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Luuk van Dijk has unveiled his hotly-anticipated debut album First Contact, out 11th November on his own Dark Side Of The Sun label. The Dutch DJ and producer’s maiden LP is the end result of a long and intense voyage of discovery.

Years in the making, it’s a project that Luuk can fully stand behind and be proud of. Next to a search for his own identity and his own place in music, it has also become a passage
through time.

By far his largest body of work to date, the 13-track release kicks off with the suitably-titled ‘Cosmiq’, a deep, grooving sonic exploration that immediately sets the tone. “Because of this
track I wanted to make an album to showcase my other kind of music that people won’t maybe expect of me,” Luuk explains.

Next up is the shimmering, ethereal sounds of ‘Love You’, a track that features the irresistible vocals of US singer-songwriter Dawn Richard and will be released as a single in October. “She really brought this track to a whole new level,” says Luuk. “I couldn’t be more happy with the result.”

Further collaborations come in the form of ‘Wolf’, a majestic, strings-led house cut featuring Steve Burton of oneofmanysteves; ‘Master Plug’, a deep, jackin’ number with Chicago artist
Kid Enigma; and the Detroit-indebted ‘Together We Rise’, punctuated by the spiritual vocals of MC Roga. “I tried making a track the way they used to make music,” Luuk says of the latter.

“With as few machines as possible, just a mixer, sampler and some synths.” Additional highlights include the enchanting ‘Let The Bass Kick’, orchestral ‘Lightning
Striking’ and hypnotic ‘Hot Stuff’, before ‘Knowing How To Love’ closes things out on a peculiarly wistful note. “The last track of the album, also a track that started as an interlude and
ended up being a full song,” says Luuk.

“This song basically sums up how I’ve been feeling the years 2020 and 2021, very emotional, sad, but also hopeful. Everything will be alright.”

One of the hottest new names coming out of Amsterdam’s bustling club scene, Luuk van Dijk is currently making waves in international waters with his infectious take on spirited house
music.

He has already released on labels like Hot Creations, Cuttin’ Headz, Solid Grooves Records and Eastenderz have established his name as a house music prodigy.

He launched Dark Side Of The Sun in 2020 with the aim of exploring a broader approach to his signature style.

First Contact represents a vivid sonic snapshot of one of electronic music’s brightest young talents.

Early DJ Support :

Jamie Jones
Marco Faraone
Carl Craig
Yuksek
Sasch BBC
CamelPhat
Paco Osuna
Stacey Pullen
Tocadisco

On April 29, MCC Magna Carta Cartel broke the 5 years silence with the
new speaker-breaking single "Silence", the first from their long awaited
second album "The Dying Option" - An album best described as rock
music from the world of dreams
Led by Martin Persner, one of the Nameless Ghouls of Ghost. MCC create
cinematic sounding themes with captivating melodies and poetic lyrics. Their
upcoming album "The Dying Option" offers a ticket into a state of mind seldom
seen or heard in modern music. Here they manage to use classic rock to create
an ambience beyond the regular riffs of today's rock and deliver ten fantastic
songs far beyond what anyone could have expected. "The Dying Option" is
produced by Niels Nielsen (In Flames, Ghost, Dead Soul) together with MCC. The
album artwork is created by the renowned film director Claudio Marino
(Behemoth, Watain, King Dude) and David M. Brinley (Ghost). MCC teamed up
with acclaimed Swedish film director Sebastian Jern for the Silence-video.

Saft's X series signs up accomplished French house artist Pablo Valentino for a new EP that features Patchworks and includes a remix from Seb Wildblood. Valentino hails from East France but his work has made a global impact. He runs FACES Records and is A&R for the cult MCDE Recordings. Next to that he DJs around Europe and has produced both solo and as part of collectives such as Creative Swing Alliance and Hipster Wonkaz for labels like MCDE, Eureka and Room With A View.

Atmospheric opener "Look Deeper" is a rough and steamy deep house cut for cosy basements. The drums are raw and alive, the lead synth is haunting, and the keys bring a jazz feel while vocal coos add some serious soul. French jazz, soul and deep house artist Patchworks guests on "X Rousse", a freewheeling jam with loose-limbed drums and funky chords. It channels the spirit of Moodymann and is sure to bring heat to any party. The final original is "Bagaco"; a bubbly and percussive number underpinned by warm bass stabs. The dynamic groove never rests and raw claps amp up the energy throughout.

Seb Wildblood is a driving force in the South London scene thanks to running Church, All My Thoughts and Coastal Haze. From house to downtempo, leftfield to techno, he has a broad stylistic range that always looks forwards. His remix is a celebratory broken beat workout. It's all about big stabs, soulful smeared chords and cutting loose on the dance floor without a care in the world. Once again, The Saft X

Eugene Lamont Johnson a.k.a E Lamont Johnson or Lamont Johnson holds the distinction of being the first internationally recognized fretless bassist in R&B music. Born April 20th 1955 in Highland Park, Michigan. Lamont rose to prominence as a session musician on Gloster Williams &The King Vision’s 1977 gospel album project “Together” (Gospel Roots -5005). In the same year Lamont featured as part of the celebrated Detroit based band Brainstorm their best-selling 1977 album “Stormin’” for Tabu Records. Brainstorm was initially formed during 1975 by bandleader and saxophonist Charles ‘Chuck’ Overton, and included lead vocalist Belita Woods, Lamont Johnson on Fretless bass, Renell Gonsalves on drums, Trenita ‘Treaty’ Womack on percussion, flute and backing vocals, Bob Ross (a.k.a Professor RJ Ross) on keyboards, Gerald ‘Jerry’ Kent on guitar, Jeryl Bright on trombone and ‘Leaping’ Larry Sims on trumpet and flugelhorn. The album was recorded during 1976 and released the following year. It contained the disco hit “Loving Is Really My Game” the popular “Wake Up And Be Somebody” and the radio hit “This Must Be Heaven” a beautifully crafted ballad featuring the lead vocals of Lamont which still receives continued airplay to this day. Lamont did not feature on the band’s two subsequent album projects “Journey To The Light” (Tabu 35327) in 1978 and “Funky Entertainment” (Tabu 35749) in 1979.

The year1978 was to prove to be one of the most prolific of Lamont’s recording career, playing bass on three studio albums. Firstly, on Hamilton Bohannon’s “On My Way” (Mercury SRM-i-3710), Jimmy McKee’s “First Time Out” (Champion- 8083N5) and Keith Barrows “Physical Attraction” (Columbia JC-35597) albums respectively. The final project of that year would be Lamont’s own album project “Music Of The Sun” (Tabu-35455) featuring Lamont on both bass guitar and vocals, the album also spawned two lead 45’s “Sister Fine/Yours Truly, Discreetly” and “Hey Girl/Differently”.

During 1979 Lamont would feature as a guest bassist on a further two studio album projects, firstly the self-titled debut album of fellow Detroit musicians Chapter 8 (Ariola 50056) followed by another self-titled album “Nightflyte” (Ariola 50060) who’s line-up included Howard Johnson prior to him embarking on a solo career. During 1980 Lamont began work on a second solo album for Tabu. Two lead 45 singles were recorded “Rock You Baby/Something More” (Tabu ZS9-5521) followed by the album’s title song “Rhumba” backed with the modern soul favourite “Masta Luva” (ZS9-5525) for whatever reason CBS/Tabu decided to shelve the remainder of the project. Later recording projects to feature Lamont instrumental talents were Was Not Was ‘s “Tell Me I’m Dreaming and Robert Lowe’s “Double Dip” jazz funk album. Later solo CD album projects from Lamont, “This Must Be Heaven” arrived in 2004 and “Amore’ Dance” in 2001 both on his own Allee Records Label. From the mid 70’s through to the present day, Lamont has been a notable electric bass instructor in the Detroit area and beyond. As well as the previously mentioned projects, Lamont and many of his prot’eg’es work can be found on many other world renown artists recording projects the most notable being, Earth Wind & Fire, The Dramatics, Anita Baker, Lady Gaga, Alicia Keys, Phyllis Hyman, Beyonce, Howard Johnson, David T. Walker, Aretha Franklyn, Stevie Wonder, Herbie Hancock, George Duke, The Temptations, The Winans amongst others.

Fast forward to the present and Soul Junction have licensed two previously unissued dance orientated Lamont Johnson produced compositions for this 45sinlge release with more to come. Under the project/artists name of “Lamont Johnson & Eugene” the recordings feature several different local Detroit musicians and vocalists. The a-side is a male vocally led early 90’s mid-tempo feel good dance number. While the b-side in contrast is a more synthesized bass driven 80’s female dancer which should appeal to the Boogie crowd,

Enjoy.

