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Written with no big plan in mind, Reverend Baron's "Overpass Boy" becomes a Los Angeles meditation, an eight song prayer of poetic topography. The album gives the city its own sound, and its own songs to hum. Recorded in several different locations of LA, and loosely sketching the story of a young wanderer, the album is an easy current of observations and longings. Slices of soul and doo-wop emerge in stacked harmonies, while the percussion and grooves are the blooms that could only come from East LA. Garcia's investment to vocal tenderness and instrumental high style strikes our universal center. His soft serenade reconnects us to something misplaced. Playing almost every instrument on the album, Garcia's spirit is tailored into the sound, designing an amalgam of tones and frequencies as idiosyncratic as the singer himself. Traversing the alleys, passing the sous-chef's cigarette smoke, under the shaking bridges, behind a velvet curtain in a good suit, with a slide guitar in the rain, the titles quilt together for us: Every promise out here walks and waits in the little hours. Jackie and Jimmy drive away and we're left in that little valley, suspended. Recorded and digitally released in 2019, "Overpass Boy" will be re-released by Karma Chief Records on 8/2/2024

Written with no big plan in mind, Reverend Baron's "Overpass Boy" becomes a Los Angeles meditation, an eight song prayer of poetic topography. The album gives the city its own sound, and its own songs to hum. Recorded in several different locations of LA, and loosely sketching the story of a young wanderer, the album is an easy current of observations and longings. Slices of soul and doo-wop emerge in stacked harmonies, while the percussion and grooves are the blooms that could only come from East LA. Garcia's investment to vocal tenderness and instrumental high style strikes our universal center. His soft serenade reconnects us to something misplaced. Playing almost every instrument on the album, Garcia's spirit is tailored into the sound, designing an amalgam of tones and frequencies as idiosyncratic as the singer himself. Traversing the alleys, passing the sous-chef's cigarette smoke, under the shaking bridges, behind a velvet curtain in a good suit, with a slide guitar in the rain, the titles quilt together for us: Every promise out here walks and waits in the little hours. Jackie and Jimmy drive away and we're left in that little valley, suspended. Recorded and digitally released in 2019, "Overpass Boy" will be re-released by Karma Chief Records on 8/2/2024

First official vinyl reissue under Sonor music production license - numbered to 500 copies.

Outstanding Italian Library session from the desirable Nike private label owned by Bruno Battisti D'Amario and featuring the great Silvano Chimenti on guitars and Edda Dell'Orso scats. Amazing, refined Score music released for TV and documentaries music production with superb loungy and soft sounds inspired by Western landscapes and natural panorama. Moody and bluesy jam with a mixture of various guitar tones, trippy atmospheres and themed descriptive music with addiction of soft Psychedelic moods, Easy Listening and allegro vibes alternated by sweet melodies. The cult maestro and Morricone's collaborator D'Amario here provides one of his highest masterwork in composition with its classical guitar added by Chimenti's Psychedelic notes and some mindmelting Edda Dell'Orso's scat numbers. Several exquisite Spaghetti Western inspired themes, maybe used as original score for obscure movie in the '70s / ethereal LSD Psychedelic vibes with isolated distorted Wah Wah / Lounge moods throughout with nature inspired themes / Folk & Blues influences / trippy Scat vocals / 70s Easy Listening and panoramic descriptive music for a very complete Library session. Great album!

Sumer Is Icumen In is Quentin Thirionet's (Dhavali Giri, Pairi Daeza) debut album. Still, his musical escapades are vast and varied, based almost entirely on improvisation and live recordings, of which he occasionally distributes tapes without further information. Elusive to categorization and identification, unwilling to fix his musical activity under a stable pseudonym, his projects have ranged from gypsy jazz guitar swings, French traditional songs from Auvergne, and various experimental collaborations. Increasingly closer to electronic instrumentation, he crafted what Belgian label KRAAK presents here as Maibaum, his first ever solo output. As the title goes, this may be a maypole on which his multicolored sonic visions spring about.

Former rope access worker and currently a farmer of organic greens, Thirionet lives up to these lines of work as a musician. He assembles precisely what seems like a subtle balance between high manmade structures and soft fertilized soils; a high voltage pylon placed in a biotic landscape. It's all an even blend, spontaneous and steady, but this contraption comes from profound considerations. "I chose these tracks among many others," says Quentin, "because I heard the melodies all the time in my mind, and because I cried while playing them without really understanding why."
Armed with nothing more than a blackbox, a sequencer, a freeze pedal, and a tape player, Thirionet orchestrates a vivid rite of polished futures. At times reminiscent of Hans-Joachim Roedelius' enveloping arrangements, Maibaum's ambiances rely on mild repetitive patterns subsequently textured by prickling sprouts, mechanic dislocations and revamps that stoke and brighten the stirring motions. Jim O'Rourke's I'm Happy and I'm Singing comes to mind in terms of its detailed and prismatic nature, but Sumer Is Incumen In has its particular narrative. It's a tale of regeneration, of spring's delicate procedures and allure, a celebration of gracious and fortunate junctions between nature and machinery.

The album unfolds like a massive engine being made flesh to drift along the ether of a sultry land. The terrain turns pleasant and fertile in the title track; the colors and melodies of May start to unravel. Chromatic columns rise and define the scenery's depth of field breeding a synesthetic stream between crystal lights and warbling organisms. Grande Albero Buono Magico Uoma's brisk kaleidoscopic arpeggios sound like scanning a tree's litmus foliage. Then Ciguri takes us back to the foggy swamp of the beginning but is suddenly lit by an insect’s labyrinthine roundabout. The Jeweled Grid is a poem Quanta Qualia's lustrous metallic voice recites as a report of the album's phenomena. "Shiny revelations jump out. Pearls of thought flicker about." Images from within that distill to swirl around among us. The thicket dissolves as the album concludes calmly in Le Concept De Chien N'aboie Pas. Swaying under sieved solar light, leaves and branches tingle until the winds grow weak. All the warm creatures gathered along the way, and all those who danced around the maypole's splendid equilibrium now withdraw, folding up small to foster rebirth once again.

