Search:d asse

Latest volume of the first AA.VV. trilogy on R3volution Records. For this third volume, four great artists of the Techno scene are called to express themselves together with the owner of the label Michele Mausi: Joton, Keikari, Wrong Assessment (already appeared on the label) and Alexander Kowalski with the pseudonym of D_Func. together with Mario Berger.

Can you miss these bombs?

Remastered Limited Blue Vinyl with Gatefold Sleeve.
Includes A2 poster and 3 art prints of each individual band member.

Way back in 1982, Battersea based mod heroes The Direct Hits had released one single on Dan Treacy’s Whamm! record label, ‘Modesty Blaise’ earlier in the year. This was singled out in the music press as not just one of your average Jam crash / bang /wallop mod revivalist tunes.
Live gigs showed they had a mighty powerful set of catchy mod / pop tunes in the back pocket. Whamm! were struggling to provide the funds to record an album, the songs were too good not to commit to a full 12’ set, so the Direct Hits pooled their limited resources and self financed a very cheap one day recording session in a tiny studio in Tooting, South London called Broadway Sound.
Early on the morning of August 12th 1982 the band, comprising of Colin Swan, Geno Buckmaster, Brian Grover and their trusty roadie ‘Robbo’ assembled at the tiny studio to begin recording as many of their songs as they could get down on tape for the tiny budget they had scraped together. As most of the songs were already well rehearsed thanks to the band’s busy live schedule, the recording of the first nine songs on this disc were finished by mid afternoon without any problems. Throughout the late afternoon and early evening the band toiled over scant overdubs with limited keyboard facilities and a distinct lack of musical ability. The recordings immediately came to life however, when Colin Swan and Geno Buckmaster’s stage-honed tight harmonies were added, there was no time for vocal overdubs, and the mixing was completed by midnight. Tired and worn out, the band ventured out into the cold night air happy with the days work, clutching the precious reel to reel tape.
Two weeks later the band came back with a friend producing, and recorded the three final tracks featured on this album which have a more rounded slightly less raw sound. All three were completed in an afternoon. Almost two years later they re-recorded some of these songs, and along with a handful of new songs from the pen of Buckmaster and Swan, recorded their ‘Blow Up’ debut album at Rendezvous Studios in Sydenham, South East London, released on Whaam! Records in August 1984.
So what you have here are the roots of some of these great songs. A few didn’t make it to the first album those that did, as you will hear, stayed reasonably faithful to the original arrangements.
The Broadway Recording Sessions take you right back to where it all started!

In 2007 bassist Anneleen Boehme was one of the founders of LABtrio, which is considered as one of the most acclaimed Belgian jazz bands of the past decade. Just like her companions Lander Gyselinck and Bram De Looze, she quickly asserted herself in the most diverse contexts. Now Boehme is launching her "dream project": Grand Picture Palace. A jazz quintet and a string quartet that blend different worlds together. Boehme leads and plays bass and has been writing eight compositions that break through genre walls, music both powerful and elegant, showing how jazz and classical music can balance each other without cliches.

All recordings were made in the early summer of 2020 in the studio of mentor and fellow musician Nicolas Rombouts. The self-titled album 'Grand Picture Palace' will be released on February 19th 2021.

From the very start of "Drawing Dead" through the memorable lead line in the slower-paced closer "Big Sky Theory," Dozer assembled a work of impeccable songwriting and deep-rooted character. In the arc of their career, every record was another step forward, and just as 2001's Madre de Dios built on the debut and 2003's Call it Conspiracy built on that, so too did Through the Eyes of Heathens pick up from where its predecessor left off. Its sound was still rooted in a heavy rock feel, but Dozer were able to translate that into something more aggressive when they wanted - their sound had bite as well as lumber, and while a cut like "Born a Legend" could be traced back to their desert-minded beginnings in its basic structure, by the time it was finally executed, it was something else entirely. The Obelisk

From the very start of "Drawing Dead" through the memorable lead line in the slower-paced closer "Big Sky Theory," Dozer assembled a work of impeccable songwriting and deep-rooted character. In the arc of their career, every record was another step forward, and just as 2001's Madre de Dios built on the debut and 2003's Call it Conspiracy built on that, so too did Through the Eyes of Heathens pick up from where its predecessor left off. Its sound was still rooted in a heavy rock feel, but Dozer were able to translate that into something more aggressive when they wanted - their sound had bite as well as lumber, and while a cut like "Born a Legend" could be traced back to their desert-minded beginnings in its basic structure, by the time it was finally executed, it was something else entirely. The Obelisk

Angel Tears in Sunlight is Pauline Anna Strom's first album in over thirty years; an assemblage of music that refracts the expansiveness, and minutiae, of imagined realms while embracing the kaleidoscopic echoes of our distant epochs. The capacity to collapse time might elucidate the enigma of Pauline Anna Strom. A mystic force in music, emerging during the dawn of new age as the Trans-Millenia Consort, the pioneering synthesist channelled primordial energies into future-facing sound through a series of full-length releases between 1982 and 1988. Little was known about her, except by a constellation of devoted followers who saw a unique legacy forming amidst the (mostly male) synthesist canon of the time. Following the 2017 release of Trans-Millenia Music, an anthology revitalizing the most evocative parts of Strom's catalog, the Bay Area visionary sensed the universe telling her to return to music. As with her work in the 80s, Angel Tears in Sunlight was composed and recorded in the same San Francisco apartment where Strom has lived for almost four decades in synthesis with her machines and "dinosaurs." Populated by a compact array of modern instruments that streamline the sound of her analog past and her beloved iguanas, Little Soulstice and Ms Huff, the terrarium of her home forms an intimate yet limitless ecosystem that defies the constraints of the outside world. Within this sanctuary, Strom becomes lost in time, drawing on the ancient energies of her inner visions. Her hardware forms the crux of translating these ideas into sound. "It's the only way this stuff can be pulled out of myself, the universe, Little Soulstice, an ammonite_," Strom notes. "It couldn't be done without this machinery, because there's no other way to draw and capture these frequencies into sonic interpretation." Strom's process of recording transient live-takes enriches the mystery of her work. She renders the machinery a composer itself, a cohabitation with a living other. "Many musicians wouldn't go that far because of ego," Strom muses. "The equipment has to become part of you and your creativity. That's how I think it all comes together." Music-making becomes a harmonic language of intuition with an instrument, where Strom cultivates sound for a harvest that defies season. Shaped by circadian contours, Angel Tears in Sunlight is a celestial observatory of earthborn phonic mosaics. Strom uncovers a symbiosis between hardware frequencies and apparitions of nature in the record's arena of organic tones, emulating the melodic pulses of primeval terrain. The album transcends both shadow and light, falling to hushed stretches of sound as if not to awaken antediluvian animals, before soaring through the treetops where ancient skies peer over reptilian traffic and unsparing rains.

