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Like a rediscovered Viking burial ship, Electro Nova compiles near-mythical drone recordings produced in 1998 and described by Helge Sten aka Deathprod as some of the most important music to ever come out of Norway. It's the work of Kåre Dehlie Thorstad and compiles two of the earliest releases on Smalltown Supersound, back when it was basically no more than a bedroom operation. It’s taken over two decades, but finally the label have given the material a first ever proper release on vinyl, complete with mixing and mastering by Deathprod. If you’re into the ice cold swells of anyone from Thomas Köner to Harley Gaber, Biosphere, Kali Malone or, of course, Deathprod - this one's as essential as they come.

Kaare Dehlie Thorstad's Elektro Nova produced just two releases during the late ‘90s that have since slipped into drone lore - Trans-Inter-Ference and Elektro Nova/Electro Nova. Admired not only by Deathprod and Joakim Haugland of Smalltown, but also by his contemporaries Lasse Marhaug and Biosphere, his work has evaded pretty much any attention outside of Norway these last two decades. Following a chance meeting with Thorstad at Oslo airport a few years back, Smalltown were prompted to give the recordings a second wind, presenting what is essentially a captivating new release, and crucial addition to the Norsk drone canon.

As the story goes, Thorstad was studying photography in the late 90’s in Scotland, but instead of delivering a photo for his final exam he made a record - a double album (2CDs) and a 10” to be precise. That should provide some idea of the textural synaesthetic and landscaping qualities evoked by his music, which he ended up sending to a then-young Smalltown label, who were mostly issuing tapes at the time. With no proper distribution the records largely bypassed wider attention, and become a personal favourite of Smalltown’s Joakim Haugland, as well as avowed fan Helge Sten (Deathprod), who helped render its diaphanous scale in mix down, and Lasse Marhaug who describes them as "two perfect records that deserved much bigger attention”.

Between its jaw-dropping opener; the post-apocalyptic vision of its untitled part; and the cinematic white-out of the 10” tracks; Thorstad comes as close as we’ve ever heard to evoking the inhospitable nature and stark beauty of the wild far north. We can hear those landscapes palpably internalised and alchemically transmuted into its coarse grained textural swells and a reverberating multi-dimensionality, variously sustained to extents that evoke an abandonment of the senses, or likewise squashed and isolated to imply the relative anxiety relief of atmospheric flux, where a few degrees temperature rise or a drop in the wind speed can make the difference between life and death.

Impressively, Thorstad realised after the release of Elektro Nova and just two live shows that he couldn’t really follow up the work and instead pursued a career as professional cyclist, eventually combining his visual skills to become a pro cycling photographer. In that sense, he’s a bit like composer-turned-tennis coach Harley Gaber, whose almighty ‘The Winds Rise In The North’ (1976) is in some ways richly prescient of this work. Like Gaber, Thorstad can remain safe in the knowledge that his contribution to the drone sphere will endure for the ages, especially with this important, impressive new edition.

Es zirkulieren wenige LPs, die über die gesamte Albumlänge die Schönheit und Wärme des „Balearic Sound“ widerspiegeln. Man kann das auch dem Genre “Cosmic“ zuordnen. Arno E. Mathieu aus Südfrankreich schafft auf “Contemplation” das einzigartige flimmernde Licht des „Mediterranen“ einzufangen, und in einem modernen Sound die Stimmungen der Natur des Mittemeerraumes rüber zu bringen. Die Songtitel und das Cover Image ergänzen das abgerundete Stimmungsbild.

Es kommt nicht von Ungefähr, dass DJ Harvey großer Fan von Arno E Mathieu ist und viele seiner Tunes spielt. Wer auch in diesen Kosmos passt, ist Joe Claussell, der neben Franck Roger, I:Cube, Beanfield, Julien Jabre, Mark E, Simoncino, Woolfy, DJ Deep, Gigi Testa, Next Evidence, Max Essa jeder für sich einen tollen Remix abliefert. Fast jeder Track des Albums wurde geremixt.

