kleine Projekt aus Ben Gibbard von DEATH CAB FOR CUTIE und Jimmy Tamborello (DNTEL, FIGURINE) scheinbar aus dem Nirgendwo anrauschte und sich tief in die Ohren all derer eingrub, die in Kontakt mit dem ansteckenden Electropop von THE POSTAL SERVICE geraten waren. Natürlich war die Musik von THE POSTAL SERVICE zu jeder Zeit viel mehr als nur Electropop. Die Kraft, mit der Jimmy und Ben den Zeitgeist des Indie Rocks der frühen Nuller Jahre heraufbeschworen, machte sie zu einem derartigen Phänomen, dass Künstler wie BEN FOLDS, AMANDA PALMER, STREETLIGHT MANIFESTO und CONFIDE ,Such Great Heights" gecovert haben. Ein Zeugnis des zauberhaften Funken und der melodischen Kompaktheit des Songs. Der Sound der Band ist ein derartiger Meilenstein, dass der Terminus ,Postal Service-esque" ein akzeptiertes Adjektiv in der Musikwelt ist. Es war unmöglich, vorherzusagen, wie groß ,Give Up" werden würde, aber schon 2003 war klar, dass diese Herren etwas ganz Besonderes erschaffen hatten.

New Jersey punk legends The Bouncing Souls have announced their upcoming new full-length, Ten Stories High, due out March 24th via Pure Noise Records. For over three decades The Bouncing Souls have been one of the most reliably joyful bands in punk rock, fostering an incredibly close kinship with their loyal listeners. Now on Ten Stories High, the band have taken this connection even further, creating an album of songs directly inspired by the stories of their fans. To mark the announcement, The Bouncing Souls have shared two new songs, "Ten Stories High" and "Higher Ground." Both tracks highlight the band in their anthemic element, with sharp production courtesy of Will Yip (The Menzingers, Title Fight, Tigers Jaw). The new songs bookend the record with massive choruses that are sure to inspire singalongs at upcoming shows.

Gargantuan volcanoes erupting with primal force, fountains of molten lava bursting sky high and massive boulders hurtling capriciously through the air. These potent and violently alluring images in the documentary series The Living Planet captivated Raoul Björkenheim's imagination in 1986. The search for a band name had come to an end. -”I was mesmerised. The name Krakatau sounded like a drum fill to me”. After studying at the Helsinki Conservatory for a year and the Berklee College of Music in Boston for three, Björkenheim relocated to Finland where he played in bands with Jone Takamäki, Antti Hytti and Tom Nekljudow, and later went on to work with composer and drummer Edward “Eetu” Vesala (1945-1999). His always original and highly demanding Sound & Fury workshops were a pivotal hotbed in the local improvised music scene, but after four years of Vesala's strict leadership Björkenheim felt a need to leave Sound & Fury behind and direct all of his attention towards Krakatau. The lineup on the first album “Ritual” consisted of reed virtuosos Jorma Tapio and Tapani Rinne, the bassist Sampo Lassila and two drummers, Michel Lambert and Heikki “Lefty” Lehto. “Krakatau’s debut album was very challenging to make, as I felt that it might be my one and only chance to record my own music, so I wanted it to be as intense and effective as possible”, says Björkenheim, “I was lucky enough to work with an incredibly talented cast of musicians. I can still listen to the album and feel satisfied that it really works. The first guitar solo illustrates what was to become my modus operandi: to try and play the electric guitar in unexpected ways.” Svart Records will release an expanded double LP version of Krakatau’s Ritual. Limited to 500 copies and due out on March 24th, the album contains an album’s worth of previously unheard material recorded in 1987 in Studio Helsinki and at the Finnish Broadcasting Corporation studio.

A new age album that draws as much from ethno-groove, Chicago house, and G-funk, as it does from primitive percussion and '80s library music. Relaxing, gentle, and warm, the 10-song ambient suite was made for a multidisciplinary modern dance performance described as "Neo-Paganism, Pop Divas, YouTube, Yoga, and Death Metal side by side in a live performance that searches for transcendence in the most unlikely places."

Troekurovo Recordings is a production team made up of Toki Fuko, Vadim Basov and Evgeny Vorontsov and they have been hidden away deep in some enchanted Russian forests recording music. Now they are putting out the results on this superb double pack. This project started back in 2016 as a live experimental jam and is now an annual tradition made on loads of analogue gear on the banks of a canyon that was formed many years ago by a melting glacier. The locale provides inspiration - from the fresh country air to the meteor showers often visible overhead - for the music making which is strictly "no preparation, no pre-programming - hardware, friends and live improvisation only."

2023 Repress

P: Limited Edition 3D Lenticular Gatefold sleeve, 2 x 180g heavy weight vinyl
After four years of touring, Shpongle return with a new album, though much has changed. Music production isn't something for just enthusiasts anymore, and the tools needed to make an entire album in your bedroom are becoming increasingly available and affordable... yet this just makes Shpongle's return all the more welcome. In a time where more and more focus is put on commercialization and churning out quick hits Simon and Raja's latest work is a welcome breathe of fresh air wedded to nostalgia, and proves that the group isn't ready to become stagnant anytime soon.