José Badía Berner

Mit der Veröffentlichung des Live-Albums "New Gold Dream - Live From Paisley Abbey" präsentieren uns die Simple Minds ihren großartigen Auftritt in der atemberaubenden Paisley Abbey in Schottland. Ihr fünftes Studioalbum, das 1982 veröffentlicht wurde, markierte einen Wendepunkt für die Band, als sie in Großbritannien und Europa sowohl kritischen als auch kommerziellen Erfolg erlangte, der sie vom verehrten Kultstatus zur kommerziell erfolgreichsten schottischen Band der 1980er Jahre machte.

Mit den Hits "Promised You A Miracle", "Glittering Prize" und "Someone, Somewhere (In Summertime)" wurde die Band zu einer festen Größe und hielt sich ein ganzes Jahr in den britischen Albumcharts.

Der Auftritt der Band in Paisley Abbey ist elektrisierend und dynamisch, mit Frontmann Jim Kerr als stimmgewaltigem Sänger und der Band, die eine straffe, energiegeladene Performance liefert.

Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”

Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”

Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.

Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over.

‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time. Formats included a 3LP set and 1CD fully remastered by The Carvery from the original tapes. Both formats include an exclusive new interview with Patrice Rushen and rare photos.

• First definitive Patrice Rushen compilation released on vinyl since the ‘80s
• Includes all of her chart hits, DJ favourites and sample sources
• Official release featuring full interview with Patrice Rushen about her career and music • Features rare photos from her personal collection + some of the photographers she has worked with during her career
• Fully remastered by The Carvery from the original ¼” tapes
• Start of full Patrice Rushen reissue programme from her Elektra era

In Craig Charles' eigenen Worten enthält "The Craig Charles Trunk Of Funk Volume 3" "19 der feinsten Stücke von super-slinky Soul, boot shaking Blues und Boogie, schillernde Discosongs und feine funky rump shakers!"

Als Dichter, Schauspieler, Radio- und Fernsehstar (u. a. in der Science-Fiction-Comedy "Red Dwarf" und der Seifenoper "Coronation Street") ist er seit seiner Jugend berühmt, und seit über 22 Jahren predigt er in seinen weltberühmten BBC 6 Music-Wochenend- und Tagesshows für den guten Groove, legt in Clubs und auf Festivals rund um den Globus auf - sein Ruf als einer der profiliertesten Botschafter für alles, was Soul und Funky ist, ist unbestritten.

Craigs neueste Kollektion mischt Up-Tempo-Club-Klassiker mit frischer Musik von der Creme de la Creme der zeitgenössischen Soul- und Funk-Szene mit einer Prise Oldschool-Klassikern. Das Ergebnis ist so, als ob Craig persönlich als DJ auflegen würde - eine Mischung aus modernem und klassischem Soul, Disco, Deep Funk und beatlastigem Rhythm and Blues.

Limitiertes farbiges Vinyl, 2024 Pressung! Valley of Rain ist das Debütalbum von Giant Sand, das 1983 von Howe Gelb (Gesang, Gitarre) und Winston Watson (Schlagzeug), Tommy Larkins (Schlagzeug) und Scott Garber (Bass) aufgenommen und schließlich 1985 veröffentlicht wurde. Zum Zeitpunkt der Aufnahme war Howe Gelb mit den Möglichkeiten von Röhrenverstärkern nicht vertraut und hatte den Großteil des Albums mit einem Roland JC120 in den wunderbaren 8-Spur-Studio The Control Center in Korea Town, Los Angeles zusammen mit Ricky "Mix" Novak produziert. Gesamtkosten der eineinhalbtägigen Aufnahme betrugen $400. Als Enigma Records anbot, das Album zu veröffentlichen, baten sie um weitere 15 Minuten Musik, um es zu einer vollständigen LP zu machen. Ron Goudie wurde dann hinzugezogen, um die zusätzlichen Aufnahmen in einem Studio in Venedig, CA namens Mad Dog mit Eric Westfall Engineering zu überwachen. Es war dort, als Howe sich einen Verstärker auslieh, der im Studio gelagert worden war, dass er das Polster eines Röhrenverstärkers entdeckte und seine Welt sich veränderte. Der Verstärker war ein leicht modifizierter Fender Twin Reverb von Robbie Krieger von The Doors. 30 Jahre später, nachdem die Band auf unbestimmte Zeit eingeschläfert worden war, begannen sich die ersten Songs in die letzten Giant Sand Tourneen einzuschleichen. Irgendwie schien es angebracht, ihnen einen weiteren Versuch mit dem richtigen Verstärker zu geben, nur um zu sehen, was sie hätten sein können. Was die Idee zugänglicher machte, war die Verfügbarkeit der beiden ursprünglichen Schlagzeuger, die in Tucson lebten. Der erste Versuch kam letzten Sommer mit Winston & Tommy und Thoger Lund am Bass, sowie den beiden neuesten Mitgliedern, dem 29-jährigen Gabriel Sullivan und der 23-jährigen Annie Dolan an Doppelhalsgitarren. Das Geräusch war wahnsinnig. Der lustige Teil war Gabriel, der die Session entwickelt und gemischt hat und ihr einen absichtlichen 80er Jahre Produktionssound gab. Howe erklärte ihm später, dass er sich seit den ersten Originalaufnahmen im Krieg mit diesem Produktionstrend befand. So versuchten sie es alle noch einmal zur Weihnachtszeit, diesmal mit einem neu entdeckten Fender 30 Amp, der von 1980 - 1983 in Produktion war. Diese neue Neuaufnahme des ersten Albums klingt jetzt so, wie es hätte klingen sollen. Es wurde für $400 und am selben Tag und in der halben Sessionzeit wie das Original neu gemacht. Scott Garber kam sogar von Austin TX mit seinem Fretless Bass, so dass das Album buchstäblich die ursprüngliche Besetzung für mindestens die Hälfte der Songs zusammen hat. Giant Sand sind an den Anfang zurückgekehrt.