RAW SPACE" is rooted in chaos and chance, sensuality and intensity - it's an album that's able to sound alarmingly freeform and tightly controlled simultaneously. Already established as a genre-disrupting DJ, and even dubbed "demon of the Nile" by Ugandan politicians after an exuberant performance at Nyege Nyege festival in September 2019, Kampala-based sonic hypnotist Authentically Plastic brings a digger's literacy, an activist's intent, and an artist's playfulness to their jagged debut album. As both a DJ and a producer, Authentically Plastic is drawn to the idea of chance as a creative tool - to push against the idea of the all-knowing genius, and approach artistry instead as a facilitator, unraveling parallel mismatched rhythmic events. Their musical process is to start with chaos, then attempt to mold those fleshy structures into polyrhythmic mutations, pulling influence from East Africa's innovative musical landscape and augmenting it with an exploratory sense of surrealism. On opening track 'Aesthetic Terrorism', rough-hewn industrial rhythms chug mechanically against course, dissonant synth blasts and acidic arpeggios. There's a faint sparkle of Detroit's chrome-plated Afro-futurism, but bathed in neon light, reflecting Africa's contemporary electronic revolution. Authentically Plastic's productions have a sense of thematic coherence, but their myriad influences are torched into cinders, leaving inverse impressions and ghost rhythms: the tuned overdriven clatter of 'Anti-Fun' echoes Ugandan kadodi modes, yet simultaneously mirrors the rugged out-zone grit of Container or Speaker Music; standout centerpiece 'Buul Okyelo' meanwhile is as rhythmically cross-eyed as Slikback or Nazar, but juxtaposes kinetic dancefloor thumps with chaotic microtonal ritual cycles. Writing "RAW SPACE", Authentically Plastic found themselves fascinated by sonic flatness. They realized that in Western art, there's an obsession with depth of field that carries into music, robbing it of intensity. The album is an example of the power that can be reclaimed when you let go of depth, letting sounds rub together carnally and spawn something fresh and unexpected.

Clear Vinyl

Future music duo Second Woman's sophomore full-length for Spectrum Spools further hones their distinctive fusion of shapeshifting software sculpture and tessellated footwork. Shivering digital textures oscillate with and against algorithmically mapped percussion samples, smeared synthetic chords levitate in the distance, stabs of digital noise punctuate the mix in twitchy, time-distorting patterns. Their anamorphosis verges on ascetic: stark, splintered waveforms rendered into unique fiber optic hieroglyphs.
Multi-instrumentalists Josh Eustis and Turk Dietrich share a deep history going back to their days in the New Orleans ambient electronic community, as part of Telefon Tel Aviv and Belong, respectively. Even so, S/W pushes beyond their combined discographies to date, flexing impossibilities, building rhythms from arrhythmia, teasing veiled emotion from bold iterations of cold code.

With both sides as vibrant and colourful as a hot and sweaty street party, this latest 45 is the perfect afrobeat soundtrack to end your summer.

A side, Blue G. opens explosively and delivers all that it promises in the opening bars: beautifully orchestrated twists and turn that chug along instrumentally for half the track. South African singer Nongoma unexpectedly adds a vocal spin in English and Xhosa, and with the catchy lyrics of "all the children need love, peace and harmony", it's a delight to be swept up in this swirling, festive, solar energy.

The B side, That Good Thing, follows on at exactly the same tempo, weaving horns, guitars, keys and numerous percussions in and out of an equally infectious groove. A highly polished track, full of rises and falls in all the right places.

The Konkolo Orchestra is, for now, a Zürich studio project led by multi-instrumentalist Alexis Malefakis, but let's hope that changes soon because it feels rather criminal not to have these rich sounds live and in your face. Dexterous musicianship meets fine production and execution.

Eight years after their first collaboration, ‘The Compass Joint’, slipped out as an ultra-limited white label, Charlie Soul Clap and Tom Trago have reunited to bring us a similarly warming, sun-splashed sequel, ‘The Compass Jawn’.

Like its predecessor – a now near-mythical 12-minute epic recorded late one night in Tom’s former squat-turned-studio close to legendary Amsterdam venue Trouw, and subsequently championed by DJ Harvey – ‘The Compass Jawn’ was inspired by the pair’s mutual love of both Caribbean keyboardist and FM synthesis enthusiast Wally Badarou, and the 1980s output of Chris Blackwell’s legendary Compass Point studio in Nassau, the Bahamas.

As sequels go, ‘The Compass Jawn’ is a bit of a belter. During the recording in 2019, Tom and Charlie sought to subtly evolve the original’s memorable lead line, reaching the for Yamaha DX7’s percussion patch – something utilized many times by Badarou during the 1980s.

