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"Ihr brüllt von Liebe in engen Gewändern / Doch einer wie ich will die Welt noch verändern", singt Andreas Dorau im, zusammen mit Sven Regener verfassten, Hit "Kein Liebeslied". Statt von Liebe, wollte er lieber von anderen Dingen singen, von Wildschweinen ("Schwarze Furchen"), Prozessionen ("40 Frauen") und vom Hinterhaus, aus dem die Leute vorne rauskommen ("Hinterhaus"). Und so geschah es. Acht lange Jahre tüftelte der Maestro an der sogenannten "Wildschwein-Platte". Ihm zur Seite standen dabei Wolfgang Müller, Justus Köhncke, Carsten "Erobique" Meyer, Paul Kominek sowie Andreas und Dorau. So nämlich das Konzept des Albums, die Trennung von Andreas und Dorau. Auf dem Papier ein interessantes Konzept - hier der zarte Songs schreibende Künstler Andreas, dort das Partyanimal Dorau mit der fetten Bassdrum. "IbdEvuB" sollte ein Trennungsalbum der besonderen Art werden. Wie gesagt, auf dem Papier ganz gut, in der Praxis... na ja, ich sag nur "acht Jahre", aber acht Jahre nervenzerfetzende Tüftelei, die sich gelohnt haben. House, Softrock, Disco, Glampop, zusammengefügt zu einem schillernden Ganzen von Andreas und Dorau. Zum Teil in der Garage, zum Teil in den legendären Can-Studios in Weilerswist aufgenommen und produziert. Haben Andreas und Dorau mit "Ich bin der Eine von uns Beiden" die Welt verändert? Vermutlich nicht, aber sie haben ein großartiges, zeitloses, elektronisches Pop-Album erschaffen, welches sich lohnt wiederentdeckt zu werden. Ist doch auch was! Erschien erstmals 2005 auf Mute Enthält Klassiker wie "Kein Liebeslied", "40 Frauen" und "Im September" Endlich als re-mastertes Reissue wieder überall verfügbar

Cave dwellers TEMPLE OF VOID finally return from the inky abyss on their highly anticipated new album, Summoning the Slayer. The critically acclaimed, Michigan-based quintet—featuring Alex Awn (guitars), Don Durr (guitars), Mike Erdody (vocals), Jason Pearce (drums), and Brent Satterly (bass)—hunkered down during the last two years, expanding upon their brand of fusty, artfully brutish death-doom with equal parts process and imagination. The outcome is an album that feels massive yet sepulchral, exploratory yet distinguishable—as if crafted deep below and inspired by all the things (mentally and physically) that come with their subterranean endeavor. Summoning the Slayer creepily evolves TEMPLE OF VOID. Produced, mixed, and mastered by Arthur Rizk (Power Trip, Sumerlands, Candy, and more,) Summoning the Slayer pairs long-time influences and a bevy of non-metal vectors into hulking columns of heavy and desolation. Focus tracks “Deathtouch,” “Hex Curse,” and “The Transcending Horror” showcases TEMPLE OF VOID’s death-doom at its heights and their massive, crushing lows. But the group’s fourth album is more than that. The album’s capper, “Dissolution,” is one example of the Detroiters stretching out, the song’s ‘70s rock/singer-songwriter motifs hitting The Moody Blues and Nick Drake hard. Lyrically, Summoning the Slayer eschews commonplace horror tropes with a deeper, broader psychological discussion of the self. TEMPLE OF VOID’s ultimate death-doom metal journey is now complete.

The second album from Wehrmacht, “Biermächt” saw the band maturing while still retaining their Thrashcore roots. Released in mid-1988, “Biermächt” featured a slightly cleaner production than the one found on their debut album. To some fans this rendered the album with much less intensity, but to our ears the sound was still very powerful. The massive reverb used on the first album made “Shark Attack” sound like a true shark attack and only added to the overall intensity. This time around the drums are more compressed and some blast beat parts tend to get lost in the overall blur of things. But on the same token, the guitars are much sharper sounding. Marco Zorich and John Duffy were truly evolving as guitar heroes. The thing that is really great and different compared to “Shark Attack” are the funny bit songs. We love them and enjoy them. A lot of the songs on “Biermächt” were leftovers from their demo days, including the phenomenal “Night Of Pain”, one of our all time favorite Thrash songs ever, but newer stuff like “Radical Dissection” and “Balance Of Opinion” showed the band handling a more mainstream Thrash sound somewhere in the middle of a Slayer/Kreator sound and Metallica/Megadeth. There is a certain progressiveness to those songs that hint to a more elaborate musical future. “Biermächt” is a very strong Crossover/Thrash album with a laid back party vibe to it. The sound, however, is very in-your-face. This is not a subtle album by any means. It’s not that they were the funniest bunch around (their side project Spazztic Blurr went a lot further). But Wehrmacht did have their own specific sound (mostly because of the vocals and guitars). Especially after all these years it becomes obvious all Crossover lovers and Thrashers from those days do in fact have this album and hold it dearly. The album has historic importance as well as huge sentimental value. Biermächt is a landmark in eighties Crossover Thrash and should be checked out immediately by all newbies.

A question popular among followers of Thrash Metal is undeniably this, “Which is considered the fastest Thrash Metal album of all time?”. There would be a high percentage of answers supporting “Reign In Blood”, Darkness Descends” or “Pleasure To Kill”. Now here’s a startling reality. Wehrmacht’s debut album makes those albums sound as if they were meant to be listed under progressive Metal. The sheer ferocity of these guys is enough to convince you why they were considered the fastest Heavy Metal band in the underground. So what is it that makes this record worthy of being called an underground classic? Right from production to musicianship, the concoction of several different ideas results into one colossal and inevitably unique style of their own. Many of you would probably wonder that there might just be a natural leaning towards sloppy playing especially considering my description of their astoundingly fast nature earlier. But the major surprise here is that all the musicians are extremely tight and precise with no single riff, solo or beat falling out of place. Tito Matos is one of the most versatile Thrash singers one has ever heard till date. His clarity of words and ability to keep up with the rest of the band with his lightning fast singing is simply commendable. The songs in here are all ridiculously speedy pieces of Thrash Metal with practically little or no remorse for the listener. The title track with that brilliant rendition of the famously eerie “Jaws” theme kicks off the onslaught with a tearing main riff that shreds away with speed and precision. Teutonic, Bay Area and a few east coast Thrash Metal bands have been instrumental in forging the whole genre altogether but taking the intensity a couple of notches higher was undoubtedly achieved by bands like Cryptic Slaughter, Soothsayer and finally Wehrmacht. For a year that was 1987, “Shark Attack” was way ahead of its time and has been highly regarded as the release that influenced many a band in the Grindcore and Black Metal genres. To testify this statement of mine, U.K Grindcore pioneers Napalm Death have covered Wehrmacht on one of their studio compilations, thus proving the exemplary effect this band had in the years to come. Yet the irony still stands out as to why only the most devoted of Thrash Metal/Crossover freaks know about this band. As for some of you guys, quit wasting your time listening to the senseless offshoots of Grindcore and shitty Black Metal and get a hold of this classic instead.