'Endlessly strange and formlessly mesmerising' - The Quietus. 'on the feet of a wind' is a wild assemblage of carbonated synthetic music from Powell and a sister record to 'flash across the intervals' and 'multiply the sides' - two albums already released in 2020. Recalling Xenakis, Parmegiani and Hecker but with the smile/smirk of vintage Powell, the record is released via a folder, a new music and film platform created by Powell, Michael Amstad and Marte Eknæs that bundles up music, film, image, text and other forms of madness into folders that are shared/expanded online.The release is accompanied by a 'Hi-sensitive' film directed by Amstad and Eknæs entitled 'flares, currents'. The film contains a recombined live version of 'rise, world unfold', the musical series that concludes this album. a folder is a collection of disorienting works of experimental film, ambiguous texts, and other assorted media set to the most brazenly strange and formlessly mesmerising musical structures of Powell's career. It's also a work of artistic assemblage, without fixed notions of time. Tarkovsky once described his filmmaking as "sculpting in time," and a folder exists in a similar kind of "zone;" it is a project continuously added to, subtracted from, abstracted, and injected into the glut of cyberspace like a slow moving pathogen that refuses to be defined or categorised. Shunning titles in favour of oblique category markers, films like a34 present a mosaic of images of biological forms and sublime landscapes set to super-synthetic, carbonated compositions. All of this signals an artist liberated from the confines of the narrow branding signifiers an electronic musician can find themselves in. While it is aware of its place in cyberspace, this project also connects to something primordial and awesome. "Xenakis talked about creating universes with sound," says Powell, "and we are all free to create our own worlds in life, art - whatever. This is what happened to me in a way: I have been in this world for three years or something, and I don't really want to leave. The folder is a refuge.'

In the summer of 1978, an ambitious twelve-day experimental jazz project was undertaken at the ancient amphitheatre, Tasso della Quercia, on the slopes of Rome’s Gianicolo hill.

The idea was to assemble the leading players from Italy’s avante-garde jazz scene, revolving around members of Grande Elenco Musicisti (or GEM), such as saxophonists Tommaso Vittorini, Eugenio Colombo and Maurizio Giammarco, trumpeter Alberto Corvini and trombonist/composer Danilo Terenzi, together with visiting American players such as saxophonists Steve Lacy, Steve Potts and Evan Parker, trombonist Roswell Rudd, pianist Frederick Rzewski and drummer Noel McGhee, among others.

Different group configurations were enacted each day and the final gala concert formed the basis of this super rare and highly playful double album, which captures the delightfully messy proceedings. In keeping with the openness of the Roman jazz scene of the day, the project sought to push the boundaries, aiming to break big-band traditions whilst still emphasizing the collective nature of the experience.

Enrico Rava’s opening “Tromblues” emphasizes the disparate approaches of these trans-Atlantic teams and Terenzi’s “Dialogando” uses dual trombones to heighten musical discord; in mutated big-band mode, Giammarco’s thrillingly complex “Vortex Waltz” and Vittorini’s “La Legge E Uguale Per Tutti” both speak to the limitless
potential that the project was aiming for.

Comes with download code. Limited 300. " "Où cela commence-t-il ?_x000B_Where does cultural appropriation end and procreational fusion begin?_x000B_The answer to that depends on the perceiver. For some, applying the structures of electronic music to folkloristic samples may seem de-contextualizing. Yet when considering the similarity between dancefloor compositions and the minimalism of Steve Reich and Terry Riley, the gap to traditional music begins to fade away. They remain distinct mostly by aesthetic characteristics of sound. Nicolas Sheikholeslami's premiere solo record as Çaykh is named after the French conjunction "Où" - meaning "where" - as this was the linking element during production. We witness an attempt to re-contextualize music that travelled from analog tapes - recorded in different localities along the Indian Ocean - to a hard-drive via 192kb youtube rips. The sample-based compositions were digitally arranged before regaining their warm sonic qualities in a vintage mixing studio This EP assembles three metamorphic 4th-world disco pulsations. Expect some heavily trancy and polyrhythmic analogue-fi jams. Nicolas Sheikholeslami aka Çaykh is a Hamburg-born and Berlin-based DJ and producer. He is active as drummer & percussionist for the projects Spiritczualic Enhancement Center and Circuit Diagram. Çaykh's three earlier sound-collage cassette releases have already earned him a certain fame in the 4th-world and outsider-disco realms. His collection of pre-war Somali music called "Au revoir, Mogadishu" paved the way for the Grammy-nominated "Sweet as Broken Dates" compilation, which he co-curated.

NOTON signs Italian-born, Bern-based sound-artist and producer Saele Valese.
In ‘IVIC’, his debut LP, Saele Valese, distills hauntological noise, droning tonal experiments and minimalist rhythms into a series of electro-acoustic-wave ventures written over five years in Berlin, Saas-Fee and Thun.
Drawing influences from the psychoacoustic properties of the live album format, IVIC’s 11 tracks were mixed and recorded live on DAT cassettes and through DAW experimentation, without the possibility to revise the final recordings. Valese adopted this approach to conceptually propose reconciliations between the irreversibility of the
past, and acceptance of its residuals in the present. The track titles themselves follow this pathos, citing the works of the American photographer Francesca Woodman and the poet Sylvia Plath. The inclusion of passages incorporating live sonics and throes of industrialismnso,ton.info contributes to the images of gravity, intimacy and spatiality that the music presented here invokes.
In keeping with this imagery, the music possesses a dilated, shuffling rhythmic base, much like the firm traversal of a tanker against a storm of jangling components, and still moments of gloomy sonics
alternating with more ravenous upheavals of power electronics.
If the track divisions do not pass by unheeded, they are consistently assembled to sonically accompaign the emotional charges and momentum of an imaginary cinematic experience; the beats caves in
for instants of relief, only to recoil in a cognated tempo but rearranged structurally. In another gesture of cogitated stride, the portentous waves of the record progressively rage into a turmoil in its third quarter during 'Horse The Color Of Rust'. The album reaches its closure fluctuating through microtonal oscillations to slowly eclipse into silence.
´In Your Rosary ì and Yì ou Cannot See Me From Where I Look At Myself ì were previously released on vinyl via Saele Valese’s own imprint, JSMË.
The track ‘You Cannot See Me From Where I Look At Myself’ 4 - is dedicated to the memory of Marco Bacher.
Artwork designed by Carsten Nicolai. Mastering by Matt Colton (Metropolis Studios, London).