Here’s the summer 2k24 banger from Flexi Cuts.

This time they’ve roped in Daniele Tomassini, aka Feel Fly, DJ and producer from Perugia who’s graced labels like Hell Yeah, Internasjonal, Bosconi, International Feel, New Interplanetary Melodies, and co-founded the Afro Templum party.

“Sole” is a euphoric, powerful, liberating track that’ll blow your mind and get you moving. It's a little anthem, versatile and dance-worthy, with those beloved Italo-house vibes that Daniele (and us) are totally into.
Flip it over for the “Tramonto Mix” on the B-side, which teleports you to ethereal Balearic atmospheres, be it mesmerizing sunsets over the sea or dawns at the end of a club night.

The magic and majesty of Holger Czukay’s late career works for Claremont 56 is being celebrated on a new compilation. The former Can bassist – a musical maverick renowned for his freewheeling approach to composition, recording and promotion – released a string of inspired tracks on Paul Murphy’s label between 2009 and 2012, typically delivering hard-to-pigeonhole workouts, bona-fide epics and radical reinventions of some of his most beloved tracks.

The collection has been a labour of love – fitting given the sonic details and inventive musicality that marked out the late artist’s solo career – for Claremont 56 founder Paul Murphy AKA Mudd, who first reached out to Czukay after witnessing his now legendary live performance at the Roundhouse in 2009. As Murphy details in his introductory liner notes, it led to a productive working relationship between the pair that included collaborative recording sessions with Ben Smith in Czukay’s legendary Innerspace Studio – a former cinema in Cologne in which much of Can’s music was recorded.The impact of that Roundhouse gig on Murphy is reflected in the fact that two of the tracks on the collection are based on that celebrated performance. There’s ‘Ode To Perfume’, a languid and solo-laden version of one of Czukay’s most celebrated solo records that ratchets up the original’s inherent dreaminess, and a jaunty take on quirky kraut-pop number ‘Photosong’ featuring a spoken introduction recorded at the concert in question.

Murphy’s ability to coax Czukay into delving into his archives is evident across the compilation. Opener ‘A Perfect World (Remix)’ is an eccentric, ever-building masterpiece originally recorded in 1984 – but later re-imagined for Claremont 56 – featuring vocalist Sheldon Ancel and former Can band-mates Jaki Leibezeit and Michael Karoli, while ‘Fragrance’ is a subtly re-wired slab of picturesque Balearic kraut-dub which was initially recorded as a coda for ‘Ode To Perfume’ but lay unreleased for decades.

Then there’s ‘Let’s Get Cool’, a bright and breezy, French horn-sporting 2009 take on 1979 avant-disco classic ‘Cool In The Pool’; ‘My Persian Love (Remix)’, a 2010 re-take of one of his earliest solos recordings; and the near 18-minute brilliance of ‘Music Is A Miracle’. Originally recorded for his fans in the 1980s – but only released three decades later – this widescreen epic not only features drums by Jaki Leibezeit and a fine spoken word vocal by Czukay, but also numerous nods to some of his most revered tracks.

It's fitting, too, that two of the most potent cuts feature Czukay’s much-missed wife and musical muse Ursa Major: the dense, trippy and fittingly out-there ambient soundscape ‘In Space’, and the mesmerising ‘Music To be Murdered By’. Partially inspired by hearing painfully out of tune violin practice through his studio windows, the track was originally recorded for an unreleased album but finally found a home on Claremont 56’s 10th anniversary box set ion 2017. A genuinely spaced-out and mind-mangling slab of organic dub in Czukay’s distinctive style, it delivers a fine curtain call to the iconic artist’s endlessly inventive career.

The fourth release of a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time. There´s a price increase on these specific EPs as licensing costs were more expensive than usual.

GAMM heads down under with prolific producer Inkswel for a tasty 7 inch crammed with deep hip hop, funk, soul and overall jazziness.
You'll hear reminiscence of Dilla, 90's R&B and even Jersey House (pitched down) on the two track Chill (feat vocals from Blu & Ta'Raach) and Hanna-Ma-Dia.

If you're an open-minded hop hop or soul head...this one's definitely for you.

For over a decade, COHN has been crafting his unique blend of house music. The DJ and producer, from London, combines crisp beats and rich synth lines to ignite speakers and dancefloors with his disco and Italo-infused creations. Now, he arrives at Bordello with a new EP, “Kafka in the Sheets”, featuring four tracks.

The EP kicks off with “Margiela in the Streets”. Driven by a steady snare and a pulsating arpeggiator, a soaring melody of analogue arcs sails skyward.“Balearic Sun” awakens the listener with birdsong and bongos. A relaxing, revitalising and re-energising experience, guiding hearts and minds through an audio oasis of light wind instruments and soothing samples.

The energy ramps up with the powerful “Uptown and Queens”. A HI-NRG-inspired rhythm is set to a steady march, delivering a workout of wry smiles and bold builds. The EP concludes with “Let’s Groove On,” a track that welcomes the dawn. Classic hi-hats and toms are garnished with a low whistle while juddering vocals push the track forward, making it the perfect last dance before sunrise.