Gliding & Hiding’ presents one of post-punk’s maverick spirits at her finest: Malka Spigel sprang to prominence as bassist and vocalist with the legendary Minimal Compact. She’s also an internationally acclaimed photographer and video artist. Alongside her partner and long term collaborator Colin Newman, she’s also one half of the electro-kosmiche duo Immersion. The pair are also members of the unique art-pop quartet Githead. Yet often, Spigel’s most personal work is to be found on her solo albums.1993 debut ’Rosh Balata’ is a contemporary rock album sung in Hebrew, with 1998’s ‘My Pet Fish’ showcasing an idiosyncratic amalgam of rock and electronics, whilst 2012’s ’Every Day Is Like The First Day’ is a full blown psychedelic pop record, with guests including Johnny Marr, Alexander Balanescu and Julie Campbell (aka Lonelady).Now, ’Gliding & Hiding’ gathers together Spigel’s gorgeous 2014 ‘Gliding’ EP, with reworked tracks from the 1994 mini-album ‘Hide’. The result is a collection that ranges from sunshine pop, to minimal breakbeat techno, all the way to blissed out rock.For the ‘Gliding’ material, Spigel is joined by Newman, on guitar and keyboards, Ronald Lippok of Tarwater/To Rococo Rot on drums, and Gil Luz and Uri Frost of Mambas, on keyboards and guitar respectively, with additional guitars from Julie Campbell, and Matthew Simms of Wire. These songs began life as live recordings from a gig at London’s Lexington, but were then refined in the studio. Yet they retain the sound of a real band, bouncing off each other’s considerable talents‘Gliding & Hiding’ serves as a career overview, whilst the reworked compositions prove how utterly contemporary her sound is. If you are new to the delights of Malka Spigel, this is the perfect place to dive in..

Repress coming in June of this sold out LP from last year. LP, 45 RPM, Limited Edition. Style: Post Rock, Downtempo, Shoegaze. The last widely available Hood album was 2005’s critically acclaimed Outside Closer on Domino Records but the Leeds post-rockers actually released a later collection of songs entitled “The Hood Tapes”. This was presented at the time as a tour-only CD available at their final burst of shows and later part of their highly sought after Recollected box set. Until now the standalone album has been impossible to find even on CD and has never been issued on vinyl. In the sleeve notes to the Recollected set, the band describe the album as ‘something made in a hurry in order to have something to sell on the road’ but “The Hood Tapes” is a lot more than that. It contains all new music that seems to straddle their career from scratchy experimental New Zealand weirdo lo-fi to the stuttery and staccato r&b influenced pop they sprinkled over that last Outside Closer missive. “The Hood Tapes” could also be seen as a series of sketches of potential future musical avenues open to the band who eventually instead chose to remain silent and although key band members still operate under such names as Bracken, The Declining Winter and A New Line (Related), there has never been any further work issued under the Hood umbrella. “The Hood Tapes” therefore is an overlooked key component to their storied history and this essential release brings it in line with their more well-known work.

The Howling is a collaborative project started by writer Ken Hollings and sound artist Howlround devoted exclusively to their shared love of text, audiotape and trash aesthetics. An intense collision of spoken word and analogue tape effects, the Howling's first performance took place at the Iklectik in September 2019 as part of a special programme to celebrate The Tapeworm's 10th anniversary.

Despite the pandemic, they have managed to continue working and conferring together since then, sharing sound files, texts and mixes online, which has resulted in All Hail Mega Force, their first full-length release for The Tapeworm. The two extended tracks contained on this audiocassette reflect their shared interest in Fluxus and how informal rules and permutations can be set up to work themselves out through loops and repetitions. A straight line connects Terry Riley's tape experiments in Paris from the early 60s with their experimental recordings in the Wimpy Bar on Streatham High Road, one of their favourite meeting places. 'The idea of instant, disposable one-off creations appealed to us a lot at the time,' The Howling explain, 'particularly as both pieces were conceived and developed during different phases of Covid lockdown in the UK.'

The title and source material are derived from the kid's adventure movie MegaForce, starring Barry Bostwik and Michael Beck. Designed to sell a range of Mattel hi-tech action toys, MegaForce tanked at the box office but lives on in the collective consciousness of those who share with The Howling a special love for Trash and Trash Aesthetics.

The two tracks also share similarities in approach and realization.

'All Hail Mega Force' was created by reading combinations of the words 'All Hail Mega Force' into a voice memo recorder, transferring it to tape, cutting the whole thing as a single long loop and then stretching it across three reel-to-reel machines simultaneously, using two pencils and a pint glass full of loose change to try and maintain sufficient playback tension. Over time the loop started to degrade, which accounts for the increasingly slurry and unpredictable playback, plus frequent ruptures caused by the tape becoming jammed and having to be tugged through the machine workings by hand. Twenty-four minutes later and the result was a completed new work and a slight backache.

The text for 'Are You Man Enough For Mega Force?' was recorded live in the Wimpy Bar on Streatham High Road, 28 November 2021. It was cut to tape and looped on 3 December 2021 at Warrior Studios, Loughborough Junction. Dragged by motor and then by hand across two tape machines with copious amounts of closed input feedback provided by a third rushing in to fill the gaps. One take with no effects or overdubs, but one tiny edit in the middle when something fell over.

