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The Magic Movement marks its twenty-fifth release this May with Coss & Luca Musto's 'Remind Me Tomorrow' EP, comprised of three originals from the Berlin-based pair and a remix from label boss Noema.

Coss has been a mainstay at Berlin's Kater Blau club for some time now and just recently delivered an EP on the club's in-house imprint Kiosk ID as well as an EP for his own metanoia.
Italian rooted but Germany-based Luca Musto returns to the Magic Movement here following his 2018 'Parabel' EP and has since gone on to release further material with Cologne's Feines Tier and Laut & Luise in recent years.

Here joining forces with the 'Remind Me Tomorrow' EP the two artists deliver more of their distinctive tripped-out, dropped tempo club sound.
'Broken Promises' leads the way via dreamy dubbed out textures, gnarly bass tones, twinkling chimes and airy arpeggios atop a bumpy drum groove.
Title cut 'Remind Me Tomorrow' follows and brings modulating resonant synth lines into the forefront alongside elongated subs, cinematic pads, and circling sequences while Luca also stirs in his own rap/spoken word hip house style vocals.

The third original 'Concept Zero' follows next and lays down psychedelic guitars, choppy stabs, murky bass swells and dynamic delays before Noema rounds out the release with his take on 'Remind Me Tomorrow', flipping the switch to raw, crunchy drums and spoken word vocal chants amongst the original's chuggy arps and dreamy melodic elements.

Can You Sleep (04:30) Idler Chronicles A Personal Struggle With Insomnia That Inspired The Album's Title, It Combines Bossa Nova, 70s Analog Synths And The Polymorphous Vibrations Of London's New Burgeoning Jazz Scene.

Jamie Isaac Is A Young Producer And Songwriter, Born In Croydon To Burmese And British Parents. He Signed To Marathon Artists In 2014 And Has Been Harnessing His Sound Ever Since, Operating In The Space Between Jazz, Soul,

R&b, Electronics And Hip Hop. Across A Handful Of Singles And Eps, As Well As A Mixtape, His Debut Album And Its Follow-up, He Has Evolved Into A Formidable Artist With A Transatlantic Following.

Wings And Doing Better Have Both Been Heavily Featured On Spotify, Apple And Deezer Playlists.

Pachakuti is a musician and producer with family roots in Colombia. He plays keys, tenor saxophone and clarinet. While living and working in Berlin, he draws inspiration from the natural world, investigative travels, and ancestral traditions of Latin America and beyond. His expressive and rhythmical playing and his instantaneous compositions are directed at the human core, arousing subtle experiences. While not being conformed to one style, it always invokes a sense of liveliness and depth to be delved in. young.vishnu is a producer and DJ. He has studied philosophy and music in Hildesheim, Germany, which heavily influenced his views on meaning and mythology in music. In his DJ sets he selects and plays classic and contemporary Funk, Soul and Afrobeat. His practice as a DJ informs his work behind the boards directly, adding also more organic grooves and broader spectrum of musical styles to his in Hip-Hop based production. If you had to put one single tag on their forthcoming album Dédalo, the best choice would be Jazz. That being said, Pachakuti and young.vishnu's sound worlds might be better described in their own words: "We just make music and try to incorporate what we love about it". They are musical freethinkers with shared interests in eastern philosophy and botany who interweave Hip-Hop, Latin and Funk with musical storytelling and world mythology. Undoubtedly, their most ambitious work to date, Dédalo (Spanish synonym for labyrinth), recorded and produced over the course of a year, shows Pachakuti & young.vishnu's ambitions and growth. Where their debut work Semilla (2020) centered around the image of the seed, Dédalo takes on the entire garden. Besides playing multiple instruments by themselves, Pachakuti & young.vishnu invited a growing group of befriended musicians into the studio, including percussionist maestro Eric Owusu (Pat Thomas, Ebo Taylor, Jembaa Groove) and drummer Leon Raum (Bokoya, Wyl), as well as Brazilian newcomer vocalist Laíz, and members of their former band project Soularkestra. The 16 recorded songs, ranging from 1:19 to 14:58 minutes, take you on an emotionally honest, metaphoric journey through the maze of human existence, of modern society and mythic poetry. The mostly instrumental tracks build on expressive melodies, layered rhythms, and a wide range of musical instruments, merging the sounds of Jazz with the classical word of orchestras and choirs, and urban soundscapes with traditional instruments such as the Andean Kena and Charango, the Colombian Gaita and Marimba de Chonta, and an Indian harmonium. The Album thus weaves together past and future, and diverse cultural threads, sounds and ideas in an act of cultural appreciation and global conscience. Mixed and mastered by Roe Beardie at The Brewery Studios, Berlin. The album artwork itself merges the visionary art of Mexican painter Sergio Chávez Hollar with an original artwork-inlay of Brazilian artist Laíz and the work of Carsten Pölking of the Nima Compositions Archive.

Dédalo will be available digitally and on double-vinyl with inside-out print cover and colored inlay with credits and painting by Laís De Mello Barbero.

When it comes to floor-filling tracks that balances smart drum programming with pure melodic bliss, you can always rely on John Beltran to deliver. The five track EP contains masterful ambient pieces with a Detroit/Chicago analog house vibe brining a warm and psychedelic feel. He joins the label’s third release with a brilliant chill-out EP entitled ‘The Peninsula’, united by another Detroit legend Luke Hess, bringing his traditional 303 upbeat sound remixing ‘Begin Again’. Visual artist Alona Rodeh also joins the release showcasing her stunning High-Vis (Future, Black) which featured in her first solo exhibition at the Christine König Galerie in Vienna last year.

FOR FANS OF: Big Thief, Parquet Courts, Cate Le Bon, Elliott Smith, LVL UP. On their debut for Western Vinyl, recording engineer and multi-instrumentalist Nate Mendelsohn and his band use lyrical maximalism for the powers of good. Where Market’s previous home recorded releases shifted genre restlessly, on The Consistent Brutal Bullshit Gong Mendelsohn took a core band of longtime collaborators to a house in rural Massachusetts where they carved out space for his words to speak through with humor and intensity. Though he comes from a background in experimental music, Mendelsohn’s ear for pop has prevailed. Certain moments on Bullshit Gong reveal his stranger side, as on the thundering bridge of “Scar,” which sounds like a more unhinged Parquet Courts, or the angular “I Would Do That,” which takes cues from Cate Le Bon. On the whole, though, this band of close friends insists on directness, their arrangements clear despite the intricacies. Guitars and synthesizers tangle fluidly atop the rhythm section’s tight bedrock, evoking the tenderness and backbeat-centric qualities of Elliott Smith or Big Thief. After college, where he met most of the members of Market, Mendelsohn became an engineer and producer at the Brooklyn studio Figure 8 Recording. Through that community he’s recorded artists like Frankie Cosmos and Wendy Eisenberg, and played with Yaeji, Vagabon, Katie Von Schleicher (who co-produced Bullshit Gong with him), and Sam Evian, who mixed the album. Creating intimacy out of manic self-reflection requires a delicate balancing act, one Mendelsohn tackles with abandon. His words never skew too poetic or grandiose, and when he invokes the ugly it’s met with a sonic tonality that sets him right again. In tender moments, his voice is often flanked by bandmates Natasha Thweatt or Von Schleicher, who help skew his words toward the universal. Still, Bullshit Gong is an obsessive look inward, one in which Mendelsohn simply asks himself if he is good to those he loves. It’s an act of trust between the artist and the imagined listener he takes with him. UK press campaign by Silver PR. Mendelsohn has worked in the studio as an engineer and musician with Frankie Cosmos, Yaeji, Sam Evian, Wendy Eisenberg, Thor Harris, Rebecca Black, in addition to touring as a member of Katie Von Schleicher’s band. Market developed a cult following emerge after being championed by British comedian James Acaster, who featured the band’s first album in his book Perfect Sound Forever and his follow-up podcast for BBC Sounds.

The 8 tracks on this LP capture the guitar hero at his creative best; Jingo from the 1969 album Santana grabs our attention with a flurry of conga drums and snare drum rhythms. Carlos leaps into the fray with an anguished cry from his Gibson SG, displaying the sustained, melodic blues notes that became his signature sound. Carlos then does that voodoo that he does so well, on a studio version of Soul Sacrifice where he launches his cosmic guitar into outer space.
While Let’s Get Ourselves Together is a nicely constructed arrangement. Side 2 features As The Years Go By, a tasteful blues ballad, that has Santana caressing the strings with expertise and passion. Followed by a live performance of Evil Ways, one of Santana’s greatest hits that reached Number 9 in the U.S. Billboard chart in February 1970.

RIYL: David Byrne, Guy Clark, Bob Dylan, The Flatlanders, Randy Newman, John Prine, Lucinda Williams, Townes Van Zandt. The first-ever vinyl reissue of Allen’s manifold, moving fourth album, remastered from the original analog tapes. Deluxe LP edition features 140g virgin vinyl; a gatefold jacket, inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen and friends, insert with lyrics and original notes & DL. Deluxe CD edition features a trifold jacket & inner sleeve. On his manifold fourth album, acclaimed songwriter and visual artist Terry Allen contemplates kinship the ways sex and violence stitch and sever the ties of family, faith, and society with skewering satire and affection alike. Bloodlines compiles thematically related but disparate recordings from miscellaneous sources both theatrical and historical: two songs written for plays; two full-band reprises of selections from Juarez; the irreverent hellfire-hitchhiker-on-highway ballad “Gimme a Ride to Heaven Boy” (featuring Joe Ely); and the poignant eponymous ode to the arteries of ancestry and landscape (the debut recording of eight year-old Natalie Maines, later covered by Lucinda Williams). Since 1970, when they met in Allen’s studio in his hometown of Lubbock, Texas, one of songwriter and visual artist Terry Allen’s great foils and friends was the sometimes cantankerous but always brilliant art critic and writer Dave Hickey, with whom he sparred on topics musical, visual, and beyond (and to whom this reissue is dedicated in memoriam, in the wake of his passing in 2021.) Hickey, a fellow Texan paddling against the currents of the hermetic New York centric art world, was an accomplished songwriter in his own right, and he and Terry pushed each other to refine their respective practices. In 1983, the two were thick as thieves brothers in blood and Hickey’s wry but big-hearted presence haunts the history and periphery of Bloodlines, the album Terry released in June of that year. Hickey’s commercial doubts notwithstanding, critical recognition was not in short demand. In a 1984 review of Bloodlines, the L.A. Herald Examiner called Allen “one of the most compelling American songwriters working today … making the most unique art-pop of our time,” elsewhere comparing him not only to Moon Mullican and Jerry Lee Lewis, but also to the Velvet Underground and Philip Glass (probably the first time that unlikely quartet ever appeared together in one sentence). In 1983, against all odds, such sentiments were growing in underground prominence, as Allen’s records gained a fanatical word-of-mouth following they weren’t easy to find in those days. Recorded piecemeal at Caldwell Studios in Lubbock, in sessions spanning August 1982 through January 1983, Terry self-released it, like all his previous records, on his own Fate Records imprint. Despite his frustration with the protracted timeline and some anxiety about the correspondingly higher budget, the production on Bloodlines courtesy, once again, of master guitarist Lloyd Maines is slicker, cleaner, and more dynamic than prior efforts, and it reached a broader audience than ever before. UK label Making Waves reissued it in 1985, facilitating semi-reliable European distribution for the first time as well as a 1986 UK tour, on which the great BJ Cole filled in for Lloyd on pedal steel. No veteran country songwriter sounds more attuned to the national mood. His songs still feel like little guidebooks for staring down a harsh universe. – The Washington Post // It has always been a fool’s errand to frame Allen in terms of other artists there was nobody like him before he showed up, and the subsequent 40 years have been equally light on plausible peers. Uncut

Created in the middle of the pandemic this album celebrates the magic that happens when 4 very uniquely gifted, but very complementary, instrumentalists come together for a jam session. From hazy guitars & warm keys over to funky beats & psychedelic grooves to ease you into an album that circumnavigates 360 degrees of soulful music.
Adding some garnish to this rhythmic stew are an impressive
collection of special guests: Olivier St. Louis, Nneka, Lui Hill,
J.Lamotta, Bowie & Flo Mega.

