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‘Runner is a calmly luminous orchestral piece with the pulsating, propulsive
rhythms that animate much of Mr. Reich’s music.’ – New York Times

‘Reich interweaves the two groups to create a dense textural tapestry that sounds like his most native orchestral thinking to date. A beautiful and dramatically charged masterpiece.' – San Francisco Chronicle

Nonesuch Records releases the first recordings of Steve Reich’s Runner (2016) and Music for Ensemble and Orchestra (2018), performed by the Los Angeles Philharmonic and conducted by Susanna Mälkki.

Reich says Runner is written “for a large ensemble of winds, percussion, pianos, and strings. While the tempo remains more or less constant, there are five movements, played without pause, that are based on different note durations. First, even sixteenths, then irregularly accented eighths, then a very slowed-down version of the standard bell pattern from Ghana in quarters, fourth a return to the irregularly accented eighths, and finally a return to the sixteenths but now played as pulses by the winds for as long as a breath will comfortably sustain them. The title was suggested by the rapid opening and my awareness that, like a runner, I would have to pace the piece to reach a successful conclusion.”

“Music for Ensemble and Orchestra is an extension of the Baroque concerto grosso where there is more than one soloist,” the composer continues. “Here there are twenty soloists – all regular members of the orchestra, including the first stand strings and winds, as well as two vibraphones and two pianos. The piece is in five movements, though the tempo never changes, only the note value of the constant pulse in the pianos. Thus, an arch form: sixteenths, eighths, quarters, eighths, sixteenths. Music for Ensemble and Orchestra is modeled on my Runner, which has the same five movement form.”

Nonesuch has recorded every new piece of music by Steve Reich since 1985, beginning with The Desert Music and continuing through 2018’s Pulse/Quartet, resulting in 22 albums and the two box sets Phases in 2006 and Works: 1965-1995 in 1997. Most recently, the label released his Reich/Richter, performed by Ensemble intercontemporain and conducted by George Jackson, in June 2022. The Times said, ‘What a delight to be able to focus on the music, delivered here with a clever mix of pinprick precision and reverberant haze by 14 members of Ensemble Intercontemporain. The more intently you listen, the more subtleties emerge among the shifting, criss-crossing textures and phrases, sometimes coloured with gentle melancholy but decisively upbeat by the end. Reich/Richter is an ear-tickling tonic and a happy companion to Reich’s newly published book, Conversations.’ Nonesuch will put out a collection of Reich’s complete works in 2023.

Reich released a book earlier this year, Conversations, that includes dialogues with past collaborators, fellow composers, musicians, and visual artists who have been influenced by his work, including: David Lang, Brian Eno, Richard Serra, Michael Gordon, Michael Tilson Thomas, Russell Hartenberger, Robert Hurwitz, Stephen Sondheim, Jonny Greenwood, David Harrington, Elizabeth Lim-Dutton, David Robertson, Micaela Haslam, Anne Teresa de Keersmaeker, Julia Wolfe, Nico Muhly, Beryl Korot, Colin Currie, and Brad Lubman. The Wall Street Journal called the book ‘a testament to the influence of an idea – one that triggered a cultural turning point,’ and the New York Times said, ‘The joy of the book is to hear artists from a variety of disciplines and backgrounds rhapsodizing about their relationship to Reich’s music and how it influenced their own creative processes.’

Steve Reich has been called ‘America’s greatest living composer’ (Village Voice), ‘the most original musical thinker of our time’ (New Yorker), and ‘among the great composers of the century’ (New York Times). His music has influenced composers and mainstream musicians all over the world. Music for 18 Musicians and Different Trains have earned him two Grammy Awards, and in 2009, his Double Sextet won the Pulitzer Prize. Reich’s documentary video opera works – The Cave and Three Tales, done in collaboration with video artist Beryl Korot – have been performed on four continents. His recent work Quartet, for percussionist Colin Currie, sold out two consecutive concerts at Queen Elizabeth Hall in London shortly after tens of thousands at the Glastonbury Festival heard Jonny Greenwood (of Radiohead) perform Electric Counterpoint followed by the London Sinfonietta performing his Music for 18 Musicians.