This album was a self imposed ambitious project for us. Something to kick in the creative flow. The last few years, having been a challenging time in general, felt like a good time for a pivot. The last two albums were so guitar and keyboard centric, I wanted a weird and fun set of parameters for us to work with. I demo’d everything at home on cassette 4 track (harkening back to simpler times) using drum loops, and just had at it 'til I had a pile of “songs”. Tom and I chose one sound each using synths and created a range of 3 octaves of that sample, then loaded them into Roland SPD-SX samplers and learned the transcribed songs using drum sticks. The idea was to change the way we wrote and to have 4 people along the front of the stage essentially playing percussion. So no guitar, no keys. As we were recording I kept thinking how the sounds, when paired up, sounded a bit like brass. So, we added a saxophone horn section to round out the horniness of the sound with a bit of reedy bell tones. Thanks to Cansfis Foote & Brad Caulkins on tenor and Baritone saxophones :) Sort of a Dexy’s Midnight Runners meets Von LMO meets The Flesh Eaters meets the Screamers kinda punk junk. Poppy and hooky, heavy at times.. Sort of vacuous and maybe a bit sci-fi in sound. Boneheaded in riff and heady in lyrics. Recorded at Stu-Stu-Studio by me on 8 track 1/4” tape . So pretty hot and raw. Lots to write about today. A lot of these lyrics were taken from things people said in passing about taking on life right now that stuck with me. Things that made me reflect. Things that made me laugh. Things that made me WTF. Some folks are kind, genuine & give you love and energy. Some are greedy manipulative ghouls who hang off your veins. You must be strong, composed and take care of yourself. Be self aware and check your mind for cracks. Learn to relax and be well. There are moments of beauty and redemption. Its not all bad news and there’s always hope. People continue to surprise me one way or another. Anyhow, Hope you enjoy and good luck out there. — John Dwyer

"We had a conversation recently where we realized that we’ve been a band for almost 10 years. When we started Wild Rivers way back when, we had never played a real concert before. When we made our first record it was our first time stepping into a real studio. We barely even knew each other when we started this band. Since then we’ve played a thousand shows, recorded over 30 songs, and become a family.

When we set out to record ‘Never Better’, we felt like we were at a new stage of the band. By that point, we’d put in the hours and all began to feel totally self assured in what we were about to do. We wanted to bring everything we’ve learned over the years and all that we’ve been through as a group to the project. We chose to trust our guts and move quickly and confidently in every decision, second guessing ourselves as little as possible. In having this mindset, we were able to completely let loose and go deeper into the process, finding new ways of recording live, swapping instruments, and turning these songs on their heads. We couldn’t have made this record a few years ago.

We approached this record with the mindset, ‘this is who we are’. We aren’t pretending to be something we’re not, or trying to sound like anyone else. We wanted it to feel easy. We wanted the stories to be real. We wanted to show our true selves as best we could. We’re proud of who we’ve become as people and as a team. We truly feel like we’re having the most fun with music that we’ve ever had, and in the most exciting stage of our lives. We’re never better."

After scoring a surprise hit in 2006’s red-hot 7” funk market with their cover of “C.R.E.A.M.,” El Michels Affair quickly turned around another smash 7” double-single of re-imagined takes of the Wu-Tang Clan. “Duel of the Iron Mics” sees the hypnotic piano hook of the “Liquid Swords”-classic elevated to intriguing heights with dramatic strings and Catch the blast of a hype version on the b-side, where “Bring Da Ruckus” is brought to life in imaginative ways not hinted at on the bulletproof original. The raw sample stabs and sub-bass of the stripped-down Wu-Tang stunner are replaced with mind-bending bass notes, and the re-played organ hook turned way up.

Both of these tracks would eventually feature prominently on El Michels Affair’s landmark LP “Enter the 37th Chamber,” celebrating its 15th Anniversary in 2024.

Kitty Liv hat schon in jungen Jahren Musikliebhaber auf der ganzen Welt begeistert. Als Co-Frontfrau der Familienband "Kitty, Daisy & Lewis"
verkaufte sie über eine Viertelmillion Platten. Die Band tourte mehrmals um die Welt und gewann Fans wie Amy Winehouse, Mark Ronson und
Coldplay.
Jetzt schickt sie sich an, eine noch breitere Fangemeinde mit einem Solo-Albumprojekt zu erobern, das eine völlig neue Richtung für sie markiert. Als
Songwriterin, Produzentin und Multi-Instrumentalistin greift Kitty auf eine Vielzahl von Einflüssen zurück, von Erykah Badu und D'Angelo bis hin zu Al
Green und der Blues-Legende Howlin' Wolf, um eine Reihe persönlicher Songs zu produzieren, die die ursprünglichen Tiefen von Soul, Gospel, Blues
und Rock and Roll heraufbeschwören. Die Songs sind von einer tiefen Stimme durchdrungen, die fast ihre Dämonen kanalisiert. Kitty hat ihre Ideen
über mehrere Jahre hinweg entwickelt und nimmt derzeit einige atemberaubende Performances im Studio auf.
Die in Camden Town geborene und aufgewachsene Kitty lebt und atmet Musik, gründete die Durham Sound Studios und arbeitet mit anderen
Musikern und Künstlern zusammen, um magische Momente auf funkelndem analogem Aufnahmeequipment einzufangen. Wenn jemand seit seinem
siebten Lebensjahr Musik spielt, aufnimmt und schreibt, ist es nur eine Frage der Zeit, bis er einen Quantensprung in ein neues Paradigma macht.

Das neue Album von Alex Izenberg - ein Sound von King Crimson bis zu Fleet Foxes!

Alex Izenberg veröffentlicht sein viertes Album "Alex Izenberg & The Exiles" am 26. Juli über Weird World / Domino. Der in Los Angeles lebende Izenberg arbeitet auf dem Album erstmals mit fester Band zusamme und hat sich auf ein einfaches Ziel konzentriert: etwas zu schaffen, das Bestand hat. Die Melodien sind romantisch und warm, die Arrangements sind einladend und ausladend, wobei das neues Ensemble, das sich um die stärksten Songs seiner Karriere formiert hat, gekonnt eingesetzt wird. Passend zu einem Album erweiterte Izenberg seinen Prozess weiter, indem er den erfahrenen Produzenten Phil Ek (Fleet Foxes, Father John Misty, Built to Spill) für den Mix des Albums verpflichtete. Der daraus resultierende Sound ist genauso intim wie Izenbergs eher hermetisches Material und strahlt gleichzeitig ein mystisches, gemeinschaftliches Leuchten aus, das sich in seinem Gesamtwerk ganz neu anfühlt. Das Herzstück von Alex Izenberg & The Exiles sind kühne Ideen, die von den kopflastigen Gedanken des Philosophen Alan Watts, den vielschichtigen Erzählungen von King Crimson und den imaginären Visionen von Fleet Foxes inspiriert sind. Auch wenn die Thematik esoterisch anmutet, lassen Izenberg und seine Band die Musik auf angenehme Art und Weise auf die Erde driften. Zum ersten Mal in Izenbergs Karriere passt der umwerfende Sound zur Größe seiner Vision.The