The KBCS represent the musical coming together of four very uniquely gifted, but very complementary, instrumentalists from Hamburg, Germany. Color Box, their sophomore LP, happened almost by accident, born as it was out of a series of freestyle jams.
The album kicks off with three instrumental openers - the first of which, Popsicles, is best described by the band them- selves as “a late summer teenage adventure”. Hazy guitars and warm keys playfully amuse each other over a solid, funky beat on what is an evocative and vivid introduction to this talented foursome. It’s followed by Whistleblowers, a sweet and somewhat whimsical piece where another sturdy bottom end allows keys and strings to enjoy some lively interplay, and Jolly Tumbleweed which, with its optimistic yet melancholic feel, completes the trio of warm, hazy psychedelic grooves to ease you into an album that circumnavigates 360
degrees of soulful music.
Adding some garnish to this rhythmic stew are an impressive collection of special guests. Berlin based, and internationally adored vocalist Olivier St.
Louis sprinkles a little Cali sweetness with the head nodding Pockets - one of the most immediate and soulful cuts on the album. A guaranteed ear worm, bringing a little sunshine to the winter months to come.
Elsewhere, multi-talented Nigerian singer Nneka lends her distinctive voice to the very succinct but powerful Afro-soul of Ndidi; the enigmatic Lui Hill lays his soul bare with honesty and candor on the alluring Albatross; Tel Aviv born J. Lamotta gives The Center a somewhat delicate and fragile dimension that plays perfectly alongside graceful guitars and contrasts with a sturdy backbeat of bass and drum; and Viviane Ann, AKA Bowie, smooths out the rough edges on the very radio friendly Wasting All Your Lovin’.
This is indeed music from the heart; a document of their coming together; and music that needs to be heard live!

Mit ihrem neuen Album „3“ öffnen die belgischen Krautrocker MOTOR!K ein neues Kapitel ihrer musikalischen Bandgeschichte. Während die Schlüsselelemente ihrer vorherigen Alben „MOTOR!K“ und „2“ (hypnotisierende Basslines, hämmernde Drums und sich repetetiven Gitarrenlinien) auch im neuen Album wiederzukennen sind, unterscheidet sich dieses Album dennoch von seinen Vorgängern.

Von Tracks mit minimalen Techno-Grooves, ambientartiger Gitarren- und Elektronik-Tracks, "Vintage" MOTOR!K Songs bis hin zu Post-Rock Feelings und psychedelischen Gitarren & Synthesizern. Delay-Gitarrenspiel und spacige Elektronik bauen hier neue Horizonte auf und zollen damit den Klängen der späten 70er Jahre ihren Respekt.
Motor!k 3 - ein Album dass geradezu danach schreit, in einer schweißtreibenden Konzertumgebung live gehört zu werden.
Das Belgische Trio bestehend aus Gitarrist/Synthesist & Motor!k Songkomponist Joeri Dobbeleir, Dirk Ivens - Guitar / FX (The Klinik/ Dive) und Drummer Dries D'Hollander, hält den instrumentalen Krautrock Vibe aufrecht & lebendig, sowohl auf Platte als auch live auf der Bühne.

We are happy to announce that after several months of delay, we have prepared our next vinyl release. It is a very special release, since we work a long time to provide the highest quality, from our hearts. We present the latest from DONOR "Apollo".

Techno with deep textures and dynamics for the original tracks. We also add the remixes of Alien Rain, acid, rave and powerful as its trademark: Pfirter gives us a more robust and forceful vision, Squaric brings the remix to 5AM, Zadig prepared a special Break for the album & Shao delivers several deep versions, with enveloping textures. An unprecedented detail for our catalog is to present a BONUS TRACK.

And for this we have prepared something very special, to have the track on vinyl: YUUKI SAKAI - DI AMO. The album "Yuuki Sakai - Hide By Launch" was presented in 2016 and now we remastered it to add it to this limited edition. Without a doubt, these voices will sound again throughout the planet. The message is here.

At the tender age of twenty-five, while he was working part-time at an Italian restaurant in Tokyo's Kamata district, Kazuki Tomokawa released his debut record, fittingly titled Finally, His First Album. While he had already penned hundreds of songs, including his first single "Try Saying You're Alive!," written on a long train ride past fields and rice paddies, it was this recording that introduced Japan to one of its most unique musicians of the postwar era. Each track, as record label exec Kiichi Takahara writes in the LP's liner notes (here translated for the first time), is not a song but a "flesh-and-blood human being," birthed by the singer-songwriter and the raw, guttural cries that would become a hallmark of his incomparable sound. 1970s Japan was a time and place marked by a profound desire for authenticity amidst the onset of television and media saturation. Tomokawa arrived on the scene as a musician with "the personality of a hydrogen bomb," to borrow a phrase from his frequent collaborator Toshi Ishizuka. In an unwieldy interview included here, members of the notorious leftist band Zun? Keisatsu (Brain Police) put it bluntly: here was a man surrounded by the "disingenuous," the "wishy-washy," and the "superficial," who was delivering "real life, unvarnished." These songs are lullabies for the lost, staring not into the void but-as the fourth track declares-from inside it. Finally, His First Album is the first of three Tomokawa records to be reissued by Blank Forms Editions in conjunction with the US release of Tomokawa's memoir, Try Saying You're Alive!, the first-ever English translation of his writing. This debut captures the self-assured trademarks that Tomokawa would hone over the course of decades. Multiple tracks are performed in his native Akita dialect, a distinct and highly regional vernacular of northern Japan seldom heard outside the prefecture-and even more rarely heard in music. Tomokawa's lyrics locate profound interiority in the rituals of everyday life, and are sung against sparse folk arrangements of tender, lilting chords-a prelude to the rock and electronic stylings to come in later years. A self-proclaimed "living corpse," Tomokawa wallows, whispers, shouts, and cries, yet still, through his existential doubt, asks to be heard.

Anybody who has witnessed a live performance of Anna von Hausswolff and band can attest to the extraordinary and commanding nature of the experience. The distinctive music, as captured across five full-length albums, comes to life, shifting from hypnotic and mantra-like moods to thunderous drama, dissonance and cacophony. The musicians master playful dynamics and wield immense power.

Across six pieces, Anna von Hausswolff performs sensational renditions of fan-favourites from the two beloved albums; The Miraculous and Dead Magic, with the backing of a full band including additional vocals from her sister / cinematographer Maria von Hausswolff

Anybody who has witnessed a live performance of Anna von Hausswolff and band can attest to the extraordinary and commanding nature of the experience. The distinctive music, as captured across five full-length albums, comes to life, shifting from hypnotic and mantra-like moods to thunderous drama, dissonance and cacophony. The musicians master playful dynamics and wield immense power.



Across six pieces, Anna von Hausswolff performs sensational renditions of fan-favourites from the two beloved albums; The Miraculous and Dead Magic, with the backing of a full band including additional vocals from her sister / cinematographer Maria von Hausswolff

Side D is blank!

The dance floor as devotional is a trope as old as the club itself. But, with her new album, Jesus Was An Alien, Perel subverts the stakes of our collective communion: Who are our arms raised to? Who are we seeking salvation from?

“Jesus Was An Alien is a discourse about whether Jesus was an actual alien,” she explains, “but also a social debate about what is and implies religion today.” She offers up her provocative second record – her first on Kompakt – as a soundtrack for the listener’s own journey through the intricacies and ironies of modern belief.

Picking up on the themes she brought to her debut, the 2018’s LP Hermetica on DFA, Perel has created ten tracks rich with spirit and allusion. Her influences are myriad, from the indie dance hitmakers of the early 2000s – Hot Chip, Simian Mobile Disco, Justice – to rave compilations that predate her ascent to the DJ booth, to more abstract inputs. Living with synesthesia, she says, “I feel emotions and colors piling up inside me, then there’s a triggering sound or event that opens a valve. My tracks are color streams that tell a story.”

Jesus Was An Alien is not just multicolored – it’s multi-lingual too, slipping in and out of tongues in a single track, sometimes dispensing with words altogether (the ecstatic breakdown of “The Principle of Vibration”). The album features Perel’s voice almost entirely but for her special collaboration with Canadian songwriter Marie Davidson on the title track.

“Jesus Was An Alien” stirs like a late-night revelation, a heady discovery awakened in the dark. Perel lays out a fiercely disciplined electro pulse, with Davidson’s proclamations growing more fervent over the song’s sensual stride. “I already said everything with my synthesizers and the melodies I created,” Perel explains of the collaboration, but “somehow she gave the song a voice I couldn’t.”

Perel drives further not only spiritually but sonically across the ten tracks, taking thrilling production risks: standouts include her breathy vocals atop a melodic piano strut on “Matrix;” the delirious blur of ghostly chimes and disembodied voices of “Religion;” and the retro radiance of “The Principle of Vibration,” in which Perel exhorts us to “come on and vibe” over an athletic riff and shuffling percussion.

“Kill The System,” meanwhile, hits the listener with tense acid pulses, building to only an imagined release and calls out the end of patriarchy. Album closer “Am Kanal” starts as a pensive cloud of a track, finally breaking into a rich textural rain of synths and stabs.

The variety throughout Jesus Was An Alien underlines Perel’s purpose in this latest project; she’s experimenting her way to answers – or maybe just more questions. After all, she says, “questions are the beginning of something new.”

Folklorist Derek Piotr teams with Death is Not the End for a third outing, this time plumbing the depths of every archive from West Virginia University to the British Library in search of versions of the ballad Lamkin. Following the template set by Charlie Seeger with his seminal Barbara Allen compilation, Piotr's collection outs versions of the bloody ballad from the last ninety years; most of these renditions haven't been heard by anyone but their original recordists for decades.

To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2022.

Part of this series is Pharoah Sanders’ Moon Child from 1990, which bookended a decade of musical soul searching for Sanders. The acclaimed free jazz player is known to have a raw and abrasive sound, but reinvented himself on this album as a more traditional improviser capable of thoughtful deliberations. Moon Child is a grand old time throughout, and Sanders has never been more eminently sing-along-able as he is on its title track. The record was co-written with Horace Silver, George Gershwin and Abdullah Ibrahim and recorded with William Henderson, Stafford James, Eddie Moore and Cheikh Tidiane Fal

THE LONG AWAITED AND CONSTANTLY DELAYED LP VERSIONS ARE FINALLY AVAILABLE-

want to take you on a journey. Not to their Russian homeland, but beyond that, to a place not on any map where the trio’s dreamy “celestial blackgaze” can properly get beneath your skin and into your mind. With their fourth album, Istok, their first for Candlelight Records, they’re pushing even further into the unknown. The band formed in 2013 in Saint Petersburg, following the breakup of similarly blissful-minded outfit, Princ Persii. Though not wanting to limit themselves to a genre, the “celestial blackgaze” fit so well that it stuck – descriptive enough to catch their vibe, loose enough to have no walls. Available across 5 physical formats: CD / double transparent grey vinyl / double metallic ice vinyl / double baby blue vinyl / double black vinyl.