In 2012, Reich was awarded the Gold Medal in Music by the American Academy of Arts and Letters. He has additionally received the Praemium Imperiale in Tokyo, the Polar Music Prize in Stockholm, the BBVA Award in Madrid, and the Golden Lion at the Venice Biennale. He has been named Commandeur de l’Ordre des Arts et des Lettres and has been awarded honorary doctorates by the Royal College of Music in London, The Juilliard School, and the Liszt Academy in Budapest, among others. ‘There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them,’ states the Guardian.

Redefining what an orchestra can be, the Los Angeles Philharmonic (LA Phil) is as vibrant as Los Angeles, one of the world's most open and dynamic cities. Led by Music & Artistic Director Gustavo Dudamel, this internationally renowned orchestra harnesses the transformative power of live music to build community, foster intellectual and artistic growth, and nurture the creative spirit. This is the third recent recording by the orchestra on the label; the others were the Louis Andriessen pieces The only one and Theatre of the World. Additionally, the Los Angeles Philharmonic’s recordings of The Gospel According to the Other Mary and Must the Devil Have All the Good Tunes?, with Yuja Wang, released on Deutsche Grammophon, are included in this year’s John Adams Collected Works boxed set. Nonesuch also released an LA Phil recording of Adams‘ Naïve and Sentimental Music in 2002.

Susanna Mälkki is sought-after at the highest level by symphony orchestras and opera houses worldwide. About to embark on her final season as Chief Conductor of the Helsinki Philharmonic Orchestra, she concludes a seven-year tenure with a distinctive dynamism and imaginative flair to her programming. In addition to a full season in Finland, she will lead the Helsinki orchestra on tour to the prestigious Lucerne and Edinburgh festivals, New York’s Carnegie Hall, and Washington’s Kennedy Centre this season.

If you've been in the club scene for many years like David Dorad, you will one day face the big, essential, serious questions that each of us will ask ourselves sooner or later:

Are marmots pack animals?
Can marmots sign language?
Do marmots plan their lives according to European or Chinese zodiac signs?
Do marmots need a special passport, after all they don't have a thumb to turn the pages?
What happens when a marmot eats Coke and Mentos at the same time?

And with all those questions whistling, hissing and muttering in his head, David grabbed piano, baton and BioBassline to crochet his new EP.
This is called "Marble" and offers 6 different approaches to solve these big questions.
As a source of ideas, he has competent partners at his side in Roman Flügel, Mira, Christopher Schwarzwälder, Canson and Sascha Cawa.


A1 -
Murmeli - original
The marmot tribe awakens. Get up to brush your teeth. Gets your toes tapping. Makes you snap your fingers. Dare to roll your hips. Later rhythmically to turn. To look elegant at the same time. Eyes closed - eyes open.
Murmeli, the regular leader, sits at the piano.
Everyone is dancing, toothpaste in the corners of their mouths and a smile that takes the toothpaste by the hand.
A normal morning in marmot houses.

B1 -
Murmeli - Mira & Christoph Schwarzwald RMX
Mira and Christoph Schwarzwalder take over from Murmeli. They vary, combine and subtract. The first marmots raise their thumbless fists in the air - showing their passports, ready to take off.

B2 -
Murmeli - Canson RMX
Canson also sits next to Murmeli. Caress the theme, tickle the groove.
Murmeli has the best ideas early on: "Boy, let's try Mentos with Cola, we'll definitely take off."
Canon is in!


C1 -
Murmelot - Original
The sun goes down in Murmelhausen too. Then Murmelot is ready. Gives his advanced Pilates class, which the whole tribe takes. The village wants to remain mobile.
Murmelot's motto is "Why not stretch while walking?"
And so shall it be. He sets the rhythm on his wooden Fairtrade 303 and our furry friends shave shaky and obscene messages down each other's backs while impatiently hopping for the drop.

D1 -
Murmelot - Roman Flügel Remix
Roman Flügel and Murmelot are old buddies. Struck while carving the 303.
Roman happily takes over the Pilates class, the dancing crowd. Enchanted until the razor's batteries are empty and only dancing remains, only dancing is important.