The resultant ‘Studio Version’ is, if anything, even more emotive and uplifting than its predecessor. Underpinned by a shuffling rhythm pattern, the track ebbs and flows brilliantly, with jaunty synth stabs, undulating melodies and sparkling keyboard riffs ushering in held-note chords and a gorgeously rushing, ever-rising lead line. Throw in some starry pads and sunset-ready synth motifs, and you have another gorgeous, life-affirming treat.

‘The Compass Jawn’ comes backed with two top-notch alternative mixes. First up is an ambient ‘Dub’ mix from Trago that strips back the beats and instead focuses on the track’s many key melodic elements. Pushed forwards by drum machine handclaps, it’s a bubbly, sun-bright revision full to bursting with twinkling electronic motifs, jammed-out motifs, hands-aloft riffs and a bleeping take on the fluid and kaleidoscopic lead line.

Rounding off the package is the duo’s original demo mix – a raw, tough, and slightly more sub-heavy affair that’s notably more percussive and sweat-soaked whilst still sporting the key lead lines and FM synth sounds that make the studio version such a memorable and mood-enhancing affair.

As a duo they embrace both sides of the coin, drums and guitar, chaos and order, male and female, ying and yang, the angel and the devil. They are more than the sum of both counterparts though, making for a maximalist auditory experience. PIKA brings her skills of mystifying performance to the table, all free-drum bluster and vocals veering between shrine maiden and wild spirit. Kawabata's guitar-work moves from a roar to a whisper, a yell to a sob, he's working on the same canvas of extremes. The aim of their unity is to write truly celestial hymns for the outer world and odes of love for the inner cosmic context.
 
No strangers to one another, the pair have not only gigged together with their respective bands but also recorded together, when these two outfits temporarily fused in 2005 to become Acid Mothers Afrirampo (releasing an album of the same name). Two years later they distilled their collaboration, all other players being stripped away to leave the core of Pikacyu's manic drums and pop vocal, and Makoto's schizoid guitar conjurings. In 2011 they spent five weeks touring the US and their first album, 'OM Sweet Home: We Are Shining Stars From Darkside', which was released by the esteemed UK label of all things heavy and brilliant, Riot Season. Last year they spent two weeks touring through Europe whilst writing a new album suffused with the outreaching sound and message of their impulsive live performances. This new album is entitled 'Galaxilympics' and will be released by Upset The Rhythm on August 4th on LP and CD.
'Galaxilympics' is an album of contrasts, so much colour, so much shade! 'Space Sumo' kicks off the record in explosive style. Pikacyu's drums jitter, crash and stumble, but steadfastly refuse to groove. Makoto attacks his guitar, cloaking himself in reverb to produce a wall-of-sound, alternating between melody and noise. 'Funifunikonefuni' follows with it's frenzied take on pop music, bubbling with energy and PIKA's multiple vocal layers. 'I'll Forgive' is chant-like in its devotion to following the tumbling melody line of the song even to absurd and unpredictable dimensions. 'Pika Mako Hall' is a more serene affair, with whispered echoes and guitar drones swirling amongst bursts of rapid sequencer ambience. 'Castle Of Sand' picks up on this more spacious approach with slowly developing programmed electronics, before the title track erupts with gurgling synths, soaring guitar trails and PIKA's most searching vocal yet.
 
The album concludes in reflective manner with the suitably titled 'Sayonownara', a song as much in the present as it is in the act of saying farewell. It's positively elegiac with washes of cymbal and deep acres of guitar drone for the first five minutes before PIKA's drums take things up a gear and into more psychedelic out-rock terrain. This insurgence eventually peaks and the album melts away to silence. PIKACYU-MAKOTO have made an album that takes you on a trip into your very soul before emerging once more at the edge of another galaxy. 'Galaxilympics' is a triumph of opposites united, it enjoys walking out into the unknown, but it's also a portal into the very real world of two musicians who find peace and semblance through their interaction. Hymns and odes to one side, this is a giant album of future-facing song and noise, where better to find harmony enthroned

Limited edition white vinyl w/download.
This is van Wyk’s 5th full-length and first following a plethora of soundtrack work.
The followup to “Threads”, his 2021 debut on n5MD, Descendants advances the narrative of van Wyk’s broad- er-scope, atmospheric sound.
This new work brings into focus an approach that builds on van Wyk’s production methods. Underlying elements are taken further and pushed to the extremes while the influence of his film composition work continues to shine through.
Descendants is a slow dive into enigmatic depths; disarming, explorative, evolved. A tentative descent into introspection, with each track a sonic rumination of drifting elements, tunneling into a subterranean wilderness.

+ 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.