Gold Vinyl

Since 2008, "438Hz As It Is, As You Are" is "only" the third solo release from Tomoyoshi Date. The last one dates from 2011. Less is more.
In parallel, from 2013 to 2021, he has recorded some releases in collaborations with Toshimaru Nakamura, Ken Ikeda, Stijn Hüwels, Asuna and Federico Durand.

"This record was recorded on Diapason's upright piano made in the 1950s at the house of his maternal grandmother's sister (*). The piano has moved and tuned many times, and now it has arrived at my living room. It was a pre-mass production piano with a thick board and good sound, but I couldn't tune it without replacing the screws and the weakened base. After consulting with the tuner, I decided to tune the whole tune to the sound of the strings wound around the loosest and most inseparable screws. "As it is"

*Mikiko Yamada: A performer who formed a Japanese music group of contemporary Japanese music in 1964 and made Biwa the first five-line score. She also had a samisen, so I called her "Aunt Pen Pen". Her husband was a shakuhachi player, so she was "Uncle Boo Boo".

When I tuned in the summer, I tried to tune at 442kHz, but I changed the tune in the winter to 438kHz. From now on, the pitch of this piano will decrease year by year as the material ages. I will play the decaying piano and continue to record music that can only be done at that time.

When you drop a needle on a record, a sound is produced on the spot, and the sound constantly changes depending on the air, temperature, and humidity around the needle. The sound also affects all of the listener's life, affecting the frequency of the person's body and mind. The effect of the sound once generated will last forever.

This work was created with the intention of having the listener adjust the pitch at the desired speed according to the mood and frequency of the listener at that time. With a little faster 45 turns, you can listen to this dilapidated piano at 440kHz or 442kHz. You can slow it down, or adjust the number of rotations as you like, whether it is 33 rotations early or late. I really like the stretched sound of the recorded piano. When you want to relax, use slow music to adjust the pitch of the space around you, the creatures, and your own body and mind. "As You Are"

Tomoyoshi Date

Eines der kultigsten und einflussreichsten Alben aller
Zeiten, The Dark Side Of The Moon von Pink Floyd, feiert
jetzt sein 50-jähriges Jubiläum.
Das neue Deluxe-Box-Set enthält eine CD und ein
Gatefold-Vinyl des Studioalbums, das von James Guthrie
neu gemastert wurde sowie eine Blu-ray und eine DVD
mit dem ursprünglichen 5.1-Mix und einer neu
gemasterten Stereoversion. Das Set enthält außerdem
eine neue Blu-ray Disc mit dem Atmos-Mix sowie CD und
LP von "The Dark Side of The Moon - Live At Wembley
Empire Pool, London, 1974".
Eine frühe Version von The Dark Side of The Moon
wurde im Rainbow Theatre in London uraufgeführt, einige
Monate bevor die Band ins Studio ging. Es wurde in
zwei Sessions in den Jahren 1972 und 1973 in den EMI
Studios (heute Abbey Road Studios) in London
aufgenommen. Es ist das achte Studioalbum von Pink
Floyd und wurde ursprünglich im März 1973
veröffentlicht. Die kultige Albumverpackung, die ein
Prismenspektrum darstellt, wurde von Storm Thorgerson
von Hipgnosis entworfen.

BOXSET BEINHALTET:

CD1 – THE DARK SIDE OF THE MOON
Neu gemastert 2023 von James Guthrie
im Klappcover mit 12-seitigem Booklet

CD2 – THE DARK SIDE OF THE MOON
LIVE AT WEMBLEY EMPIRE POOL, LONDON, 1974
Abgemischt von Andy Jackson
im Klappcover mit 12-seitigem Booklet

LP1 – THE DARK SIDE OF THE MOON
Neu gemastertes Original-Studioalbum
im Klappcover, mit den damaligen Postern und Aufklebern

LP2 – THE DARK SIDE OF THE MOON
LIVE AT WEMBLEY EMPIRE POOL, LONDON, 1974
Im Klappcover, mit 2 Postern

BLU-RAY 1 (AUDIO)
Original-Album 5.1 und remasterte Hi-res-Stereomischungen,
in speziellem Etui:
1. 5.1 Surround Mix - 24bit/96kHz unkomprimiert
2. Stereo Mix - 24bit/192kHz unkomprimiert
3. 5.1-Surround-Mix - dts-HD MA
4. Stereo-Mix - dts-HD MA

BLU-RAY 2 (AUDIO)
Original-Album Atmos und remasterte Hi-res-Stereomischungen,
in spezieller Einfassung:
1. Dolby Atmos Mix
2. Stereo Mix – 24-bit/192kHz unkomprimiert
3. Stereo Mix – dts-HD MA

DVD (AUDIO)
Original-Album 5.1 und remasterte Stereomischungen,
in spezieller Einfassung:
1. 5.1 Surround-Mix - Dolby Digital @448 kbps
2. 5.1 Surround-Mix - Dolby Digital @640 kbps
3. Stereo Mix (LPCM) - 24-bit/48 kHz unkomprimiert