In May of this year we invited both Sister John and The Bluebells to
spend a day in Green Door Studios - We also charged them both to cover
one of the others songs
The Bluebells chose "Glasgow Is A Rainbow" from Sister John's "I Am By Day"
whilst the latter chose the formers "Young At Heart" - brave decision ?Both songs
were recorded by Ronan Fay then mastered by Paul McGeechan.

Das 2021 erschienene Dream Unending-Debütalbum "Tide Turns Eternal" stellte für Derrick Vella (Tomb Mold) und Justin DeTore (Innumerable Forms, Sumerlands) eine deutliche Veränderung ihrer musikalischen Ambitionen dar. Obwohl das Album fest im Death/Doom-Bereich angesiedelt war, zeichnete es sich durch eine weitaus höhere Zielsetzung und Progressivität aus und distanzierte sich damit von anderen Vertretern dieses Stils. Jetzt, nur ein Jahr später, kehrt die Band mit dem atemberaubenden "Song of Salvation" zurück und lässt diesem Erkundungseifer wesentlich mehr Raum, sich zu entfalten und zu glänzen.

Der 14-minütige Opener des Titeltracks beginnt wie ein morgendlicher Sonnenaufgang über einem ruhigen Meer, bevor er sich zu ätherischer Schwere steigert wie die reich strukturierten Wellen eines plötzlichen Meeressturms. Der Schwung des Songs zieht sich nie in mühsame Wiederholungen zurück, sondern öffnet immer wieder neue Türen, ebbt und fließt wie das Wasser eines Flusses aus seiner Quelle.

Wie ein einsamer Blick aus dem Fenster eines abgedunkelten Zimmers auf die nächtlichen Lichter der Stadt, so bietet "Secret Grief" die Gasttalente des Sängers Phil Swanson und Leila Abdul-Rauf an der Trompete, was die Bandbreite der beteiligten musikalischen Talente und die Tragweite der unverwechselbaren Erzählung von "Song of Salvation" noch weiter vergrößert.

Das ruhige Zwischenspiel "Murmur Of Voices" weicht dem beschwörenden "Unrequited", das mit einem einsamen Gitarrensolo beginnt, bevor es in eine treibende Nachmittagsträumerei und unterbewusste Meditation übergeht.

Schließlich kommt das epische Ende des Albums, der 16-minütige Abschluss 'Ecstatic Reign'. Es enthält die vielleicht schwersten Doom-Momente des Albums sowie die Rückkehr von "Tide Turns Eternal" mit den Gaststimmen McKenna Rae und Richard Poe. Tomb Mold-Schlagzeuger / Kehlkopf Max Klebanoff taucht ebenfalls auf und liefert sich ein beeindruckendes Vocal Battle mit DeTore. Die cineastische Vision des Albums und die akribische, farbenfrohe Detailtreue bringen diese fesselnde Reise zu ihrem dauerhaften Höhepunkt.

Nur ein Jahr nach "Tide Turns Eternal" bieten Dream Unending auf dem grenzenlosen Panorama von "Song of Salvation" eine fortgesetzte Abkehr von begrenzenden Genre-Normen - und gleichsam eine geschickte Neudefinition derselben.

- Decibel Magazine Album des Monats November 2022 Ausgabe
- Gastauftritte von Phil Swanson (Solemn Lament, ex-Sumerlands, ex-Hour of 13), Leila Abdul-Rauf (Vastum, Ionophore) und Max Klebanoff (Tomb Mold, Death Kneel)
- Die Vinyl-Edition enthält ein riesiges 24x36-Zoll-Poster
- Aufgenommen von Sean Pearson und Arthur Rizk. Gemischt und gemastert von Arthur Rizk (Gravesend, Daeva, Eternal Champion, Power Trip, Kreator).
- Wunderschönes Cover-Artwork von Benjamin A. Vierling (Joanna Newsom, Nightbringer, Aosoth)
- Hauptmitglieder sind Derrick Vella (Tomb Mold) und Justin DeTore (Innumerable Forms, Sumerlands, Solemn Lament)

- FFO: Anathema, Evoken, Tiamat, Opeth, Trouble, Blue Nile, Live, Alice In Chains, Kings X

Plant-based pop exploration inspired by Mort Garson's cult 1970s synth oddity - Plantasia

Mixed by John McEntire (Tortoise, The Sea & Cake).

Muireann Nic Amhlaoibh & Irish Chamber Orchestra have breathed new life into the noble, classical songs of our ancestors with this new album, R is n Reimagined.The sean n s tradition is undergoing a revival During lockdown, award- winning singer Muireann Nic Amhlaoibh's renditions of classic sean n s songs such as An Ch ilfhionn or R is n Dubh introduced a new generation of listeners to these melodically complex and richly ornamented songs. Now Nic Amhlaoibh joins the Irish Chamber Orchestra for R is n
ReImagined, an exciting new project that pairs her peerless vocals with fresh
orchestral arrangements of sean n s songs. Kilkenny Arts Festival and the Irish
Chamber Orchestra have co- commissioned special arrangements from six
leading Irish composers: Cormac McCarthy, Paul Campbell, Linda Buckley, Sam
Perkin, Niamh Varian- Barry and Michael Keeney. Produced by D nal O'Connor,
Roisin ReImagined explores the connections between classical and traditional
music, and reimagines these timeless songs for a new era. These works typically
date from the 16th-19th century, and bear the hallmarks of high art and learning.
In many instances, they bear witness to the artistic culture of Gaelic Ireland,
which was under siege and endangered; the high art of their era. Amongst them
are classics such as R is n Dubh, An Ch ilfhionn, Sl n le M igh & An tSeanbhean
Bhocht. Nic Amhlaoibh's distinct voice and outward- looking approach has
elevated these songs to yet another level through this project, and along with the
Irish Chamber Orchestra and producer D nal O'Connor, she has given a platform
to a tradition that gives a deep insight into the Irish psyche. These sean-n s songs
emerged from a practice that was part of a wider European and international
culture, and this project will resonate with people from every corner of the world.
The new incarnation of these old songs is a beautiful, uplifting sonic journey,
especially for those fortunate enough to experience it live, and is sure to leave an
imprint on the consciousness of the Irish song tradition.

Franz Nicolay is a musician and writer living in New York's Hudson Valley
- In addition to records under his own name, he was a member of
cabaret-punk orchestra World/Inferno Friendship Society, and the world's
best bar band the Hold Steady, Balkan-jazz quartet Guignol, co-founded
the composer-performer collective Anti-Social Music, was a touring
member of agit-punks Against Me!
He has recorded or performed (complete list here) with dozens of other acts. As
a solo act, he has appeared on the comedy/variety shows Late Night With Jimmy
Fallon, Hot Tub (hosted by Kurt Braunholer & Kristen Schaal), The Chris Gethard
Show, Tell Your Friends (hosted by Liam McEneaney), Radio Happy Hour, and The
Moon Show. As a member of The Hold Steady and Against Me!, he appeared on
Showtime's Billions, The Late Show with David Letterman, The Tonight Show with
Jay Leno, Later With Jools Holland, Late Night with Conan O'Brien, Jimmy Kimmel
Live, and The Late Late Show with Craig Ferguson. He has written scores or
directed music for several works of dance theater, including choreographers
Alison Chase (founding artistic director of Pilobolus and Momix), Ivy Baldwin,
Chelsea Bacon, and Diane Carroll, as well as for film and television. He was once
named #1 of Punk's 10 Best Accordion Players.

Ezra Collective’s new era, a venture in discovered maturity and raised stakes, will be defined by the anticipated second album.

'Where I’m Meant To Be' is a thumping celebration of life, an affirming elevation in the Ezra Collective’s winding hybrid sound and refined collective character. The songs marry cool confidence with bright energy. Full of call-and-response conversations between their ensemble parts, a natural product of years improvising together on-stage, the album - which also features Sampa The Great, Kojey Radical, Emile Sandé, Steve McQueen, and Nao - will light up sweaty dance floors and soundtrack dinner parties in equal measure.

Where I'm Meant To Be is out on 4th November via Partisan Records.

Ezra Collective’s new era, a venture in discovered maturity and raised stakes, will be defined by the anticipated second album.