"Worthy re-issue of obscure Trouble in Side, which is a one-off studio project entirely written, sung and arranged by Luigi Della Ragione. "Zulu Rap" represented a surprising alternative to the typical Italo-Disco sound perceived in Naples and around in the early 80s. This little-known production has some interesting arrangements, mostly in the short version, where the drum work out raised below, reminiscent of "Love Hangover" by Diana Ross. Actually at that time the Dance Music Report, in its 'Import' column wrote that the "intro" of the 'Alcoholic Version' was reminiscent of Madonna's "Holiday". while the 'Chinese Version' was inspired by a song from the Tears For Fears. Some of this news may pique the curiosity of DJs and collectors and provide enough motivation for the current reissue which faithfully reproduces the three 1984 versions as well as the original noteworthy cover artwork. If that wasn't enough: the B side of the original record had an extra track not listed, with the hand drums on a slower and unrelated "Zulu Rap" drum beat which is around 120 BPM, while the drums of the bonus track is about 113 BPM. A little more inside info... the beautiful Maria Chiara Perugini (aka Clio) is part of the choir vocals. She was part of the Airport label for the recording of her first solo song "Eyes". A historical re-release"

DAS NEW YORKER DUO KOMMT MIT EINEM NEUEN ALBUM ZURÜCK! "So Far So Good" ist das vierte Studioalbum des Produzentenduos The Chainsmokers, das bereits mit einem Grammy Award ausgezeichnet wurde. Das Album mit 13 Titeln nahm von 2020 bis 2021 zwischen Hawaii, Joshua Tree, New York und Los Angeles Gestalt an. Geschrieben und produziert wurde es von The Chainsmokers, unter Mitwirkung ihrer langjährigen Mitarbeiter Emily Warren, Ian Kirkpatrick und Whethan. Auf "So Far So Good" sind die Singles "High" und "iPad" enthalten. Das aus Alex Pall und Drew Taggart bestehende Duo The Chainsmokers hatte 2014 seinen ersten Erfolg mit "#Selfie", das in mehreren Ländern in den Top 20 der Singlecharts landete. Ihre Single "Don't Let Me Down" feat. Daya wurde ihre erste Billboard Top #5 und gewann den Grammy Award für die beste Dance-Aufnahme des Jahres. Im selben Jahr schafften sie es mit ihrer Single "Closer" feat. Halsey auf Platz 1 der Billboard Top Singles. Ihr erstes Studioalbum "Memories...Do Not Open" (2017) erreichte bei seiner Veröffentlichung Platz 1 der US-Albumcharts, während ihr drittes Album "World War Joy" (2019) auf Platz 1 der Elektro-Albumcharts stieg. Die Band gewann einen Grammy Award, zwei American Music Awards, sieben Billboard Music Awards und neun iHeartRadio Music Awards. LE DUO NEWYORKAIS REVIENT AVEC UN NOUVEL ALBUM ! « So Far So Good » est le quatrième album studio du duo de producteurs The Chainsmokers, déjà récompensé d'un Grammy Award. Cet album de 13 titres a pris forme entre Hawaï, Joshua Tree, New York et Los Angeles de 2020 à 2021. Il a été écrit et produit par The Chainsmokers, avec la participation de leurs collaborateurs de longues dates, Emily Warren, Ian Kirkpatrick et Whethan. Sur « So Far So Good » figurent les singles « High » et « iPad ». Composé d'Alex Pall et Drew Taggart, le duo The Chainsmokers a connu son premier succès en 2014 avec « #Selfie », classé top #20 du classement singles dans plusieurs pays. Leur single « Don't Let Me Down » feat Daya est devenu leur premier top #5 Billboard et a remporté le Grammy Award du meilleur enregistrement dance de l'année. La même année, leur single «Closer» feat. Halsey s'est classé #1 du top singles Billboard. Leur premier album studio, « Memories...Do Not Open » (2017) a atteint la 1ère place du top albums US à sa sortie, tandis que leur troisième album, « World War Joy » (2019) s'est classé #1 du top albums électro. Le groupe a remporté un Grammy Award, deux American Music Awards, sept Billboard Music Awards et neuf iHeartRadio Music Awards.

Federico Albanese is a composer born in Milan, Italy in 1982, and currently based in Berlin. His musical versatility is a natural gift that pushes him to explore music in all its facets. Albanese's compositions are airy and cinematic, blending classical music, electronics and psychedelia. Federico started studying piano and clarinet as a child before becoming fascinated by rock music. As a teenager he studied bass and became a self-taught guitarist and soon became one of the leading figures of Milan's underground scene, performing in several bands. Influenced by black music, folk, electronic, modern and contemporary classical music his skills as a composer soon emerged, He worked for 5 years as prop man in several film sets. This experience made him understand the power of the connection between music and images and helped him to develop his personal musical path. In 2007 Albanese met singer and songwriter Jessica Einaudi and together they founded the avant-garde duo ""La Blanche Alchimie"". Composing songs with Jessica he rediscovered his love for the piano, which from that moment on, became his main instrument. Since then Federico has scored several films, short films and documentaries, including a documentary on a project commissioned by Ermenegildo Zegna in the National Museum of XXI Century Arts in Rome. In February 2014, Federico Albanese will release his debut album entitled ""The Houseboat and the Moon"". He found a place, an imaginary place, where, whenever he wanted to, he could jump on and just float away. On this moving shelter, traveling across memories and imagination, lulled by water and led by the moon, Federico wrote the 13 compositions of his debut. He recorded all of the piano parts with a 1969 German tape recorder, the Uher Royal Deluxe, which allowed him to catch all of the tiny hidden shades, the imperfections, the noises of the piano and its surrounding space. Federico melts this rarefied sound with electronics, live recordings, strings, and homemade instruments. The result is a combination of contrasts and colors with a variety of atmospheres that wonderfully represents Federico's musical universe. Vinyl: thick gatefold covers, 180g vinyl,free download.

This year we have the chance to have onboard some of our favorite new talent from the scene with the like of Burrito Eats, Emapea, Oksami, Flughand and Wun Two. We also have the chance to have standard bearers like Okvsho, Saib, Handbook, Phonics, SamuW, Shuko and Vanilla.