King Buzzo alias Buzz Osborne ist Sänger, Gitarrist und Gründer der einflussreichen Band The Melvins. Seine innovative Herangehensweise an Songwriting und Gitarrenspiel hat zahllose Musiker beeinflusst und unzählige Musikliebhaber zu begeisterten Fans gemacht. Buzzo, der für seine bahnbrechende Verwendung von heruntergestimmten Saiten bekannt ist, vermischte meisterhaft seine Punk- und Metal-Einflüsse und schuf so einen neuen, bahnbrechenden Sound in der Heavy Music. Im Laufe seiner langen Karriere, die 1983 in dem kleinen Örtchen Montesano im US-Bundesstaat Washington begann, hat Osborne mehr als 30 Alben unter dem Namen Melvins sowie zwei Soloalben 'Gift of Sacrifice' (2020) und 'This Machine Kills Artists' (2014) veröffentlicht. Desweiteren war er an einer Reihe von Kollaborationen beteiligt, darunter auch Fantômas und Crystal Fairy.

Für 'Gift of Sacrifice' hat sich Buzz mit Trevor Dunn zusammengetan, der vor allem für seine Arbeit mit Mr. Bungle bekannt sein dürfte, der eklektischen und unberechenbaren Band aus Nordkalifornien, die er 1985 mitbegründete. Doch ist seine Karriere auch außerhalb von Mr. Bungle nicht minder beeindruckend. So ist er zudem Mitglied von Fantômas, Trevor Dunn's Trio-Convulsant, Tomahawk und Melvins Lite.

Wiederveröffentlichung beider King Buzzo Alben zusammen in einem Paket mit 12-Seitigem Booklet + Bonus 'Sick As A Goat' Flexi Disk!

King Buzzo alias Buzz Osborne ist Sänger, Gitarrist und Gründer der einflussreichen Band The Melvins. Seine innovative Herangehensweise an Songwriting und Gitarrenspiel hat zahllose Musiker beeinflusst und unzählige Musikliebhaber zu begeisterten Fans gemacht. Buzzo, der für seine bahnbrechende Verwendung von heruntergestimmten Saiten bekannt ist, vermischte meisterhaft seine Punk- und Metal-Einflüsse und schuf so einen neuen, bahnbrechenden Sound in der Heavy Music. Im Laufe seiner langen Karriere, die 1983 in dem kleinen Örtchen Montesano im US-Bundesstaat Washington begann, hat Osborne mehr als 30 Alben unter dem Namen Melvins sowie zwei Soloalben 'Gift of Sacrifice' (2020) und 'This Machine Kills Artists' (2014) veröffentlicht. Desweiteren war er an einer Reihe von Kollaborationen beteiligt, darunter auch Fantômas und Crystal Fairy.

Für 'Gift of Sacrifice' hat sich Buzz mit Trevor Dunn zusammengetan, der vor allem für seine Arbeit mit Mr. Bungle bekannt sein dürfte, der eklektischen und unberechenbaren Band aus Nordkalifornien, die er 1985 mitbegründete. Doch ist seine Karriere auch außerhalb von Mr. Bungle nicht minder beeindruckend. So ist er zudem Mitglied von Fantômas, Trevor Dunn's Trio-Convulsant, Tomahawk und Melvins Lite.

Wiederveröffentlichung beider King Buzzo Alben zusammen in einem Paket mit 12-Seitigem Booklet + Bonus 'Sick As A Goat' Flexi Disk!

Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another V/A from all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta. Tap in and make some space in your record bag


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Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta.

Boronas & Snad set the tone with ‘Affliction,’ laden with haunting synth work, rolling MPC percussion, meticulous backspins and mind bending delays. Fresh off an outing for Yoyaku’s main label, Istanbul duo Bärtaub give a strong nod to the 90s and the cult E- MU rompler with ‘Orbit The Dance Planet.’ Their track fuses bumpy breaks and robotic voices with ghastly chords, a snaking bass groove and of course, one-shots from the Orbit.

Mountain People kicks off the flip side with ‘I Am The Void,’ characterized by shuffled drum grooves and soft chord sequences intertwined with murky, dubbed out stabs. Beirut’s Nesta rounds out the release with ‘Tarte Citron,’ a late 90's tech house reminiscent track with crisp percussion, airy synth flutters, swelling sub bass tones and a catchy vocal hook.

A truly unique genre-/mind-bending statement by Rico Puestel. Handstamped. 100 copies only!

Time to freshen up

On their second album, Winter Pageant, The Softies move forward with focused delight. It's the combination of Jen Sbragia (All Girl Summer Fun Band) and Rose Melberg (Tiger Trap, Gaze, Go Sailor) that molds The Softies' panoply: feathers and thorns, fawn and fearless, fable and friction. Originally released in 1997, Winter Pageant is the drama of utter melancholia documenting the broken promises, missed phone calls, conversations stalled, love lost. Colossal tasks recorded two guitars deep, forming a new Iliad, chapters on brave deeds and the power of love on the move. You can live for love, or you could live for the splendid cascade of guitar on guitar, voice over voice: The Softies. Winter Pageant was recorded by Stuart Hallerman (Soundgarden, KARP) at his Avast! recording studio in Seattle, Washington.

For the 20th Pleasure Club release we are very happy to present an EP from two core members of the Pleasure Club family - Johnny Hunter & Remi Mazet.

The "Passing Through Fyah EP" comes via the connected mind of both artists, with a record which spans and blurs the realms of house, techno and electro. Characterised by dubwise basslines, cosmic synth work and expert drum programming, this one feels like the perfect way for us to celebrate the two zero milestone.