'Where I’m Meant To Be' is a thumping celebration of life, an affirming elevation in the Ezra Collective’s winding hybrid sound and refined collective character. The songs marry cool confidence with bright energy. Full of call-and-response conversations between their ensemble parts, a natural product of years improvising together on-stage, the album - which also features Sampa The Great, Kojey Radical, Emile Sandé, Steve McQueen, and Nao - will light up sweaty dance floors and soundtrack dinner parties in equal measure.

Where I'm Meant To Be is out on 4th November via Partisan Records.

Repress expected. Date TBA

By 1980 when this was originally released Pharoah Sanders was solidly entrenched with his own voice on tenor. The passing of John Coltrane and Sanders's fruitful years of playing with the prolific saxophone genius resulted with an unmistakable influence on his sound and explorations of the instrument. Beginning with "Greetings to Idris" the structure of the music is one that follows tradition yet opens up for the musicians to improvise within the arrangements. "Greetings to Idris" is in reference to the featured drummer Idris Muhammad who also played with Coltrane during his late period. Naturally Sanders is featured as the main instrument and his horn can be bold and demanding of your full attention. Always interested in other instruments from other cultures, much like Trane, he incorporates the Japanese instrument the koto, a beautifully harmonic stringed instrument to counter his soft rich blowing on tenor with only wind chimes and a harmonium for a delicious peaceful bit of music on "Kazuko"(Peace Child) that has the qualities of a meditative offering. Most of the music, eight tracks, is composed and arranged by Sanders and demonstrates his leadership. There is one John Coltrane composition entitled "After The Rain" that gets the Tranesque treatment by Sanders that makes it hard for even the most discerning listener to distinguish between the original version and Sanders impression. It is a bluesy duet featuring only sax and piano and leaves you wanting to hear it over and over again because of it's simple and haunting melodies. Another song that Coltrane recorded entitled "Easy To Remember" has a gentle swing to it built around a classic quartet (drums, bass, piano, sax) like that employed by Coltrane that results in a superb standard. Sanders incorporates the use of another "foreign" instrument to jazz by working in a tabla and sitar on "Soledad " that takes center stage before Sanders joins in on the music. The result is a thing of genius as the East and West merge and interface for composition that is peaceful. Sanders music on this LP fluctuates between the tranquil sounds of his mellow horn to the outer limits where he left off with the explorations of Trane's late period. What separates this LP from others is that it is a group playing under his leadership where he gives all others close to equal billing. The uptempo, "You've Got To Have freedom" is one such song where Sanders gets out there on some of his solos but works within the group structure as the other musicians, most notably Eddie Henderson on flugelhorn, bring the music back home. There is a chorus sung much of the time throughout where the the proclamation "Ya gotta have peace and love, ya gotta have freedom" is presented in Manhattan Transfer style but with much more soul. The use of vocalists is done again on the track entitled "Think About The One." The chorus features vocalese specialist Bobby McFerrin. This LP shows the different sides of Pharoah Sanders, a man always willing to explore the music, explore his soul and share it with you. The closing track "Bedria" is a mellow exploration of the various ranges of the tenor. It is a ten minute song that displays all the grace of his being, a gentle giant who can manipulate the horn to do extraordinary things, reverberating out and back in undulating waves of harmonic bliss. Sanders on this LP is next to perfect. One of his best recording from his post Impulse career. It belongs in your jazz collection right next to John Coltrane.

Pressed on Red vinyl and presented in gloss laminated gatefold sleeve.
Double album set contains the original LP plus 13 bonus tracks taken from their first four singles and the re-recorded version of In Purgatory which originally appeared on the PINK compilation E.P “It sells or it smells” plus bonus 7” a reproduction colour vinyl copy of McCarthy’s first 7” “In Purgatory”
All three tracks have been remastered from the original master tape and presented in a wraparound sleeve, just like the incredibly rare “Wall Of Salmon” original.
Also Includes
20 page 12x12” full colour booklet containing all the lyrics and packed full with photos, many previously unpublished. Press clippings and other memorabilia. Introduction by Nicky Wire of the Manic Street Preachers and track by track commentary by Malcolm Eden.
8 x 10 Black & White press photo
Reproduction European Tour poster “The Well Of Loneliness” Promo poster McCarthy sticker
By the time McCarthy appeared on the NME’s C86 cassette they had already been playing together for a couple of years and released two excellent singles. Their debut “In Purgatory” and the indie masterpiece “Red Sleeping Beauty” (both included on this release). The following year McCarthy released the brilliant “Frans Hals” before unleashing their debut album “I Am A Wallet”
Now recognised as an indie pop masterpiece it has gone on to achieve cult status, receiving praise from the likes of Nicky Wire (Manic Street Preachers) as one of the most important albums of the 80s. Known by today's indie acolytes as the band that spawned Tim Gane and Leititia Sadier (who of course went on to form Stereolab).
It’s a seamless album reminiscent of the Byrds. Wonderful, if slightly twee, jangly guitars with complex and rarely rhyming lyrics, Malcolm Eden’s strident left wing political views are manifest on I Am A Wallet. Cloaked in pretty guitar and propulsive drums, Eden sets about attacking the pillars of the day, MPs, Prince Charles, Fleet Street, religion, the response to AIDS and on almost every song, capitalism. The horrors and inequalities of the capitalist system are laid bare for all the see. The system which enables some to get rich at the expense of others is reviled and attacked.

Comet Records present the new release out of the Comet new reissue series, Noel McGhie’s only full-length LP, released in France in 1975 at cult private label Disques Esperance! A true rare groove classic, a one-of-a-kind spiritual jazz funk record with a fusion touch. Includes ‘Trapeze’, ‘Dancer’ and ‘Mademoiselle Tuloch’.

Mit „Where I'm Meant To Be“ bricht für die britische Jazzfusionband Ezra Collective eine neue Ära an, definiert von musikalischer Reife und einem noch höherem Einsatz.

Das zweite Album des Londoner Quintetts ist vertonte Lebensfreude, eine Weiterentwicklung ihres hybriden Sounds und kollektiven Charakters. Die Songs vereinen kühle Zuversicht mit heller Energie. Das Album, auf dem auch Sampa The Great, Kojey Radical, Emile Sandé, Steve McQueen und Nao zu hören sind, ist das Produkt jahrelanger gemeinsamer Improvisationen auf der Bühne und lebt von Ruf und Antwort, dem Call and Response der Ensemblemitglieder.

Musik, die sich gleichermaßen für die Tanzfläche als auch zur musikalischen Untermalung einer Dinnerparty eignet.

Format:
Deluxe 2LP Col. Ltd. - Deluxe-Vinyl - zwei 140g schwere, limitierte, orange und gelb marmorierte LPs in einer Deluxe-Gatefold-Hülle mit zwei bedruckten Innenhüllen und 14-seitigem Fotobuch.

Mit „Where I'm Meant To Be“ bricht für die britische Jazzfusionband Ezra Collective eine neue Ära an, definiert von musikalischer Reife und einem noch höherem Einsatz.

Das zweite Album des Londoner Quintetts ist vertonte Lebensfreude, eine Weiterentwicklung ihres hybriden Sounds und kollektiven Charakters. Die Songs vereinen kühle Zuversicht mit heller Energie. Das Album, auf dem auch Sampa The Great, Kojey Radical, Emile Sandé, Steve McQueen und Nao zu hören sind, ist das Produkt jahrelanger gemeinsamer Improvisationen auf der Bühne und lebt von Ruf und Antwort, dem Call and Response der Ensemblemitglieder.

Musik, die sich gleichermaßen für die Tanzfläche als auch zur musikalischen Untermalung einer Dinnerparty eignet.

Format:
Deluxe 2LP Col. Ltd. - Deluxe-Vinyl - zwei 140g schwere, limitierte, orange und gelb marmorierte LPs in einer Deluxe-Gatefold-Hülle mit zwei bedruckten Innenhüllen und 14-seitigem Fotobuch.

As Far As Death is the cross-generational debut of fire music evangelist and saxophonist Paul Flaherty with double bassist and composer Zach Rowden. The Connecticut natives forge an album of dynamic free jazz interplay that also draws on imporous textures of contemporary music - an ecstatic reflection. After a half century of blowing the alto and tenor saxes, Flaherty's playing continues to molt and electrify. Whether solo, or with collaborators (Joe McPhee, Chris Corsano, Bill Nace, Daniel Carter, etc.), his blues-based, lyrical melodies anchor lung-bursting gallops. Rowden - whether as Tongue Depressor (a string duo with Henry Birdsey), in performance with cellist Leila Bordreuil, or his own musique concrète constructions - balances harshness and elegiac drones. His past releases resemble resolute exploration into acoustics and noise. Together, Flaherty's monstrous howl is perfectly matched by Rowden's subterranean pitched drone and glacial pace. Each offers weeping lurches of tune, gasps of balladry and microtonal fields of interplay on five pieces. The side-long "Thrown Shadows" is an epic passage of avant jazz vs minimalism, as Rowden's low-register bowing offers a blackened landscape for Flaherty's most mournful notes. Artwork by Chris Corsano.