D2 -
Murmelot - Sascha Cawa RMX
Sascha Cawa takes his trunk by the hand, wants to motivate her again shortly before the second sunset of the day. Whispers little obscene Pilates positions in their ears. That motivates. Murmelot switched from piano to percussion.
The marmots' sweat feeds the golden orchids in the clearing for the next six months.

From contemporary admirers of Sakamoto's work like Thundercat, Devonté Hynes, and Hildur Gudnadóttir to longtime collaborators and friends like David Sylvian, Alva Noto, Cornelius, and Fennesz, plus some of Sakamoto's personal favourites like Lim Giong, Gabrial Wek, and 404. zero, the included artists reflect the breadth of Sakamoto's influence on contemporary music. Given full access to the musician's extensive catalogue of solo releases and film scores, each artist personally selected their contribution and put their unique spin on Sakamoto's originals.

"Love Is Overtaking Me", originally released in 2008 comprises 21 demos and home recordings of unreleased pop, folk and country songs from Arthur"s vast catalogue. While much critical and popular affection for Russell"s music has come about well after his untimely death from AIDS in 1992, many fellow artists believed in his genius and were drawn to collaborate with him during his lifetime. The legendary producer John Hammond (Billie Holiday, Bob Dylan, Bruce Springsteen) recorded Russell on several occasions; a number of these recordings can be heard on "Love Is Overtaking Me". Alongside songs recorded with various incarnations of The Flying Hearts, a group formed by Russell with Ernie Brooks whose shifting line up included, by turns, Jerry Harrison, Rhys Chatham, Jon Gibson, Peter Gordon and Peter Zummo as well as Larry Saltzman and David Van Tieghem. Several other Russell projects are represented on Love Is Overtaking Me, including The Sailboats, Turbo Sporty and Bright & Early. Compiled from over eight hours of material, "Love Is Overtaking Me" reaches back further to Russell"s first compositions from the early `70s and spans forward to his very last recordings, made at home in 1991. Chris Taylor of Grizzly Bear contributed mixing, restoration and editing to the album, whose tracks were selected by Audika"s Steve Knutson, Ernie Brooks and Russell"s companion, Tom Lee. Several songs feature prominently in Matt Wolf"s film "Wild Combination: A Portrait of Arthur Russell". Extensive "Love Is Overtaking Me" liner notes by Tom Lee provide an intimate perspective on Russell"s diverse catalogue, which spanned an extraordinary diversity of styles and won the love of artistic communities that would seem utterly disparate, from Philip Glass, John Cage and Allen Ginsberg to rock bands like The Talking Heads and The Modern Lovers; the pre-Studio 54 disco-party scene of Nicky Siano"s Gallery and David Mancuso"s Loft; and DJ-producers like Francois Kevorkian and Larry Levan, among others.

Repress of the 2010 classic “The Jazz Files” by Dexter from the legendary Hi-Hat Club series. Jazz is the subject!

Dexter is taking an new look at the long going love affair between hip-hop and jazz. From Stetsasonic to Gang Starr to Madlib, it is not an easy path to follow, but the 26 year old producer is adding a new and fresh style to it. The sound design of Dexter's "Jazz Files" is dusty but with an unmistakable 2010 twist. As much inspired by Wes Montgomery and Ramsey Lewis as by Sun Ra and Dave Pike, Dexter's tracks are never just "jazzy". They live and breathe jazz by combining the freedom and artisty of jazz with the craft of a free-thinking beatsmith.

And the "Jazz Files" are fun too. By implanting quotes an samples from interviews and tv shows such as the classic NBC program "The Subject Is Jazz", Dexter is telling his own little story of jazz. One that had it's starting point in the massive record collection of his father and grew into shape during a long hot summer blasting nothing but Ahmad Jamal and Sun Ra.

About Dexter: The 26 year old producer, DJ and MC is part of the Wortsport collective from Heilbronn. He has made beats for Morlock Dilemma, Damion Davis, Jaques Shure, Audio 88 & Yassin and Retrogott. He likes Flylo, Madlib and Oh-No as much as libary music, psych rock and Amiga Schlager. Dexter is one of the founding member of the Generation Tapedeck blog and has just started a new project with Suff Daddy.