THE LONG AWAITED AND CONSTANTLY DELAYED LP VERSIONS ARE FINALLY AVAILABLE-

want to take you on a journey. Not to their Russian homeland, but beyond that, to a place not on any map where the trio’s dreamy “celestial blackgaze” can properly get beneath your skin and into your mind. With their fourth album, Istok, their first for Candlelight Records, they’re pushing even further into the unknown. The band formed in 2013 in Saint Petersburg, following the breakup of similarly blissful-minded outfit, Princ Persii. Though not wanting to limit themselves to a genre, the “celestial blackgaze” fit so well that it stuck – descriptive enough to catch their vibe, loose enough to have no walls. Available across 5 physical formats: CD / double transparent grey vinyl / double metallic ice vinyl / double baby blue vinyl / double black vinyl.

THE LONG AWAITED AND CONSTANTLY DELAYED LP VERSIONS ARE FINALLY AVAILABLE-

want to take you on a journey. Not to their Russian homeland, but beyond that, to a place not on any map where the trio’s dreamy “celestial blackgaze” can properly get beneath your skin and into your mind. With their fourth album, Istok, their first for Candlelight Records, they’re pushing even further into the unknown. The band formed in 2013 in Saint Petersburg, following the breakup of similarly blissful-minded outfit, Princ Persii. Though not wanting to limit themselves to a genre, the “celestial blackgaze” fit so well that it stuck – descriptive enough to catch their vibe, loose enough to have no walls. Available across 5 physical formats: CD / double transparent grey vinyl / double metallic ice vinyl / double baby blue vinyl / double black vinyl.

"'AYII' is a collection of roadside Souvenirs on the rural highway of our
inevitable evolution," shares Jon Stone.
"Polaroids
Storms. Open fields. Tears. Therapy. Burning of fields to make way for new
growth. We've attempted to open personal doors that have been patiently waiting,
annoyingly, stubbornly waiting for a sliver of truth. Hopefully we've delivered."
Kristy Osmunson adds, "Parenthood. This album was created during the most
pivotal time in life made while creating two humans. If I could capture the
process this music brought about in five words I would say, sobriety, health,
growth, responsibility and joy. This last five years has been a massive transition.
Playing festivals, weddings, funerals, therapy sessions, and music lessons has
become the soundtrack of life. 'Gonna Be You' landed on this planet the same
weekend as my first son so I will love that song through eternity. As she always
does, this music brought about a full revolution in my existence as a human." The
11-track project was produced by American Young, Kyle Schlienger, Lee Brice, and
John Vesley.

Those Pretty Wrongs are Jody Stephens and Luther Russell, two old
friends and veterans of the music scene in different ways - Jody was the
drummer for the legendary band Big Star and now helps run equally
legendary Ardent Studios in Memphis & Luther Russell was the leader of
seminal roots-rock band The Freewheelers and is now an acclaimed solo
artist and producer
Those Pretty Wrongs (2016) & Zed For Zulu (2019) were both released to great
critical success and the duo toured much of the US and EU delighting crowds
with Those Pretty Wrongs music. There's an undeniable influence of Stephens'
former band in the breezy melodies, the strong, simple and straightforward
arrangements, beautifully built around the duo's harmonies. Billed as "Double the
PRETTINESS for the price of one" and inspired by the good ol' truck-stop LP twofers (along with the desire to update the vinyl pressing with premium cutting, and
packaging.) Curation Records has teamed up with Those Pretty Wrongs to not
only put their two LPs back in print but to also remind the world of the power of
"pretty music".

The Cycle is the fifth album by Mourning A BLKstar - It's the Clevelandbased collective's masterwork -- a double LP spanning 20 songs and
three singers, touching on neo-soul, hip-hop, and the cosmic expanse in
between/beyond
It is a humble addition to the long legacy of James Baldwin's adage of the artist
as witness. It is their song cycle, written in a time that just may need a song or
two in support of and in love and power to the living. Pressed on Neon Yellow
Color Vinyl

The final installment of the electronic fusion projects that Walter Bachauer concocted for Klaus Schulze’s Innovative Communication label, Visions of Audio delves further into minimalist musique concrete, extending themes developed on Memorymetropolis in drawing on non-European vocal chants, here applied in dissociative layers. The diverse, complex arrangements include the symphonic synths of ‘Promised Land’ and the war-mode Sensurround of ‘1922 In Baku,’ as well as the obtuse loops of ‘The Final Ritual,’ the work inspiring future hitmaker Pilooski. Mondshine fans, Berlin School freaks and abstract electronica lovers should bag it.

Black Vinyl, DL card. CD Capacity wallet. A reawakening for the Swedish visionaries, Sincere solidifies their impressive trajectory in a fuzzed out haze of dark and arresting shoegaze pop. An expansive trip through noisier, bittersweet pop realms that recalls My Bloody Valentine, Slowdive and Deerhunter. Underpinning everything there’s a continuing sense of drama throughout; richly textured crescendos, chiming guitars and delicate melodies are guided by Caroline Landahl’s tender yet sharpened vocals. Sincere is joyously effervescent, but with a dark underbelly where fury manifests in a swirl of entrancing and propulsive percussion. A gorgeous and dazzling piece of aching romanticism, destined to feature on a thousand mixtapes. Recorded last year in Malmö, Hater welcomed two new band members and those early day sparks saw them quickly turning demos into fully-formed new songs that appear on the record. Sincere was produced by long-time collaborator Joakim Lindberg and was mixed and mastered by John Cornfield, whose credits include Ride, The Stone Roses and Robert Plant. // “One of the best bands in the world” Gorilla vs Bear // “Your next Scandinavian indie pop obsession.” Flood // “Stunning” Stereogum

This first-ever vinyl reissue, remastered from the original analog tapes, includes a gatefold jacket and inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen; an insert with lyrics, original notes, and Terry’s letter to H.C. Westermann about the songs; and a high-res download code. Deluxe CD edition features a trifold jacket and inner sleeve. Recorded exactly two years after acclaimed visual artist and songwriter Terry Allen’s masterpiece Lubbock (on everything), the feral follow-up Smokin the Dummy is less conceptually focused but more sonically and stylistically unified than its predecessor it’s also rougher and rowdier, wilder and more wired, and altogether more menacingly rock and roll. Following the 1973 Whitney Biennial, in which songwriter and visual artist Terry Allen and fellow iconic artist Horace Clifford “Cliff” Westermann both exhibited, Allen maintained a lively long-distance correspondence and exchange of artworks and music with Westermann, whose singular and highly influential art he admired enormously. In a February 1981 letter to his friend and mentor, written shortly after the late 1980 release of his third album Smokin the Dummy, while he and his family were living in Fresno, California, Terry explains the genesis of the album title: Westermann died shortly after receiving this letter, enclosed with a Smokin the Dummy LP, the minimalist black jacket of which Allen suggested that Cliff fold into a jaunty cardboard hat if he didn’t like the music. That response was unlikely, since Westermann loved Terry’s music, calling his debut record Juarez (1975) “the finest, most honest and heartfelt piece of music I ever heard.” The Panhandle Mystery Band had only recently coalesced during those 1978 Lubbock sessions, Lloyd Maines’s first foray into production. Through 1979, they honed their sound and tightened their arrangements with a series of periodic performances beyond Allen’s regular art-world circuit, including memorable record release concerts in Lubbock, Chicago, L.A., and Kansas City. Terry sought to harness the high-octane power of this now well-oiled collective engine to overdrive his songs into rawer and rockier off-road territory. His first album to share top billing with the Panhandle Mystery Band, Dummy documents a ferocious new band in fully telepathic, tornado-fueled flight, refining its caliber, increasing its range, and never looking down. Alongside the stalwart Maines brothers co-producer, guitarist, and all-rounder Lloyd, bassist Kenny, and drummer Donnie and mainstay Richard Bowden (who here contributes not only fiddle but also mandolin, cello, and “truck noise theory,” the big-rig doppler effect of Lloyd’s steel on “Roll Truck Roll”), new addition Jesse Taylor supplies blistering lead guitar, on loan from Joe Ely (who plays harmonica here). Jesse’s kinetic blues lines and penchant for extreme volume were instrumental in pushing these recordings into brisker tempos and tougher attitudes. Terry was feverish for several studio days, suffering from a bad flu and sweating through his clothes, which partially explains the literally febrile edge to his performances, rendered largely in a perma-growl. (By this point, he was regularly breaking piano pedals with his heavy-booted stomp.) Like the album title itself, the songs on Smokin the Dummy ring various demented bells. The tracks rifle through Terry’s assorted Obsessions especially the potential energy and escape of the open road, elevated here to an ecstatic, prayerful pitch and are populated by a cast of crooked characters: truckers, truck-stop waitresses, convicts, cokeheads, speed freaks, greasers, holy rollers, rodeo riders, dancehall cheaters, and sacrificial prairie dogs, sinners seeking some small reprieve, any fugitive moment of grace. A reigning deity of a certain kind of country music since the mid-70s. – The New York Times // The kind of singular American artist who expresses the fundamental weirdness of his country. – The Wire

New Heavy Sounds is proud to present the new album by Mammoth Weed Wizard Bastard. now known simply as MWWB. There has been some speculation amongst fan circles that the final part of the trilogy of albums that preceded this, marked the end of Mammoth Weed Wizard Bastard’s five-year mission. Not so. We can categorically confirm that having officially slimmed their name down to the acronym, MWWB are continuing their voyage through the far reaches of the galaxy. The first phase of that journey is their new album ‘The Harvest’. ‘The Harvest’ is the band’s fourth album, and of course it is a record shot through with the trademark heavy MWWB sound, and their unique blend of metal and shoegaze. However it also sees the band adding more experimentation, a progressive approach, and going a bit more left field conceptually. To some extent, it shares similarities with Pink Floyd’s ‘Dark Side Of The Moon’. Not only by having the mix of experimentation and melodicism as that seminal record, but also in the way that it has been engineered and constructed as a seamless piece. Nine tracks flowing into one another. Space age riff monsters segueing into shorter musical interludes, where John Carpenter, rubs shoulders with Pink Floyd and a maelstrom of moog and mellotron. There are surprises, and of course a bucketload of heavy shit. With ‘The Harvest’ MWWB have refined and honed their sound, it’s a carefully crafted distillation of ideas, written, conceived and sequenced to be listened to in its entirety (preferably in one sitting). MWWB have always loved film scores and this new album is in many ways, the soundtrack to a film. MWWB provides the musical narrative (the song titles also provide a pointer) and the listener's imagination does the rest. ‘Oblok Magellana’ and its spooky atmospherics set the scene. before things really kick in with the riffs of title track ‘The Harvest’. A grooving Sabbathian chug intro’s Jessica Ball, who at the top of her game throughout. Her voice simultaneously sweet yet dark; almost neofolk; which when put against those riffs, is always a startling juxtaposition, nevertheless it perfectly crystallises MWWB’s distinctive dynamic. ‘Interstellar Wrecking’ is a succinctly crafted nugget of John Carpenter-esque drama, you can imagine the thundering mothership forging its way through the universe on some nameless quest before encountering ‘Logic Bomb’ and its fat fuzzed-up ride through light and shade guitar/vocal interplay. Ball’s voice soaring and shimmering throughout. ‘Betrayal’ gives a nod to Pink Floyd’s ‘On The Run’ but with its freaky spoken word and four on the floor kick it’s almost a dance track, yet there’s no incongruity here. ‘Altamira’ is epic MWWB, adding large doses of psych into a melodic concoction of dreampop and metal. Ball’s vocals here are many layered and textured effortlessly gliding through the weight of the backing. ‘Let’s Send The Bastards Whence They Came’ is another little gem. A plaintive repeating synth figure that builds with bass, drums, mellotrons and synths into ‘Strontium’ which rounds off the album’s ‘heavy’ numbers, a blend of monster grooves, and Ball’s swooning vocals. Finally, and outstandingly, Jessica strips things back to a distorted guitar and voice on ‘Moonrise’. Shorn of the layers of fuzz, it is a simple, beautiful and fitting catharsis to an epic voyage. MWWB are a thrilling proposition. They demonstrate that you can seamlessly mix crushing power, experimentation and delicate vulnerability into something that transcends any genre.