Traditioneller Old School Black Metal, ohne Schnörkel und Spielereien - geschmiedet in den immer noch brennenden Flammen des Spirits der neunziger Jahre! Mit Mitgliedern von NAGLFAR, ASPHYX und GRÁB

- vollfarbige Hülle, Inside-Out-Druck, innen schwarz geflutet
- extra Schuber
- Polygefütterter Innensleeve
- Plastik-Schutzhülle
- erhältlich als handnummeriertes 180g schwarzes vinyl

TRINITAS ist die unheilige Allianz der Drei, die den alten Geist des Black Metal huldigen. Die Mitglieder sind Vargher (Gitarren, Bass, zusätzliche Vocals), Tormentor (Drums) und Azathoth (Necromantical Screams, Lyrics). Die Idee zu TRINITAS kam im Jahr 2012 auf. Alle drei Mitglieder kannten sich zu diesem Zeitpunkt bereits seit einigen Jahren durch ihre anderen Bandaktivitäten. Von Anfang an war klar, dass TRINITAS eine Hommage an die Black Metal Bewegung der frühen 90er Jahre sein sollte. Daher ist die Musik roh und in gewisser Weise primitiv - ein bewusster Gegenpol zu dem, was man heute als Black Metal bezeichnet. Es gibt nichts Progressives in der Musik von TRINITAS und die Texte handeln nur vom Tod und dem Teufel - so wie es damals sein sollte. Eine Hommage an eine Zeit, in der Black Metal mehr war als nur Musik.

Es dauerte bis 2018, als die ersten drei Songs aufgenommen wurden. Sie wurden auf der selbstbetitelten MCD und MLP über das deutsche Label War Anthem Records im Jahr 2019 veröffentlicht. 2021 kamen Azathoth auf die Idee, ein erstes Full-Length-Album aufzunehmen. Innerhalb von drei Wochen komponierte Vargher neun Songs für das Album. Kurze Zeit später vereinbarte die Band eine Kooperation mit dem deutschen Label Vàn Records, um das Debütalbum zu veröffentlichen, das den Titel Total Heresy tragen wird. Es wurde in mehreren Studios in Schweden, den Niederlanden und Deutschland aufgenommen.
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Der sich über mehr als drei Jahrzehnte erstreckende musikalische Erfolg von Tiken Jah Fakoly ist auf vier Eckpfeilern begründet, deren Fundament für seinen klaren und kompromisslosen Reggae steht und sich ebenso klar und unmissverständlich in den Texten des beliebten afrikanischen Musikers widerspiegelt. Sei es als Verteidiger der Unterdrückten oder als steter Daumen in der Wunde der von ihm benannten Tyrannen. Schon zu Beginn der 90er Jahre, mit seiner ersten Band 'Djélys" in Odienné, einer Stadt im Nordwesten der Elfenbeinküste, fiel Tiken Jah mit seiner tiefen, eindringlichen Stimme auf. Ein großer Erfolg und der erste der starken Eckpfeiler war jedoch sein in Abidjan entstandenes Debut Album unter seinem Namen, 'Mangercratie" (1999). Es erschütterte sowohl die lokale Reggae-Szene, vor allem aber auch die Machthaber, die dekadente Oberschicht, die "alten Fressäcke", wie er sie betitelte, die die Zeichen der Zeit ignorierten und sich an die Macht klammerten. Den zweiten Grundstein legte er in Paris, dem zentralen Nerv Frankreichs, mit seinem dritten Album 'Françafrique" (2002), einem Begriff, der informell für das - wie Tiken Jah in seinen Texten anprangerte - antiquierte politische System Frankreichs und dessen mafiöse Strukturen steht. Im selben Jahr wurde sein Land, die Elfenbeinküste, von einem Bürgerkrieg zerrissen. Seine Landsleute hatten "den Verstand verloren", wie er es schon zuvor in einem seiner Liedtexte prophezeit hatte. Fakoly suchte Unterschlupf in Bamako, ohne sich jedoch wie ein Flüchtling zu fühlen, denn "Africa is united", Afrika ist vereint, wie er schon immer verkündet hatte. In Bamako legte er mit dem treffend benannten 'L"Africain" (seinem fünften Album, 2007) den dritten Eckpfeiler, gefolgt von dem vierten Eckpfeiler, dem großartigen 'African Revolution" (2010), seinem siebten Album, welches das endgültige Fundament bildete: Ein revolutionärer Schrei, ein direkter politischer Aufruf, der sich in den bloßen, schlichten Reggae-Rhythmen entlädt, unangekündigt und dafür umso schöner und machtvoller. Sein elftes und neuestes Album 'Braquage de pouvoir" (Raub der Macht) setzt diesen Weg fort. Das Album trifft den Nerv auf den Punkt, denn es begnügt sich nicht damit, Tiken Jahs musikalische und politische Errungenschaften zusammenzufassen, sondern offenbart in Gänze das Wesen des fakolianischen Stils - ein Adjektiv, das wir zu erfinden wagen, so wie Tiken Jah Fakoly es wagte, diese starken Pfeiler zu erschaffen.

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Levon Vincent returns with his fourth full-length studio album Silent Cities a striking departure from his previous records. This, his first release experimenting with the cassette format, Silent Cities is a kind of mixtape through more private moods and personal pitches (literally given Levon’s non-standard tunings).

While Levon has always pro
duced dance floor jams with the intention of raising people’s heart rates, Silent Cities began with 72 bpm: his average resting heart rate, and the concept of tuning the music he was making to his own body rather than increasing anything. This brought the tempos down to 72 bpm or even half of that, at 36bpm. Programming the record during the empty cityscape of Berlin lockdowns, this is the first time Levon’s created an album for the home stereo or for headphone listening whilst navigating through a city. A mixtape specialist in his youth; he was always wanted to play with the cassette format. The results are sure to delight any listener, with the ever-present ambient, krautrock, shoegaze, hip-hop and electro influences coming to the foreground on this work.

“I was expanding further along the lines of a surprise favourite from my previous LP, a song called She Likes To Wave To Passing Boats which was not a 4 on-the-floor piece to play in clubs but a more impressionistic piece of music that I wrote to expound some emotions one day” says Levon. “It was a song written using just intonation. I really love how warm the pure 4ths sound, so when working on the new LP Silent Cities I decided to use my own tunings”.

Historically, the use of just intonation has meant that such instruments could sound "in tune" in one key but at the expense of more dissonance in the other keys. None of the songs on Silent Cities use standard Western equal temperament, Levon created his own scale designs coupled with the ancient ratios found in just intonation.

Born in Houston in 1975, Levon’s life changed dramatically when his parents moved their family to New York in 1981, uprooted from what he knew, the shock, the change from Houston to New York at 6 years old, is referred to constantly in Levon’s Musical output over the years. Levon's family moved houses in and around NYC from 1981 -2010, never more than a mile or two from the WTC. He lived on the Lower East Side during his teenage years and early 20s. This time period and this locale are also a big theme recurrent in his music as he tries to convey how the "downtown" lifestyle and culture-melding affected him so much at a tender age. He cut his teeth working in record shops around lower Manhattan, and while working at the Halcyon Record shop in Brooklyn he (alongside DJ Jus-Ed) was instrumental in creating the wave that came to be known as the "NYC House Renaissance" circa 2010. During the Y2K years he studied 20th C post-minimalism at Purchase college of New York under James McElwaine (who tangentially produced Man Parrish’s Self-Titled proto-hip-hop debt LP). Levon was fortunate to study theory with avant-garde composer Dary John Mizelle and orchestration under conductor Joel Thome. He undertook masterclasses with Philip Glass and also served as intern for John Kilgore, engineer for Steve Reich, where he was present for notable mix sessions such as “Violin Phase.”

Post-minimalism clearly remains an influence not to mention the early sampler stars of 80s freestyle and synth pop. Mixing such far-reaching influences is something Levon executes tremendously well. The first track Everlasting Joy moves at a head nodding 96 BPM tempo, reflecting formative influences like Paul Hardcastle’s Rainforest or Art Of Noise’s Moments in Love. “Those types of songs were a big eye opener for me as a youth, because it was where I realised songs in popular culture didn’t have to be kept to just 3 minutes, and they didn’t require vocals either. So, Everlasting Joy is a song with that intention, one that might be radio-friendly, despite the long arrangement and without vocals. You could say it was inspired by 107.5 in NY because that was a station I listened to a lot in the 1980’s.”