About the Hi-Hat Club: MPM have teamed up with photographer Robert Winter to take a look behind the beat, into the bedrooms and makeshift studios of today's beat generation. Every Hi-Hat Club volume consits of an LP packaged with Rob's photos and accompanied by more pics on the Hi-Hat Club blog plus additional infos, free beats and drinks. Exhibitions in records stores and galleries are in the making too. Hi-Hat Club parties have been taken place in Cologne and Berlin so far. Watch out for more nights in 2010.

Musically the Hi-Hat Club promotes total artistic freedom. We are not bound to any sound or school. A Hi-Hat Club record can be anything from boom-bap to aqua crunk or whatever is fresh and dope.

* The 7” A side, ‘My Homeland’, is a Sax/Hornz instrumental track and features top Jamaican Hornzman, Alvin Davis. The B side has a heavyweight Dub from Alien Dread.

Alvin is also well known ref Jazz and other musical areas, as well as Reggae and has worked with many Jazz, Soul and mainstream artists including: Andy Hamilton, Rose Royce, Prince, Edwin Starr, The Foundations, Neville Staples (Specials & Fun Boy Three), Jackie Graham, Nigel Kennedy and Reggae-wise, Alton Ellis, Macka B, Maxi Priest and David Hinds (Steel Pulse) and many others.

An alternate version of A side track will be featured on the forthcoming Alvin Davis & Alien Dread album: Dreadland (Iron Sound).

25TH ANNIVERSARY in Yellow Vinyl

The eighth Studio Album by the Band, released on April 22, 1997. It was produced by Roger Moutenot and recorded at House of David in Nashville The Album expands the guitar-based pop of its predecessor Electr-O-Pura to encompass a variety of other music genres, including Bossa Nova, Krautrock and Electronic Music. Most of the Songs on the Album deal with melancholy emotions and range from short and fragile Ballads to long and open-ended dissonance.

Five years after "Mort d'un Pourri" (Death of a Corrupt Man) Philippe Sarde finds Alain Delon for this adaptation of a violent thriller by Jean-Patrick Manchette. If "Le Choc" (The Shock) offers a rather watered down vision of the original novel, the composer chooses to give a boost. Sarde explains : “My position was this : to inject singularity into this somewhat smooth story. I get some really good soloists together for an unconventional score balanced between rock, jazz fusion and romanticism. I wanted it to be energetic with a modern drive. To me, "Le Choc" is a direct extension of the great blends in "César et Rosalie" or "Coup de Torchon (Clean Slate)". A jazz-rock rhythm section, musicians from Weather Report with the London Symphony Orchestra, and the great Wayne Shorter. I

asked him if he could play his soprano with a timbre like a bombard, an unexpected transposing of a folk instrument onto a jazz horn..." To director Robin Davis, this magnificent score will be a real lifeline : "With his music, Philippe told a story alongside mine, he brought "Le Choc" back to what it might have and should have been. And I love the invisible link with Lautner. After Stan Getz and "Mort d'un Pourri", we’re still with Delon & Sarde but this time the saxophonist is a black American, Wayne Shorter."

Pressed for the first time from a high definition transfer of the recording tapes, this new album has been mastered without any compression, respecting all the dynamics of the recording produced at Abbey Road.

‘Stranger Things 4 (Original Score From The Netflix Series)’ by
Kyle Dixon and Michael Stein, is now available.
Split over two volumes - this is Volume 1.
The double CD comes housed in a jewelcase.
The vinyl comes in a gatefold sleeve with printed inner sleeves.
The vinyl is available on ‘one disc clear / one disc blue’ coloured
vinyl and black vinyl.
“A pretty spectacular score from Kyle Dixon and Michael Stein”
- Collider
“A stunningly creepy original score by Kyle Dixon and Michael
Stein” - Billboard
Score written, performed and produced by Kyle Dixon and
Michael Stein (‘Native Son’, ‘Valley Of The Boom’, ‘Spheres’,
‘Butterfly’, and their band S U R V I V E).
‘Stranger Things’ has won seven Emmy Awards, and has been
nominated for 216 various awards, with 77 wins.
Starring Winona Ryder (Joyce Byers), David Harbour (Sheriff
Jim Hopper), Finn Wolfhard (Mike Wheeler), Millie Bobby Brown
(Eleven), Gaten Matarazzo (Dustin Henderson), among many
others
‘Stranger Things 4’ is Netflix’s most-viewed English language
series of all time.