160-SEITIGES THAMES & HUDSON HARDCOVER-BUCH
Mit seltenen Schwarz-Weiß-Fotografien von den UK- und US-Touren 1972-1975 von
Jill Furmanovsky, Peter Christopherson, Aubrey Powell, Storm Thorgerson


76-SEITIGES NOTENBUCH
des Originalalbums

ERINNERUNGSSTÜCKE:
REPRODUKTIONEN VON ZWEI 7”-SINGLES
in Harvest-Taschen:
7" Single 1 Money/Any Colour You Like
7" Single 2 Us And Them/Time

Felte Records presents `Glimpse Of Heaven' - a stunning new album by the Hawaii-born, LA-based musician, singer, producer and professional mastering engineer Jess Labrador, AKA Chasms. Labrador's deeply personal work as Chasms has always felt like an unveiling. Following 2019's `The Mirage,' which was a dark, dubby meditation on grief and loss, this new album is both familiar and different. The third full-length under the Chasms name, `Glimpse of Heaven' trades in washes of reverb for starker moments of closeness and intimacy. An exploration of the personal inventory and reckoning necessary to move forward in life, the LP considers not only how we relate to the world, but more importantly how we relate to ourselves. While always distinct, you could previously detect post-punk, shoegaze, and dub sensibilities in the music. Dreamy drift tethered by skittered beats, airy vocals, and melancholic melodies are here like previous efforts too. However, at the same time, Labrador steps into new territory with an expanse of vaporous synths and samples, adding to the project's ethereal electronic pop and dubwise pulse. Lush guitars glisten throughout the album, but this time only in sparse, disciplined embellishments. `Glimpse of Heaven' is a fully realised version of Chasms beyond its influences; to say that this is a seamless evocation of such disparate sounds as Massive Attack, Basic Chanel, Sade, Seefeel and Dif Juz is to say it is wholly unique. While she continues to unfurl her thoughts, there is a shift from opening up to the listener toward allowing the listener to witness her opening to herself. Where the last Chasms record was about various kinds of collapse, `Glimpse of Heaven' is about trying to develop as a whole person. It seems to ultimately be asking whether what we want and what we need align in ways that will get us where we want to be. Can we let go of the comfort of bad habits and steer ourselves toward a less easily obtained but maybe more enduring happiness? `Glimpse of Heaven' is a Chasms record, but really it's a Jess Labrador record. This is the first release operating on her own, and it feels like that's the only way this could have been made. It finds itself in the rare company of those few records that exist within themselves; it's a complete environment. You don't need to know anything to tune in and enjoy the world that she's created. It's a record that feels indebted to itself. It offers premonitions but not directions. It gives us honesty, but doesn't claim to know exactly where that will lead.

Pig&Dan and Gregor Tresher come together for a powerful 10-track album ‘Soulcatcher’, now released on vinyl after a successful digital release in 2021.

‘Soulcatcher’ marks only the seventh album release on Truesoul in the label’s 19-year history, the little brother imprint to Drumcode helmed by Adam Beyer. It’s a space for boundary-less experimentation, where the finest in house and techno explore the groovier and more melodic side of their musical personas.

Pig&Dan are techno treasures, with one of the deepest discographies in the genre. They remain one of the most reliable contributors to Beyer’s labels over recent years, with ‘Soulcatcher’ marking their third release on Truesoul alone in 2021. Gregor Tresher has soundtracked the development of the European techno sound over a 25 years period, gifting the scene tried and true genre favourites such as ‘Goliath’ and ‘A Thousand Nights’.

As a collective they are master hands in the studio and ‘Soulcatcher’ encapsulates their crisp yet stirring sound palette. The album spans bright airy house, progressive and melodic techno textures, and cuts from the darker end of their sonic spectrum. It’s hints at the freedom that awaits us and better days ahead.

Balearic believers rejoice! Japanese tropical-fusioneers Coastlines are back with the worldwide vinyl release of Coastlines 2. The follow-up to their classic debut, this is the sound of Coastlines's global influences. If the dedication to intricate sonic details is particularly Japanese, the overarching feel captures the sprawling grandeur of the international balearic community. As they put it, Coastlines 2 presents "a more precise and beautifully polished magic hour." If that isn't Balearic, we don't know what is.

Takumi Kaneko and Masanori Ikeda don’t radically alter their sumptuous template with this second LP; and we wouldn't want them to. Yet with a more focused flow from first track to last, both Coastlines and Be With feel this is an even stronger album than their first. One thing that hasn't changed is the use of instrumentals instead of words to express their themes; namely, "the emotional expression of being soaked."

Opener "Tenderly" is appropriately titled, a gentle Latin shuffle easing you back into the Coastlines sound. An organ-heavy synthy exotica that's in step with Lovelock's contemporaneous "Washington Park". Their über-horizontal take on Hawkshaw & Bennett's "Mile High Swinger" (from Synthesiser And Percussion, reissued by Be With!) evokes cocktails-by-the-pool as the sun slowly sets. The blunted deep jazz-funk swing of "Alicia" is a rearranged reimagining of the Gabor Szabo song from his classic Jazz Raga LP. This here sounds like an outtake from The Chronic.