We want to thank so much all the artists who took part in this project and that were as enthusiastic as we are in its realization. It’s been such a thrill since this venture started and this is just the beginning. Much love to all of you guys listening and supporting wherever you are.

PEACE.

Hip Dozer Fam.

Having had the legend Roy Davis Jr. bless their last EP, Italian label Nicepeople follow up with another bumping four tracker drenched in house niceness, this time courtesy of label co-captain Giuseppe Scarano. On the A, fiery funk fuelled business with a skippy house soul in the form of ‘Gotta Move’ alongside a clubbier, bass grooving remix from Gourment De Funk.

Flip it to find two deeper cuts, the deftly sampled ‘Sunday Joint’, and the late night / early morning riser ‘Beat Onto Heaven’.

Zov Zov, a musical project formed by London-based duo Oliver Ho and Tommy Gillard, create a raw soundscape that is very appropriate for the era we are currently living in. The human race depends on destruction, the annihilation of our fellow man and the devastation of our environment, peace and coexistence is just a condition we experience between one war and the next. Songs of Blood And Earth is an EP based on experimentation and the development of intense textures. Blessed Are The Killers opens the A-side of the album with a minimalist first sequence involving only a kind of deep bursts and a tinkling sound that can remind us of hunger queues and the isolation suffered when the aggressor force sweeps over a vast territory. Musically, however, the track intensifies with heart-wrenching textures that hover above a haunting and disturbing vocal. On the next cut, The Maim, a constantly interrupting rhythmic structure reigns, which gives the feeling that at some point it will have a proper continuity, however, and although that continuity never comes, these pauses perfectly define the main idea which is that of the splitting of one or more body parts. The B-side of the EP is entirely religious in nature. Amen 2.5 is an updated version of the atrocities committed in the name of religion, a harsh sonic tale, in which a crushing roar subdues the listener to the point of collapsing his or her capacity for reasoning. The Holy Murder takes a more sinister turn, this time there is an incessant dominance with an unstoppable base that advances without changing its tempo or its form, in which everything that is built on it ends up yielding to its grandeur and ferocity. Godess Of The Hunt, the last track of the album, denotes an enormous cruelty, represented by the terrified screams of the victims who succumb to its exterminating atmosphere.

LaRose Jackson, who you may remember from "Luv Jones" - the 2014 party-certified smash duet with the incomparable Charles Bradley - steps into the spotlight with her funky solo debut, "How Did I Get Here?".
Born and raised in Coney Island, LaRose's rich timbre and assertive vocal delivery caught the attention of producer Tommy "TNT" Brenneck one night when he was in attendance at Charles Bradley's legendary "Black Velvet" show at Club Essence - where Jackson was also a regular performer. The two hit it off and began collaborating on several sides, the fruit of which we humbly offer up here.
LaRose's tough-as-nails delivery coupled with the infallible groove and sure-shot horn arrangement courtesy of the Menahan Street Band distills the track down to Soul in its purest form, without sacrificing any of the rawness one comes to expect from a TNT production.
Expect much more on the horizon from LaRose and Co.. This is just the tip of the iceberg!

Savage is the original ‘80s Italodisco pop star, worldwide famous singer and platinium record producer of Europop and house artists such as Zucchero, Alexia, Double You and Ice Mc. Composer and writer of various multimillion worldwide hits. His real name is Roberto Zanetti. Throughout his career he has used two different professional names, "Robyx" as a producer, and "Savage" as an artist.In 1983 he produced a dance single entitled "Don’t cry tonight", chose the stage name “Savage” and started his career as solo artist. The song was a huge hit in Italy for first and all Europe later and was invited to take part in many TV shows such as "Mister fantasy", "Discoring", "Pronto Raffaella", "Azzurro" and "Festivalbar".

Thanks to the catchy melody and timbre of his voice, Savage quickly
became one of the most appreciated singers in Europe, one of the creators of the “Italodisco” movement. From 1983-85 Savage was continuously on tour, performing about 300 shows throughout Europe, in Spain, France, Germany, Switzerland, Austria, Belgium, The Netherlands, Greece, Portugal, Yugoslavia, Sweden and, of course, Italy. In the meantime other singles, "Only you", "Radio" and "A love again", were released and included in his first album “Tonight". In Eastern Europe Savage is still one of the most popular contemporary artists. After more than 30 years, DWA is proud to announce the re-print of this album on vinyl, a special gift to all collectors of Italodisco’s hits.

Aus einer Laune heraus überredet Claudia die Gäste ihrer Geburtstagsfeier zu einem unheimlichen Experiment. Bei einer Seance beschwört die vergnügte Runde den Geist eines berüchtigten Massenmörders. Die Situation gerät binnenMinuten außer Kontrolle und die Party entwickelt sich zu einer Odyssee des Grauens...MitwirkendeClaudia: Stephanie KirchbergerBirgit: Reinhilt SchneiderSusanne: Manuela DahmMaxi: Sandra Schwittau Heidi: Regine LamsterDetlef Rot: Andreas FröhlichPolizist: Christian RudolfMeyer: Rasmus Borowski Klaus: Achim BuchBuch und Effekte: André MinningerRedaktion Hilla FitzenGeräusche Helge HalvéRegie und Produktion: Heikedine KörtingMusik: Tonstudio EUROPA(P) & © 2022 EUROPA, a division of Sony Music Entertainment Germany GmbH

Willie ist zurück mit seinem 72. Solo-Studioalbum. Ein spannendes Album mit neuem Studiomaterial, das mit seinem langjährigen Mitarbeiter Buddy Cannon produziert wurde. Es erscheint zu Willies 89. Geburtstag und zeigt, wie produktiv er nach wie vor ist, denn das Album enthält einige seiner besten Songs und Performances seit Jahren! Die 14 Tracks beinhalten 5 erstaunliche neue Willie Nelson/Buddy Cannon Kompositionen, neue Songs von Chris Stapleton & Rodney Crowell (die erste Single "I'll Love You Till The End Of Time") und einer Reihe von Top-Songwritern aus Nashville, sowie einige Coverversionen von Leonard Cohen ("Tower Of Song") und den Beatles ("With A Little Help From My Friends"), die von Willie gekonnt interpretiert werden.Le jour de son 89ème anniversaire c'est Willie Nelson qui nous fait un cadeau avec son nouvel album studio. Parmi ses nombreux charmes musicaux, A Beautiful Time présente une variété de futurs classiques popcountry, dont cinq nouvelles compositions de Willie Nelson/Buddy Cannon et des contributions de certains des meilleurs auteurs-compositeurs contemporains de Nashville. L'album présente également des reprises convaincantes de «Tower of Song» de Leonard Cohen et de «With a Little Help from My Friends» des Beatles.