The majority of demos on Silent Cities were recorded before Covid-19 hit the world - when Levon had found a studio space outside of home in his adopted city of Berlin. It was a career first - working on music outside the bedroom. This riding the train or bicycling ‘going to work’ in Berlin opened up a new mood in his music, using the time back and forth to be inspired - commuting as an NYC transplant who still feels as a tourist in Berlin, with a pair of headphones, looking out the window on the train, or stopping on bridges and parking his bike to enjoy Berlin's skyline and horizon. Then, the pandemic struck and “work” came to a halt. Levon had recorded so much material during that year in the studio out of house it seemed like an inflection point for him to lighten the burden of the possessions he was carrying.

“People close to me have watched me give away synths and hardware regularly and I have given away my record collection every few years for my whole life. As a struggling artist in my 20s who had worked in record stores that whole time, I learned that moving constantly with 12k records just wasn't the way to live. So, in light of the pandemic, I set up a shop online, and sold all my music equipment. I also created a separate shop for all my sneakers and clothes. Easy come, Easy go. This provided me with a slow drip type of income that carried me quite well through the pandemic and it allowed me to focus on my own art and music. Getting rid of all my possessions felt like a weight being lifted from my shoulders and I was able to stay the course and remain committed to the music. I needed a further 2 years to mix and arrange the LP. If it weren’t for the pandemic, I would not been able to make this type of LP, so in light of everything, I was able to turn a depressing time in to something lasting and musically very positive.”

You can hear how his approach to a cassette release retains the "Medium is the Message." ethos. Silent Cities is a spooling, warm piece about life memories and embodiment.

After Quiet Places (2020) Andreas Vollenweider has grouped his music
on his new album according to atmosphere and character: Slow Flow is a collection of pieces with a relaxed, flowing feel, while "Dancer" is full of movement and rhythm All 11 songs on "Slow Flow" and "Dancer" were created between 2010 and 2021 in collaboration with British producer Andy Wright (Eurythmics, Simply Red, Jeff Beck, Simple Minds, among many others). The two were supported in their
creative process by Vollenweider's talented circle of friends, who laid the foundation for the songs: Walter Keiser (drums), Andi Pupato (percussion), Daniel Kueffer (bass clarinet), Oliver Keller (guitars) and the young Swiss rapper and beat boxer Steff La Cheffe, a.k.a. Stefanie Peter. The music of "Dancer" also reflects Vollenweider's connection with Africa. The South African vocal harmony band Africapella and singer Ayanda Nhlangothi embody this connection. The London Session Orchestra, consisting of musicians from the Royal Symphonic
Orchestra under the direction of James McWilliam, filled out the sound.
Renowned British producer and arranger Peter Vettese is responsible for most of the orchestration. The recordings took place at Andreas' Lakeside Studios in Switzerland, as well as at SABC Studios in Johannesburg, South Africa, and finally at the legendary Abbey Road Studios in London. Andy Wright's long-time sound engineer Gavin Goldberg has set new sonic standards for Vollenweider's music
with his work, and is able to delight even the most discerning audiophiles with a punchy yet transparent, dynamic soundscape.

Ringing from hi-fi headphones and blown-out boombox speakers alike
comes the overloaded guitar genius of "Easy Listening", a record of rock
n' roll daydreams and terminal boredom, and 2nd Grade's long awaited
second LP.Like a blue slushy on a hot day, Easy Listening is a sweet
respite
Like the Blue Angels touching down on the Las Vegas Strip, Easy Listening is
impossible to ignore. And like a janitor mopping up beer on the floor of the
Hollywood Palladium in 1972, hours after the Rolling Stones have finished
Ventilator Blues and climbed onto the bus, Easy Listening knows the glory and
cost of escapism, abandon, and the soul of rock n roll. Philadelphia's 2nd Grade
(Peter Gill, Catherine Dwyer, Jon Samuels, David Settle, and Fran Lyons) is a band
both obsessed with and worthy of rock stardom, and Easy Listening proves their
status as virtuosos of the power pop renaissance.Sonically and lyrically, Easy
Listening pays tribute to a guitar lineage linking the Stones to the Flamin'
Groovies, to Redd Kross and Guided By Voices. With its spiraling hooks and
handclapped quarter note beat, lead single Strung Out On You sounds like an
alternate reality post-Radio City Big Star cut. In 2nd Grade's world, music history
is a prism, not a linear progression. Famous teens transcend time on the outro to
Teenage Overpopulation, a shouted cacophony of names including Tommy
Stinson, Lizzie McGuire, and Joan of Arc. The line between the love of an
audience and that of a romantic partner is blurred on songs like Hands Down and
Me & My Blue Angels. Across the album, hi- fi and lo- fi styles splice together;
playful references and surreal hints of impossibility build a complex, believable
world atop a foundation of simple and sticky melodies that resonate on very first
listen. Pressed on Blue Jay Color vinyl.

Debbie Gibson is thrilled to announce the release of her first ever holiday
album, 'Winterlicious
' Ranging from a mix of sparkling originals and beautiful reimagined covers,
Gibson has enlisted her dream team of Sean Thomas ('The Body Remembers'/
Hallmark), Fred Coury (Cinderella/ Emmy award winning composer/ producer),
Sylvia MacCalla (Selena Gomez), Joey Melotti (Barry Manilow), Joey Finger
(Donny & Marie) and musicians Lydia Ansel (electric violin) and indie artist
BONZIE (accordion), to create an album that is sure to become a holiday classic.
This spirited and soulful album, Gibson's first in this genre in 36 years, features a
magical collaboration with her pop soulmate Joey McIntyre, who co- wrote the
new holiday anthem "Heartbreak Holiday" for those missing that special someone
during the holidays. Gibson's Daddy Joe joins her on a stunning new rendition of
"White Christmas" and her infectious, up- tempo, original song "Christmas Star,"
which came out in 2021, is also included.

While she might be best known as an improviser (most notably in the Spontaneous Music Ensemble, the Feminist Improvising Group and more recently with the likes of Les Diaboliques), Maggie Nicols’ talents stretch into song, dance, poetry, performance and composition. When Cafe OTO was shut over lockdown we invited her to follow up the wonderful solo ‘Creative Contradiction’ with some time spent singing alone at the piano. ‘Are You Ready?’ comprises an LP of songs and a 2CD edition which includes a companion disk of freely improvised meditations entitled, ‘Whatever Arises.’ Songs - seemingly contradictory to the practices of free improvisation - have been a vital part in Nicols’ relationship to music. It was singing bebop with pianist Dennis Rose which nurtured and challenged Nicols, allowing her to develop her own skills and sound amongst a repertoire of standards sung in clubs and pubs. Singing alongside Julie Tippetts in Centipede showed her how heady experimentation could be woven into composition, and a more recent gig with pianist Steve Lodder played out ‘The Maggie Nicols Songbook.’ Are You Ready? recalls Nicols’ own compositions from memory, working out tunes and turning them over. New routes down old paths form in moments of improvisation and all wrong turns are played out with joyous discovery. What John Stevens dubbed Maggie's “ability to find the ‘rhythmelodic’” meets a willingness to be understood and to understand. Solo at the piano, Nicols is still firmly rooted in the collective however - “Sans Papiers” sets the words of poet Vicky Scrivener to tune; a story of migration and struggle which is as important to Nicols as the songs her mother wrote. Such an intimate recording of her own compositions came with a certain amount of reflection and anxiety - best confronted with time spent freely improvising. ‘Whatever Arises’ - a companion disk to the ‘Songs’ - is a meditation of sorts, a process of ‘following the energy’ which has its roots in John Stevens’ work. “Improvisation gives the confidence to compose,” Nicols told us in an interview about some of her archival tapes, and here the two are as important as each other. Beginning with breath and repetition, ‘Whatever Arises’ allows Nicols’ to find new voices, accompanied by the piano and over dubbings of her tap shoes on the concrete floor. Brilliantly she is able to share her moments of discovery with the listener, finding comfort in vulnerability. Whilst rooted in Stevens’ work, Nicols’ improvisational techniques also remind us of Pauline Oliveros’ Sonic Meditations. They are what has allowed Nicols to find her own sound, to ‘teach herself to fly.’ They have allowed Nicols to grow and share and to be able to keep close the songs that mean so much to her, now shared with us. Recorded at Cafe OTO on July 15th, 16th and 17th 2021 by Shaun Crook. Mixed by Shaun Crook. Mastered by Sean McCann. Artwork by Annalisa Colombara. Lettering by Rosella Garavaglia. Layout by Maja Larrson. ‘Slow Within The Urgency’ inspired by mindfulness teacher Jeff Warren. Original poem ‘Sans Papiers’ by Vicky Scrivener. Original poem ‘You Darkness’ by Rainer Maria Rilke. Music and lyrics to ‘Music Is The Healing Force of The Universe’ by Mary Maria Parks.