As the sun goes down, "Combustione Lenta" soundtracks the relaxing slow burn of an idyllic bonfire on an isolated beach. Displaying a beautiful new side of Coastlines, we're treated to Moments In Love vibes and melancholic guitar arcs. The piano-laden early morning wonder of "Night Cruise" started life as a completely different song, but the duo found a particularly good loop from the initial sketch and reconstructed it into this sophisticated 80s instrumental soul groove. "Waves And Rays" is all undulating acid waves and lighthouse light. A chopped and screwed steel drum G-Funk with soaring synths and nods toward the squelchy machine soul of Mtume and Jam & Lewis. Yes, *that* good.

The bouncy futureboogie cosmic chug of "Sky Island" represents the beginning of the sunrise, casting images of 80s Japanese fusion and definitely one to play out early doors to get the crowd stepping. "Area Code 868" is the strutting staccato sound of Joe Sample waking up in the Caribbean to craft his piano funk drenched in sunshine. Accordingly, the tentative, naive melodies of "Sand Steps" represent that vivid feeling first thing in the morning, as you step on to the sandy beach in the sunshine and take a deep breath. The world is yours.

The emotional, organ-piano-steel drum-driven "Song For My Mother" is a slo-mo show of sincere gratitude to all the great mothers. "Yasmin's Theme" is Coastlines's Brazilian homage, recalling for them that early summer feeling. It's propelled laconically by the carnival beat of batucada`s big bass surdo drum and complimented by sweeps of warm keys and radiant vocal harmonies. Blissful beatless closer "Asafuji" conjures a scene from a wonderful morning spent with the people of Shizuoka, the symbolic mountain of Japan, Mt Fuji and its inhabitants. It sounds like Dâm-FunK jamming with Sabres Of Paradise.

Coastlines 2 was painstakingly crafted, across the pandemic, at Masanori's rented place in Tokyo and then brought back to his home studio and worked on slowly and repeatedly. With limited time to see each other, the duo became more united in their "consciousness with natural progress."

Mastered by Simon Francis and cut by Cicely Balston at Air Studios, this magnificent double LP has been pressed by the good people at Record Industry.

World-renowned horn player Mats Gustafsson teams up with Joachim Nordwall to create THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE- an avant-garde masterpiece. Gustafsson and Nordwall push their instruments to the limit, almost mirroring the title of the record by "reaching across space and time". The duo creates a sense of vast, three-dimensional auditory expanses. "This is where acoustics and analog synths meet. It is unique music. Unheard Vibes. Perfect for special venues and good PAs..." -Gustafsson & Nordwall. We encourage listeners to take multiple journeys through the expansive spacial exploration that is THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE. Joachim Nordwall has been active in creating psychedelic electronic music since the late 80s- A cornerstone of the Swedish musical underground, exploring the extremities of guitar music with The Skull Defekts and solo recordings as The Idealist that access the spiritual and political dimensions of electronic music and dub. Nordwall also runs the esteemed and boundary pushing iDEAL Recordings, cementing his position as a major player in the contemporary scene. Mats Gustafsson is a prominent figure in the modern jazz scene, working as a composer, improviser, and saxaphone player. He has been involved in hundreds of projects, including work with Sonic Youth, Neneh Cherry, Peter Brötzmann, and Merzbow, as well as being an active member of groups such as FIRE!, The END, and Swedish Azz.

World-renowned horn player Mats Gustafsson teams up with Joachim Nordwall to create THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE- an avant-garde masterpiece. Gustafsson and Nordwall push their instruments to the limit, almost mirroring the title of the record by "reaching across space and time". The duo creates a sense of vast, three-dimensional auditory expanses. "This is where acoustics and analog synths meet. It is unique music. Unheard Vibes. Perfect for special venues and good PAs..." -Gustafsson & Nordwall. We encourage listeners to take multiple journeys through the expansive spacial exploration that is THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE. Joachim Nordwall has been active in creating psychedelic electronic music since the late 80s- A cornerstone of the Swedish musical underground, exploring the extremities of guitar music with The Skull Defekts and solo recordings as The Idealist that access the spiritual and political dimensions of electronic music and dub. Nordwall also runs the esteemed and boundary pushing iDEAL Recordings, cementing his position as a major player in the contemporary scene. Mats Gustafsson is a prominent figure in the modern jazz scene, working as a composer, improviser, and saxaphone player. He has been involved in hundreds of projects, including work with Sonic Youth, Neneh Cherry, Peter Brötzmann, and Merzbow, as well as being an active member of groups such as FIRE!, The END, and Swedish Azz.

Previously only available as a digital release, Lucid Express’ Floret, has been remastered and expanded to include remixes from a host of
international, acclaimed shoegaze and dream pop artists. For the first
time on vinyl, the limited (500) edition orange vinyl will be released March

3, 2023 (Kanine Records).