“You’re trouble” is an avant-garde electronic pop album about questioning and locating a sense of self in a disorienting, breaking environment of dissolving certainity which grows increasingly chaotic, about dysmorphic dissatisfaction, becoming disillusioned and alienated. It seeks to juxtapose beauty, serenity and vigour with instability, ugliness, chaos and crisis, expressing itself fluidly without genre or otherwise boundaries. A kind of sinister, anxious but still forward-pushing and at times positive and hot-blooded empowering energy can be felt that wants to urge the listener not to give up but to try and take courage and take control of the troubles and fears in their life. The tone is sometimes reflective, sometimes confronting. The album navigates fairly abstract musical territory, cathartic abrasiveness, heavy and unrelenting sounds of post-club music and noise fused with stretches of pop music, never settling down or resting for long, constantly breaking up and re-assembling itself. Between chaos and form, it’s finding relief in imperfection and the in-between. As such the music is ambivalent and is equal parts some kind of crisis club music as well as introspective reflection.
Downloads

Over the course of two decades The Body - Lee Buford and Chip
King - have consistently challenged assumptions and defied
categorization, redefining what it means to be a heavy band.
On ‘I’ve Seen All I Need To See’, they test the boundaries of the
studio to explore the extremes and microtonality of distortion to
find its maximal impact.
Their most incisively bleak album to date, a towering monolith of
noise, Buford’s booming, resolute drums paired with King’s
obliterated guitar and howl.
Course, bristling distortion contorts every instrument, with
samples of spoken word, cymbals, toms and King’s already
noxious tone emerging from layers of feedback.
Features guests Ben Eberle (Sandworm) and Chrissy Wolpert
(Assembly of Light Choir).
Recorded with long time engineer Seth Manchester at Machines
with Magnets (Lightning Bolt, Battles, Daughters) and mastered by
Matt Colton (Sumac, Brian Eno, Uniform, Sunn O)))).
Available on CD, metallic silver vinyl and black vinyl. LP formats
include digital download code.
The Body have collaborated with many, including Full Of Hell,
Thou, Uniform and Bummer.
“The distortion has this ability to envelope you, and not push you
away. It has this strange kind of beautiful timbre... once you give
into the sheer power of it, and let it take you on a ride then it
becomes this whole other kind of sonic experience.” - Matt Colton
The Body have continued to mould their sound into something
even more devastating, gorgeous and terrifying... As a whole, The
Body’s discography is, and will continue to be, without peer.” -
Metal Injection “Some of the most captivating heavy music around right now.” - Rolling Stone

140 gram black vinyl, Double sided record sleeve, Double sided photo insert

In 2013, a 16-year-old LORDE quietly, yet confidently asserted herself as the voice of a generation with her full-length debut, Pure Heroine. The album would go triple-platinum, selling over 4 Million worldwide, win two GRAMMY® Awards, a BRIT and spawned the seven-times platinum record-breaking international juggernaut single, Royals,' and quadruple-platinum follow up Team.'

She also curated the official soundtrack for The Hunger Games: Mockingjay - Part 1 and recorded Yellow Flicker Beat' as the lead single. Her last trip to the UK was when she was personally asked by David Bowie's family to perform her spellbinding tribute to the late artist at 2016 BRIT AWARDS. Having once been described by David Bowie himself as "the future of music', Lorde is proving to be that and much more.

Following LORDE's triumphant return with comeback single Green Light,' the singer released her second full-length album Melodrama on June 16.

Melodrama will now be released on standard & deluxe vinyl this April

Hardfloor sévère, gros gras kick. Doodax tape fort avec ses deux tracks puissantes qui font de la face A de ce disque un vrai petit bijoux qui cache un acidcore lointain, comme une teuf perdue dans les champs là bas, et on entend très très fort le bruit de nos pas qui nous y guident....
Avec la face B on sombre dans une mental acide ciselée à la perfection. pas un poil ne dépasse mais ça reste libre dans la compos, avec des structures naturelles, conventionnelles en apparence car toujours au rendez-vous, mais en vrai, ça reste assez peu formaté.

un très bon disque de passionné, bien pressé chez Vinyle de paris.

Classe.

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

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

Prior praise for ‘Matamoros’ :

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

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

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

Over the course of two decades The Body - Lee Buford and Chip
King - have consistently challenged assumptions and defied
categorization, redefining what it means to be a heavy band.
On ‘I’ve Seen All I Need To See’, they test the boundaries of the
studio to explore the extremes and microtonality of distortion to
find its maximal impact.
Their most incisively bleak album to date, a towering monolith of
noise, Buford’s booming, resolute drums paired with King’s
obliterated guitar and howl.
Course, bristling distortion contorts every instrument, with
samples of spoken word, cymbals, toms and King’s already
noxious tone emerging from layers of feedback.
Features guests Ben Eberle (Sandworm) and Chrissy Wolpert
(Assembly of Light Choir).
Recorded with long time engineer Seth Manchester at Machines
with Magnets (Lightning Bolt, Battles, Daughters) and mastered by
Matt Colton (Sumac, Brian Eno, Uniform, Sunn O)))).
Available on CD, metallic silver vinyl and black vinyl. LP formats
include digital download code.
The Body have collaborated with many, including Full Of Hell,
Thou, Uniform and Bummer.
“The distortion has this ability to envelope you, and not push you
away. It has this strange kind of beautiful timbre... once you give
into the sheer power of it, and let it take you on a ride then it
becomes this whole other kind of sonic experience.” - Matt Colton
The Body have continued to mould their sound into something
even more devastating, gorgeous and terrifying... As a whole, The
Body’s discography is, and will continue to be, without peer.” -
Metal Injection “Some of the most captivating heavy music around right now.” - Rolling Stone