‘Stranger Things 4 (Original Score From The Netflix Series)’ by
Kyle Dixon and Michael Stein, is now available.
Split over two volumes - this is Volume 1.
The double CD comes housed in a jewelcase.
The vinyl comes in a gatefold sleeve with printed inner sleeves.
The vinyl is available on ‘one disc clear / one disc blue’ coloured
vinyl and black vinyl.
“A pretty spectacular score from Kyle Dixon and Michael Stein”
- Collider
“A stunningly creepy original score by Kyle Dixon and Michael
Stein” - Billboard
Score written, performed and produced by Kyle Dixon and
Michael Stein (‘Native Son’, ‘Valley Of The Boom’, ‘Spheres’,
‘Butterfly’, and their band S U R V I V E).
‘Stranger Things’ has won seven Emmy Awards, and has been
nominated for 216 various awards, with 77 wins.
Starring Winona Ryder (Joyce Byers), David Harbour (Sheriff
Jim Hopper), Finn Wolfhard (Mike Wheeler), Millie Bobby Brown
(Eleven), Gaten Matarazzo (Dustin Henderson), among many
others
‘Stranger Things 4’ is Netflix’s most-viewed English language
series of all time.

‘Stranger Things 4 (Original Score From The Netflix Series)’ by
Kyle Dixon and Michael Stein, is now available.
Split over two volumes - this is Volume 1.
The double CD comes housed in a jewelcase.
The vinyl comes in a gatefold sleeve with printed inner sleeves.
The vinyl is available on ‘one disc clear / one disc blue’ coloured
vinyl and black vinyl.
“A pretty spectacular score from Kyle Dixon and Michael Stein”
- Collider
“A stunningly creepy original score by Kyle Dixon and Michael
Stein” - Billboard
Score written, performed and produced by Kyle Dixon and
Michael Stein (‘Native Son’, ‘Valley Of The Boom’, ‘Spheres’,
‘Butterfly’, and their band S U R V I V E).
‘Stranger Things’ has won seven Emmy Awards, and has been
nominated for 216 various awards, with 77 wins.
Starring Winona Ryder (Joyce Byers), David Harbour (Sheriff
Jim Hopper), Finn Wolfhard (Mike Wheeler), Millie Bobby Brown
(Eleven), Gaten Matarazzo (Dustin Henderson), among many
others
‘Stranger Things 4’ is Netflix’s most-viewed English language
series of all time.

‘Stranger Things 4 (Original Score From The Netflix Series)’ by
Kyle Dixon and Michael Stein, is now available.
Split over two volumes - this is Volume 1.
The double CD comes housed in a jewelcase.
The vinyl comes in a gatefold sleeve with printed inner sleeves.
The vinyl is available on ‘one disc clear / one disc blue’ coloured
vinyl and black vinyl.
“A pretty spectacular score from Kyle Dixon and Michael Stein”
- Collider
“A stunningly creepy original score by Kyle Dixon and Michael
Stein” - Billboard
Score written, performed and produced by Kyle Dixon and
Michael Stein (‘Native Son’, ‘Valley Of The Boom’, ‘Spheres’,
‘Butterfly’, and their band S U R V I V E).
‘Stranger Things’ has won seven Emmy Awards, and has been
nominated for 216 various awards, with 77 wins.
Starring Winona Ryder (Joyce Byers), David Harbour (Sheriff
Jim Hopper), Finn Wolfhard (Mike Wheeler), Millie Bobby Brown
(Eleven), Gaten Matarazzo (Dustin Henderson), among many
others
‘Stranger Things 4’ is Netflix’s most-viewed English language
series of all time.