UWUW, is: Jay Anderson (Badge Epoque Ensemble, Biblical, Lammping) -
drums Ian Blurton (Ian Blurton's Future Now / Change of Heart / C'mon)
guitar and production Jason Haberman - Bass (Yaehsun / Dan Mangan )
Bass Guest Vocals by: Drew Smith and Marker Starling
After many years of playing in mutually respected bands, Jay Anderson and Ian
Blurton came together through a run of shows, backing mutual friend and singer/
songwriter, Kate Boothman as her drummer, and guitarist, respectively.
Anderson's and Blurton's connection were instant, and a plan was set to start
making music together. As ideas began to take shape, Anderson suggested
bringing in Jason Haberman, a talented bassist, who Anderson had seen play
with Toronto indie- folk band, The Wooden Sky. The trio hunkered down for two
days in Blurton's Pro Gold Studios, jamming out ideas. With the intersection of the
many different bands and genres each brought to the table, songs came together
quickly, with Blurton editing and sculpting, as they went along. Realizing they
didn't want an instrumental record, they layered on bright horns and smooth
vocals, lifting the songs from instrumental jams, to the undefinable yet distinctive
sound that is, UWUW. Saxophonist, Jay Hey, was brought in to provide horn
arrangements, along with Tom Richardson on trombone and Patrick McGroarty
on trumpet, all three contributing on every song.
Giving the songs a voice, literally, are two of Toronto's most distinctive
songwriters: Drew Smith (Bunny, The Bicycles), providing his trademark, 60s
harmony pop and lyrical prowess to Staircase and Landlord ; and Marker Starling;
adding his distinct, easy- glide, story- telling charm to Box Office Poison, and
Scattered Ashes.

To celebrate the 10th anniversary of Recital, we present Autumn Fair: A group LP comprised of 44 guest players (full list below), curated and edited together by Sean McCann.

Autumn Fair aptly embodies the feeling of Recital as a record label; the infusion of abstract sound art and sentimental beauty – performed by both younger and older generations of artists.

Oren Ambarchi - guitar, Ed Atkins - paper shredder, Jason Bannon - family, Derek Baron - keyboard, Karla Borecky - upright piano, Andrew Chalk - guitar, crys cole - birds, Loren Connors - guitar, Philip Corner - grand piano, Maxwell August Croy - whistle, Sarah Davachi - electronics, Aaron Dilloway - SFX, Delphine Dora - voice, Giovanni Fontana - voice, Scott Foust - trumpet, Peter Friel - impression, Malcolm Green - camera, Judith Hamann - cello / voice, Mark Harwood - speech, Forest Juziuk - voice, Johnny Kay - tapping, Kajsa Lindgren - hydrophone, Rob Magill - guitar, Lia Mazzari - whip, Molly McCann - flute, Sean McCann - editing / voice, Nour Mobarak - voice sampler, Azikiwe Mohammed - interview, Charlie Morrow - MIDI piano, Kiera Mulhern - SFX, Zachary Paul - violin, claire rousay - SFX, Michel Samson - violin, Troy Schafer - strings, Eric Schmid - tone generator, Ben Schumacher - SFX, Tom James Scott - keyboard / SFX, Asha Sheshadri - reading, Patrick Shiroishi - winds, Sydney Spann - voice, Matthew Sullivan - instruments, Flora Sullivan-Kelly - percussion, Connor Tomaka - SFX / synth, Alex Twomey - upright piano.

I won't go into too much detail on the album itself, but after many twists and turns, the album concludes with “Recital Program,” an intense track that manically collages two-second excerpts from every Recital album to date.

I extend a sincere ‘thank you’ for all the incredible support for Recital over the past decade.

Ltd. LP Edition of 350 copies on 175gram black vinyl, gold foil printing, incl. program notes, comes with printed ticket, mechanically numbered.

It’s a beautiful phenomenon,” says Trampled by Turtles’ Dave Simonett, before adding with characteristic sincerity: “Everybody should see it." Simonett is talking about alpenglow, the natural event that washes mountains on the horizon in smoldering red and pink light, just before the sun sets or rises. It’s a harbinger of change––the space between new and old. It’s also the name of Trampled by Turtles’ new album, the band’s tenth. “My favorite part about making music is making records,” says Simonett. “I’m really excited about this one.” Produced by Wilco’s Jeff Tweedy, Alpenglow offers resounding proof that the beloved six-piece from Minnesota remain uncontested champs of understated virtuosity, literary songwriting, and a joyful hodgepodge of folk heart, rock-and-roll muscle, and string-band zen. Almost 20 years after first getting together, Trampled – that’s lead singer and songwriter Dave Simonett, bassist Tim Saxhaug, banjo player Dave Carroll, mandolinist Erik Berry, fiddle player Ryan Young, and cellist Eamonn McLain – also keep finding new ways to surprise us and one another. While many of the songs on Alpenglow grapple with change, none try to offer answers. Nothing’s neat and tidy. Instead, Trampled find endearing ways to sit in the tension, hope, and sense of loss that transitions and hard questions create. Then, just by expressing what’s there, the music offers comfort.

Pkew Pkew Pkew is looking on the bright side. As a band that lives and dies by touring, it’s been a while since they could say fuck it, we’re taking a year off to make something. That decision wasn’t entirely theirs, but 2020 handed them an opportuni-ty. Open Bar doesn’t navigate any of the tired pandemic tropes. Instead, Pkew is celebrating the things that make their lives awesome, even if those things suck sometimes. The band was forced to take a step back and use a slower approach. Mike Warne (guitars/vocals), Ryan McKinley (guitars/vocals), Emmett O’Reilly (bass/vocals) and David Laino (drums) bounced song ideas off Craig Finn of The Hold Steady, and went into the studio with Jon Drew, who produced their first album. “Since we didn’t have a hard deadline to finish, we felt a lot more freedom to take our time and mess around in the studio. Jon is the kind of producer that is down to try anything, so we had lots of fun playing with trumpets, old moog synths, glockenspiels,” says Warne. In a weird year, the familiar Pkew themes—navigating life’s small daily troubles with a sardonic grin and your friends by your side—are comforting, nostalgic. The result is tight, rowdy modern punk with the heart and soul of classic rock. It’s cracking a beer in the park, plugging in the AUX cord on a summer road trip, cramming into a sweaty bar with your friends and a million strangers.

JARV IS... have written & performed the original soundtrack for the critically acclaimed BBC TV series "This is Going to Hurt" based on Adam Kay"s award-winning international multi-million selling memoir of the same name. The soundtrack was recorded at Narcissus Studios, London by Drew Dungate-Smith during various sessions throughout 2021. Most of the performances are live takes featuring the entire band - often recorded whilst they watched the playback of key sequences from the series. Each episode features at least one song with lyrics by Cocker, who had access to the scripts (adapted by Adam Kay from his own book) from an early stage in the production process. JARV IS... is a band comprising Jarvis Cocker, Serafina Steer, Emma Smith, Andrew McKinney, Adam Betts & Jason Buckle. The soundtrack consists of a mixture of songs & instrumental pieces, with Cocker & Steer being the main composers. Cocker is quoted as saying "It"s our love song to the NHS".

* Dazed and Amazed Duo Color Vinyl * Fully printed inner sleeves * Liner notes by Larry Mizell Jr. // The album is named for the combs used to maintain an Afro hairstyle, and that's significant. The group's Ishmael "Butterfly" Butler said it summed up what they wanted to do with it: "It means the utilization of the natural, a natural style," he has said. Like with 1993's debut _Reachin' (A New Refutation of Time and Space)_, 'utilizing the natural' meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig 'Doodlebug' Irving and Mary Ann 'Ladybug Mecca' Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr's Guru, Jeru the Damaja, and Jazzy Joyce. Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics - and its original inner sleeve was modeled on the newspaper of the Black Panther movement.