‘Instant Opaque Evening’ is an epic offering from The Underflow, the new trio of Mats Gustafsson, David Grubbs and Rob Mazurek. It makes vast strides on the heels of their self-titled 2019 debut (Corbett vs. Dempsey/Underflow Records) with nearly 90 minutes of intensely focused live performances from January 2020 shows in France, Belgium, Italy and Poland. That tour was a revelation for all three members, experienced as they are, with this still-new group’s freedom to walk onstage each night determined to surprise one another, moving from long instrumental improvisations into and out of songs and covering a terrific amount of ground at each of these concerts.
‘Instant Opaque Evening’ conveys this broad sweep, from the full-tilt electronics of ‘Self-Portrait As Interference Pattern’ and the climax of the seventeen-minute ‘Instant Opaque Evening’ to the inspired, alternate universe chamber music of ‘Planks’ and ‘A Thin Eternity’ and the group’s spontaneous arrangements of three previously recorded songs by Grubbs, ‘Gethsemani Night’, ‘An Optimist Declines’ and ‘Cooler Side Of The Pillow’.
The short version of the long tale of intersecting paths bringing together these three musicians begins in Chicago in the 1990s, with all three active participants in numerous convergences among jazz, free improvisation, experimental rock and more. Both Gustafsson and Mazurek appear as guests on Gastr del Sol albums (‘Upgrade & Afterlife’ and ‘Camoufleur’ respectively; that’s Rob’s cornet taking ‘The Seasons Reverse’ to new heights) and shortly thereafter Grubbs and Gustafsson recorded two duo albums, including the deep minimalism of ‘Apertura’, a talismanic favourite of both musicians.
David Grubbs has played in Gastr del Sol, the Red Krayola and Squirrel Bait and performed with Tony Conrad, Susan Howe, Pauline Oliveros, Will Oldham and many others. He’s the author of the books The Voice in the Headphones, Now that the audience is assembled and Records Ruin the Landscape.
Saxophone player, improviser and composer Mats Gustafsson is known as a solo artist and for international tours and projects with, among many others, Sonic Youth, Merzbow, Jim O’Rourke, Barry Guy, Otomo Yoshihide, Yoshimi, Peter Brötzmann, Neneh Cherry, Christian Marclay, Albert Oehlen, Ken Vandermark and the working groups FIRE!, THE END, LUFT, ANGUISH and Gush, as well as collaborations with contemporary dance, theatre, art, poetry and projects with noise.
Rob Mazurek is a multidisciplinary artist with a focus on electro-acoustic composition, improvisation, performance, painting, sculpture, video, film and installation, who spent much of his creative life in Chicago and then Brazil. He currently lives and works in Marfa, Texas. He leads/co-leads many ensembles of various sizes and shapes including his flagship large ensemble Exploding Star Orchestra, Chicago Underground and São Paulo Underground. He has
collaborated with Bill Dixon, Pharoah Sanders, Roscoe Mitchell, Jeff Parker, Nicole Mitchell, Chad Taylor, Jim O’Rourke, Naná Vasconcelos and many others.

"New York, N.Y. is a high point in the work of leading jazz composer and arranger George Russell. Russell was an early advocate for Modal Jazz and the conceptualizer of the influential Lydian Chromatic Concept of Tonal Organization. For this 1959 Decca classic, Russell assembled an all-star orchestra, including John Coltrane, Bill Evans (a frequent Russell collaborator), Art Farmer, Bob Brookmeyer and Milt Hinton, among others. Singer Jon Hendricks provided beatnik-style, stream-of-consciousness narrations that opened and closed this landmark album.
Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging."

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

LTD. LOSER EDITION

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

his is the first vinyl re-issue of Marc Almond’s 4th solo album, “The Stars We Are”, since the album’s original release in September 1988. This re-issue is a limited edition double vinyl that couples the original album with a second record that compiles together all the Bsides of the associated singles as well as two first-timeon-vinyl extended versions of album tracks ‘The Stars We Are’ (Full Length Version) and ‘These My Dreams Are Yours’ (Through The Night Mix). The final extra track included is Marc's solo version of ‘Something’s Gotten Hold Of My Heart’, which after the album’s original release, was re-recorded with the 1967 hit song’s original singer Gene Pitney, creating a duet that became a UK #1 single for four weeks in early 1989.

“The Stars We Are” was the first of two albums recorded for Parlophone and was Marc Almond’s return to a highly infectious and chartable pop. The first single ‘Tears Run Rings’ confirmed the revitalised, unabashed pop that characterised the record and reached #26 on the UK Singles Chart. The album was recorded with an assembled band ‘La Magia’ which comprised of former Willing Sinners members Annie Hogan, Billie McGee and Steve Humphries as a core unit. The album is a shimmering arc of musical textures, compulsive melodrama and euphoric uplift. As well as further
singles ‘Bitter-Sweet’ (UK#40) and ‘Only The Moment’ (UK#45), the album contains an homage to goth sensibilities in ‘Your Kisses Burn’ a duet with Nico (her last ever studio recording) as well as an extravagant mini-operetta, ‘Kept Boy’, a duet with cult chanteuse
Agnes Bernelle.

Contains sleeve notes from celebrated cult poet and biographer, Jeremy Reed.

Sabaturin is Charles-Émile Beullac (Galerie Stratique, Canada) and Simon Crab (Bourbonese Qualk, United Kingdom). In the spirit of old school tape exchanges that resulted in musical collaborations developed over long periods of time but informed by the infinitely easier processes of the digital age, "Kenemglev" was assembled without the musicians ever meeting.

The title "Kenemglev" means "consensus" in Breton, something which quite naturally had to be achieved between both musicians. The other consensus was a sort of virtual middle ground symbolized by the Breton language, particular to a geographical area (Brittany) that both agreed would stand for a neutral meeting point between their respective native languages and, consequently, cultures. All titles are Breton words and the name Sabaturin ("standing on one feet", "to be off-balance") expresses mainly Charles' excitement: "Simon's bold approach has been some kind of a shock therapy for my music".

The sleeve was designed by Simon Crab, using a Chladni pattern simulation based on specific pitches. Looking like stained glass, it sort of reflects the way the music is presented: although including 9 titles, the album's tracklist flows uninterrupted on each side of the vinyl, semi-mixed, blended.

Detailed electronic ambience, glitches, loops and tiny details are augmented by a sort of signature rhythmic grid we recognize from "My Government Is My Soul"-era Bourbonese Qualk. It never settles into a formula and so the music remains loose, as much Mille Plateaux as classic 80s industrial shortwave-sampling or dub, rolled into one same entity, touching base with the gorgeous glitch dub "Morgouskus". This concludes a gentle and discreet album that doesn't require the validation of being associated with any of the current keywords in the electronic music scene.

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

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

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

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

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

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

It was inside Jeff Tweedy’s second home, The Loft in Chicago, that Love Is The King was recorded in April of 2020. Surrounded by an assemblage of treasured instruments and loved ones in a world that felt more and more alien by the day.