Tinnitus Tonight is the latest & sneakiest full-measure serving from LARS FINBERG, world-class bon vivant and prolific Panic Rock artiste. Why so sneaky? Here’s the dirt: Finberg developed a nerve rash leading up his 2017 tootle, the TY SEGALL-assisted Moonlight Over Bakersfield. Rather than blindly leap from the comfy zone, he tip-toed in secret to a friendly but far-flung (cough*Sacramento*cough) studio to capture a reserve of slanted tunes with a proven-effective team of buds. Those comrades – the glorious LAUREN MARIE MIKUS on keys, frequent collaborator & forever-gent KAANAN TUPPER on drums and, at the controls and elsewhere, the indestructible CHRIS WOODHOUSE – all fostered a supportive framework that first allowed Finberg to “think” beyond THE INTELLIGENCE, gearing him up for a life in the spotlight (or moonlight, as it were). So yes indeed: what appears to be an adventurous follow-up also doubles as a prequel. Keep accurate score or you’re dusted. The core of Tinnitus Tonight centers on an assemblage of Finberg’s most golden riffs – trash-coustic but driftwood-smooth, naughty and infinite, all of ‘em bangers and/or buggers. Tunes sprout and move matador-like until an inevitable goring. The past-it grunt that kicks off “Burger Queen” prompts a mimed chef’s kiss. “My Prison” and “The Doors” are quintessential, truly distilled Finberg moments, compounding his trademark acerbic, out-for-blood wit with these absurdly cool, whip-crack guitars. The massively impressive “Public Admirer” is unequivocally the loudest, most damaged blurt from this doggie in at least a decade. In total, Tinnitus Tonight is a wonderful and welcome reminder that our guy is a very real rouser and a vital, unique purveyor of artful aggression, playful and powerful. Finberg beams really fuckin’ brightly under his own name, perhaps more so than with any group orchestration he happens to be braising with. Do these higher personal stakes call for a dastardlier delivery? Maybe this permeating 2020 End Times feeling prohibits the normal corralling of the subconscious mind? Whatever the answers are, you will find them here.
"The gift Lars Finberg has to disfigure rock riffs into minor chord marvels should serve as a glowing example for those who feel the need to pick up a guitar and make some noise to share with the world. Using the conventional tools of rock and roll flavored with a mix of garage punk, post punk, synth punk and mutant surf, Mr. Finberg, with seemingly effortless cool, has crafted or contributed to countless albums with bands like The Intelligence, Puberty, Rubber Blanket, A Frames and more, all with a magnetic pull and genius lyrics that stand out from the indie rock heap and reveal an exceptionally creative mind that’s actually done its homework." - Noise For Zeros

Far from the twin epicenters of New York and Miami, Carlos Ruiz and his Ebirac label were both feeling and generating the aftershocks of the mid-’70s salsa boom. Holed up in their own bustling Puerto Rican community center on Chicago’s west side, these third coast salseros plied their trade outside the hot lights, cutting their teeth in city parks, VFW halls, and Holiday Inn rec rooms. Nearly 50 records survive in the wake of orquestas La Justicia, La Solucion, and Tipica Leal ’79, the most impassioned, singular moments of which are compiled here.

Australian hip-hop/neo soul duo SO.Crates are a boom-bap prayer sent live and direct from the heart of two of the culture’s most committed students. The group features Melbourne based beatmaker and DJ Skomes alongside California-via-Adelaide MC & poet Cazeaux O.S.L.O, not to mention the MUSE, a forever changing third party who completes the creative trinity of the Crates. With a legacy built on releasing a steady flow of cold-crush records and delivering uplifting live performances to the party people, SO.Crates prove that hip-hop’s golden era is not a lost date in time, but a foundational state of mind. Functioning as a considered preview of what to expect from the album to follow, the hypnotic first release 'Stars' is an auditory exploration of what happens when two opposing charges collide; the joyful and the melancholy. Here, layers of instrumentation, samples and vocals sit atop a foundation of grounding beats — the track's roots from which piano samples, live trumpet and vocal embellishments spring. "When Skomes gets in his stride, it's always a bit of a happy/sad feeling. It can go either way, like a mood ring", says Cazeaux O.S.L.O. "I guess you could say we make mood ring beats, and 'Stars' is no exception".

Like a book club - only with albums.A simple, but beautiful concept

MJ McArthy (Zoey Van Goey) asked a small group of his pals to gather at The Laurieston – that mystical voodoo Glasgow boozer…that adored bar that defies all reason and logic – and they would talk about a record, track by track, and see what happens.They didn't know each other. There were theatre people:, Playwrite Douglas Maxwell, Isobel McArthur (actress and writer, the genius behind smash hit Pride and Prejudice Sort Of) and Cathy Forde (acclaimed YA novelist and playwright) and Rhona NicDhughaill who works for Gaelic arts company Theatre Gu Leor, as well as being an old band buddy of MJ's from their student days. Peter Geoghegan, award- winning firebrand political journalist and writer of the wonderful Democracy For Sale was there. And lastly - and slightly freaking them out on that very first night - were two actual Delgados: Emma Pollock and Paul
Savage.

And then…MJ had songs. MJ always has songs. And he started to wonder if this particular group of humans could, as well as talk about an album, make an album? For the musicians I don't suppose that was a particularly weird notion, but for the rest of the band it was quite a leap. However, MJ was adamant…let Album



Club become ALBUM CLUB. The Band!

Limited edition box set, which includes the complete original LP - 180g vinyl - gatefold sleeve, an 80-page book 'The Making of Chet Baker Sings' by Brian Morton and the complete CD with bonus tracks

The unforgettable 'Chet Baker Sings' put Baker on the map not just as a brilliant trumpeter, but also a talented vocalist. The album was a revelation at the time and won Baker new fame and a new audience, which was less familiar with jazz than with pop music. The reasons are quite clear; Chet's voice is tender and beautiful, and at the same time his phrasing always swings and surprises.

The initial 1954 release was a 10" LP (Pacific Jazz LP11) which contained just eight tracks, reappearing in 1956 as a 12" LP (World Pacific PJ-1222) with additional tracks from the same session.
This wonderful definitive edition puts together: the original 12" LP 'Chet Baker Sings' in a 180-gram virgin vinyl gatefold edition illustrated with William Claxton photos from the sessions; the complete CD containing the same album plus six bonus tracks; an 80- page fully illustrated hardcover book on which writer Brian Morton explores the genesis of the iconic album. The book also includes a
specially written essay by bassist Riccardo Del Fra, speaking about his experiences playing with Chet, as well as dozens of classic, rare and never before published photos by such important jazz photographers as William Claxton, among many others.

Far from the twin epicenters of New York and Miami, Carlos Ruiz and his Ebirac label were both feeling and generating the aftershocks of the mid-'70s salsa boom. Holed up in their own bustling Puerto Rican community center on Chicago's west side, these third coast salseros plied their trade outside the hot lights, cutting their teeth in city parks, VFW halls, and Holiday Inn rec rooms. Nearly 50 records survive in the wake of orquestas La Justicia, La Solucion, and Tipica Leal '79, the most impassioned, singular moments of which are compiled here.

Spanish singer-songwriter Rosalia is back with her third studio album and one that is a hugely conceptual and experimental affair. She herself describes it as "her most personal and confessional album" and that is embodied by the lead single, 'Saoko', which celebrates transformation and change. It is an album of pop leaning, reggeaton inspired sounds and plenty of nods to dembow, champeta, flamenco, bachata, hip-hop and piano melodies. The artist's own fierceness and unapologetically brave attitude helps make this the force that it is.

Known for his work on Transient Force, Gigolo, and of course as a contributor for Fundamental's Time Capsule a.k.a. 808 Box project, -=UHU=-'s album is a selection of his best unreleased tracks. Compiled from an old folder full of tracks that have that twenty years old spirit in each of them, that futurist funk that -=UHU=- can deliver so well. ''Ezzential Electro'' is the biggest project Electro Records has done so far. It consists of 36 vinyl records produced by artists they consider essential for the current underground electro movement. The first six parts of the series come in beautiful white silkscreen printed sleeves on recycled cardboard and include a real puzzle piece on the front cover, indicating which part of the series you have in your hands.

Very limited vinyl pressing, 500 copies in a gatefold sleeve, a printed inner housing white and marbling effect vinyl with full download included. CD in a 4 panel digipack with a 4 page booklet. New Heavy Sounds is very proud to bring you Moongazer, the 2nd album by the 4 piece stoner rock powerhouse from Italy, TENEBRA. The band had already made waves on the scene with their debut album ‘Gen Nero’ before delivering ‘What We Do is Sacred’ their debut EP for New Heavy Sounds last year, 3 killer tracks that were but a taster of things to come. Moongazer takes the story a stage further with 9 slabs of crushing fuzzed up grooves, fuelled by 70’s proto metal, hard rock, punk, psych-blues and noise, loaded with great riffs and melody and topped off by gutsy soulful vocals. Musically, you could say that TENEBRA occupy similar musical terrain to bands such as Graveyard, Witchcraft, Kadaver and other bands of that ilk, but TENEBRA are very much their own beast. They have all the chops of course, but are musically less slavish, often adding a twist that keeps the songs fresh and now. There’s also very little reliance on Sabbath-isms (apart from one cheeky nod) and though occult rock is also part of the vibe, the music steers well clear of the cliches. In fact the band bring a clutch of left field influences into their melting pot as well, from June of 44 and Love Battery to the Misfits and the psych grunge of Screaming Trees. Of the 4 members, Claudio (bass), Emilio (guitar) and Mesca (drums) came from the hardcore and post-hardcore squat scene that gathered around Bologna, whereas their formidable vocalist Silvia (the youngest of the crew) is immersed in the underground rock of the '60s and' 70s. When you hear her sing you’ll know where she’s coming from as she has one helluva rock voice, laced with whiskey, smoke, grit, late nights and a whole lotta soul. Think Maggie Bell meets Betty Davis with a smattering of Gillan, and you'll be in the right ballpark. So what you get with ‘Moongazer’ is a band revelling in the spirit of 70’s rock rather than recreating it. ‘Heavy Crusher’ lulls you with its dreamy intro, but it’s not long before the riffs hit with Silvia in full effect. This pretty much sets the tone for the record, coiling proto metal riffs, executed with gusto and joie de vivre. And as with every track on this album, Silvia belts it out like she absolutely means it man. ‘Cracked Path’ continues the journey and ups the heavy fuzz a notch or 2. First heard on ‘What We Do Is Sacred’ (full length album version). ‘Black Lace’ is a brooding beast, epic and melodic, almost a ballad, with a heap of soul lurking within, courtesy of Silvia’s mighty voice. ‘Carry My Load’ keeps the brooding vibe going till the loping off kilter killer riffs kick in. This is definitely Silvia at her most Gillan-esque. ‘Winds Of Change’ does just that, dial things down to bluesy, almost psych feel, with dreamy solos and a hooky guitar break. ‘Stranded’ is a full on stoner rocker as is ‘Space Child’ with its short homage to the dark lords, there’s even a a sax solo. Never one’s to just play it straight these guys. ‘Dark And Distant Sky’ is pure proto metal, a la Bloodrock or Grand Funk, it truly rips, and once again, it’s construction veers it away from anything approaching what you’d expect. ‘Moon Maiden’ is the album’s closer, featuring Gary Lee Conner (no less) of the aforementioned grunge legends Screaming Trees, guesting on guitar. It’s a fitting and epic closer, by turns hard ‘n’ heavy, psychedelic and chock full of great ideas. MOONGAZER is without doubt an accomplished sophomore release that deserves to be heard and appreciated, purely because, though it may appear to reside in the world of stoner, it is so much more.