Lucid Express is five young dreamers who create a stunning airy blend of shoegaze and indie pop amongst the skyscrapers, mountains, and packed alleyways of Hong Kong. The name itself a modest mission statement of the band’s intent: lucid in the poetic sense of something

US-based Mystery Circles is the next stop for Hiroshi EBINA following a previous outing here last year. This new cassette is another beautifully organic ambient soundscape with delicate pads and a sense of quiet hope and atomism. The beauty of the album cover really portrays the majesty of the music within as gentle chords linger in the air above warm and fuzzy drones. Some pieces are more empty that others which only lends the appearance of a wispy pad all the more weight while some grow in stubby intensity as sounds are layered up and draw you in ever deeper.

Oliver Cherer is back with a new Gilroy Mere record which follows on from his other much lauded Clay Pipe releases (The Green Line, Adlestrop and last year’s D Rothon collaboration, Estuary English).

Over the last two decades Ollie has released numerous collections of music in an ever shifting array of modes, from folktronic, singer-songwriter styles through psychogeographic electronica to jazz-tinged, confessional ghost-pop and most recently, the “guitar tainted machine rock disco” of Aircooled.

Gilden Gate is an album of two halves. Side 1 ‘Rising’ celebrates the sun-drenched beaches, pastures and heaths of rural Suffolk, whereas Side 2 ‘Falling’ explores the underwater world of the lost city of Dunwich and its five church spires.

Oliver says:-

“A few years ago I discovered the lost city of Dunwich. I’d made a trip to Suffolk to shoot a short film about Sizewell Nuclear Power Stations and stayed in the old Coastguard’s Cottage on Dunwich Beach within sight of Minsmere Nature Reserve and the power plants. It’s a wild, sleepy place of pines and heath and North Sea winds and a strangely mysterious air – Sutton Hoo is nearby and Eno’s reference to the very beach that I was staying on made perfect sense. In the small museum at Dunwich I learned that this tiny hamlet had once been a major medieval city of international trade. It seemed unlikely and even now, knowing Dunwich as a small village, I find putting what I know about the place into perspective as a city a certain kind of impossible.

It seems that over a period under the influence of the weather, natural erosion and market rivalry the thriving harbour port was inundated by the North Sea and eventually slipped into and under it. The city of churches was lost and all the spires engulfed and toppled. What remains are the few houses, and the ruin of Greyfriars crumbling inexorably down the cliff and exposing the bones of buried monks as the graveyard follows the building’s stones into the sea.

There are local legends surrounding the site including stories of fishermen hearing the bells of lost churches and seeing the ghostly, lighted city beneath their boats as they return to the shore.
Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”

Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”

"Dans cent ans" is not a record: it’s a talisman.
Flavien Berger doesn’t make music, he makes time machines.
In 2015, he released his first album, Leviathan, which he’d imagined like a moment suspended into the bowels of present time.
In 2018, Contre-Temps, his critically acclaimed second album, was narrated like a flashback.
Dans Cent Ans (“In 100 Years”) ends this trilogy and launches into the future with the grace of a poisonous serpent.
Flavien had just finished producing Pomme’s last album and was simultaneously scoring Céline Devaux’s feature film Tout le monde aime Jeanne, when he recorded this album, during six months of isolation.
In the garret of a Belgian house in construction, these 12 tracks were born, close to the sky, both direct and mysterious.
Because Flavien Berger knows how to make machines sound sensual (a key example is the pop song “D’ici là”) and dares to interweave electronics, chanson and art music, organic instruments and synthetic choirs, without ever falling into parodic territory.
Because his voice, more precise, unreverbed, and close-mic’d than ever, sings to our ears – using multisyllabic rhymes (“Trop ivres pour te plaire / Tropiques du cancer”) and surrealist imagery (“la neige restera rose” – “the snow will remain pink”) – stories that feel unknown yet obvious.
And like both previous albums ended with a long eponymous track like a breath of air, “Leviathan” and “Contre-temps”, so does “Dans Cent Ans”, a 15-minute long saga where vocals, wind instruments and machines converse, as if Debussy, Etienne Daho and a Sufi Dervish met in a dream.
After listening to this album, the vertigo of love and the collision of times are one and the same.
In one hundred years, music will survive us all, and its dangerous beauty will awaken other lives. In the meantime, Flavien Berger keeps stunning ours.

The spectrum-spanning archive of Hudd Traxx grows at pace, and having rolled out jams from legends of the game on Hudd Influences Vol. 1, Eddie Leader’s acclaimed Manchester based imprint now hands a full debut to rising star… DFRA.

From label fan to label artist, Buenos Aires-based Colombian, Diego Ruiz, first featured on 2019’s ‘Out Of Order : Volume 3’ with ‘I Am House’. His new ‘Blue Horizon’ EP confirms that statement, as we’re presented with a trio of beautifully tailored tracks, highlighting a producer who is comfortable in his craft.

The shimmer and bump of the title track, evokes scenes of sun, sea and bodies moving in rhythm. A theme that runs throughout, as the perspiring vibes of ‘Hold Me’ roll us into the club with its warm bass, pulsing keys and vocal, while final cut ‘Fallin’’ with its hypnotic swing and thumping kick takes us deeper into the night.