DAF (Deutsch Amerikanische Freundschaft) is an influential German electropunk band from Düsseldorf (Germany). The band claimed not to target anything while writing lyrics, but to surround around Delgado-López’s fascination with the sound of particular words. While recording their album Für Immer, the band split up. After four years the band got back together and released 1st Step To Heaven , which was (and still is) their only album in English. DAF received a lot of acclaim after this release. John Peel called them “the Grandfathers of Techno” and House music pioneer Adonis stated that the album was “House before there was House”.

1st Step To Heaven is available as a limited edition of 1000 individually numbered copies on gold coloured vinyl and includes an insert.

Keb’ Mo’s Martin Scorsese Presents The Blues is the 2003 blues album, part of Martin Scorsese’s The Blues documentary series. The series is dedicated to the history of blues music, which provided the ultimate opportunity for Keb’ Mo’ to compile the highlights of his career thus far. Keb’ Mo’ had only released four albums up until that moment, but those four had already attracted a wide audience amongst blues fans and included many defining and impressive tracks. So in occasion of the release of Martin Scorsese’s documentary series, Scorsese selected the very best 16 tracks to feature on this 2LP, including “Come On In My Kitchen”, “Am I Wrong” and “Peace Of Mind”.

Martin Scorsese Presents The Blues is available as a limited edition of
1500 individually numbered copies on translucent blue coloured vinyl and includes a 4-page booklet.

Limited collector's edition of 300 copies only of this rare italian disco funk studio project from 1977 run by Pino Presti.

Today is very rare but the value of this reissue is that contains for the first time ever all the original versions plus the long version that never saw the light, because for some reason both 12" and the 7" original vinyl contains only the short cuts (called part 1 / part 2).

From the very beginning in 2011 the concept was simple and crystal clear.

Mad Mats & Tooli's new label Local Talk had two main focus points.
First, the actual music was to be inspired around those magical 4/4 house rhythms...and beyond.

Second, the logo! The idea was that a simple and direct visual point together with a strong dance MUSIC message would make the label stand out among other labels in their northern neck of the woods.
In Scandinavia, the main theme is electronic 4/4 rhythms (techno, tech-house etc) and with Local Talk being more inspired by black dance music this has made them the black sheep in the hometown of Stockholm.

To set the musical direction straight from the very start they released Bassfort's 'Moon Shadow' which got instant attraction from both house heads and the more open-minded clubbing community.
With its warm, melodic chords, infectious piano theme and big strings it's always been the label's fave jam from their now +150(ish) releases.
When they decided to choose a track that would define the label for their 10-year anniversary, the choice was simple.

Mats & Tooli thought long and hard about who they wanted to interpret 'Moon Shadow' and after months of discussing options they decided that the only one they could trust to give the track a quality boost was NYC legend Joe Claussell.
Back in the late 90's, Mats used to book Joe for his legendary Raw Fusion parties in Stockholm so the connection and mutual respect were already in place. The result is a +11 minute long musical house journey that builds and builds until those characteristic piano chords make an entrance and transform the dynamics into a rainbow of sounds. Epic is not a word big enough to explain this grand musical production !

But the goodness does not end there, we're only halfway in on this anniversary release. The blood brothers Javi & Luis aka Kyodai (and 2/3 of Bassfort) made their own mix on the B side track from the original release, Moonlight.
As schooled jazz musicians they diverted from the electronic soundscape and went for a live jazz-funk production.
The final product is a warm and musical version with live drums, bass, piano, strings and even vocals from the brothers themselves.
The track almost comes across as something 4 Hero would put out back in the day.

All we can say, enjoy the dance!

Jackie Mittoo, organ and piano maestro, was not only a founding member of the legendary Jamaican Ska group The Skatalites, but through the course of Jamaican music’s long history has produced a body of work under his own name and of that with his various group incarnations, The Soul Brothers, Soul Vendors and the Sound Dimension. His distinctive organ and piano sound and musical arrangements have all played a major part in Jamaica's musical history.

Jackie Mittoo (born 1948, Kingston, Jamaica) began playing musical instruments at a very early age. Taught piano by his grandmother he was performing live by the age of 10 and recording by the age of 15. Two Kingston bands that he played with the Rivals and the Sheiks brought him to the attention of Studio 1's founder Coxsone Dodd. Who at the time was putting a group of musicians together to be his studio band. Impressed by his skills on both the organ and the piano, Jackie was asked to join in what would become Jamaica's foremost band The Skatalites. The fellow band members were Lloyd Brevett (bass), Lloyd Knibbs (drums), Don Drummond (trombone), Tommy McCook, Roland Alphonso and Lester Sterling (Sax), Johnny Moore (trumpet), Jah Jerry(guitar) and Mr Mittoo (piano). This line up ruled the Jamaican scene between 1964 - 1965 as well as inventing the Ska sound, they also performed the backing duties for the other top labels of the time including Duke Reid's Treasure Isle and Justin Yap's Top Deck label.

1965 saw The Skatalites disband, and Jackie Mittoo move on to his next musical project The Soul Brothers. Formed with fellow Skatalite Roland Alphonso,this band would back all the hits coming out of Studio 1 for the next three years with Jackie Mittoo working as band leader and musical arranger. Around this time Jackie also had his own single released, a Ska underground classic called 'Got My Bugaloo'. Rare, as it also features Jackie in the unusual role for him, as lead singer!!!!. 1966 saw the Ska sound evolve into Rocksteady, again with Jackie's band at the helm, and his first hit single the Rocksteady cut 'Ram Jam'. The success of which would lead to a solo career and album releases under his own name such as 'Now', 'Macka Fat', 'Evening Time', 'In London' and 'Keep on Dancing', to name but a few. In 1967 the hits at Studio 1 were still flowing when The Soul Brothers morphed into The Soul Venders and began backing such luminaries as Ken Boothe, Alton Ellis, Delroy Wilson, The Heptones, The Cables, The Wailers and many other of the label’s solo artists.