Warm Currency is a new project by Sydney-based friends, artists and musician’s MP Hopkins and Mary MacDougall. Mary began working with MP Hopkins and Christopher Schueler in 2008 as Vincent Over the Sink morphed into The Bowles. ‘Returns’ was recorded in Mary's home during 2020-2021 and is their first release since 2012's The Bowles EP (Kye). Quietly intense folk music, song-poems, and concrète collages built from seemingly simple and delicate arrangements for guitar, keyboards, voice and tape. Recommended if you like Flaming Tunes, Nico, Alistair Galbraith, The Garbage and the Flowers.

Giacomo D’Attorre – lead singer of Clever Square – has been through a lot of late. With his band. In his personal life. Even just with the state of the world. This fire has fuelled Clever Square’s new record Secret Alliance, eleven tracks that explore feelings of frustration, disillusionment, and disconnection, and chronicle what it’s like to be swept along by a world that “gets noisier everyday”. The record was inspired by a creeping realisation; of coming change, and a sense that D’Attorre was “losing contact with who I was before, for the good and the bad.” New needs and desires surfaced; old ones disappeared. Thus he began writing around ideas of rethinking yourself, and “acquiring a new conscience of mutation”. The darker realms of science fiction informed much of D’Attorre’s thinking here; Philip K Dick, Ray Bradbury – ‘Mr. & Mrs. K’ was inspired by The Martian Chronicles – and Flannery O’Connor, whose The Violent Bear It Away proved particularly inspiring. All of this is perfectly framed by Clever Square’s shuffling, quirky indie, and cute melodies. Soft and worn around the edges, like the perfect flannel shirt, there’s a gentle, shambling quality to the music; “blue collar”, D’Attorre calls it. Guitar lines gently bloom, Fender Rhodes organ is sprinkled throughout, and the acoustic strumming sounds easy and unhurried. From the relaxed bustle and acoustic picking of ‘Hail The Proper Karl’, to the joyous, bouncy ‘Little Flaws’; from the stripped back melancholy of ‘Obsolete Epsilons’ to the arena-ready vibes of indie classic ‘Golden Wires’, D’Attorre has crafted a spell-binding, mesmerizing set of songs that delight on first listen and reward deeper inspection. “It’s a hymn to privacy, to the joys of secrecy, and solitude,” he says of Secret Alliance. That he wraps such heartfelt, profound topics in gloriously laid-back indie adds to the charm, and cements Clever Square’s status as one of Italy’s finest contemporary bands. The world might seem increasingly complex and be spinning ever faster, but Secret Alliance slows it down just enough to savour the scenery and think about charting a path back to something a little more manageable.

REPRESS! “All Of Them Naturals” is a fully realized, inclusive world of faux-corporation sponsored surrealist new wave punk music rife with satire and discordance. Robotically tight. Delightfully warped. Ideas as vast as Nebraska’s GMO cornfields and as lethal as the pesticides they spray on them. Did the Sunbelt Chemicals Corporation invent DDT? Maybe. Did they invent man? They think so. Did they invent the wheel? No, that was URANIUM CLUB. Truly, our generation’s DEVO. An important group." - Jensen Ward

Deluxe Edition / LP+Poster

Back in 2017, Moderat announced that they’d be taking an extended break following a final concert in front of 17.000 people in their hometown of Berlin. And now they return. MORE D4TA, the group’s fourth album, arrives more than six years after its predecessor (2016’s III). Created largely during a time when touring (and most traveling) was off the table, MORE D4TA is an album that wrestles with feelings of isolation and information overload—issues that have become particularly pronounced over the past two years. The ten songs on MORE D4TA are rooted in collaboration, but long before any of its tracks were laid down, Moderat spent months hanging out and getting musically reacquainted, indulging in extended bouts of experimentation and slowly fleshing out ideas as they dove into modular composition, field recordings and other sonic oddities.
But no matter how far the band ventures into music’s outer realms, they always wind up back in their own unique soundworld, a place where emotive pop and fluttering electronic soundscapes walk hand in hand. Many of its lyrics are rooted in Ring’s frequent trips to Berlin’s Gemäldegalerie museum (often with his infant daughter in tow), where he’d seek refuge in the great paintings of the past while worrying about the future.
What they make isn’t necessarily dance music, but it is something that shines brightest in the dark of night, the group’s rich melodies and Ring’s ethereal vocals emitting a warm, almost bioluminescent glow. After spending the better part of two decades making music together, they’ve carved out a sound and aesthetic that are all their own, and MORE D4TA showcases a group that’s creatively recharged and fully dedicated to its craft.

Lunar Disko is delighted to present a new release from cult soundtrack producer, Heinrich Dressel.

Five tracks of synthesizer beauty from a master of the modern Giallo electronic sound.

Perfection...for your late-night promenade excursion.

Retro-Future beats for stubborn ravers.
Phase O'Matic is a London based promising producer.
Philoxenia is delighted to have him on board.

UFC is proud to presents R.I.P. Bestiaʼs second outing on the label. Starting out with “Resurgence of Rave Echoes” R.I.P. Bestia delivers an influenced rave breakbeat track with chopped vocals, big bass, acid and piano raves that take you to a new future rave dimension. "Anarchic Alien Fuel" takes over a trance breakbeat influenced with a heavy ambient pad and cyberdelic vocals. Finally “Extraterrestrial Shamanic Ceremonial Rite” rounds up the EP with a tribal and breaks drums, epic synths, an hypnotic vocals that will keep you in the shamanic rite going from start to finish.

Retromigration returns to Ravanelli Disco Club with a brand new broken beat chanelling track 'Jeffa'. None other than Ron Basejam steps up on remix duties in signature disco don style.

He didn’t come alone though, bringing his friends Nephews to the dance on the B side who deliver sunset house grooves in the form of 'Reingelaxed'. To complete the EP Jkriv remixes 'Reingelaxed' into a synth swirling Balearic gem.

Heist welcomes, late 80’s DMC World DJ Championship contender, Techno veteran, and house royalty Orlando Voorn to the label
with his ‘Heist Mastercuts’ EP.

Orlando Voorn is a man who needs little introduction. He’s played a pivotal role in the development of the electronic music scene in the Netherlands, as well as in the USA where he now lives. With countless aliases, he has released everything from old school hiphop to sample heavy breaks, to banging Detroit techno to soulful house music. His recent outings as ‘Frequency’ on Clone, as well as his latest EP on our sublabel Transient Nature, are proof that even after 30+ years, the man is still very much on top of his game.

The Heist Mastercuts EP sees Orlando dig deep in his archive for some of his undercover hits from the nineties that have been remastered for
this EP. On top of that, he delivers a new track in the form of soulful house bomb “Be with you.”

“Be with you” starts off with a hazy groove and distant pads. The steady beat and funky electronic chops set a steady foundation for a rush-inducing string sample that works together with looping diva vocals for maximum dancefloor excitement. No heavy drumrolls, FX or other tools necessary here: It’s clever sampling and Orlando’s soulful touch that make this track tick.

Next up is the vinyl only track “Love Feelings” – originally released in ’96 on Urban Sounds of Amsterdam-. Think 130+ BPM vintage house grooves with hazy pads and you’ll get an idea of what’s coming. Love Feelings is an up-tempo dreamhouse track that, even though it’s almost 25 years old, still ticks all the boxes of a contemporary festival groover.

On the B-side you’ll find 2 versions of “Tenderness”: The original mix and the Late nite dub, both originally released on Clubstitute records back in ’95. The original has a 90’s garage groove with male vocal chops, old school house keys and strings. The late night dub is exactly that: a dreamy ethereal deephouse groove with warm synth hits, introverted percussion some very on point sax loops.

The Heist Mastercuts EP is the first EP of Orlando Voorn on Heist Recordings but considering the connection we’ve built with him over the last year and having heard the music he’s shared with us, we’re sure you’ll see much more of him on Heist in the future.


Yours sincerely,

Maarten & Lars

LNDFK (aka Linda Feki) presents her ground-breaking debut album, "Kuni" on Brooklyn-based Bastard Jazz Recordings. Undeniably on the rise after her 2019 breakout performance at Primavera Sound, LNDFK has already caught the attention of Pitchfork, Rolling Stone, Clash Magazine, Noisey, and Brooklyn Vegan (among many others) while being championed by the likes of Gilles Peterson, Tom Ravenscroft, and Jamz Supernova & landing spots on tastemaker playlists like Spotify's "Pollen" and "Fresh Finds."

"Kuni" is a spellbinding exploration of dichotomies: Love & Death (Eros & Thanatos), Flower & Fire, Delicacy & Violence, Poetry & Realism, Purification & Destruction. These opposites are reified in the 10-track LPs multifarious and multifaceted sounds, elegantly meandering through a variety of styles and genres, spearheaded by Linda and features the production wizardry of Darrio Bassolino who co-wrote the album.

"Kuni" opens with "Hana-bi," an ambient instrumental piece that sets the tone for the album. Inspired by the Takeshi Kitano 1997 film of the same name – particularly Joe Hisaishi's stunning soundtrack, as well as Kitano's paintings which appear in the film. "Hana-bi" expresses the dialoguing opposites of flowers and fire, the first of many dichotomous representations throughout the album. "Takeshi" acts as an extension and to "Hana-bi," albeit one of opposing sound, with its driving, highly syncopated drums (which reappear throughout "Kuni") – à la Karriem Riggins, Questlove, or Yussef Dayes – frenetic bass line, and jazz chords. Linda's sultry voice is interspersed, initially jumping around in scat fashion, being triggered as if a sample, before her lyrics come in; her vocals are used like an additional instrument, adding to the song's rich texture. "Kuni" truly hits its stride with the next song, "Smoke – a moon or a button" (its title lifted from the 1959 book by Ruth Krauss and Remy Charlip), which is structured like a jazz standard yet flows into neo-soul territory sonically with those prodigious drums a highlight once again.

LNDFK touches on experimental hip hop in two songs on the record (both of which were released as singles in 2021): "Don't Know I'm Dead or Not (feat. Chester Watson)" – track #4 – and "How Do We Know We're Alive (feat. Pink Siifu)" – track #9. Although they embrace a more hip hop-leaning sound, these songs by no means shy away from the exploratory theme, and feature two of the alt-rap scenes rising stars with Chester Watson and Pink Siifu who offer provocatively impressing verses, combining dense word play with unconventional flows. While these tracks may first appear to be outliers on the album, they are undeniably in tune with "Kuni's" message and sonic palette, acting as testaments to LNDFK's willingness to explore and experiment.

Meanwhile, "Ku" – the third and last single before the album release – furthers the pre-established future soul sound while meandering through nu jazz and left-field electronic. Inspired by the graphic novel and film, "Sin City," and its female assassin protagonist Miho, "Ku" is a musical interpretation of Miho's story, incorporating both her beauty – the first half of the song – and murderous tendencies – the second half – to create a stunning juxtaposition, culminating in an ambient finale that suggests the character's vulnerability and inner peace. The song gracefully bridges the gap between Hiatus Kaiyote-esque songwriting, Dilla's rhythmic syncopation, and Thundercat's instrumental prowess (LNDFK has shared a stage Brainfeeder labelmate Kamasi Washington).