The five tracks that became Abbondanza all materialized from Summer to Winter of 2020, a time of unprecetended productivity in the home studio. Some of them developed from first time fiddlings on new synthesizers, some from unaccompanied jams on percussion instruments. I hope these tracks capture my naive fascination and joyful jamming I had while creating them.My Florentine friends of the Intro-Spettiva collective introduced me to the concept of "stalla" (stables) - their codeword for a proper party. At a particularly memorable Tuscan stalla in 2019, I got to know Edizioni Mondo head Francesco de Bellis and his amazing music. A year later, we listened to the first demos of this record in his damp basement studio close to Vatican City and here it is in all its abundance!

Blue Vinyl

Das GRAMMY-nominierte Trio PVA veröffentlicht ihr mit Spannung erwartetes Debütalbum, „BLUSH“ Mitte Oktober auf Ninja Tune. Das Album der Südlondoner Band, das kurz nach ihrer 2020 beim Ninja Tune-Sublabel Big Dada (u.a. Yaya Bey, Young Fathers oder Diplo) veröffentlichten EP, „Toner“, erscheint, verbindet den Pulsschlag elektronischer Musik mit der rohen Energie eines lebensbejahenden Konzerts und offenbart mehr über das Trio, als sie bisher je preisgegeben haben. Die elf mitreißenden Tracks der Gruppe, bestehend aus Ella Harris und Josh Baxter (die sich Leadgesang sowie Synthesizer-, Gitarren- und Produktionsarbeit teilen) sowie Schlagzeuger und Perkussionist Louis Satchell, basieren auf einer Formel aus Acid, Disco, knallenden Synthesizern, der Befreiung des Dancefloors und kathartischem Spoken Word-Post-Punk.

PVA begann, als Harris und Baxter 2018 begannen, gemeinsam etwas zu machen, das sie als „Country-Friend-Techno“ bezeichneten. Ihre erste Show, eine Nacht namens „Narcissistic Exhibitionism“ im The Five Bells Pub in New Cross, fand nur zwei Wochen nach ihrem Kennenlernen statt. Der Abend wurde von Harris kuratiert und bot im Obergeschoss Malerei, Bildhauerei und Fotografie, während im Erdgeschoss Bands auftraten. Sie buchte PVA als Headliner. Einer ihrer ersten Songs, „Divine Intervention“, entstand, als Harris ihrer neuen Bandkollegin ihre Träume diktierte. Auf ihrem Debütalbum nehmen PVA die gleiche Energie aus der Live-Szene mit, während sie gleichzeitig eine ganzheitliche Welt voller Textur und Herz aufbauen. „BLUSH“ ist reich an schwergewichtigen Industrial-Beats, zerklüftetem Punk-Spirit und Momenten stiller Kontemplation durch Harris' poetische Lyrics. Das Album rennt unermüdlich vorwärts und verbindet Einflüsse wie Portishead, PC Music, Laurie Anderson und das kultige Rave-Pop-Duo The Pom-Poms mit Leichtigkeit. „BLUSH“ wurde während der verschiedenen Lockdowns geschrieben, eine Leidenszeit für eine Band, die es eigentlich gewohnt ist, die Grenzen ihres Sounds live auf der Bühne auszuloten. Diese Einschränkungen machten PVA aber nicht zu schaffen. Wenn überhaupt, fühlten sie sich durch die erzwungene Distanz in ihrem Songwriting gestärkt. Harris schrieb Gedichte und lernte, Musik zu produzieren, Baxter arbeitete mit anderen Künstler*innen als Produzent, und Satchell setzte sein Musikstudium an der City University fort und studierte unter anderem alte afrikanische Polyrhythmen.

Stellar Legions is four experienced space cadets from the Antwerp interstellar legion, led by Captain Andrew Claes (STUFF., BRZZVLL, Internal Sun). With a sound rooted in jazz, improv, hip-hop, dub and electronic music, brace yourself for an intergalactic trip through colourful musical worlds and allow yourself to be carried away to indefinable, otherworldly but always hospitable beacons.

Alongside Claes, the delegates on duty are all heroes from the Allied star: Bram Weijters (Raymond Van Het Groenewoud, Crazy Men), Klaas De Somer (Tourist Lemc, Selah Sue) and Fre Madou (ex-DAAU, Namid). With them, come stories and artifacts from the multidimensional cosmos to our beloved mother planet Earth and this autumn, they passionately present their first omnibus 'Stellar Legions', released 21st October via the groove-obssessed Sdban Ultra label.