By 1968 Jamaican music was ready for another change and Rocksteady rolled into a slower groove soon to be called Reggae. Jackie Mittoo would be at the forefront with his latest band The Sound Dimension. A line-up that included Leroy Sibbles (bass),Roland Alphonso and Cedric Brooks (saxophone),Eric Frater and Ernest Ranglin (guitar) and Bunny Williams (drums). Being the house band at Studio 1 they backed all the leading names of the time, John Holt, Horace Andy and Alton Ellis, all of Studio 1's output carried his sound. Jackie Mittoo emigrated in the late 60's to Canada but travelled to Jamaica and London to record with many of the big new names, who were trying to redress Studio 1's supremacy and needed his magic touch. Such producers as Bunny Lee used Jackie Mittoo on many of his sessions,Sugar Minott among others were always glad of his services.

For this release we have put together a selection of some of his finest recordings done with legendary reggae producer Bunny Lee. 1970’s cuts that feature Jackie’s numerous talents, showing his ability to embellish tracks with a feel few could better. Musical arranger, band leader and all around studio ace.

We hope you enjoy this great set with Jackie Mittoo in fine style and his organ super powered indeed…

Gondwana Records sign LA bassist and composer Seth Ford-Young's Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material

Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulfulmusic draws on jazz and classical influences together with Ford-Young's own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics' name and ultimate aim is to find 'Phi' – the golden mean – in art, nature and self. Ford-Young explains:

"It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere."

Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combinedintense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young's meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:

"My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music".

It's this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it's immersive quality and quiet power. Revealingly the music that would becomeThe Cradle, wasn't written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer's home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.

Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:

"Phi-Psonics make beautiful, humble and honest music, it's not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label". Whereas for Ford Young: "Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated."

Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered 'deluxe edition' with an extended running time featuring extra tracks and new artwork from Daniel Halsall.

The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young's resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it's harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.

This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.

Aim 2 Pleez was a label made primarily for N-Zo & DJ Invincible to have an outlet for jungle in the early days of the genre but they definitely leaned more towards the more musical side of the sound. The label didn’t last that long but the end result is that the few releases on the label are now very sought after, fetching absurd prices on second hand, and this EP is in particular demand. They are two tracks of immense proportions, that not only appeal to the junglists but to breakbeat hardcore lovers alike. A proper crossover EP that has stood the test of time, sounding just as fresh today as it did back in 1994!

The first volume of Back To Mine was released back in 1999 by Nick Warren, designed to showcase a selection of tracks you’d find and be heard playing at the artist's home. Selectors have come in the form of New Order, Pet Shop Boys, Fatboy Slim, and Faithless who all dug deep to find their essential at-home listening.

The latest compilers in the Back To Mine series are none-other than the renowned four-piece, Horse Meat Disco. The horsemen are known for their incredibly fun, deep-diving selections, and this shines through in their Back To Mine compilation in flamboyant style.

Over the course of 16 years of their nightclub tenure, they have become a global brand as pinnacle players of the queer party scene in London and beyond, holding down residencies in New York, Berlin, and Lisbon. Their flamboyant nature and incredibly fun, deep-diving selections have made them one of Disco’s most beloved acts.

Across 15 eclectically brilliant tracks, Horse Meat Disco, which comprises Jim Stanton, James Hillard, Luke Howard, and Severino Panzetta expertly traverse through classic disco cuts, wonky dancefloor groovers, and silky smooth soul.

The team at Diskotopia are extremely proud to present London via Tbilisi producer Sseq's debut self-titled LP. Sseq has been honing his craft over the past several years releasing music as part of the Body Thrills duo as well as DJing and playing live at Georgian clubs and festivals before making his move to the UK. Here on his stunning self-titled debut LP, Sseq materializes twelve abstracted and microcosmic jewels of interdimensional techno alchemy. The compositions bend and weave, flutter and spiral across synthetic textures and abstract rhythmic expressions that at once beguile and inspire. Sseq's sound is like an interstellar interpretation of what a sentient Buchla synth might dream of in zero gravity. RIYL Actress, Beatrice Dillon, Patten, Drexciya, Pole, and Björk-era Mark Bell productions. Sseq's debut LP was mastered by Dominic Clare at Declared Sound and will be available as a limited-edition cassette.

Out of the primordial chaos of pandemic and two years since their last full-length outing SUPERSAN, those sassy purveyors of World Dance of the highest calibre return with a bang. Duo's 3rd studio album soon to be released by Boom Selectah Records promises to turn heads and perk ears of the aficionados of Afro House but also has a potential to spill out from the niche and conquer the hearts of wider audiences.The album titled 'Little Dakar' is' the labour of love of two long time collaborators from Greece, Kostas and Valantis. This time their quest for musical purity and honesty is enriched and enhanced by stirring alliances. Scattered inside the audio-tapestry of this exotic wax flower you will find the vocals from 'the voice of Senegal' Jefree, and enchanting strumming from the fret of George Koltsiou. While rich traditions of Senegali music are particularly evident (and reflected in the album title), 'Little Dakar' goes far and beyond the sounds of a steamy Dakar Disco dancefloor. Finely tuned ear is in for a treat and could easily travel the distances between Senegal, Angola, Ghana, Uganda and Mali to name but a few. But you don't have to be an expert to fall in love with this album. The multidimensional colours of African musical heritage are easily accessible to a novice too as the references to better known House and Funk traditions could be heard loud and clear throughout the record.

The ‘3000 Volts of Holt’ album was the third in a series of records that launched John Holt into the UK charts in the 1970’s. To say that every home had a copy of a 1000 Volts and many 2000 Volts of Holt might be an overstatement but it certainly felt that way, as all good radio stations and parties seemed to have these tracks on permanent rotation.’3000 Volts of Holt’ was the more roots sounding of the three albums but still carried that sweetened string sound that set these recordings together.