Adding a final peak to the package is Real Tone boss, Franck Roger. Vocal flourishes, echoing keys and that renowned golden touch from the Frenchman round out this superb debut from DFRA.

Riding high on the inexplicable Tech-house adoption of their last release, Talking Drums return with hit number six.
This desert island disc finds the family bagging a last minute flight to sunnier climes, where the cocktails are strong and the seas are calm.

On 'Air Ecosse', the crew provide an engine overhaul to a middling slice of Scotch boogie, squeezing maximum thrust out of the new beat-y intro before a bubbling bassline and chiming chords provide some serious uplift. The captain takes the comms for a late deadpan vocal, hinting at a little Pet Shop Boys karaoke prior to touchdown in paradise.

The percussion pals kick off the Birkies on the B side, boarding the bateau with a pair of proper harbour heaters. 'Too Yacht To Handle' bubbles along like Mick'n'Keef in disco mode, oozing grooves under a swooning vocal a la Nicolette Larson. A hazy arrangement lets the music play, indulging the instrumental breaks, soaring synths and subtle delays in true 12" Extended Mix stylee, perfect for peak-time at poolside or la playa.

Dropping the tempo to a sunset strut, 'AORwaves' provides the perfect cool-down, as TD cut back the fat on a forgotten soft-rocker to create a cosmic yacht bomb. Low slung, sleazy and spaced out, this is gonna rock a bar set and beyond.

Limited Press - Numbered Insert - Drum Fun Guaranteed.

Following 2 heavy reissues of “Silver Mirror Of Her Eyes” and “Heavy Water” from original works on D*Fusion Records in 1994-1997, Howard Dodd aka Anoesis returns to physical in 2023 for a new full feature-length album via Australian based imprint Paper-Cuts. Selected works between 2010-2022 “Memory On Memory” offers a modern take from the underground UK artist, spanning refined breaks, playful tech-house and modular experiments stretched across this 9-track LP.

When Italian composer Bruno Bavota and Dutch songwriter Chantal Acda first met several years ago, they knew almost instantly that they wanted to make music together. Bavota was already a fan of Acda's dreamy, orchestral folk, and in Bavota's intimate, picturesque piano compositions, Acda saw a potential for collaboration that was begging to be explored. As it would happen, the inherent loneliness and isolation of the COVID-19 pandemic would provide a most unusual opportunity to craft an album together - without ever being ion the same room. Originally conceived as a brief two- or three-song EP, A Closer Distance is the result of a month of seemingly endless and effortless creative connections between Bavota and Acda. Spawned from the opening piano phrase that became the album's title track, the nine songs that make up A Closer Distance were written and recorded by Bavota and Acda in their respective homes. No stranger to long-distance collaboration - having worked with an array of artists from Alan Sparhawk and Mimi Parker of Low to guitar legend Bill Frisell - even Acda was surprised by the ease and pace with which A Closer Distance came together: "This all came so weirdly natural. It woke up a part of me that had been asleep for a while." Mostly built around Bavota's solitary piano arrangements and Acda's layered, ethereal vocals, the songs on A Closer Distance reflect the intimacy and tranquility of their conception. It is a magical collection that connects to the listener with the same air of comfort and familiarity that inspired its creation.

"Dans cent ans" is not a record: it’s a talisman.
Flavien Berger doesn’t make music, he makes time machines.
In 2015, he released his first album, Leviathan, which he’d imagined like a moment suspended into the bowels of present time.
In 2018, Contre-Temps, his critically acclaimed second album, was narrated like a flashback.
Dans Cent Ans (“In 100 Years”) ends this trilogy and launches into the future with the grace of a poisonous serpent.
Flavien had just finished producing Pomme’s last album and was simultaneously scoring Céline Devaux’s feature film Tout le monde aime Jeanne, when he recorded this album, during six months of isolation.
In the garret of a Belgian house in construction, these 12 tracks were born, close to the sky, both direct and mysterious.
Because Flavien Berger knows how to make machines sound sensual (a key example is the pop song “D’ici là”) and dares to interweave electronics, chanson and art music, organic instruments and synthetic choirs, without ever falling into parodic territory.
Because his voice, more precise, unreverbed, and close-mic’d than ever, sings to our ears – using multisyllabic rhymes (“Trop ivres pour te plaire / Tropiques du cancer”) and surrealist imagery (“la neige restera rose” – “the snow will remain pink”) – stories that feel unknown yet obvious.
And like both previous albums ended with a long eponymous track like a breath of air, “Leviathan” and “Contre-temps”, so does “Dans Cent Ans”, a 15-minute long saga where vocals, wind instruments and machines converse, as if Debussy, Etienne Daho and a Sufi Dervish met in a dream.
After listening to this album, the vertigo of love and the collision of times are one and the same.
In one hundred years, music will survive us all, and its dangerous beauty will awaken other lives. In the meantime, Flavien Berger keeps stunning ours.