More solid UK boogie & brit-funk courtesy of Freestyle Records - this time giving the 12" reissue treatment to short-lived group Cool Runners' 1982 single Checking Out, backed up with sought-after High on a Feeling.

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As Cool Runners' Paul Tattersall recalls, "this single was a follow-up to the "Play The Game (So You Think It Funny) / Hawaiian Dream" 12" which we believe got to around number 60 in the national charts, and was at the time heavily played on the radio by DJ Greg Edwards who sadly passed away earlier this year..." Recorded mixed and mastered then licensed for release to MCA, this initial single also relased in 1982 was voiced by Tony Jackson, then part of Paul Young's backing band as his career took off in the charts. Tony formed part of a string of funk groups throughout the 70s and early 80s - Sweet Dreams, Midnight, Ritz & Indigo - and later went on to be successful as lead singer in Rage.

These tracks "Checking Out" and "High on a Feeling" on the other hand features the vocal talents of Rush Winters, who would go on to record with the likes of Carmel, Yello, D.C.Lee and others. "It received little in the way of promotion by the record company at the time", Tattersall continues "so it has produced a cult following and has become rather sought-after, as few copies were actually released at that time."

After release, Cool Runners' Paul Tattersall and Chris Rodel then played with several different bands, with Chris moving onto double bass. He still plays professionally today as an accomplished jazz bass player. Paul has run a successful musical hire company in North London, with a specialism on synths and keyboards, since the eighties - and continues to this day.

+ 10 Tracks for download
Preceded by the successive releases of lead singles "Sandcastles" and "My Mind", here comes the versatile debut full-length offering from Tel-Aviv-based producer Kadosh on Stil vor Talent, "Unanimously". Bridging the club universe with that of deeper, further immersive off-floor narratives, Kadosh entices us down a compelling path of rhythmic enlightenment and all-embracing togetherness. Casting mutable strains of EBM, house, pop and exotica entangled in one dizzying polyphony throughout the album, the Israeli vibist has us surfing our way across his musical headspace effortlessly.

From the stealth, neo-noir-like opening sequence of "Interstellar" feat. Marc Piñol to the epic Luso-Italo vibrations of "Sandcastles" feat. vocal hoodooist Abra~o, via the exquisite Afro-informed piano house and all-round atmospheric luxuriance of "My Mind" feat. Floyd Lavine and Erika Krall's supremely smooth yet characterful timbre, Kadosh swings the pendulum with constant surprise and bravura. Aside from his compositions' obvious hooking nature, there's also great lots of textural back funk to dive in at every corner. Hauntingly transporting, "From Jaffa to Frederichshain" feat. Upon You's Marco Resmann works a more jagged programming, flush with big-room reverbs and muted drums, while the slo-evolving "Pronto" feat. Emanuel Satie morphs from a low-key DJ tool into a full-fledged, melancholy-charged peak-time burner.

Bearing both Kadosh and David Mayer's signature, "1999" lets the 80s-inherited arsenal of iridescent Casio synths and lashing percussions talk in unhindered fashion, whereas "Volantage" feat. Murat Uncuoglu goes all in on the trampling kicks, sooty claps and prismatic keyboard stabs. Sensual to the fullest, "Moran" in collaboration with Rodriguez Jr. is certainly one of the album's highlights with its impeccably laid-down melange of bassy thunder and shapely Latin rhythmic backbone ushering us down an irresistibly poignant and hypnotic tunnel of sound. A joint effort with Locked Groove, "Far Too Close" is a further loopy discoid affair reminiscent of the French filtered-house scene's heyday, while the album's closer "Think it Over" feat. Stereo MC's is that perfect pop-indebted electro chugger that'll rev up any tired engine with reinvigorated, ecstasy-inducing horsepower.

What Are People For? make the perfect kind of dystopic dance music for our times. Born from a collaboration between artist Anna McCarthy and musician/producer Manuela Rzytki, the band could be the illicit lovechild of Tom Tom Club and Throbbing Gristle, displaying the ideal balance of hip shaking vibes and dark provocative content.

On their collaborative debut, McCarthy and Rzytki share songwriting duties. The album was produced by Rzytki herself. They are joined by Paulina Nolte on backing vocals and Tom Wu on drums, while Keith Tenniswood mastered the record.

The whole project stems from a publication and exhibition by McCarthy laying the foundations for the content and lyrics of the album, which is humorous, poetic and political. As a lyricist, McCarthy uses her storytelling ability to explore anxieties and desires, digging into free surreal word associations reminiscent of Su Tissues’ tongue in cheek experiments with Suburban Lawns, but also explosive and gripping like a Kae Tempest rap.
Rzytki’s precise sonic palette and talent at penning structured bangers perfectly complement McCarthy’s playful and subversive language manipulations. Rzytki's beats are rooted in old school Hiphop loop principles and an authentic love for the analog. Her use of an array of synthesizers and other "real" instruments adds to WAPF's depth, soul and sincerity.

The album opens with a joyful anthem, full of energy and melodic hooks. The audience is confronted with the quintessential titular question What Are People For? and told that they are just a mere disposable commodity. Throughout the album, lyrical themes revolve around underground aspects of society, violence, political ideologies, sexuality and mysticism. The content is deep but the album is as danceable as it is biting.

73, with its drum machine hysteria and hypnotic synth basses is a a text collage written on the 73 bus through London, consisting of situations and conversation snippets encountered along the way. Drones indulges in the narrator’s paranoia as they feel they are being watched by cigarette machines, whilst the haunting choir is half spoken, half sung, ending on the orgasmic chanting of the word “mummy”. Nursery Rhyme brings more soothing incantations. There is definitely an affinity for fairytales, albeit adult ones and especially the anarchistic ones such as The Moomins, who were a consistent influence on the band. The artwork for the record, created by McCarthy, is a beautiful children's book-style painting of the group in a forest, seemingly about to engage in a magical encounter to which we are invited.

WAPF? have absorbed and digested a variety of influences. Trip hop, Punk and Techno are rubbing shoulders on Party Time. 1977 was coined “Summer of Hate” in the UK and unsurprisingly in WAPF?’s Summer of War, ethereal singing alternates with a powerful marching Garage/Grime chorus reminiscent of street protests and UK culture.

Mz. Lazy starts like an invitation to meditation and references Gertrude Stein’s book Ida in which she develops the idea that publicity is a new religion and people are now famous for being famous. Repressed anger explodes into violence and freedom at the end of the song as our heroine eventually grabs an axe to destroy her oppressors.
Fantasize, on its part, is raw, sexual and liberating while the closing track Bring Back the Dirt is a welcome hymn into a world that is becoming more and more sanitised.

While exploring deep subject matters throughout their album, WAPF? manage to remain satirical, exciting and funny. Each and everyone of their songs have a cathartic quality.

The visual identity of the band is intrinsic to their appeal. Live, they are eccentric, wild and unapologetic, wearing see-through costumes, bright miniskirts and intricate headpieces while delivering their songs with sharp intensity. Their performances radiate queer sexiness and transcend B52's thrift store aesthetics, creating a space for collective dreaming.

WAPF? is a rare combination of contemporary punk energy, irresistible groove, absurdist dry humour and astounding depth of field. They have the mighty power to create a party with their music and soon you will find yourself lifting your arms as if controlled by an external force, to chant: WAPF? WAPF? WAPF?

– Marie Merlet (Malphino, Little Trouble Girls, London)

David Gedge says: "With its 1950s theremin and science-fiction sound effects, `Astronomic' sounds a bit like a cross between a psychedelic pop song and a television theme. It's also The Wedding Present's job to be educational as well as entertaining, of course, and who knew that `hypersonic speed' is actually defined as one that exceeds five times the speed of sound? Certainly not me. But I know now! Oh, and wait until the very end of the track to hear another of those occasional Wedding Present references to Status Quo, too. Meanwhile, `Whodunnit' no question mark because it's referring to the literary genre rather than asking a question is a much more melancholy affair, which is what we've come to expect from songs which are primarily Melanie Howard co-creations. It might win the prize for the most powerful chorus of the series, though" Tenth release in this monthly series, in 2022 The Wedding Present will be releasing a new 7" single every month, #9 is available for indie record stores only soonThis fascinating project - which goes under the name of 24 Songs - comes thirty years after the band's similar Hit Parade series of 7"s in 1992 and features two brandnew recordings of the current WP incarnation. Each of the records comes in a beautifully designed sleeve featuring brutalist photography by Jessica McMillan

featuring Tennishu and R4ND4ZZO BIGB4ND


Ihr neues Album Butcher Brown Presents Triple Trey featuring Tennishu and R4ND4ZZO BIGB4ND erscheint am 16.09.
Das fünfköpfige Kollektiv Butcher Brown aus Richmond veröffentlicht mit Unbelievable bereits ein weiteres Stück aus ihrem kommenden Big-Band-Album. Der Track ist ein Beispiel der dynamische JazzNeuinterpretation des gleichnamigen Songs von Notorious B.I.G. und wird von einem mitreißenden Video
der Band begleitet, die den Song live performt.
Das Album wurde ursprünglich vom MC und Multiinstrumentalisten der Band, Tennishu, als HipHopAlbum geschrieben und produziert und hat sich seitdem zu Butcher Browns eigener eklektischer Ode an
den Big-Band-Jazz entwickelt, ihrem ersten Ausflug in dieses Format. Butcher Brown Presents Triple Trey
ist bahnbrechend in seiner Annäherung an den klassischen Jazz. Die Band und die R4ND4ZZO BIGB4ND
spielen eine Collage aus Jazz-Suiten für ein HipHop-Album und integrieren gleichzeitig die ganz eigene
Mischung aus Soul, Funk und Rock-Elementen, für die Butcher Brown bekannt ist.