A big shout out to everyone who has supported the label until now. We really appreciate it <3

Limited edition 300 only cyan coloured vinyl LP, housed in a reverse board sleeve with hype sticker, polylined inner bag and download code. Non-Returnable.
Stars align and Oli Heffernan brings his ever-(d)evolving Ivan The Tolerable to Riot Season for two LPs of sublime entropic drift.
Having this time recruited Christian Alderson (The Unit Ama) on drums, John Pope (Ponyland) on double bass, Kevin Nickles (Ecstatic Vision) on flute and saxophone and Ben Hopkinson on electric piano - both works were recorded as a quintet almost instantaneously, the players barely brushing or breathing a note before the whole thing was done.
‘Vertigo’, is all claustrophobic, dense and disorientating - like Sun Ra sitting in with Exploding Star Orchestra
John Hubner (Complex Distractions) on ‘Vertigo’
“An expansive collection of free-flowing sound and mood bringing to mind Coltrane (John and Alice) as well as the great Albert Ayler, while touching on the forward thinking compositions of Rob Mazurek's Exploding Star Orchestra.
From the titanic soundscape of "New Worlds On Earth" to the Marc Moulin touches of "Liquid Voices" and the mysterious eccentricities of "Swimming", 'Vertigo' hangs in the air long after the final note plays.”

Established in 2008, the French band The Lumberjack Feedback comprises talented members from diverse musical backgrounds. Their music is all instrumental, characterized by heavy, powerful riffs, two drummers (!) and hypnotic atmospheres, creating a unique dark though melodic sonic universe. The genesis of the band traces back to a shared passion for innovative metal and a desire to create immersive, captivating music. Over the years, The Lumberjack Feedback has honed its musical identity, blending diverse influences ranging from sludge to doom and post-rock. The result is a complex, entrancing fusion capable of transporting the listener to emotional soundscapes. Through their epic music, The Lumberjack Feedback transcends linguistic and cultural boundaries, resonating with audiences worldwide. The band continues to make its mark in the worldwide thriving post-rock music landscape, delivering energetic and mind-blowing live performances that leave no one indifferent. Brown onyx vinyl.

Destruction Derby (Remixes and Alternative Mixes) is a collection of the remixes and alternative mixes from the era of their debut album - Future Primitive. Reconfigured by the finest minds in underground rock n roll and trashed onto a mixtape cassette, the mixtape brings together remixes of Data Animal along side remixes undertaken by Data Animal of other artists. Destruction Derby is out on cassette and digitally May 31st , only on Dedstrange.

First reissue since its original release in 2014. Features by Sean Price, Guilty Simpson, Blu with production from DJ Premier, Illmind, Black Milk, Oh No & more.

The collaboration album from Brooklyn MCs Skyzoo and Torae is available once again after its original debut in 2014.

For years, fans of both Skyzoo and Torae asked the two to collaborate on a full-length LP, following the multiple singles they released together over the years. Classics such as the DJ Premier-produced "Get It Done" and "Click," and the !llmind-produced "Barrel Brothers" off Skyzoo's 2010 "Live from the Tape Deck" have been highly anticipated by their followers since 2006. The idea behind "Barrel Brothers" is what the people have asked for and come to know: the two wordsmiths for pure lyricism.

Skyzoo, known for his picturesque storytelling and jazz/orchestral background, and Torae, known for his gritty Coney Island depictions of life with a vintage yet modern lyrical approach, have briefly put their normal fortes to the side and crafted this album with one game plan in mind: lyrical exercise over hard New York City soundscapes. The current resurgence of NYC hip hop is the perfect grounds for two of its premier flag holders to continue doing what they never stopped doing in the first place: representing the city.

2 box design options
Includes faithful reproductions of 17 issues of the legendary TRIBE MAGAZINE
Limited serial numbered edition
Deluxe editions of all three versions of A Message From The Tribe housed in special edition gatefold jackets with OBI
(LP+7") + (LP+10") + (45RPM 2LP)
Includes the world’s first analog pressing of recently uncovered instrumental tracks
180g heavyweight vinyl!
A poster featuring album and magazine artwork
(The back side is TRIBE x Pharoah Sanders or Herbie Hancock from Tribe Magazine.)

Detroit, 1972. The events of one of the most violent riots in American history were still fresh in the minds of Detroit citizens when Wendell Harrison and Phil Ranelin formed the pioneering jazz collective “Tribe”. First compiled by P-VINE in 1997, with a following reissue project, Tribe’s discography would see a re-evaluation from the club music scene, followed by long-deserved acclaim from the larger music scene.

This release contains PHIL RANELIN and WENDELL HARRISON’s “A Message From The Tribe”, Tribe’s inaugural release – and perhaps their most famous. We’ve collected all three editions, as well as 17 issues of Tribe Magazine, a seminal afro-centric magazine published by Tribe in a limited edition box set.

2 box design options
Includes faithful reproductions of 17 issues of the legendary TRIBE MAGAZINE
Limited serial numbered edition
Deluxe editions of all three versions of A Message From The Tribe housed in special edition gatefold jackets with OBI
(LP+7") + (LP+10") + (45RPM 2LP)
Includes the world’s first analog pressing of recently uncovered instrumental tracks
180g heavyweight vinyl!
A poster featuring album and magazine artwork
(The back side is TRIBE x Pharoah Sanders or Herbie Hancock from Tribe Magazine.)


Detroit, 1972. The events of one of the most violent riots in American history were still fresh in the minds of Detroit citizens when Wendell Harrison and Phil Ranelin formed the pioneering jazz collective “Tribe”. First compiled by P-VINE in 1997, with a following reissue project, Tribe’s discography would see a re-evaluation from the club music scene, followed by long-deserved acclaim from the larger music scene.

This release contains PHIL RANELIN and WENDELL HARRISON’s “A Message From The Tribe”, Tribe’s inaugural release – and perhaps their most famous. We’ve collected all three editions, as well as 17 issues of Tribe Magazine, a seminal afro-centric magazine published by Tribe in a limited edition box set.