Mixed in throughout "Kuni" are a series of instrumental pieces that function as something akin to an interlude. The aforementioned intro, "Hana-bi," and the album closer "se mi stacco da te, mi strappo tutto:" act as bookends, while "Om" indicates the half-way mark, and "Ktm" sees Jason Lindner add his sound the album. These tracks are the ambient foundation of "Kuni," representing the thematic duality of the work. Clocking in at only 24 minutes, "Kuni" packs an astonishingly diverse array of sounds, styles, and themes, all while showcasing virtuosic musicianship and instrumental prowess.

Appearing on "Hana-bi" and "Ktm," renowned international artists Asa-Chang and Jason Lindner add an additional perspective to "Kuni": Asa-Chang on "Hana-bi," and Jason Lindner on "Ktm." Asa-Chang - famously of the Japanese avant-garde group Asa-Chang & Junray - provides vocals and percussion to an alternate version of the instrumental opener, while the acclaimed keyboardist Jason Lindner offers his synth expertise on "Ktm." These features highlight the spirit of collaboration found in LNDFK's music, always willing to try out new ways of working.

LNDFK is a singer and songwriter, born of two cultures – an Italian mother and Arab father. She grew up in Naples, away from her father, the Sahara, her homeland and traditions, which has helped nourish the desire to rediscover – through art – an engagement to her roots. Her music melts with jazz, neo-soul and hip-hop influences, filtered through her experiences and sensibility.

Her first EP, "Lust Blue," was composed with the artistic production of Dario Bass and released by Feelin' Music; after that she released several singles that saw international radio support (BBC, NTS, Wordwide FM) and gained a massive audience on digital platforms. Together with her band, she toured around Europe, performing alongside such notable artists as Kamasi Washington and Mndsgn, among others. Most recently she toured Italy, and performed at Primavera Sound Festival 2019 in Barcelona.

"Kuni," is due out on NYC label Bastard Jazz Recordings in February, 2022, while the vinyl LP will follow shortly after.

There is never any doubt that soul is in the house, when you hear the poetic guitar and organ licks from Cold Diamond & Mink starting to twirl together, and out of nowhere Carlton Jumel Smith steps effortlessly inside the groove. "Heaven In My Arms" is the second in line of Carlton's new trio of singles on Timmion, and what a treat it is: deep as Mississippi mud, light as a feather.

This time our trans-Atlantic tag team delivers a melodic beat ballad of the highest order, which should sweep fans of lowrider soul off their wheels. Spanish Harlem-bred Carlton has been steadily churning out gems since meeting the Timmion folks some years back and shows no signs of stopping yet. This is a love song with plenty of heart to give everybody. Just take it all in, and enjoy the instrumental on the flipside while you're at it.

Carlton Jumel Smith is back on Timmion Records, doing what he does best: grooving, testifying and romancing his way into your heart. His last album for the label 1634 Lexington Ave. left many contemporary soul fans in awe – some in tears of joy – and they will be pleased to know that he has something new cooking in 2022.

The first release from an upcoming trilogy of singles, "Devoted To You" packs everything you could want from a mid-tempo jam. A steady tambourine beat rides the mellow Cold Diamond & Mink groove, leaving Carlton all the pockets he needs to fill with his ever-funky but delicate delivery.

Keep tuned this year for a bunch of new soulful tracks from Carlton and Cold Diamond & Mink. They will keep you warm and cozy through any kind of weather!

Taken from, Hard Up, the acclaimed 10th studio album from the Melbourne Soul / Funk trailblazers, "Nothing I Wanna Know About" is a crisp funk number with Kylie Auldist delivering her reliably storming vocals plus an absolutely killer percussion breakdown.

Motown styled soul swinger "Bad Line" makes its first viyl appearance on the flip after being released on the expanded Deluxe digital edition of Hard Up in late 2021.

This black vinyl 7" is packaged in a specially designed printed Bamboos logo sleeve.

Both tracks have been supported by Craig Charles on BBC.

The album received great media support across Europe and the UK with glowing reviews in print such as Rockerilla (4 page feature), Rumore, Blow Up (ITA) Stadtkinder, Na Dann (GER), Soul Bag (FRA), Jazzism (4 page feature) (HOL). Radio support from FIP, France Inter, C-Lab Radio, Radio Galere, RDWA, Radio Krimi, Canal B, Radio Capital(FRA),

Radio Popolare, Radio Citta Fujiko, Contatto Radio, Radio Regione 100, Radio Start, Radio Per Passione, Radio Base, RKO (ITA), Radio 3, Saltamontes,Sateli 3 & Sonideros, EITB, Enlace Funk, Onda Local Andalucia, Radio Catalunya (SPA), Deutschlandfunk Kultur, Ego FM, Byte FM, UKW, Radio X (GER)

South London based producer and multi-instrumentalist Neue Grafik announces his new EP 'Foulden Road Part II' from his Neue Grafik Ensemble band, released 25th March on Total Refreshment Centre. The sequel to their impressive 2019 release 'Foulden Road', Neue Grafik continues to incorporate 100% live takes with the ensemble, as well as solo productions that reflect Neue Grafik's past work with both the Rhythm Section and 22a labels.

Neue Grafik explains, "This EP is a reflection of the social context which surrounds me" – created in a year of much social isolation as well as political unrest, 'Foulden Road II' explores the complex feelings that he found himself battling. He adds "In 2019, we released 'Foulden Road Part I', which was a transitional album, exploring a new culture and navigating between two worlds: Paris and London. 'Part II' is a bit darker, closer to realness with a sprinkle of hope. I couldn't have predicted that I'd finish it encased in my flat, between four walls, in December 2020 after a year of lockdown, Brexit, George Floyd protests, and without London's brilliant culture mesmerising my mind. Everything was sad and closed. Hills were difficult to climb. But it also gave me the time to work hard and deliver this second part of Foulden Road, pushing it forward".

Combining an array of influences — from London, to Paris via New York, Nigeria and Cameroon — with well-measured confidence, ' Foulden Road II' allows you to reflect on the complexities of the last year, whilst braced with energy and hope to move forward positively. Heavy horns and hypnotic poetry form the backbone record, which will ignite any room. 'Foulden Road II' begins with the grounding poetry of MA.MOYO on 'Black Bodies'. The EP is dedicated to Adama Traoré, a black man who died in police custody in Paris. Neue Grafik explains "His name is not well known outside of France. I was shocked, devastated even, to learn that his story didn't cross the Channel". 'Queen Assa' is a heavily percussive dancefloor-hitter which honours French activist Assa Traoré, (Adama's sister) her family, and her struggle to support all families hurt by police brutality. Broken beat elements flow through the horn accompanied 'Officer, Let Me Go To School', while West London rapper Lord Apex offers an unapologetic and poignantly personal perspective on 'Step To It'.

Released on the Total Refreshment Centre label, based out of Stoke Newington's Foulden Road, the EP is a testament to his versatility as an ever-shifting figurehead. Engineered by Capitol K, recorded at Total Refreshment Centre, mixed by Marcus Linon at Greasy Records and mastered by Guy Davie at Electric Mastering – a significant pillar in Neue Grafik's musical career. Having played a DJ set there in 2017, he was convinced by TRC founder Lex Blondin to start a band after he was heard playing some compositions on the communal piano. After spending a couple of sleepless nights on the living room couch, his first gig was booked in the venue space downstairs a week later. The ensemble was established and he has remained in London ever since.

Neue Grafik Ensemble's musicians include; Matt Gedrych, Benjamin 'The Chief' Appiah, Jack Banjo Courtney, Chelsea Carmichael, Dougal Taylor, Yahael Camara-Onono, Xvngo, Rebekah Reid, Dan-Iulian Drutac, Jamie-lee Glinsman and Zara Hudson-Kozdój.

Neue Grafik hosts The Orii Jam Sessions, an energising weekly jam night at Hackney Wick's Colour Factory, which has become a pivotal weekly gathering, inspired by the likes of Unit 31 and Steam Down.

Carlton Jumel Smith is back on Timmion Records, doing what he does best: grooving, testifying and romancing his way into your heart. His last album for the label 1634 Lexington Ave. left many contemporary soul fans in awe – some in tears of joy – and they will be pleased to know that he has something new cooking in 2022.

The first release from an upcoming trilogy of singles, "Devoted To You" packs everything you could want from a mid-tempo jam. A steady tambourine beat rides the mellow Cold Diamond & Mink groove, leaving Carlton all the pockets he needs to fill with his ever-funky but delicate delivery.

Keep tuned this year for a bunch of new soulful tracks from Carlton and Cold Diamond & Mink. They will keep you warm and cozy through any kind of weather!

Re-pressed: standard wallet, seafoam green vinyl, printed inner-sleeve

Residing now in Brighton, Bess grew up in the English countryside in a creative
family of songwriters and artists. Whilst her crystalline vocals draw favourable
comparisons to the likes of Marika Hackman and Julia Jacklin, her lyrics evoke
an imagery that often spins from the pastoral to the abstract. Handpicked by Lucy
Rose for signing to her own label Real Kind Records, tracks from the album are
already on high rotation at BBC 6 music.
Selected quotes:
'It's a stunner' - Chris Hawkins, 6Music
'Brilliant… does sound great' - Huw Stephens, 6Music
'One lovely thing this is… she has such a deft touch' - Steve Lamacq, 6Music
"Spectacular… One of the most unassuming yet remarkable young artists in the
UK, she has made a record so intimate that by the closing song she seems like an
old friend" - The Independent
"Brighton's Bess Atwell is a rare talent, a singer-songwriter whose languorous
voice sits midway between Lana del Rey's hazy delivery and Emmy the Great at
her most broken-hearted. ...she's that rare thing in the post-Ed Sheeran age, a
singer-songwriter worth keeping an eye on." - The Arts Desk
"What a cool, assured and lovely thing the second album from the Brighton
singer-songwrier is. What marks her out is her ear for a phrase and music that
can pierce the heart." - Metro
"Her vocals resemble Lana Del Rey with a greater twist of passion, marking her as
one of the most exciting young talents in English indie folk." - Clash

Re-pressed: standard wallet, seafoam green vinyl, printed inner-sleeve

Residing now in Brighton, Bess grew up in the English countryside in a creative
family of songwriters and artists. Whilst her crystalline vocals draw favourable
comparisons to the likes of Marika Hackman and Julia Jacklin, her lyrics evoke
an imagery that often spins from the pastoral to the abstract. Handpicked by Lucy
Rose for signing to her own label Real Kind Records, tracks from the album are
already on high rotation at BBC 6 music.
Selected quotes:
'It's a stunner' - Chris Hawkins, 6Music
'Brilliant… does sound great' - Huw Stephens, 6Music
'One lovely thing this is… she has such a deft touch' - Steve Lamacq, 6Music
"Spectacular… One of the most unassuming yet remarkable young artists in the
UK, she has made a record so intimate that by the closing song she seems like an
old friend" - The Independent
"Brighton's Bess Atwell is a rare talent, a singer-songwriter whose languorous
voice sits midway between Lana del Rey's hazy delivery and Emmy the Great at
her most broken-hearted. ...she's that rare thing in the post-Ed Sheeran age, a
singer-songwriter worth keeping an eye on." - The Arts Desk
"What a cool, assured and lovely thing the second album from the Brighton
singer-songwrier is. What marks her out is her ear for a phrase and music that
can pierce the heart." - Metro
"Her vocals resemble Lana Del Rey with a greater twist of passion, marking her as
one of the most exciting young talents in English indie folk." - Clash

Nach einer ersten BBC-Livesession für Marc Riley veröffentlicht das Indie-Pop-Trio PEANESS aus Chester sein Debütalbum 'World Full Of Worry' über das bandeigene Label Totally Snick Records. PEANESS haben sich mit ihrem zuckersüssen, melancholischen Indie-Pop in den letzten sechs Jahre eine fanatische Anhängerschaft im Untergrund und bei der Musikpresse aufgebaut und sind mit BC Camplight und Maximo Park auf Tour gegangen.