Double black vinyl LP, compiling the rare Home Recordings of Sandy Denny. Never pressed to vinyl and in partnership with the Sandy Denny estate. Twenty-seven 1960s recordings of pre-Fairport Sandy Denny – nearly all making their vinyl debut! This essential collection includes two different demos of her classic “Who Knows Where the Time Goes” (and other songs penned by her – some later recorded by Fairport), plus heartfelt covers of songs by Jackson C. Frank, Fred Neil, and traditional folk songs. The definitive collection of Denny’s home demos and authorized by her estate.

The original Not About To Die was an illegal bootleg, released at some point in the early 80s, by the dubiously named Amnesia Records. The album was made up of selections from demos recorded by the group for their second and third albums: Chairs Missing and 154. These demos had been recorded for EMI, with cassette copies circulated amongst record company employees. However, they were never intended for release. A typically shoddy cash-in, the songs on Not About To Die were taken from a second or possibly third generation cassette, with the album housed in a grainy green and red photo-copied sleeve. Compared with the high standards of production and design Wire have always been known for, it was something of an insult to band and fans alike. Now, in a classic act of Wire perversity, the group have decided to redress the balance and reclaim one of the shadier moments of its history, by giving Not About To Die its first official release on the bands own pinkflag imprint.. All the tracks have been properly remastered, with the relevant recording details in place. As for the sleeve artwork, whilst it strongly references the original, it is decidedly more artful in its execution. Not About To Die emerges as a fascinating snapshot of Wire in transition with embryonic versions of classic songs such as ‘French Film (Blurred)’, ‘Used To’ and ‘Being Sucked In Again’, that the group would develop considerably for their epochal 1978 album Chairs Missing. Later demos such as ‘Once Is Enough’, ‘On Returning’ and ‘Two People In A Room’ would surface in radically altered form on 1979’s 154. Some songs, such as ‘The Other Window’, are virtually unrecognisable from their later iterations but the biggest prizes here may well be the tracks that were omitted from Wire's later studio albums... Highlights include ‘Motive’, which has an undeniable power. Robert Grey’s drumming is crisp and minimal, and Graham Lewis’s bass runs are particularly ear-catching. Despite its distinctly un-Wire title, ‘Love Ain't Polite’ is also something of a gem. Meanwhile, the track which gives the album its title Not About To Die (officially known as ‘Stepping Off Too Quick’) possesses what Colin Newman half jokingly calls “The best intro to any song ever”. The intro is so good in fact, that it takes up a third of the song’s entire time frame. These properly mastered tracks have never been available on vinyl before, and they provide an opportunity to hear Wire at a point in their development when they were bursting with fresh ideas and a will to communicate them. This is post-punk at its very finest.

a A1 Oh No Not So [save The Bullet]



[e] A5 French Film [blurred]




[j] A10 Chairs Missing [used To]

[l] B2 Ignorance No Plea [i Should Have Known Better]


[o] B5 Stepping Off Too Quick [not About To Die]

Rock'n'Roll hits adapted and sung in Italiano to seduce an exotic and difficult music market. A tradition that saw many stars (Mick Jagger, Françoise Hardy...) test their pronounciation skills with swinging (but always very fun) results. Now its The Courettes' turn, to translate two of their newest songs for a special limited single 7'', released in time for their southern Europe tour and the Record Store Day 2022. Anzi, LE FAVOLOSE COURETTES, volevamo dire “the real deal” (Vive Le Rock, UK) “the real sound of now busting through your door” (Rolling Stone, USA)! “the world’s greatest two person rock n’ roll ensemble” (The Next Big Thing, UK) “Your new favourite band once you ve heard them!” (Louder Than War, UK) The Courettes. “A force to be reckoned with. Matching the garage rock ferocity of The Sonics to prime early 60s girl group, the band’s output is utterly feral in the most addictive possible way. Reminiscent of The Ronettes given a Ramones style overhaul, their evil charms arrive covered in blood-soaked glamour. Twanging guitar and raucous percussion, a wild head-long charge into the unknown.” (The Clash Magazine, UK) The Courettes is an explosive rock duo from Denmark and Brazil who found the perfect blend between garage rock, 60s Girl Group, Wall of Sound, surf music and doo wop. Like The Ronettes meet The Ramones at a wild party at Gold Star Studios echo chamber. Praised by the biggest music magazines around the world, in 2020 the band signed with legendary British label Damaged Goods, putting them on the same roster as top international rock icons like Buzzcocks, Manic Street Preaches, Atari Teenage Riot, New Bomb Turks, Amyl and the Sniffers, Billy Childish, Captain Sensible and many others. Their last and third album, “Back in Mono” was released in the Fall 2021 and is a truly milestone in the career. The album brings the band in top form, showing great songwriting skills and with broader nuances, influences and sound qualities to their garage rock recipe. Their last singles, “Want You! Like a Cigarette”, “Hop The Twig” and “R.I.N.G.O.” all got airplay at BBC 6 Radio in England and radio stations in Europe and the USA. “Back in Mono” got top reviews in the main music magazines like Mojo, Classic Rock and Shindig and was featured in countless Best Albums of 2021 lists: “Exuberant third release, a giddying rush of noise” (MOJO, UK) 4 out of 5 stars “Seems like the best record you’ve ever heard. A rock n’ roll sacrament from your new favourite band.” (Classic Rock Magazine, UK) 9 out 10 stars “Sensational good album!” (Ox Magazine, Germany) 9 out of 10 stars “Just keeps getting better and better” (Shindig!, UK) 4 out of 5 stars “Fantastic album” (Louder Than War, UK) 4,5 out of 5 stars “A complete riot” (The Arts Desk, UK) 4 out of 5 stars “14 new original tracks–all killer” (Add to want list, UK) “The whole album is one long highlight” (UK Rock n’ Roll) “Exciting combination of Wall of Sound and Fuzz” (El Periodico, Spain) 4 out of 5 “A collection of perfect songs, full-blown instant classic” (Triste Sunset, Italy)

Highly collectible 7" vinyl from goth punk legends 45 Grave! Includes rare demo versions of the band's best loved songs including "Party Time," which was featured in the 1985 horror classic Return Of The Living Dead, and MTV hit "Evil!" Available in SILVER vinyl!