Out on dBpm Records, Love Is The King, a “beautifully honest ode to love and hope,” is the follow-up to 2018’s WARM and 2019’s WARMER, and comes on the heels of Tweedy’s second book, How To Write One Song, out October 13th via Penguin Random House's Dutton. “At the beginning of the lockdown I started writing country songs to console myself. Folk and country type forms being the shapes that come most easily to me in a comforting way. 'Guess Again' is a good example of the success I was having at pushing the world away, counting my blessings — taking stock in my good fortune to have love in my life,” comments Tweedy. “A few weeks later things began to sound like 'Love Is The King' — a little more frayed around the edges with a lot more fear creeping in. Still hopeful but definitely discovering the limits of my own ability to self soothe." –Jeff Tweedy

“The greatest thing about being a musician is experiencing it with other people,” says Ed Riman, the Brighton-based Eurasian singer, songwriter and sound-scapist who records as Hilang Child. “Whether that’s playing with others, creating together, sharing a vision, whatever, I just think in all aspects it’s a totally elevated experience when you’re not alone.” Proof rings out with force and feeling on Hilang Child’s superlative second album, ‘Every Mover’, released on Bella Union.

In 2018, Riman delivered a serene, textured debut album in ‘Years’, rich in sound and feeling. Lauren Laverne, Q, MOJO and others lavished praise but the “isolating process” of making the album left Riman hungry to find alternative ways of working. Meanwhile, the “lonely, pressured” aftermath of ‘Years’ found Riman grappling with “rough selfesteem and anxiety issues,” amplified in part by social media’s “fulfilment narratives.” Duly, he set out to navigate and overcome these mindsets, drawing deeply on his own insecurities and those he recognised in others.

These themes converge emphatically on ‘Every Mover’, an album steeped in everyday emotional states and crafted for cathartic, communal performance. Drawing on a rich spread of collaborators, sounds and themes, Riman uses his frustrations as the impetus to transform the brimming promise of ‘Years’ into upfront and expansive new shapes. “I wanted it to sound a bit gutsier than the first album,” he says, succinctly, “heavier and closer to the kind of stuff that hits me when I go to shows or blast music in the car. I started out in music as a drummer playing for pop or beat-driven artists and grew up listening to louder stuff, but a lot of the music I’ve made as Hilang Child has been more ethereal. I wanted to bring it back to a place that feels more ‘me’ and make more of a thing of having big hypnotic drums, aggressive bass, ripping distorted instruments and a general energy to it.”

‘Good To Be Young’ serves swift notice of this leap, its banked synths and twinkling sound clusters leading to an assertion of fresh force when the main beat lands and a congregation of friends - AK Patterson, Paul Thomas Saunders, Dog in the Snow, Ellen Murphy, members of Penelope Isles - unite for the gang-vocal refrains. “It’s all iridescent colour I’m on,” Riman exults, a claim lived up to on the full-flush folktronica of ‘Shenley’.

A reflection on spiralling insecurity, ‘Seen The Boreal’ ups the ante again with its monkish chorales, looping samples, spectral woodwinds (from multi-instrumentalist John ‘Rittipo’ Moore, of Public Service Broadcasting and Bastille previous) and ecstatic chorus, Riman transforming a meditation on hindsight’s limiting effects into a spur to look forwards. And surge forwards he does with the glittering synths, spacey guitars and Krautrock propulsion of ‘King Quail’, developed in jam sessions with dream-pop wonder Zoe Mead (Wyldest) in her basement studio.

Brought to a sublime close with ‘Steppe’, the resulting album projects its own epiphanic force. Thankfully, most of the main parts were recorded pre-lockdown between East London, Gateshead, Brighton, Wandsworth and elsewhere, before mixing proceeded remotely. Meanwhile, alongside indie-pop trio OUTLYA’s Will Bloomfield (percussion/coproduction on ‘Play ’Til Evening’), visual design collective Tough Honey (accompanying videos) and other collaborators, Riman’s bond with co-producer JMAC (Troye Sivan, Haux, Lucy Rose) proved crucial. “It felt freeing to work collaboratively and have that push-andpull of ideas,” says Riman. “Even the moments where we didn’t see eye-to-eye made it feel like I wasn’t alone, with someone else working just as passionately on the project.”

LP pressed on red transparent vinyl.

It’s time for another dose of Classic Symptoms and this time get ready for an NHS trip back to the years of 2003-2006.
The fourteenth instalment of the exclusive release series which sees extremely limited vinyl presses of Hospital classics, has drawn for four untestable originals from Logistics, Q-Project, London Elektricity and Danny Byrd.
First up is Logistics’ 2006 liquid-funk anthem ‘City Life’ originally featured on his era-defining debut album ‘Now More Than Ever’ supported by legendary figures including Fabio & Grooverider, LTJ Bukem and Andy C. Hypnotizing piano loops and deadly subs keep things rolling on this exemplary slice of fast soul funk.
Drum & bass all-star Q-Project is up next as his timeless banger ‘Obsession’ gets a 2020 vinyl revival. Originally supported by the likes of High Contrast and Friction, ‘Obsession’ still receives widespread rotation to this day as its unforgettable melody and groove assert it as a certified dance music destroyer.
“Fast Soul Music” is the brainchild of Hospital head-honcho London Elektricity and was initially featured on his 2003 album ‘Billion Dollar Gravy’. A clear cut example of the much loved loungecore sound, the uplifting London Elektricity classic influenced styles and the legendary Hospital “Fast Soul Music” compilations for years to come.
Signing back to Hospital Records in 1999, Danny Byrd’s musical endeavour has been commendable to say the least. “Soul Function” represents the classic sounds of Danny Byrd with 2005 dancefloor energy. Garnering support from pioneers such as Bryan Gee and Total Science, Danny Byrd’s drum & bass style continues to go unmatched.
Don’t sleep on securing your extremely limited press of four Hospital classics from the 2003-2006 era. This one is for the serious collectors - once they’re gone, they’re gone.

Following on from the success of ‘Greg Belson’s Divine Disco’ series Greg Belson and Cultures of Soul team up again to explore the world of Gospel Funk. Belson, one of the world's leading collectors and DJs of gospel music, has assembled a collection of some of the rarest Gospel funk records for “Greg Belson’s Devine Funk.”