The live album From Wishes To Eternity offers a a glimpse into an early point in the long career of Finland's symphonic metal masters Nightwish when, three albums under their belts and already a household name in their native Finland, the world was just about to be laid before their feet. Recorded at Christmas in 2000 in Tampere, Finland in front of a packed house, Nightwish released this a year after the smash hit record Wishmaster. Unlike some CD pressings in circulation, this version contains the entire 80-minute uncut show. Never before available on vinyl, Lipposen Levy ja Kasetti presents this missing piece in the Nightwish puzzle on CD and gatefold double vinyl, remastered at Finnvox by Mika Jussila, who also mastered the original release in 2001.

ZYX Italo Disco: Best Of : The ultimate new vinyl compilation series
dedicated to our Italo Disco fans around the globe enters its 5th
round.

Of course, also this edition is released as a 2LP set on colored
vinyl.

Dance and sing along to 14 unforgettable hits and rarities from the
80s in best sound quality.

Enjoy songs like Valerie Dore - King Arthur / Savage - So Close
/ Ken Laszlo - Don‘t Cry / Radiorama - Chance To Desire and
many more.

Talla 2XLC is celebrating his forthcoming birthday with the annual
spectacular Technoclub event along with faithful friends such as DJ
Dag, Woody van Eyden, Andreas_Kraemer, Sven Wittekind, Ulli
Brenner ,LXD and Bluefire amongst others. While during his career
has faced many obstacles and unfortunate situations, he manage to
stay ahead of his game by gaining the respect and admiration of his
fans and DJ colleagues. His career is a bright example of an artist
that fight against all odds and work ultra-hard to be always at the top
of download shops charts with his single releases and at the top of
the physical sales charts with his long lasting Mixed CD compilation
Technoclub that in 2023 celebrates its 25th year anniversary. Well
known for his ability to provide brilliant remakes of huge trance
classics on his label Technoclub Retro while on That’s Trance service
original solo tracks or collaborations with brilliant singers such as
Christina Novelli and fellow DJs like Ronski Speed or Ralphie B. Last
year he established his psy-trance label Dreamscape with remixes
by his psy-trance alter ego Zyrus 7. Talla 2XLC is not just a pioneer
in techno and trance music scene but also a frequently booked DJ
performing on the most iconic festivals and club events such as Nature One, Mayday, Airbeat One and many more as he knows excellently to entertain his crowds with memorable DJ sets . Talla 2XLC embraces social media with active accounts in the most of them with hundreds of followers.

During the pandemic lockdowns he conquered twitch with
his very successful live DJ sets receiving donations and support from
his global fan base. What is more Talla 2XLC is taking part in wide
variety of documentaries narrating his contribution in the development and growth of electronic music culture. He is co-founder of MOMEM - Museum Of Modern Electronic Music in Frankfurt that any electronic music follower should visit to learn about the history of our culture.

For his 2023 Birthday he has a huge surprise to all his vinyl lovers.
He is going to release his BDay Bash EP that will include two massive
tracks already released digitally under his techno moniker RRAW on
Technoclub Pure. The two massive mainstage techno friendly anthems Wonderful Dayz and The Promised Land. Both tracks have been fans favorites and have been road-tested extensively by Talla 2XLC and many other well-known artists worldwide. Banging mainstage techno basslines, slamming kicks, haunting dark moody atmospheres, acid touches and strong euphoric breakdowns followed by massive hands in the air dark climaxes, turn both tracks into must have for any vinyl lover who wishes to embrace Talla 2XLC techno moniker RRAW. Wish Talla 2XLC happy birthday by purchasing his Bday Bash EP with hi latest techno alias RRAW out on ZYX Music.

The Mothership has come! It has arrived in the form of the strictly limited collection box “Music Is The Healing Force Of The Universe”, containing all singles released on the label between 2019 and 2021. The Höga Nord – galaxy resounds of all good between strict electro and loose jams, fluffy krautrock and moist world music to underwater techno and space funk. Although, what it is that defines the Höga Nord sound is not genres, instead it is, to cite Mathias Nilsson, founder of and boss for the label, music “strongly connected to fantasy, to the creative world.” Creativity over profit!

The collection is an overview on Gothenburg’s underground music and on an international scene that breathes similar air as the local Swedish acts that Höga Nord Rekords has chosen to highlight. The kinship between Jesse’s 80’s varnish sports car-electro and Purple Desert Rain God’s more traditional mountain sound can appear distant but the artists come together in their free spirited approach to their own productions – what all acts on this collection has in common is that they move toward something new, something beyond the genre they are in.

“Music Is The Healing Force Of The Universe ” mark the closer for Höga Nords first run. The 2010s are over and the 2020s lies open for further investigation of the cream of the Swedish and international of underground scenes!

Zurich’s Elvis Cassetta delivers a dazzling four-track debut EP to his brand-new WhyNot imprint. Complete with a refined deep house sound, this is an expertly crafted body of silky smooth grooves to get floors shaking.

'Down With Us' instantly displays Cassetta’s effortless ability to create a hot house swing using just a handful of elements – subtle groove, skittish percussion and a sultry vocal sample. The whole track is thrown out wide in the breakdown, but then as the bassline is brought back in, Cassetta draws it all back in close for an intimate dancefloor moment. Definitely one of those hands-in-the-air peak-time scenes.