The album opens with a 13 minute improvisation titled “The Time Is Now For Change”. As Ranelin , Belgrave, and Harrison exchange flurries of notes and squeaks over improvised chaos from the rhythm section, the group builds to a spiritual high that calls to mind the best Albert Ayler recordings. Bebop lines and unison phrases occasionally rise to the surface, offering a glimmer of familiarity in what is largely a harsh soundscape. Yet what sets Ranelin (and indeed, all of his Tribe contemporaries) apart from the larger free and spiritual jazz scene at the time is their sense of rhythm. Even as Harrison evokes sounds that would make a Meditations era Coltrane blush, the drums stay in time, and the looping bass and piano riffs take on an almost hypnotic quality, repeating quietly under a whirlwind of sound.

Later tracks see the ensemble veer into soul jazz, and jazz-funk, with “Black Destiny” perfectly highlighting the group’s ability to meld the avant-garde with grooves that you won’t be able to stop yourself from tapping your foot to. Members of the Tribe were well known for their appreciation of African American popular music, and the influence of groups such as Sly And The Family Stone is clear in the song’s edgy rhythms and dense sound.

This double LP reissue also contains alternate versions and outtakes that are so good you’ll be wondering why they were originally left out! With modern remastering, three bonus tracks, and an obi-strip, you don’t want to miss the definitive version of Phil Ranelin’s The Time Is Now! "

Coloured vinyl repress of Penguin Cafe album Rain Before Seven… A sense of optimism infuses Penguin Cafe’s fifth studio album, not the braggadocious, overconfident kind, but more a blithe, self-effacing optimism in keeping with the national character. Even when all signs point to the contrary, it operates within the certainty that things are going to be alright. Probably.

The title comes from an old weather proverb with the rhyming prognostication — fine before eleven — hinting at a happy ending, irrespective of the science: “I found it in a book and I'd never heard it before,” says Arthur Jeffes, leader of Penguin Cafe. “It has faintly optimistic overtones and I quite like it. It's fallen out of usage recently but it does describe English weather patterns coming in off the Atlantic.”

From the widescreen reverie of opener ‘Welcome to London’ with its cheeky nod to Morricone to ‘Goldfinch Yodel’, the self-described “Maypole banger” at the denouement, there’s a welcome sense of sanguinity, always with an undercurrent of exotic rhythmic exuberance. Playfulness pervades, with a titular nod to A Matter of Life... from 2011, the last album title that concluded with an ellipsis. That Penguin Cafe debut is the bridge between the legendary Penguin Cafe Orchestra, led by Arthur’s father Simon Jeffes, and the much- loved descendent, led by Arthur.

“Stylistically it's really satisfying to get back to playful rhythms and instruments,” says the younger Jeffes, who kept the group’s debut from 12 years ago in mind when writing the new album. “Certainly when starting out, I became aware that we’d stopped using quite a few of the textures that had been there at the beginning—and it was certainly there in my dad's earlier stuff. So there's a lot of balafon and textures from completely different parts of the world, musically and geographically: ukuleles, cuatros and melodicas that you can hear.”

Encouraged by co-producer Robert Raths, the rhythmic elements of Rain Before Seven... have never been more to the fore and, at times, even hint at the electronic. ‘Find Your Feet’, for instance, is underpinned with more than just a pulse. Mixed by Tom Chichester-Clark, it brings to the musical melange what Arthur describes as a “near electronic feel”. He adds, excitedly: “There are elements of fun here which we haven't really done with the last three records.” Another ebullient highlight is ‘In Re Budd’, dedicated to the late ambient godfather Harold Budd, who Arthur discovered had died on the day he’d been writing the celebratory ear worm with a deceptively tricky syncopation. Played on an upright piano with some “prepared” felt to accentuate the bounce, Jeffes feels a track with an Afro Cuban Cafe vibe would appeal to Budd’s contrariness.

Black/white splatter vinyl. Sect's 4th LP is about a political plague swept in worldwide under the chaos of a literal & ecological one. Plagues Upon Plagues faces a mournful new reality: the profound loss of lifelong battles in an unraveling civilization." Sect have a lot on their minds. With the release of their brand new single, "New Low" and the promise of Plagues Upon Plagues, the follow up full-length to 2019's Blood of the Beasts, Sect explore the intersection of issues which have cascaded over us for the last five years, the "plagues" of the title referring to the literal pandemic, and the metaphorical plague of the political state and the rise of fascism

I was sent an unfinished version of Dose Your Dreams so that I might contribute string parts. I couldn’t stop listening to the rough mixes I received. A friend asked me how the record was. I replied, “My God, Fucked Up have made their Screamadelica.” And psych-rock-groove it is. The drums mixed wide, propensity for drones, for delay pedal, for repetition, groove. The politics and aesthetics of hardcore married to an “open format” approach to genre. Elements of doo-wop, krautrock, groove, digital hardcore. “None of Your Business Man” opens the album in familiar enough territory, a sax assisted exit from an office space. But things get psychedelic very quickly. By the time the title track arrives, Mike Haliechuk is whispering, wah pedals are in full effect, and we’re wearing oversized t-shirts and pinwheeling. “Accelerate,” the lyrical centrepiece of the album, storms in like Boredoms on a bullet train and dissolves into a digital nightmare. The album closer, “Joy Stops Time,” finds Fucked Up at their most Düsseldorfian, nearly eight minutes of blissful motorik. At the center of it all is Damian Abraham’s scream a man chained, a man tortured, a true protagonist. The effect is one of an epic, every chapter attempting its own narrative devices, its own genre hybridization and it works, it works so insanely well. The drama unfolds like a miniature world of many parts being explored, a map being illuminated, location by location. As with David Comes to Life, there is a story here. David who once came to life is now indentured to a desk job. David meets the elderly Joyce who closes his eyes, opens his mind, and sends him on a spiritual journey. David embarks on his own metaphysical odyssey. He sees a stage adaptation of his own life. He speaks to an angel in a lightbulb. He sees an infinite series of universes as simulations within simulations. Meanwhile, Lloyd Joyce’s lover was sent, decades ago, by Joyce on the same odyssey, but was lost in the void. Lloyd seeks to be found and reunited with his lover. Where will David end up? Will Joyce and Lloyd be reunited? Dose Your Dreams meaning: treat your dreams as you would a dream, allow yourself to be lost within them, allow them to open your heart and your mind, enjoy them as you would a drug. Reach out for my hand and pull me close. Owen Pallett.