In addition to the full-length, available on CD and LP, choice selections from the compilation will be released on 7 inch singles in limited quantities. Fifth in the Devine Funk 7 inch series, includes the sublime soulfulness of Zella Jackson’s “Days Are Just Like People"

Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing. "Lo Que Tengo" is full of rock solid dance floor killers and no filler, recorded in 1980 with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. This a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off, there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy. Presented in its original artwork and pressed on 180g vinyl. Good to know: Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing that puts one in mind of Eddie Palmieri. As a composer, arranger and band-leader Linares is highly respected as well. Ever since the 1960s in Lima Peru when his career began, his records have always been on point, being super tight, sharp, and hard as hell, what salseros call salsa brava con afinque. It's no surprise that Lo Que Tengo is exactly that: full of rock solid dance floor killers and no filler, played with verve and flair. Unlike some of his other records that were patched together from various sessions made in different studios (sometimes even in several countries!), this album has the advantage of being produced, recorded and mixed by Alfredo Linares all in one studio and block of time, and backed by hand-picked seasoned professionals who Linares had already played with, both in the studio and on stage, lending it a consistency and sonic integrity that is excitingly manifest in every groove. The album was recorded in 1980 in Caracas with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. The LP was also released in Colombia (INS, 1982) and the US (Gallo, 1984), both editions utilizing the Velvet Records cover. During this time Linares had been in Venezuela for some five years and was under contract with a nightclub in Caracas. Through being on the salsa scene there he became friends with the band Mango and even guested on an album with them in 1976. After the contract was up Linares was a free agent again and he was able to draw on his friendship with Mango and assemble a band to back him, first for the Colombian/Venezuelan production Salsa de Verdad (Fonodisco, 1976) and then again with ¡Con Todo! / Lo Que Tengo. One of the distinctive aspects of Alfredo Linares tunes is the 'break' (la cierre)-there are always plenty of dramatic hand-clapping breakdowns followed by an infectious tumbao (sustained vamp) section that sends shivers up the spine and makes the dancers go crazy. In addition, Linares always lets his musicians stretch out, especially in the percussion section. Again, Lo Que Tengo is no exception: there are so many examples of typical arrangements here that one could call this a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas, which was awash in petro-dollars at the time and so had the latest equipment and a strong consumer base for the salsa market. The album's title tune (originally credited on the Venezuelan edition as 'Lo que tengo que crear'-'What I Have To Create') is by Mango's timbalero José "Cheo" Navarro and sums up Linares' central career philosophy: the musician lives every day to create music, to spread joy and create a party, without complications, wherever he goes. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off (note the bluesy piano solo from Linares and the sublime vibes of Mango's Freddy Roldán), there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy.

'Flørist adds an important chapter to Baroque Sunburst's quest for the hypnotic and hybrid side of dance music. Moving effortlessly between different BPMs and orchestrating with an innate elegance, the Berlin-based Canadian producer has assembled three long mesmerizing journeys.

He straddles Terry Riley-esque minimalism, Warp's A.I. sci-fi side and the emotional depth of Basic Channel, blending these whilst maintaining dancefloor efficacy. "Intermedia 1" is architectural music where every detail is essential and everything is constantly developing.'

Favorite Recordings presents an exclusive reissue of the first private press eponymous LP by Sacbé, a Mexican Jazz Fusion masterpiece from 1977. Unique and beautifully recorded, with a breezy feel brought by the synthesizers, Sacbé could be likened to what Azymuth was doing at the same time in Brazil. Available as a vinyl-only limited pressing Deluxe Tip-On LP, coming with its original printed innersleeve, remastered by The Carvery.

Sacbé was composed of Eugenio (keyboards), Enrique (electric bass) & Fernando Toussaint (drums), three brothers hailing from the huge Mexico city, and their friend and sax player Alejandro Campos. Growing up in a family of musicians, they quickly became familiar with jazz music. However they were mostly self-taught, most of them choosing at first to work and study outside the music industry, but somehow, Eugenio had the opportunity to start studies at the Berklee Music University. Before leaving, he deeply wanted to play jazz with his brothers. That’s how Sacbé was created on a hot day of October 1976.

The band then built step by step a challenging repertoire including Chick Corea, Herbie Hancock, Weather Report, Milton Nascimento, Focus, Passport, and many more… Gradually, Eugenio started to compose more tracks, and through a cooperative work of arrangement, Sacbé ended up playing only their own compositions. That was not an easy choice for the band, resulting in a lot fewer opportunities to play in bars and clubs at night, while they were cumulating small jobs during the daytime. But their dedication, tightness, and integrity started to attract a wider audience thanks to their sessions at the Musicafé and helped Sacbé to assert its imprint within Mexico’s creative artistic circles. A group of artists with similar attitudes was created and they began working almost as a team, holding live shows, exhibitions, and dance performances, all with a very unique and creative proposal. It’s at this period that the band met Luis Gil, a young designer and recording engineer, who had access to one of the best studios of the city called LAGAB. Recording at nights and weekends for free, the Toussaint brothers had, therefore, the chance to really put their band quite literally under the microscope.

With tenacity, they explored all the possibilities of interpretations, structures and improvisations, collaborating with great musicians and finding themselves in the position of being their own producers, despite being only around 20 years old! This album is the result of this perfectionism ethics, shared by everyone involved. “Sacbé” means white road in the Mayan culture, it was the name for the roads connecting the main ceremonial centres with the jungle, made of roughly three feet of coral limestone. They were sacred roads used by high priests and warriors, which echoed the musical path of the three brothers. Putting the pieces together, they managed to create their own label and pressed 1000 copies of their reunited recordings in 1977. The artwork was painted by Enrique, inspired by the work of Le Douanier Rousseau and the Mayan jungle. Hopefully, the LP met some success in Mexico and California, opening many radio and TV doors for them. It was the starting point for a whole career of recordings, with a total of seven albums including various guests.

As they were working their asses off on their respective projects last year, these two lads came together to deliver a not so formal four-handed introductive dance record. The purpose is crystal clear : one record capturing through three maximalists club tracks, both their obsession for digressive New Beat, Rave-infused House and in the background, dirty breakbeats bumping into thick Emo pads of Italo Disco or some leftfield Post Punk music. Those two were too young to experience the post-Disco big bang which occurred between 88 to 94, but they manage to embrace the spirit and twist it without any shame. Far from contemplating the European dance legacy, they bend it to create a second merciless big bang, right to the face. By that way, they offer you, happy raving people, these three restless pieces that are 200% coherent on their holy belief of a « Maximal Dance » aesthetic.