Bloodline was an American blues-rock band from New York City, New York. Formed in 1991, the group originally featured vocalist Aaron Hagar, lead guitarist “Smokin’ Joe” Bonamassa, rhythm guitarist Waylon Krieger, bassist Berry Oakley Jr., drummer Erin Davis and keyboardist Lou Segreti. After Hagar was fired due to creative differences, Oakley took over as lead vocalist and the group began recording demos for a planned studio album with producer Phil Ramone. Bloodline released their self-titled debut album in 1994, which was produced by Joe Hardy and features the singles “Stone Cold Hearted”, “Dixie Peach” and “Calling Me Back”. The band broke up shortly after the album’s touring cycle.

Bloodline is available on vinyl for the very first time and
includes an insert with lyrics.

David Gedge says: "During our `Hit Parade' series in 1992, there were a couple of Science-Fiction-themed singles, namely `Flying Saucer' (July) and The Queen Of Outer Space (November). And, would you believe it, I've only gone and done it again, haven't I? Thus, hot on the heels of last month's `Astronomic' comes the November single, erm... `Science Fiction'. It's not about the whole genre as such; the title will make sense when you hear the song. Although it's quite a sad lyric I, rather glamorously, wrote it whilst enjoying the amenities of a fancy hotel in Hollywood, so maybe the proximity of the film industry inspired me. Talking of inspirations, one band that has influenced The Wedding Present, off and on, over the years is The (mighty) Fall. And I don't know if they even planned it but, on `Plot Twist', Jon's spiky guitar riff and Melanie's crunchy bass line totally remind me of the classic Craig Scanlon / Steve Hanley combination that was memorably to be heard on sessions like the one recorded for John Peel in March 1983. Suitably inspired myself, when writing this lyric, I decided to also reference The Fall (for the second time in Wedding Present lyric history, the first being `Take Me!' some thirty-three or so years ago)." Penultimate release in this monthly series, in 2022 The Wedding Present will be releasing a new 7" single every month, the last but one is available for indie record stores only soon. This 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

Che spent her formative years living the troubadour life playing local clubs in
Vancouver, becoming embroiled in the Toronto indie music scene and touring
worldwide as a solo artist and with her critically acclaimed band 'Casualties of
Cool', a joint venture with prog behemoth Devin Townsend.
The Crowned shows a side to Che seldom seen on record before. A more
confident and determined thread runs through these songs, signalling the birth of
a new era for Che.
Inspired by her love of Trip Hop, Folktronica and Soul, The Crowned has Che's
signature all over it whilst reaching out into new sonic environments. Half of The
Crowned's tracks produced by Bob Rock pre-pandemic and half of the tracks selfproduced post pandemic, this album tells a story of an artist's evolution and
growth.
You are looking at a woman who still has a sense of individualism combined with
a drive and vision that is growing increasingly rare in this day and age. An artist in
the truest sense of the word, a product of passion and not curation.
She has previously worked with LA with hitmakers Greg Wells, David Foster and
Kara Dioguardi; performing with Michael Buble, Kim Churchill and Dan Mangan
and releasing music with industry heavyweights Andrew Loog Oldham (Rolling
Stones) and Tom Sarig (Lou Reed). Most recent work includes a collaboration
with Juno nominated EDM duo Young Bombs, a darkly lit duet with the late Gord
Downey (The Tragically Hip) and a featured performance on Devin Townsend's
'Lightwork'. She also collaborated with Townsend on 2014's Casualties Of Cool.