Dreamy synth pads steadily build under a thunderous kick drum pattern on the EP’s second track, 'Focals Finest', which takes the tempo up a notch for a real sweat inducer.

Finally, it’s all about a raw bassline on the metallic and techy 'Jupiter Groove'. Contorted slices of spoken word dip in and out throughout to create another level of leftfield, danceable percussion. While the low end is the main focus on the original, in Silat Beksi’s remix, we hear a brighter take on the deep groove. There’s a swirling sample, more prominent key stabs, eerie vocals and a teasing smattering of melody. Percussive elements are thrown from all angles, and they pulsate up into the rafters of the lofty house track, leading you further into a state of hypnosis.

Overall, these are house tracks made right – a classy release fit for warming in crowds in style.

Mannequin presents an expanded double-LP of 'Exploded View' from Dutch minimal synth pioneers The Actor. Originally released in 1982 by Trumpett Tapes, the album was repressed for the first time by Mannequin Records in 2014, and is now coming back to life again in 2022, enriched by an extra full-length of demos from a 1981-1984 period.

Singing both in English and German, The Actor songs are often related to modernism, fashion and dancing, like a sort of early incarnation of Depeche Mode but totally devoted to home taping and diy recordings, where Trumpett was definitely the perfect home for it, having releasing such amazing cassettes from Doxa Sinistra, Ende Shneafliet, Dr C.Stein, and many more. A must have for the dusty/rusty analog synthesizers lovers.

"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

"Ela", Dom La Nena's first album, was released in 2013. Co-produced with the complicity of Piers Faccini, the album received the highest praise from the international press (New York Times, NPR, Les Inrocks, Wall Street Journal, etc). On the occasion of the 10th anniversary of its release, here is a reissue of the record, now available on vinyl.

Dom La Nena is a Brazilian singer, cellist, songwriter and producer based in Paris. Having accompanied artists such as Jane Birkin, Jeanne Moreau, Etienne Daho and collaborated with the likes of Marcelo Camelo, Julieta Venegas and Piers Faccini, Dom's solo work has drawn comparisons as disparate as “a young Brian Wilson” (Wall Street Journal), “a bossa Joanna Newsom” (Time Out New York) and “Cat Power’s lost sister” (Pop Dose).

Dom sings in Portuguese, Spanish, French and English. Her lyrics touch upon feelings of longing, melancholy, and nostalgia of a childhood spent living in Brazil, Argentina and France. Performing in a solo capacity alone on stage with her cello, ukulele, electric guitar, keyboard and percussions, Dom employs sophisticated looping techniques, layering vocals and instrumental tracks, building audio soundscapes that create a full band atmosphere in each venue.

Dom’s debut solo album, “Ela”, was released during 2013 and immediately praised by the international music press including the New York Times, Wall Street Journal, Le Figaro, Les Inrockuptibles, Voir, O Globo and many other media outlets. Dom's second album “Soyo”, an internationally flavored collection of indie-folk songs with wandering melodies and lightly layered vocals, was released in 2015 and co-produced with Brazilian musician Marcelo Camelo (Los Hermanos).

Dom's third full length album, titled "Tempo", was self produced and mixed by Noah Georgeson (Devendra Banhart, The Strokes, Rodrigo Amarante) and is scheduled for a spring 2019 worldwide release.

CLEAR BLUE VINYL

`Oh Me Oh My' is both elegant and ferocious. It is stirring in one moment and a balm the next. It details histories both global and personal. Lonnie Holley's harrowing youth and young manhood in the Jim Crow South are well-told at this point _ his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But Holley's music is less a performance of pain endured and more a display of perseverance, of relentless hope. Intricately and lovingly produced by LA's Jacknife Lee (The Cure, REM, Modest Mouse), there is both kinetic, shortwave funk that call to mind Brian Eno's `My Life in the Bush of Ghosts' and the deep space satellite sounds of Eno's ambient works. But it's a tremendous achievement in sonics all its own. It's also an achievement in the refinement of Holley's impressionistic, stream-of-consciousness lyrics. On the title track which deals with mutual human understanding", Holley is able to make a profound point as ever in far fewer phrases: "The deeper we go, the more chances there are, for us to understand the oh-me's and understand the oh-my's." Illustrious collaborators like Michael Stipe, Sharon Van Etten, Moor Mother and Justin Vernon of Bon Iver serve as not only as choirs of angels and co-pilots to give Lonnie's message flight but as proof of Lonnie Holley as a galvanizing, iconoclastic force across the music community.

CIRQLE & CYQLE are TRUENOYS & MIDM.
Together they have been working on different projects over the past years which saw them release albums & 12's on Pulver Records, DEEP MEDi Musik, Lovemonk Rec, Compost Records etc. They also created the soundtrack to Akala's novel "The Ruins Of Empires" together with Mala and directed by Andy Serkis which aired on BBC TWO.

Coming from different interests/styles it's only natural to bring these vibes all together to create their own style and that's how this LP sounds.
Productions & previous projects have been championed/played by the likes of Benji B, Moodymann, Mary Ann Hobbs, etc

In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Juilliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.

On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have CURTIS LUNDY (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!

On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.

These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass strokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.