The album consists of eight tracks recorded in the studio and live, resulting in one big cosmic experience that exhilarates down to every last arrangement. From Claes' twisted sax on the semi-electronic ecstatic dream world that is an 'An Arp in Tunisia' to the jazzy snatches of 'Wessel' where De Somer's hurried drum patterns and Weijters frenzied keyboard solos catch light, Stellar Legions unites the adventure and improvisation of jazz with contemporary sounds.

At the core of the Stellar Legions sound is a rhythm section Sly & Robbie would have approved of: loose and sticky, grinding and unwinding: De Somer's drums fizz with expectation while the relentless bass strokes from Madou provide the beating pulse. It's fresh, it's raw and it keeps us listening, grooving and wanting more. Elsewhere, 'Odyssey' is a cataclysmic mix of feverish sounds and melodies that take you to an extra-terrestrial place, while the live recording of 'Alcyone', basks in a spatial mix of futuristic grooves and ethereal soundscapes before album closer 'Covix', results in a spacious and wonderfully atmospheric affair.

Electronics wizard Andrew Claes has recorded music in a wide range of styles ranging from free jazz outfit Chaos of the Haunted Spire (duo with Teun Verbruggen) to techno icon Marco Bailey and New Wave hero, Marcel Vanthilt. In addition, he has collaborated with Zach Danziger, Zap Mama, Brussels Jazz Orchestra, Hermes Ensemble, Mauro Pawlowski, Josse De Pauw and many others and released music with the electro-jazz collective AAN/EOP and his solo project, Internal Sun.

Claes is also a teacher of 'Live Electronics' at the Conservatory of Antwerp and a doctorate in the arts, where he is currently investigating the possibilities of an electro-acoustic saxophone. He also regularly gives workshops on the Belgian synthesizer microcontroller platform, Axoloti. His latest achievement is AI-driven robot-jazz project 'BotBop' with Dago Sondervan and Kasper Jordaens, which explores the possibilities and limits of 'computer aided music performance'. Their latest project 'Integers & Strings' premiered at the Sònar festival in Barcelona in November 2021.

Die Arctic Monkeys veröffentlichen am Freitag, den 21. Oktober, ihr neues Album mit dem Titel 'The Car'. 'The Car' ist das siebte Studioalbum der Band und enthält zehn neue Songs, die von Alex Turner geschrieben und von James Ford produziert wurden. Aufgenommen wurde das Album in Butley Priory, Suffolk, den RAK Studios in London und La Frette in Paris. Nach dem 2018 erschienenen Album 'Tranquility Base Hotel + Casino' finden sich die Arctic Monkeys auf 'The Car' in einer neuen, üppig orchestrierten musikalischen Landschaft wieder und bieten einige der besten und beeindruckendsten Gesangsdarbietungen in der Karriere von Alex Turner.

Solo project of Nathan Van Brande (TUKAN, Saudade), Bleu Mustang navigates between Lone, ClapClap and Floating Point. The young Brussels producer signs his first EP "NOCTUELLE" on the MAGMA label (Umbra, ECHT!, TUKAN). Between powerful and jerky rhythms and melancholic chords, Bleu Mustang's music can be listened to both in the back of a Berlin hangar and while contemplating a landscape. Currently in residence in Volta for the creation of his live album, he is preparing a duo with a drummer.

Perpetual Doom proudly presents the new album from Austin Leonard Jones: Dead Calm. On this collection of nine new tracks, the Texas-based troubadour channels his eclectic talent into a melancholy country groove. Full of signature tumbleweed melodies and his deadpan wit, it is an essential addition to Jones’ unique and varied catalog.

Like any good country record, Dead Calm starts with a joke and ends in tears. “A werewolf walks into a bar,” Jones sings on opener “Cape Fear,” where vampires pour drinks and no one seems to escape. The town might be full of the undead, but it could be anywhere—after all, as Jones says, “It’s hard on the living in Cape Fear.” The slide guitar and faint bright keys set the tone for an album that mixes domestic sorrow with a touch of kitsch, like Conway Twitty at a seasonal Halloween outlet. “I’m the sole survivor of the all-night show,” he sings on “Back in the Black Lagoon,” “and it cost a thousand tears for every episode.” Somewhere between a funeral and a costume party, Dead Calm bursts with classic songwriting sure to get you on the dance floor and crying.