- 'Sunshine-laden indie-pop to brighten the short autumn days and darker nights.' - Louder Than War
- 'A deliriously fun piece of guitar pop racket…addictive, funny, and charming as hell.' – CLASH
- 'Whip-smart songwriting…kick-ass indie punk.' – Kerrang! Magazine

‘Wax Limousine’ is the third solo album from London’s Wesley Gonzalez. Set for release on 18th March via Moshi Moshi Records, the record is the follow up to last year’s critically acclaimed ‘Appalling Human’ and finds the indie stalwart delivering his most personal album to date, via a collection of 12 irresistible pop songs. The announcement arrives alongside the title track, which received its first play from Marc Riley on 6Music and its accompanying video, the second to be revealed from the record following ‘Greater Expectations’, released earlier this year. In support of the release, Gonzalez heads out on tour this November, headlining Electrowerkz on 25th and supporting Young Knives across the country (full dates below).

With its truly eclectic range of musical influences drawing on Gonzalez’s ever developing sonic palette, the album’s uplifting sound juxtaposes its themes, documenting the end of a long-term relationship and the overwhelming experience of dealing with a family member’s cancer diagnosis and subsequent treatment. ‘Wax Limousine’ navigates these hurdles with a razor-sharp wit and often brutally perceptive self-awareness, nowhere more so than on the new single. Inspired by both 'Faithless' by Scritti Politti and Aretha Franklin, it is Gonzalez’s version of an 80’s gospel song and, as he explains, written at a crucial point over the last 12 months

“This was written right after the breakup and cancer diagnosis. It was that early stage of a breakup where you can't really understand what went wrong for you or for your ex. There was resentment for the extreme change I had suddenly found myself in, and I was asking what it really was I did wrong. The title Wax Limousine came from old phrases like "as useless as an ashtray on a motorbike". I was trying to express how useless I felt within every situation that had just arrived at my doorstep.”

Wesley Gonzalez first made a name for himself as the leader of Let's Wrestle, whose tuneful and eccentric punk earned critical accolades and a devoted audience with three albums, including 2011’s Steve Albini produced ‘Nursing Home’. Gonzalez wasted little time forging his own path and quickly assembled a live band for his solo work, expanding upon the guitar-driven music of his former band, with an interesting concoction of classic 70’s pop, soul, and indie rock. Gonzalez released his debut solo record ‘Excellent Musician’ in 2017, then the follow up ‘Appalling Human’ in June 2020 through Moshi Moshi Records.

Nach einer ersten BBC-Livesession für Marc Riley veröffentlicht das Indie-Pop-Trio PEANESS aus Chester sein Debütalbum 'World Full Of Worry' über das bandeigene Label Totally Snick Records. PEANESS haben sich mit ihrem zuckersüssen, melancholischen Indie-Pop in den letzten sechs Jahre eine fanatische Anhängerschaft im Untergrund und bei der Musikpresse aufgebaut und sind mit BC Camplight und Maximo Park auf Tour gegangen.

- 'Sunshine-laden indie-pop to brighten the short autumn days and darker nights.' - Louder Than War
- 'A deliriously fun piece of guitar pop racket…addictive, funny, and charming as hell.' – CLASH
- 'Whip-smart songwriting…kick-ass indie punk.' – Kerrang! Magazine

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded »Papa's Ear« (2012) and »Tan-Tan Therapy« (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a particularly productive time for Tenniscoats – during the late ‘00s and early ‘10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas – they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums both digitally and on double vinyl, with extra tracks.

This reissue mini-series starts with »Papa’s Ear«. The second album from this expanded line-up of Tenniscoats, you can hear the musicians are immediately comfortable in each other’s presence, and they’ve almost intuitively understood what they can offer to one another. Saya and Ueno of Tenniscoats bring their magical, gentle folk-pop sensibility, and their winning way with straightforward, yet lush melodies. Johan Berthling, along with fellow Tape member Tomas Hallonsten, plus guests Fredrik Ljungkvist, Lars Skoglund, Andreas Söderstrom and Andreas Werlin, all generous and creative presences in the Swedish jazz underground, shades in the songs with endlessly inventive arrangements, highlighting the warmth and curiosity at the core of the Tenniscoats’ aesthetic – sometimes taking the songs in unexpected directions, other times pillowing the melodies with the softest of brushstrokes and the kindest of tones.

»Papa’s Ear« includes some of Tenniscoats’ most memorable songs. »Papaya« is a lustrous dreamland of a song, with the Swedish musicians singing ‘pa-pa-ya’ as an enchanted tattoo, while Saya’s piano and melodica clank and huff out, further expanding the song’s horizon. It’s followed by the spindly and mysterious »Sappolondon«, where drums and double-bass shuffle and pulse under weeping accordion and bittersweet clarinet. Saya’s voice sighs into the frame while the musicians breathe lungfuls of sweet drones and flick glittering countermelodies across the song’s surface. It reminds a little of the wild kindness of Movietone, or the regal charm of Carla Bley’s compositions.

Elsewhere, you can hear Tape and their friends embracing the freedom offered by the songs of Tenniscoats: see, for example, the glistening electronics in »På floden«, like a keyboard conducting a music box on a distant planet; or the descending phrase for winds on »Sabaku«, dovetailing beautifully into a creek of moon-lit texturology. The double-LP ends with two extra tracks, drawn from the 2008 Tenniscoats/Tape split single, also released by Häpna., »Lutie Lutie« is a sweet delight, driven by a clacking drum machine, the Tenniscoats duo joined by Hallonsten on glockenspiel and synthesizer, and special guest, Japanese indie-pop legend Kazumi Nikaido, as choir. »Come Maddalena« rounds off the set, a brooding cover of an Ennio Morricone tune, the music by Tape, the vocals by Tenniscoats and Nikaido. Open-hearted and full of puckish spirit, »Papa’s Ear« is an album of great tenderness and warm friendship.

Cologne-based, multi-instrumentalist and creative jazz powerhouse
Gianni Brezzo presents his full-length LP “Tutto Passa,” arriving via
Berlin’s Jakarta Records May 5th.
Gianni Brezzo is the jazz affiliated band / studio project headed by
Cologne-based producer & creative maestro Marvin Horsch, whose diverse musical profile is reflected both in his scene-hopping as well as his creative output. Besides producing cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, culminating most recently with “The Awakening” EP in 2021 on Jakarta Records. While Gianni’s works are usually instrumental only, “The Awakening” featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s tracks have consistently placed on Editorial Lists including Spotify’s “State Of Jazz” and “Café / Croissant”, and most recently was synced in an episode of Gossip Girl for HBO US.

Gianni’s new LP, “Tutto Passa” is a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani, Piero Piccioni and Armando Trovajoli to more recent work by Sven Wunder. Sonically rich, the album rides a sonic wave similar to some Matthew Halsall, Surprise Chef, El Michels Affair and BadBadNotGood all rolled into one beautifully luscious work. Jakarta is ecstatic to share such a career-defining work, arriving May 6th, 2022.

The albums 1st single, “Il Sole” will be released Wednesday, March 2nd with the LP pre-order announcement that Friday, March 4th to capitalize on Bandcamp Friday. The track is a perfect sonic voyage that encapsulates the growth of Gianni’s sound and gives a sonic peak into the LP. Subtle, yet lush layers of synths, horns, keys and strong, beat-driven percussion all ebb and flow together, bringing to mind the finest Library Themes of Umiliani, Sven Wunder, Janko Nilovic and others. Visualizer accompaniments for all singles provided by Robert Winter and his DIE OTTOS crew that perfectly captures the sonic mood.

The LP’s 2nd single, “Capture This,” will be released March 30th and is a splash of pure, groovy, jazz-funk. Instantly catchy, the track will have you imagining yourself in a movie that perfectly captures the musical themes: playful flutes, crisp, fluid guitar riffs, heart-pulling strings, all held together by a strong, swingin’ drum groove.

The third single is the stunning, swirling, thematic track “Rising Of My
Mind.” Careful layers of harmonized brass, flutes, percussion ebb & flow, bubbling up to the acoustic surface like sonic ripples effortlessly bursting from Gianni’s auditory palette. Only reaching the tracks full crescendo more than 2 minutes in, “Rising Of My Mind” is on that finest jazz tip, raising Gianni’s musical caliber into the skies.

Focus track is the effortlessly smooth, soulful jazz-funk piece, “Torino.” Certified fresh, the progression gives you that euphoric, elated feeling, like you’re finally arrived at that special place you never knew existed, but were always meant to find.

“Tutto Passa” is a project with a variety of moods ranging from Arthur
Verocai and David Axelrod inspired arrangements to lush, thematic jazz progressions with a swingin’ percussive edge. It’s a timeless release, one that would sit just as well in 1972 as it does in 2022, and one that, as Gianni says:
“…reflects exactly the feeling I had last year when I was in Italy with my own family. As a musician, I was looking for the challenge of a more orchestral approach on this album, which I hoped to achieve with my arsenal from the Cologne jazz scene and the support of musicians from around the world.”
Besides online promotion from the label and artist profiles, the album will further be promoted by external agencies within the US, UK & Italy

Remember Rainbow Bridge', the new album by Croatian Amor, is a homage to youth and the delicate metamorphosis that occurs as childhood trips into maturity. Focused on this tender flux, the songs on 'Remember Rainbow Bridge' are infused with the restless energy of adolescence and a dawning sense of mortality. From the sun-kissed title track, to the night burn and wet pavement of 'Paper Birds', monumental highs are shuffled with great lows that we perhaps feel most clearly and earnestly in those formative years. Since the earliest collages committed to tape under the name of Croatian Amor, Loke Rahbek's alias has at every step gravitated towards constant discovery and experimentation. The sound collages are still present while the unity of each song's construction now often conceals the juxtapositions and overlapping edges. Employing a medley of diffuse electronic music traditions, fantastical synthetic worlds are evoked and while 'Remember Rainbow Bridge' heavily relies on rhythmic structures to propel the compositions, Croatian Amor continues to tend a highly textured field in his own inimitable way. 'Remember Rainbow Bridge' is a celebration of the liminal space between phases of life, the chrysalis of youth. It is a record about coming to terms with our ever-changing place in the world, its title urging us to see the world with a child's eye, to never forget the miraculous at play only an arm's-length away. "This world as we see it is passing away"

After the successful start with the release of “Follow The Master” by Substantial, Origu teams up with Misfit Music for a 7” by the trio of Kayohes, V3RB and Rusher, two MCs from the US and a producer
and filmmaker from Germany. “Some Way, Some How” gives you powerful raps from V3RB over a deep rhodes-filled instrumental, as “March On” enters your ears with a mellow horn-sample and a stomping drumbreak. Both MCs shine with lyrical skills and clever wordplay, and DJ S.R. delivers some on point cuts.
File alongside your Lord Finesse and Black Moon records.