“Micro tonal poetry” - Mats Gustafsson

'Its an honor for the AFJ-Series to introduce the self-titled debut album by Danish Oslo resident Signe Emmeluth. Recorded at Flerbruket, in the forest an hour outside of Oslo - Emmeluth alone in a room with her alto and tenor saxophones.

A fantastic session of sax solo ecstasies recorded by Magnus Hemnes Nergård. Much like Joe McPhee’s Tenor and Peter Brötzmann’s 14 Love Songs, this album share the same beautiful intimacy. It is close, sparse, poetic and raw at the same time. Minimalist and soulful free music.

Signe Emmeluth is a Danish saxophonist and composer educated by the Jazz Department in Trondheim and is currently based in Oslo. Emmeluth has recently become a rising star on the international scene for improvised music. She has her own quartet Emmeluth’s Amoeba and has worked with Trondheim Jazzorkester, John Edwards, Tony Buck, Paal Nilssen-Love, Mats Gustafsson and Mette Rasmussen to name a few.'

All music by Signe Emmeluth, except 'I’ll Be Seeing You' by Sammy Fain
Signe Emmeluth: alto saxophone, tenor saxophone, recorder and electronics
Recorded at Flerbruket, Hemnes (December 2020/January 2021)
Sound Engineer: Magnus Skavhaug Nergaard
Mix/Master: Lasse Marhaug
Artwork: Kim Hiorthøy

Tak til Karl, Magnus, Lasse og Joakim for hjælp og gode vibber

Written and recorded in the midst of a dizzying stretch in which nearly everything about the way the band lived and worked was turned on its head, Motel Radio's "The Garden" is indeed a work of relentless hope. The songs are profoundly vulnerable here, and the performances are warm and breezy, calling to mind everything from Andy Shauf and Cass McCombs to Beck and Tame Impala with an easygoing demeanor that belies the deep emotional work underpinning them. Motel Radio generated early buzz in their adopted hometown of New Orleans on the strength of their 2015 debut EP, Days & Nights, which helped land them dates with the likes of Kurt Vile and Drive-By Truckers in addition to festival slots at Firefly, Jazz Fest, and more. The band followed it up with the similarly well-received Desert Surf Films in 2016 and their first full-length, Siesta Del Sol, in 2019, touring the country on a seemingly endless loop as they built up their devoted following one night at a time. Since then, the band had set a goal of becoming more self-sufficient and learning to record on their own, and when it came time to cut The Garden, they dove in headfirst, cutting half the collection in an old fishing camp south of New Orleans with the help of engineer Ross Farbe (Video Age, Esther Rose) and the other half fully remotely while engineering themselves. "There was this real creative freedom that came with working remotely and learning how to run the sessions on our own," explains co-lead singer Ian Wellman. "Synths, samples, beats, plug-ins; suddenly these whole new worlds of sound were at our fingertips and the possibilities were limitless." That creative liberation is easy to hear on The Garden, which opens with the mesmerizing "Wise." Like much of the album, it's a gentle meditation on finding joy and fulfillment, on spreading love and positivity. "I've gotta open my eyes," co-lead singer Winston Triolo sings over dreamy guitars and a hypnotic digital drum loop. "I only get one life, well now how can I live it wise?" The airy "Outta Sight" celebrates the simple pleasures of letting go and being present, while the washed-out "Sweet Daze" revels in the warmth of human connection, and propulsive "Happiness Pie" looks for ways to share the comfort and contentment that comes with self-acceptance. On The Garden, they've realized there's no sweeter garden than the one you grow yourself.

We are excited to reissue Kuedo's classic 2011 album 'Severant' on double vinyl for the first time, and with a bonus track 'Work, Live & Sleep In Collapsing Space'. The cover artwork has been redesigned by Raf Rennie (Who also designed Kuedo's recent album on Brainfeeder, Infinite Window). In terms of feeling, ‘Severant’ explores the space between the detached world of the imagination and the real-time world; that feeling of coming out of a daydream, on the edge of the drift from the day-to-day grind. Jamie says of this moment ”As reality shapes imagination and escapism affects your choices in the real world, there is a strange relational loop between the two and the space in between the two. There’s a bitter sweetness in that gap, it has a certain emotive quality, kind of in between being and non-being”. Again, musically ‘Severant’ is inspired by related themes. It sounds as if it’s in a sweet spot between the emotive, innately futurist synth soundtracks of Tangerine Dream and Vangelis, borne from a time when the very idea of futurism was more prevalent, in combination with musical ideas and inspiration from the emotionally ambivalent, materialist fantasies of ‘coke rap‘ such as The Clipse. Rhythmically the record is influenced by what Jamie calls ”the two ultra modernmusics of modern times”, footwork from Chicago, which Planet Mu has explored in depth on its recent releases, and again the drum machine grids of coke rap. Jamie says ”I wanted to capture a really futurist sentiment, kind of melancholy and grand luminescent, so I used the instrument that most evokes that for me - that sweeping Vangelis brass sound.” And on coke rap he talks about the emotional ‘half being’ of the music, the energetically charged, detached ambivalence of the MCs, and the admission that the MCs could be ”fantasising without admitting to doing so.”

Heady with hooks and unforgettable melodies, gliding on deeply danceable grooves, always with Air Waves’ innate compassion, concision and uncanny pop sense shining throughout. A masterpiece that’s beautifully simple, instantly accessible and entirely addictive. Featuring Cass Mccombs, Skyler Skjelset (Fleet Foxes, Beach House), Luke Temple, Brian Betancourt (Hospitality, Sam Evian), Rina Mushonga, Frankie Cosmos, Lispector, David Christian, Ethan Sass, and Ben Florencio. ‘The Dance’ has waited three years to see the light of day and it comes to us now, blinking, smiling in the widening light of 2022 feeling more needed and necessary but also more joyous than ever before. It’s both a snapshot of these songs as they were recorded but crucially, in the intervening time those songs have had additional arrangements crafted by Nicole, created remotely and virtually, with a few like-minded collaborators. The result is simultaneously Air Waves freshest, most spontaneous yet finessed album yet. Nicole Schneit released their first independent album in 2009 under the Air Waves moniker, a name inspired by a Guided By Voices song - subsequent albums like 2010’s ‘Dungeon Dots’ (which featured a guest vocal from fellow Brooklynite Sharon Van Etten), 2015’s ‘Parting Glances’ and 2017’s stunning ‘Warrior’ crystallised Schneit’s vision of loose-but-focused, convivial but startling pop. ‘The Dance’ continues that trajectory but finds Schneit opening up their music to a more fluid sense of space and movement, while keeping their lyrical eye between the personal and the political, from the specific to the universal with a haiku-like directness and suggestion. You won’t find a better soundtrack for the solidarity, strength, romance and movement we all need right now than ‘The Dance’ - Air Waves’ best album yet // “There is a rawness, both musical and emotional, proving that the simplest ways to communicate feelings are sometimes the most effective” Pitchfork // “More varied and ambitious than ever” Stereogum // Track List A1 The Roof (feat. Luke Temple & Rina Mushonga) A2 The Dance A3 Star Earring (feat. Lispector) A4 Alien (feat. Cass McCombs) B1 Black Metal Demon (feat. Frankie Cosmos & Merce Lemon) B2 Treehouse B3 Wait B4 The Light B5 Peer Peer