All these ghost towns, desert bars, and haunted capes emerge from the small town outside Austin where Jones wrote and recorded the album. Alongside producer Jesse Woods, he crafted a sound based on the traditional country palette of acoustic and slide guitar, organ and gentle drums. Songs like “Night Parrots” and “Demon Sands” take stock of life’s disappointments as Jones’ maudlin voice and Jesse Siebenberg’s pedal steel twist tighter around each other. “The Australia Song” puts autobiographical storytelling first, while “Exotics” laughs at our tendency to seek satisfaction in far-off places and things. It all comes together on “Its Treachery,” where Jones confronts the intimate betrayals of “a whole life not working out as planned.”

Sound familiar? Austin Leonard Jones invites you to join the club.

The classic sci-fi series teleports to Demon Records for two thrilling full-cast radio adventures.
From 1977 to 1981, a heroic band of freedom fighters waged war against the merciless Terran Federation,
spearheaded by Supreme Commander Servalan. In the mid-1990s Terry Nation’s intergalactic epic switched from BBC
TV to radio with two new adventures, The Sevenfold Crown and The Syndeton Experiment. Both now come to vinyl
for the first time, alongside cast interviews and extracts from Zen and the Art of Blake’s 7.
Presented across 3 x 140g vinyl discs in three colours, these full-cast dramas star Paul Darrow as Avon with Jacqueline
Pearce as Servalan, Michael Keating as Vila, Steven Pacey as Tarrant, Paula Wilcox as Soolin, Angela Bruce as Dayna,
and Peter Tuddenham as Orac and Slave. Written by Barry Letts (Doctor Who) they feature incidental music by Jeff
Mearns as well as the familiar strains of Dudley Simpson’s iconic theme music.
The removable slipcase cover reveals a trio of coloured LPs - plus a frameable art print - in a widespine sleeve. The
discs are presented in individual sleeves which, when place side by side, reveal a landscape scene of Scorpio in flight.
Full cast and credits are accompanied by graphics illustrating the tech of Blake’s 7.
Make sure you’re Down and Safe with this exclusive limited edition.

Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and "live now pay never" lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band"s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock"n"roll classic debut as relevant now as it was upon its release.

OVERVIEW: "After receiving regional praise for his 1976 debut Abrabo, Dan Boadi set his sights on leaving Ghana and bringing his highlife sensibilities to an American audience. Recorded at Paul Serrano namesake studio on E. 22rd St. in Chicago, Boadi's U.S. debut showcased the true scope of his musical range weaving in and out of funk, highlife, afrobeat, and reggae. The title track immediately demands the listener' attention with a chugging drum lead by The African International's King Tuch setting the pace for Boadi's colorful orchestration to follow. Money Is The Root of Evi claims t's own space as a musical melting pot and reflects the excitement Boadi waslearningto harness as a musician in his newfound home of Chicago."

Pinkshift are a vehemently unapologetic punk
band whose songs rail against prejudice and
oppression while also examining in great depth the
human condition.
 Foregoing more traditional careers in the hard
sciences / medicine, Baltimore natives Ashrita
Kumar (singer), Paul Vallejo (guitar) and Myron
Houngbedji (drums), are inspiring fans in a
different way.
 The band smash any preconceived notions of what
a punk band should look or sound like.
 After self-releasing the viral hit ‘I’m gonna tell my
therapist on you’ and the ‘Saccharine’ EP, Pinkshift
partnered with Hopeless Records to release their
debut album, Love Me Forever’.
 Produced by Will Yip (Turnstile, Code Orange,
Tigers Jaw), the band have put together an
emotionally cathartic, raucous, and powerful debut
that centres their unique perspective as POC
individuals in a scene that historically did not
represent them.

Future music duo Second Woman's sophomore full-length for Spectrum Spools further hones their distinctive fusion of shapeshifting software sculpture and tessellated footwork. Shivering digital textures oscillate with and against algorithmically mapped percussion samples, smeared synthetic chords levitate in the distance, stabs of digital noise punctuate the mix in twitchy, time-distorting patterns. Their anamorphosis verges on ascetic: stark, splintered waveforms rendered into unique fiber optic hieroglyphs.
Multi-instrumentalists Josh Eustis and Turk Dietrich share a deep history going back to their days in the New Orleans ambient electronic community, as part of Telefon Tel Aviv and Belong, respectively. Even so, S/W pushes beyond their combined discographies to date, flexing impossibilities, building rhythms from arrhythmia, teasing veiled emotion from bold iterations of cold code.