Highly collectible 7" vinyl from goth punk legends 45 Grave! Includes rare demo versions of the band's best loved songs including "Party Time," which was featured in the 1985 horror classic Return Of The Living Dead, and MTV hit "Evil!" Available in SILVER vinyl!

Los Angeles-based experimental producer Al Lover will release his new studio album ‘Cosmic Joke’ on May 27th via Fuzz Club Records.
A staple of the global psychedelic scene, Lover has spent nearly a decade fine-tuning a broken, abstracted form of electronica that pools together a tapestry of trip-hop, synthesised krautrock, dub and dark ambient. Utilising an arsenal of samples, drum machine, analogue synths and live instrumentation, Lover’s is a kaleidoscopic sound that’s J-Dilla, DJ Shadow and Lee Scratch Perry by way of Brian Eno, Kraftwerk and Kluster. Central to Lover’s music is a desire to explore the fringes of psychedelic music and the common threads that run through its far-reaching styles, drawing elements from the past and connecting them to the future. Through the years he has released a number of studio albums and beat tapes, remixed the likes of Osees and Night Beats, been resident DJ for the Levitation and Desert Daze festivals and collaborated with the likes of Goat, Anton Newcombe, Cairo Liberation Front and White Fence. Now, Lover returns with his latest studio album, ‘Cosmic Joke’ – a series of synthesised philosophical meditations on modern life, in all its tragicomic absurdity. "'Cosmic Joke' came from observing the rising, compounded absurdity in recent years and seeing structures of normalcy dissolving. It’s my attempt to view these things as part of a higher-order process, through a metaphysical lens rather than an ideological one. It’s been an exercise in holding the paradoxical relationship of comedy and tragedy, joy and pain, growth and decay, scale and decline as part of an interlocked system that, at a deep level, is essential to how we interface with the world.”

Deluxe Edition is on 180g transparent green vinyl, gatefold sleeve, printed inner-sleeve.

Los Angeles-based experimental producer Al Lover will release his new studio album ‘Cosmic Joke’ on May 27th via Fuzz Club Records.
A staple of the global psychedelic scene, Lover has spent nearly a decade fine-tuning a broken, abstracted form of electronica that pools together a tapestry of trip-hop, synthesised krautrock, dub and dark ambient. Utilising an arsenal of samples, drum machine, analogue synths and live instrumentation, Lover’s is a kaleidoscopic sound that’s J-Dilla, DJ Shadow and Lee Scratch Perry by way of Brian Eno, Kraftwerk and Kluster. Central to Lover’s music is a desire to explore the fringes of psychedelic music and the common threads that run through its far-reaching styles, drawing elements from the past and connecting them to the future. Through the years he has released a number of studio albums and beat tapes, remixed the likes of Osees and Night Beats, been resident DJ for the Levitation and Desert Daze festivals and collaborated with the likes of Goat, Anton Newcombe, Cairo Liberation Front and White Fence. Now, Lover returns with his latest studio album, ‘Cosmic Joke’ – a series of synthesised philosophical meditations on modern life, in all its tragicomic absurdity. "'Cosmic Joke' came from observing the rising, compounded absurdity in recent years and seeing structures of normalcy dissolving. It’s my attempt to view these things as part of a higher-order process, through a metaphysical lens rather than an ideological one. It’s been an exercise in holding the paradoxical relationship of comedy and tragedy, joy and pain, growth and decay, scale and decline as part of an interlocked system that, at a deep level, is essential to how we interface with the world.”

Pauline Oliveros' The Wanderer is available on LP for the first time since it was originally released in 1984. Cut at Golden and pressed at RTI for maximum fidelity.

An utterly essential document of early American minimalism from this Pauline Oliveros. The Wanderer is the sister record to Accordion & Voice, also available on LP from Important Records.

The Wanderer is based on a single modal scale (B C# D D# E F# G#) and rhythmic modes based on a meter consisting of ¾ and ⅜. Part I, Song, is intended to explore the unique resonant qualities of accordion reeds through long sounds. Subtle variations come about from differences in tuning and air pressure. Part II, Dance, demonstrates the sharp accenting power of the accordion bellows in a mixture of cross-rhythms characteristic of jigs, reels, batucadas, Bulgars, klezmer forms, Cajun dances, and music of other diverse cultures.

The Wanderer was composed in November, 1982 especially for the Springfield Accordion Orchestra, directed by Sam Falcetti. This recording documents The Wanderer's world premiere, as it was performed 27 January, 1983 at Marymount Manhattan Theatre. The orchestra consists of twenty accordions, two bass accordions, and five percussionists, with Pauline Oliveros as soloist, Sam Falcetti conducting.

Horse Sings From Cloud, written in 1975, is one of Oliveros' best known works. Like most of her Sonic Meditations, it can be performed vocally and/or instrumentally, solo or in collaboration. A solo version of Horse Sings From Cloud has been recorded on Accordion & Voice. An early version of the score reads, “Sustain a tone or sound until any desire to change it disappears. When there is no longer any desire to change the tone or sound, then change it.” This time, Horse Sings From Cloud is performed in ensemble. Joining Pauline Oliveros on bandoneon are Heloise Gold on Harmonium, Julia Haines on accordion, and Linda Montano on concertina. This quartet version incorporates the microtonal differences in tuning of the selected instruments, creating shimmering reed sounds somewhat similar to the shimmering of a Balinese gamelan.

Mondo, in partnership with Walt Disney Records and Lucasfilm, are proud to present an all new 4XLP expanded edition soundtrack to 2016's ROGUE ONE: A STAR WARS STORY.

In anticipation of its 5th anniversary, Michael Giacchino unearthed nearly over an hour of previously unreleased music and recording sessions from the film.

Featuring all-new original artwork by John Powell, new liner notes by Michael Giacchino, mastered for vinyl, and pressed on 180 gram black vinyl, this collector's set is essential for Star Wars fans.

Composed by Michael Giacchino and John Williams

Artwork by John Powel