Since he first emerged at the end of 1999 with instant UK garage classic Re-Rewind, Craig David has scored 25 UK top 40 singles (16 of them top 10), nine UK top 40 albums (five of them top 10) and amassed over 5 billion (!) streams worldwide. In fact, over 1.5 billion of those came via his most recent releases, 2016's chart-topping comeback album, Following My Intuition, and 2018's career consolidating The Time Is Now. If you're more used to the old school metrics, that's 20m global sales. And speaking of global, he's played sold out tours everywhere from America to Australia, Japan to Germany. Across his twenty-plus year career, he's collaborated with the likes of Sting, Kano, Diplo and KSI, while also becoming one of the biggest DJs in Ibiza via his TS5 soundsystem. Award-wise we're talking 14 Brit Award nominations, two Grammy nominations, four MOBO awards and three Ivor Novellos honouring his songwriting. It's impressive, sure, but that's the past. It's ephemera. “I always feel like you need to be more real-time and present in the now,” David confirms.
That present involves an excellent new album, his eighth, in the shape of next year's 22. “It's 22 years since the first album, it will be 2022 when the album drops,” he explains of the title. This month sees the arrival of 22's glorious, MNEK-assisted lead single Who You Are, which cocoons a feel-good pop lyric about being present in a pristine UK garage casing courtesy of producer Digital Farm Animals. Like all Craig David classics it feels both box fresh and warmly nostalgic. “It will live in the world this song,” David says. “It feels so authentic, it has intention. Put on Who You Are to try and talk to someone that needs help.”

The idea of putting a smile on people's faces is at the heart of 22, an album whose title itself reflects myriad different themes. “There's also a spiritualism in the number 22 and what it represents,” he says. “In numerology it's a very powerful number and in terms of angel numbers it's bringing balance and equilibrium to my life. We're in a world where there's a lot of me against you, and so it's bridging the gap.” The title also represents distance; it's a date stamp that marks his career longevity. So what does the album's contents say about Craig David in 2022? “At its core it's still very much everything I've honoured since I was a kid, but in some ways I'm being more playful,” he says. “Loosening up the chains of my history. My debut is probably the most clear expression of who I am because it was my first outing – it's everything you are. So on this album there's that energy mixed with the wisdom and experience I can bring to the world. I've not mastered anything yet, I'm a newcomer still.” Still very much born to do it, just older and wiser.

Many Worlds Interpretation is a collection of cosmic Americana for electronics, guitar, and percussion culled from Jon Iverson’s extensive home-studio archive. 1984, Los Osos, California. In a small cinderblock cottage, hand-painted with bright psychedelic flora, Jon Iverson created vibrant new worlds. He spent long days and nights immersed in sound, perfecting home recording on his 8-track reel-to-reel, combining his love for kosmische and Berlin School electronics with an infatuation with ethnographic sounds and expansive guitar music. In a duo with fellow sonic traveler Thomas Walters, Iverson released missives from the studio on a self-titled LP released on country legend Guthrie Thomas’ Eagle Records. That release featured
three electro-acoustic compositions (“Naningo”, “River Fen”, and “Fox Tales”) as well as a gathering of guitar duo tapestries. Many Worlds Interpretation re-imagines those interplanetary works alongside several unreleased compositions that also feature synthesizer, guitar, and percussion, creating a re-visioned album which leans into Iverson’s electronic studio wizardry.

All songs have been carefully transferred from analog tape to high resolution digital, retaining their vintage studio warmth, but mixed and mastered for modern ears and audio systems. The album is pressed at 45rpm, further enhancing the audiophile experience.

Artist Statement

I worked in a Harley Davidson parts warehouse in the summer of 1976 in the San Francisco Bay Area. The goal was to save enough money to buy transportation for college and a Teac 4 track 1/4" reel to reel tape machine. By September there was a rusting monkey-vomit green car in the driveway and shiny new Teac with a Sony condenser microphone in the bedroom. At this point I had been playing guitar for a dozen years and like most children of the sixties, dreamed of joining
a band.

Went to college instead to study business.

But all was not lost. 1978-1979 was spent as Weird Al Yankovic's roommate and we recorded and created enough songs to play shows around San Luis Obispo, California, where we were attending college. Many of those recordings have yet to be heard by the public, including the first performances of My Bologna and many other parodies of pop songs of the day. We sent tapes to Dr. Demento, we auditioned for The Gong Show and were barred from playing at the local college after one memorable performance. Wild times.

I, however, was more intent on working on "serious" music, with albums from Vangelis, Tangerine Dream and Jean Michel Jarre providing inspiration. DJing at the local college radio station and then public radio outlet provided exposure to an endless stream of obscure albums (Sky Records from Germany was a particular favourite). Most of them would never make it to the air, but my buddies and I would pass them around like exotic treasure.