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

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

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

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

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

Frans Zwartjes is famous for his art-house films (look him up on YouTube). A Dutch underground auteur, his prolific output dates from 1968. A unique talent, Zwartjes produced, directed and edited his own films (his last work was in 1991), but more importantly he created and improvised the soundtracks too. Zwartjes and his large body of work is only now being recognised by a wider, more international crowd, with screenings at the NFT and other important art-house cinemas across the world. The recordings on Tapes 2 were mixed directly from the Zwartjes soundtrack tape archive. They were assembled directly and in real time by Zwartjes archivist Stanley Schtinter and have never been issued before.

The music and sound have been put together as two long, seamless sequences; they are dreamlike, unsettling, peculiar, plugged-in, prescient and unlike any other soundtrack we have heard.

Repress der 2014er Reissue von Brian Enos Album "The Shutov Assembly" (1992). "The Shutov Assembly" ist ein atmosphärische Ambientwerk, dass Eno dem russischen Künstler (und persönlichen Freund) Sergei Shutov widmete, der oft zu Enos Musik malte.

January 12th, 2020, a Sunday night in Toronto - Matthew Tavares and Leland Whitty (of BADBADNOTGOOD fame) are reunited at Burdock for a live improvised Jazz session. The pair are joined on stage by bassist Julian Anderson-Bowes and drummer Matt Chalmers as part of Burdock’s Piano Fest, an annual event at the city's brewery and music hall.

Two days later an email from Matthew hits Mr Bongo's inbox... "I think it turned out amazing, brought some really nice recording gear and it sounds almost like a studio record, thought I'd share. Moments definitely get to the jazzier side but there is some spiritual moments that are so far out". The Bongo office were all blown away by this free-flowing session, one which sounded like a well-rehearsed set at the end of a long tour, rather than a one-take improvised assembly. The chemistry between the musicians is magical. The tight friendship and musical connection between Tavares and Whitty are self-evident, however, Chalmers and Anderson-Bowes have a great contribution to make too. They act as the solid foundation that leaves Tavares and Whitty free to roam and explore moments of darkness and light, intensity and beauty. From the first time of hearing this intimate session, we knew this had to be shared.

The same quartet feature on Matthew Tavares & Leland Whitty's 2020 album 'Visions'. The plan to promote 'Visions' was to tour, with each night comprising a uniquely improvised set. Sadly due to world events, this couldn't happen, but for now 'January 12th' is a snapshot of the wizardry that would have been from four amazing musicians at the top of their game.

One of dance music’s most enigmatic figures returns home to Anjunabeats. GRAMMY-nominated producer Mat Zo is back with a brand new artist album set for release in October: ‘Illusion Of Depth’. At the age of 30, this is the London-born, L.A.-based producer’s third artist LP. He broke onto the scene in 2008 and has been causing an uproar ever since. In the early naughties, he penned Anjunabeats classics like ‘The Lost’ and ‘Synapse Dynamics’ which were far ahead of their time. They were followed by the likes of ‘Superman’, ‘The Sky’ and ‘Rebound’ (with Arty). He pushed the Anjunabeats sound to the mainstage, racking up spins from Pete Tong, Axwell and Armin van Buuren. It was his GRAMMY-nominated debut album ‘Damage Control’ that fully showcased Mat’s avant-garde approach in 2013. Featuring break-out hit ‘Easy’ with close friend Porter Robinson, the track took Mat mainstream: a Radio 1 A-List addition, Sirius XM BPM listing, a #1 Billboard Heatseeking record, an Essential Mix of the year nomination and, ultimately, a GRAMMY nod for best dance and electronic recording. Since then, Mat has grown his own stable. Self-releasing his second LP in 2016, ‘Self Assemble’, via Mad Zoo, Mat’s imprint nurtured a new generation of eclectic, genre-agnostic creators.

Be not afraid! Whether you’re simply sightseeing, enjoying temporary flights of fancy or considering a more permanent relocation, the all-new Spirit World Field Guide offers twenty-one insightful chapters of firsthand know-how into the terrain, wildlife, and social customs of our parallel universe. The narrator’s vast expertise of multiple global entry points and various modes of interdimensional transport informs a rich tapestry of tips, tricks and tools to unfailingly aid in your ultimate survival. If you are among the countless individuals who find themselves feeling both dead and alive at the same time, the information contained within may serve as an invaluable asset to your journey. Godspeed and good luck."

The Mighty Mocambos' new album "Showdown" sets another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories. While highly enjoying themselves as the tight unit they are, The Mighty Mocambos invited an exciting list of guests to contribute to their musical "Showdown": German film composer icon Peter Thomas, hiphop godfather Afrika Bambaataa, rap legends Charlie Funk aka Afrika Islan (member of the original Rocksteady Crew) and Donald D (of Ice-T's Rhyme Syndicate), plus Nichola Richards, Shawn Lee, DeRobert from peer label GED Soul in Nashville, Zulu Nation MCs Deejay Snoop & DJ Hektek and organ genius Guillaume Metenier all joined the group for their new musical adventure. "Showdown" is released on vinyl LP by Mocambo Records and on CD and digital incarnations by Légère Recordings.

About the Mighty Mocambos:

The Mighty Mocambos and their many incarnations have released dozens of 45s and several albums on their own imprint Mocambo Records and other labels such as Kay Dee, Truth & Soul, Tramp, Légère and Favorite Recordings, to name a few. They have collaborated with musical legends such as Afrika Bambaataa, Lee Fields or Kenny Dope, put new talent like Gizelle Smith and Caroline Lacaze on the map, brought Caribbean steel drums to funk clubs with their alter ego Bacao Rhythm & Steel Band, and have toured through all civilized parts of the continent and beyond for the better part of the last years. Their unique style and trademark sound are loved by peers, fans and critics alike and distinguishes them from mere retro-copycat-acts as well as overproduced plastic soul. The Mighty Mocambos continue to deliver their brand of funk with blazing horns, soulful guitars, driving drums and basslines combined with an extra bit of quirkiness. When not producing records for one of their many incarnations and collaborations, the band is touring steadily. Whoever witnessed a concert will tell you about the musicality, passion, energy, humour and joy that the band loves to bring to the people. Background What started out years ago as a take on "deep funk" and its associated vinyl culture has completely grown into its own oeuvre d'art. With the launch of their production studio and record label in 2006, things started to gain momentum. Apart from self-releasing the group's own recordings, Mocambo Records became a household name by putting out highly collectable vinyl 45s by today's best funk outfits as well as unearthing lost library funk treasures. The Mighty Mocambos however did not restrict themselves solely to their own label. Their interpretation of the Furious Five classic "The Message", released under a pseudonym on an obscure phantasy label without proper distribution, got picked up and remixed by Grammy- nominated producer legend Kenny Dope (Masters at Work, Bucketheads). Their first single with UK funk singer Gizelle Smith, "Working Woman", became an overnight smash and a prime-time club favourite of funk & soul DJs worldwide. Initially released on the Finnish private press imprint Old Capital, it got the remix treatment by Kenny Dope and a re-release on Kay Dee Records as well. After earning their credits through vinyl 45s, the band stepped up their game with the full- length "This Is Gizelle Smith & the Mighty Mocambos" in 2009. The album received rave reviews, got lots of airplay - and sold a bunch of physical copies too. Its success led to an extensive tour throughout Europe with club dates from Marseille to Oslo, performances at massive festivals such as the Printemps de Bourges in France and live radio appearances at respected FMs such as the BBC and Radio Nova. With the following album "The Future Is Here" (2011), the band stepped further into the spotlight and explored new sounds with features by hiphop legends Afrika Bambaataa and Charlie Funk, French singer Caroline Lacaze and German rare groove queen Su Kramer, while manifesting their unique raw funk sound and refining their unmistakable instrumental style that had long gained international reputation. The album was toured extensively, including a legendary performance with Afrika Bambaataa at Hamburg's Reeperbahn Festival (covered by ARTE TV), support gigs for Lee Fields and headline shows at renowned venues such as Amsterdam's Paradiso, Islington Assembly Hall in London, Paris' Bellevilloise, Tempo Club in Madrid, or at home at Hamburg's Mojo Club. After producing the critically acclaimed debut album "En Route" (2013) of French soul singer Caroline Lacaze, where their adapted their sound to deliver a stunning mix of French Beat, Soul & Psychedelic Rock, the band went on to record a full length under their moniker Bacao Rhythm & Steel Band. Their interpretation of 50 Cent's P.IM.P. had long become a cult classic and was often mistaken for the original sample. The group's approach in stretching the boundaries of funk by adding Caribbean steel pans caught the interest of Brooklyn's finest label Truth & Soul who signed the band for the album "55", an explosive mix of funk and hip hop cover versions as well as original compositions that showcase the band's singularity in today's funk circuit. The Mighty Mocambos' recent album "Showdown" (2015) sets yet another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories, with a diverse list of special guests ranging from German film composer icon Peter Thomas to hiphop pioneer Afrika Bambaataa.

Much about 'Beat Bop' is shrouded in mystery. Who really produced it? Why was Jean-Michel Basquiat relegated from rapper on the track to drawing the cover and labels? What are they actually rapping about for most of the ten-minute length?

These questions, however, are all part of the enigma and rich legend surrounding a song that is an undisputed piece of true hip-hop genius. The combination of graffiti artist Rammellzee and rapper K-Rob is a potent one, with each MC adopting a persona - hustler and B-Boy respectively - that they maintain against an unusual swirling backdrop that must be one of the best instrumentals ever committed to wax.
The original Tartown Record 1983 pressing was limited to 500 copies, a mere test pressing in the eyes of the assembled artists, with scarcity further driven by Basquiat's rising rep in the art world. Those few hundred copies – and a subsequent re-release on Profile Records (the same label where K-Rob played out the rest of his brief career) punched well above their weight in terms of lasting influence.
Consider the early vocal tones of the Beastie Boys (who also sampled the track), or the huge part it played in the sound of Cypress Hill and B-Real. His voice is almost homage to Rammellzee's on 'Beat Bop', while they also lifted the chorus of 'Shoot 'Em Up' and even a
sample of 'Cypress Hill' from the track too. It's unsurprising – this is a multi-layered, complex song that reveals a little more of itself each time you play it but remains damn funky.

This reissue boasts the vocal and instrumental versions in full, as well as both the full cover and label artwork from the original Tartown Release.

Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Alfredo Linares is a globetrotting pianist, composer, bandleader and producer from Peru with a long, prolific career in latin music. His long sought after by DJs and collectors of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Details: Alfredito "Sabor" Linares is a globetrotting pianist, composer, bandleader and producer from Lima, Peru with a long, prolific career in hot Latin music spanning more than half a century. Though Linares has come to recent international fame through his work with William "Quantic" Holland, he was already quite popular and famous in his adopted countries of Colombia and Venezuela in the 1970s and 80s during the salsa boom. However, his career began in Lima, backing timbalero Ñico Estrada at age 17 in 1961, and Alfredito's first notable recording as a sideman was a few years later on the now legendary 'El Combo de Pepe' album for IEMPSA/Odeon. Subsequently Linares would advance his career by recording two fabulous records under his own capable leadership as Alfredo Linares Y Su Sonora at the end of the decade for the MAG label. These releases capitalized on recent developments in New York Latin music, namely Latin jazz, boogaloo, descarga (jam session) and what would later be marketed as "salsa" with roots in the Cuban guaguancó and guaracha genres. One can hear direct inspiration coming from Joe Cuba, Ricardo Ray, and Eddie Palmieri, especially on the first album, 'El Pito', and yet by the second record, there are plenty of original tunes as well. More importantly there is a 'swing' and assertiveness to the playing (and arrangements) that prove every bit as authentic, tough and danceable as their New York inspirations. As Linares himself recounts, "In that era, we fought against a generation that was half-blind, because the people who understood what we were doing were few. We had to fight hard for our space in Perú, that's where the swing comes from." That special 'swing' also emanated from Linares' ace backing band, which happened to be a talented stable of MAG studio musicians who all understood Cuban and jazz music: percussionists Mario Allison and Coco Lagos, bassist Joey di Roma, Kiko Fuentes and Carlos Muñoz on lead vocals and Melcochita on coro (vocal chorus). According to Linares, the studio band was "open-ended, some musicians came some days, others on other days_Nilo Espinoza on saxophone, Betico Salas and Tito Chicoma on trumpets. Otto de Rojas played piano, and so did Charlie Palomares, who played vibraphone. Another good musician was guitarist Carlos Hayre." Though the recordings were cut "live in the studio" and many were basically composed on the spot, the intrinsic strength and maturity of the performances on 'Yo Traigo Boogaloo' stand the test of time as one of Peru's most important contributions to tropical music across the decades, establishing Alfredito Linares as a master of the idiom and serving as a harbinger for great things to come for him in Colombia and Venezuela. Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Pablo E Yglesias DJ Bongohead of Peace & Rhythm