Hospital Records’ jazz-infused drum & bass supplier and Goldfat Records co-founder Mitekiss drives into 2021 with his ‘Night Bus Stories’ EP, with four brand new tracks that are some of his best work to date.
Following on from the triumph of his ‘Objects To Push’ EP which received support from legendary figures including LTJ Bukem and DJ Fresh, Mitekiss’ latest release is profound and from the heart.
’City Angels (feat. Milo Merah & RSWT)’ beckons with sombre guitar licks and piano chord progressions drenched in melancholy. Milo Merah lays down captivatingly sincere vocals as he proves himself to be one of London’s rising musical talents. Nottingham born and bred, MC and vocalist RSWT showcases his deep-rooted musical ability as his vivid bars are flawlessly intertwined amongst Mitekiss’ orchestral strings.
Trickling ride cymbals and soulful keys set the scene on ‘Rain (Falling Down)’ as Mitekiss’ love for jazz eminently shines through. Mr Porter graces the track with a sublime vocal hook which drifts above delicate drums and off-beat bass notes.
In honour of the night bus on which he was a frequent traveller, Mitekiss exposes his deeper and darker side on ‘N68’. Tearout breaks, moody synth drones and a ruthless bassline make a mind-bending sonic imprint demonstrating Mitekiss’ diverse range of production mastery.
Teaming up with esteemed talent Javeon who’s no stranger to vocalling an array of drum & bass anthems, ‘Ring Alarms’ is a raw and irresistible stepper that encompasses enchanting melodies and warm flourishes.
Beyond his latest ‘Night Bus Stories’ EP, Mitekiss continues to demonstrate his taste-making abilities through the running of his very own label, Goldfat Records, which has proven to be ahead of the curve by putting out some of the most forward-thinking and sonically diverse drum & bass this year. With previous releases also on Shogun Audio, Skankandbass and his own Goldfat imprint, Mitekiss is building up a solid discography which is guaranteed to set the precedent for the sounds of tomorrow.

Italian producer Toto Chiavetta returns to Mind Against's HABITAT with a spellbinding new single titled "My Eyes Are Failing". Off his new EP of the same name, the song is a haunting journey where crunchy textures and hypnotic melodies come together with the refrain, "I think my eyes are failing, but I feel my lungs inhaling," to envelop listeners in a dark, atmospheric soundscape. Featuring the mesmerizing Thom Yorke-esque vocals of Trenton, the new track showcases Chiavetta's mastery over immersive, emotionally-charged electronic music.

Bolstered by b-side single “The Sacred Space” and a club-ready alternative version from Toto himself, plus remix from Echonomist, the new EP rounds out to create a defining statement from Chiavetta. With a growing list of supporters that include industry heavyweights like Âme, Sasha, John Digweed, and Camelphat, to name a few, and previous releases on Innervisions and Diynamic, Toto Chiavetta is poised to make a big impact with this landmark release on HABITAT.

Acid Jazz's announcement of the 30th anniversary 2LP remastered edition of Mother Earth's The People Tree is a momentous occasion for fans of acid jazz and soul music alike. Originally released in 1994, this album holds a significant place in the genre's history, blending elements of soul, funk, and folk-tinged rock from the 70s with a modern twist. The special edition reissue boasts the original album, along with three previously unreleased tracks and six making their vinyl debut. Remastered from the original analogue recordings, this release promises to breathe new life into the beloved classic. Featuring guest appearances from iconic artists like Paul Weller, Dee C Lee and Simon Bartholomew of Brand New Heavies, The People Tree is a testament to the collaborative spirit of the acid jazz scene. Notable bonus tracks include the previously unreleased alternative version of 'Apple Green,' an alternate take on 'Illusions,' and the title track itself. First-time vinyl cuts offer fresh perspectives on tracks like 'Jesse' and 'Slide Sweet Baby,' adding depth to the listening experience. The album's presentation is equally impressive, with a beautiful 'wide-spine' layout, printed inner sleeves, and insightful notes from label-founder Eddie Piller, accompanied by unseen photos from the original cover shoot. Overall, this anniversary edition of The People Tree is a album worth your time as it often selected for one of the best examples in the genre.

We’re glad to be back with the second installment of our new series of DJ and Artist curated 12” mini compilations: Melodies Record Club.

Ben UFO is up next for volume two, following Four Tet’s selection a few months back. Available early October in loud 12” format and digitally. Here we have two tracks which have been staples in Ben’s DJ sets at different times, but neither were originally produced with a club setting in mind, which is why they’ve never been available in this format before.

On one side, we have “Drums” from Laurie Spiegel’s 1980 experimental electronics album “The Expanding Universe”, a collection of tracks produced between 1974 and 1976 using a computer playing the actual sounds by controlling analog synthesis equipment under control of the GROOVE hybrid system developed by Max Matthews and F.R. Moore at Bell Labs. Drums is a percussive seven minute computer generated workout inspired by Laurie’s interest in African and Indian musics, and which brings to mind the most far out kosmiche music of the period to modern day techno. A connection Ben has tried to make explicit by including it in his first BBC essential mix back in 2013.

On the flip we have a track by Olof Dreijer from the Swedish band the Knife who’s work you might also be familiar with under the moniker Oni Ayhun. Back in 2009 his artist friend Adnan Yildiz curated an exhibition called “THERE IS NO AUDIENCE” in Montethermoso, dedicated to public imagination. Adnan commissioned a single piece from Olof called “Echoes from Mamori”, that played on loop during the exhibition and was subsequently released only on CD. A contemporary piece more clearly indebted to house music, Olof built the track around arpeggios generated using sounds of frogs he recorded in the Amazon and birds around Berlin, fed into a sampler.