Fast forward a couple more years and I had picked up a Mini-Moog and eventually a Prophet V synthesizer as well as starting a collection of instruments from around the world. The Teac and synths formed the basis for a growing DIY studio that had taken over a modest-size garage (pictured on the cover) that had been converted into a two room cottage in Los Osos, California.

The Teac was eventually joined by a rented Otari 1/2" 8-track and then finally a vintage MCI JH-100 2" 16-track. The compositions on this album were recorded on these three machines between 1982 and 1989. At some point an Apple II computer with Alpha Syntauri sound card and keyboard were added and then later the first personal computer sampling hardware/software kit, the Decillionix DX-1. The DX-1 forms the rhythm track for “Fox Tales” and the Alpha Syntauri was programmed to create the pulsing synth for “Naningo”. “River Fen” was tracked with both the Alpha Syntauri and the Prophet V.

I knew this music wasn't commercial, but didn't care. It was inspiring working with the first computer-based synths and semi-pro gear. Home studios were still rare in the early 80s until the Tascam Portastudio blew the DIY door wide-open. But I was more interested in sound quality so stuck with reels of tape instead of lower fidelity cassettes.

During the time these songs were recorded, I was also collaborating with my good friend and mandolinist, Tom Walters. “River Fen”, “Naningo” and “Fox Tales”, were solo recordings that also ended up on the first Iverson & Walters album, First Collection. The other four pieces on this new LP were never fully finished or released until now.

— Jon Iverson, September 2022

"Live in Paris" - Nathan Davis, (sax); Georges Arvanitas (p, org); Jack Diéval (p); Jacky Samson, Jacques Hess (b); Franco Manzecchi, Charles Saudrais (dr)

Style is not a given. Not many musicians reach the level of artistic personality where you can unmistakably recognize them. It takes character, roots, honesty, soulfulness. Nathan Davis had style.

His tone on tenor was unique. So was his soprano sound and his distinctive approach to flute. His musical world was equally original and knew no boundaries.

This concert in Paris is audible proof that as a performer, his fluid phrasing, distinct articulation, booming bottom register, growls and shrieks were fuelled by tremendous drive and furious invention - the man was on fire!

These live sessions demonstrate the limitless invention of Nathan’s solos. Holding no punches, weaving signature phrases, shouts and riffs into his solos, he was a fierce and fervid performer. With a sort of hollow resonance at the heart of his reedy and warm sound, Nathan Davis was a highly original artist, from an era when having a distinct sound on your instrument was the grail of jazz artistry. Harold Land, Jimmy Heath, John Gilmore, Paul Gonsalves, Charlie Rouse, George Coleman, Booker Ervin, Clifford Jordan ... Jazz is made of such giants and Nathan Davis was one of them.

“It was so great to see what came back when I gave these tracks from Flicker to various comrades, friends and heroes to play with,” says Andy. “They’ve given them a new technicolour life.” “David Holmes requested the opening track as he had formed a bit of a connection with it, and what he came up with turns the song into an hallucinogenic beast, taking pride of place here as the opening track but in a whole different way to how Flicker opens. “James Chapman AKA Maps has taken ‘It Gets Easier’ to a bigger, brighter and shinier place, he’s given quite a downbeat track a euphoric and epic sheen. James is an absolute master of electronic production and he’s taken the same care and attention over this remix as he does with his own wonderful music. “I couldn’t put Richard Norris’ lovely widescreen take on ‘Something Like Love’ better than the man himself – in his own words he found the ‘hitherto undiscovered sweet spot between ‘Roscoe’ and ‘Outdoor Miner’’ and he tapped into the melancholy euphoria at the core of the song. “bdrmm’s remix of ‘Way Of The World’ is one for headphones. There are so many great moments to love, all held together by a bassline worthy of Jah Wobble (by way of Andrew Weatherall). Astonishing!” A1 The Sky Without You (David Holmes Radical Mycology Remix) A2 It Gets Easier (Maps Remix)B1 Something Like Love (Richard Norris Remix) B2 Way Of The World (bdrmm Remix) Reworkings of songs from Flicker by David Holmes, Maps, Richard Norris and bdrmm.