V3RB, Kayohes & Rusher:
In the late 2000s German producer and filmmaker Rusher and MC and producer Kayohes from Albuquerque, USA, met over Myspace and shortly thereafter united with V3RB to start working on musical projects. Ironically, V3RB, originally from California, and Kayohes met in Germany, while V3RB was on Army duties and Kayohes lived there for a few years. They have maintained their skill trades eversince. With Rusher in the mix, and travelling back and forth between his homecountry and the States for his film projects, it was easy for the three to keep up their artistic operations, recording tracks and making videos.

Origu teams up with HiPNOTT and 2 Hungry Bros once more for two slices of dope Hip Hop vinyl!

Deep of Deep Breez returns under the 2 Hungry Bros banner, with a nasty piece of boom bap and MC Likwuid brings her surgically sharp lyricism, to collaborate on "IllFayted". Likwuid's commanding presence is inescapable as she delivers powerful messages between her similes, commonplace catchphrases, and cynicism. Dj Evil Dee of Da Beatminerz layers "IllFayted" with some signature cuts to engage your Hip Hop senses! Though, don't be too distracted by those cuts and the hot 2 Hungry Bros beat, because Likwuid's rhymes are so precisely interwoven you might miss an comedic analogy or sociopolitical statement. illFayted is for the true lover of Hip Hop that appreciates all the fresh elements that make it classic and undying.

In the spirit of letting go of negative energy, toxic relationships and flakey individuals, "Hold That (Faybles)" offers an escape plan for folks who are just ready to move forward in 2017. Tired of being outcasted, misinterpreted or just shut out by your peers? Then here is the gateway to redirecting that energy back to the source...hold that! Deep of 2 Hungry Bros lends his magic by providing a melodic canvas with signature heavy alternating drums and sinister deep loops and chops. The song features Donwill of Tanya Morgan and Hipnott's P.so the Earthtone King.

Release date delayed to the 29.04.22.

Here is a brandnew doublesider by the amazing Andy Cooper of Ugly Duckling and The Allergies fame. Both tracks are featured on his upcoming album "L.I.S.T.E.N.", to be released on UNIQUE RECORDS in late September.
"The Man" is co-produced by DJ Moneyshot of The Allergies.
Two sides of funky Hip Hop that you can not miss out on!

Repressed on red vinyl!

Belgium, not the first place you'd think of when it comes to Latin or Afro funk. Yet one of the greatest records to blend both styles came from the small northern European country, masterminded by Nico Gomez and his Afro Percussion Inc.

Ritual was originally released in 1971 on the Dutch label Omega International (Gomez was born in Holland before moving to Belgium in the late 40s) and is being reissued by Mr Bongo in 2013, bringing its blazing funk grooves to both new ears and those already tuned in to this masterpiece's legacy.

Across its 11 tracks Ritual delivers the kind of production, arrangement and musicianship that rightfully belong in a dictionary next to the definition of professional. Gomez' band was tight and they knew it, showing it off on their covers of Perez Prado's 'Caballo Negro' and 'Lupita' by injecting the originals with a deep funk that blends both Afro and Latin influences. On 'Samba De Una Nota So' and 'El Condor Pasa', another pair of covers, they switch to soulful downtempo with mesmerising ease. The title cut remains one of the album's highlights, a devastating dancefloor groove with horns to match that has aged beautifully and was heavily sampled by Liquid People for 'The Dragon'. 'Pa! Pa! Pa! Pa!' adds touches of rock with fuzzy guitars for one of the album's headier experiences.

Originally released in 2017 on the band's own label Artificial Plastic and now being reissued by Fuzz Club Records, 'Damage And Joy' is the seventh studio album from Scottish alt-rock legends The Jesus and Mary Chain. The long-awaited follow-up to 1998's 'Munki', 'Damage And Joy' was the band's first studio album in nearly two decades and contained brand new material alongside reimagined versions of songs that had been released in various forms by the Reid brothers in between the Mary Chain's 1999 break-up and 2007 reunion. Co-produced by Youth (Killing Joke) and featuring the lead singles 'Amputation' and 'All Things Pass', 'Damage & Joy' also featured guest appearances from Scottish singer-songwriter Isobel Campbell ('The Two of Us', 'Song For A Secret') and American alt-pop star Sky Ferreira ('Black And Blues'). 'Damage And Joy' is now being given a deluxe, expanded vinyl reissue. The double LP is reissued on both black and coloured 180g vinyl with remastered audio by Pete Maher (U2, The Rolling Stones, Jack White, Liam Gallagher), a heavy tip-on-printed gatefold sleeve, printed inner-sleeves and a 16-page booklet, plus bonus tracks and an alternative track-order. Included in this reissue and available on vinyl for the very first time is 'Ono Yoko' (originally only available on the Japanese CD version of the album), as well as alternative versions of 'The Two Of Us' featuring Sky Ferreira and 'Black And Blues' featuring Isobel Campbell.

Originally released in 2017 on the band's own label Artificial Plastic and now being reissued by Fuzz Club Records, 'Damage And Joy' is the seventh studio album from Scottish alt-rock legends The Jesus and Mary Chain. The long-awaited follow-up to 1998's 'Munki', 'Damage And Joy' was the band's first studio album in nearly two decades and contained brand new material alongside reimagined versions of songs that had been released in various forms by the Reid brothers in between the Mary Chain's 1999 break-up and 2007 reunion. Co-produced by Youth (Killing Joke) and featuring the lead singles 'Amputation' and 'All Things Pass', 'Damage & Joy' also featured guest appearances from Scottish singer-songwriter Isobel Campbell ('The Two of Us', 'Song For A Secret') and American alt-pop star Sky Ferreira ('Black And Blues'). 'Damage And Joy' is now being given a deluxe, expanded vinyl reissue. The double LP is reissued on both black and coloured 180g vinyl with remastered audio by Pete Maher (U2, The Rolling Stones, Jack White, Liam Gallagher), a heavy tip-on-printed gatefold sleeve, printed inner-sleeves and a 16-page booklet, plus bonus tracks and an alternative track-order. Included in this reissue and available on vinyl for the very first time is 'Ono Yoko' (originally only available on the Japanese CD version of the album), as well as alternative versions of 'The Two Of Us' featuring Sky Ferreira and 'Black And Blues' featuring Isobel Campbell.

JOYFULTALK returns with its third album for Constellation; another vibrantly divergent stylistic take on the analog materiality and sensibility of electronic composer-producer Jay Crocker, whose previous two records forged trance-inducing polyrhythmic intricacy, each from a distinct angle and sound palette, each enlisting a single instrumental collaborator. Familiar Science rallies contributions from a larger cast of musicians into a looser, cosmic recombinant combo_still shot through with JOYFULTALK's singular mixing desk kinetics, but this time deep-diving into gnarled and twisted, spliced and diced out-jazz. Crocker draws inspiration from 1980s M-Base music and Ornette Coleman's harmolodic funk period, while his own prior history as an improv guitarist also resurfaces for the first time in many years_an element in this polyvalent artist's chemistry set that hasn't appeared prominently in his own music for over a decade. Familiar Science finds Crocker folding time (as lockdown will do), immersed in his present-day kaleidoscope of solitary art and music practices in rural Nova Scotia, while channeling his former life as a bustling jazz collaborator in Calgary, Alberta. Building outwards from roiling resampled acoustic drums, Crocker extracted additional sonic and rhythmic textures, then formed the head of each song using dusted-off archival recordings and his own bass, keys and midi sequencing. Albertan percussionists Eric Hamelin (Ghostkeeper, Chad Vangaalen) and Chris Dadge (Lab Coast, Alvvays) provided improvised drum tracks to be chopped and harvested; Nova Scotia-based Nicola Miller (Ryan Driver, Doug Tielli) laid down resplendent excursions on saxophone and flute; Crocker's own dexterous guitar appears on several cuts. Familiar Science also poignantly features samples from live recordings by the late Calgary saxophonisticonoclast Dan Meichel, catalysing some of the album's heaviest contortions. Crocker weaves all these raw materials into exuberant compositions that blur the line between sizzling corporeal combo and sampledelic futurist jamz, variously conjuring (leftfield) Flying Lotus, (later) Tortoise, BADBADNOTGOOD and Squarepusher's Music Is Rotted One Note. The rubbery hyper-compression of boom-bap opener "Body Stone" initiates the séance, and the album offers a panoply of skittering grooves and soaring melodic pathways thereafter, through quags of heady jazz alternately streaked with dayglo delirium and other more vaporous states of revelry. Crocker's own wordless stacked vocals are the giddy secret sauce on several cuts, and his lead guitar work (in kinship with the lean progressions of Mary Halvorson or Jeff Parker) features on "Take It To The Grave", "Stop Freaking Out!" and the album's title track. More honeyed passages on songs like "Blissed For A Minute" and "Ballad In 9" center around Miller's bouyant alto sax and flute. Familiar Science is a rousing feast of noise-tinged polychrome electronic avant-jazz: richly harmolodic compositions teeming with intersecting textures and turbulences; exploratory, exhilarated and indeed joyful.

Submit to the beauty and sorrow, the poetry and power, of the sitar — that plucked string instrument with the long neck, pear-shaped gourd and origins in the courts of the Maharajahs of medieval India. Marvel at the astonishing prowess of Jasdeep Singh Degun, a sitarist who is steeped in the North Indian classical tradition — indeed, in the musical traditions of the Indian subcontinent — and proudly born, raised and based in Leeds, north of England. In May 2022, Jasdeep Singh Degun releases his debut album Anomaly on Real World Records — a project showcasing an almost preternatural musicality, a way with technique, improvisation, composition and collaboration that will dazzle purists and newcomers alike. Its twelve tracks range from inspired sitar solos and duelling sitar and guitar to all stops out cinematic journeying. Music rooted in the ancient repertoire of raags, the frameworks used in the improvised performances of Indian classical music, and delivered with contemporary flair

"This area of the throat," says Chelsea Jade, resting three fingers roughly where her neck meets her chest. "It's particularly soft, and it's connected ... it's halfway between the heart and the mouth. And that's an interesting place of vulnerability." Soft Spot, the Los Angeles-based New Zealand artist's second album, dwells somewhere between feeling and expression, certainty and doubt. It ventures beyond the exploration of delusions of grandeur that formed the focus of the critically acclaimed Personal Best (2018), and simultaneously promotes and undermines romance, specifically, in a more solemn way. "Less glib," offers Jade, who has opened for Lorde and Cat Power among others. Still deliciously glib in places: "Give your worst my best," she sings on the wryly antagonizing, bass-heavy "Tantrum in Duet." Soft Spot's big pop tracks go hard on the interpersonal, physical and amorous, inviting the listener to entertain flirtation, lust, sex, even the experience, rare during its recording in 2020, of being in a room with more than three other people.

150 copies

Wow, I thank you all from the bottom of my heart for the support with Dynamite Cuts since 2017 when I opened a Pandora’s box of 7” gems. When I thought about starting DC, I had a list of around 100 album tracks I wished I had as a 7” 45. Now 5 years (2022) later my list of 7” delights have become true. In the late 80s, I picked up the Frank Strazzeri “After the Rain” LP, which totally blew me away. Now, all these years later, these three magical choons have the honour of being my 100th release.

These titles are first time on 7” vinyl and all cut @ 45 rpm. An unmissable, perfect Jazz funk release

The Altons return with two awe-inspiring sides of soulful excellence. Bryan Ponce's delicate, plaintive vocal, this time accompanied by the sweet, rich timbre of Adriana Flores make for two earnest duets that exude palpable chemistry. On "Tangled Up" the pair sing of a love affair that has run its course but (against their better judgement) lingers in the form of late night entanglements and dream-induced longing - imprisoning the lovers on a carousel of heartache and despair. "Soon Enough" is a gorgeously sparse ballad rife with melancholic guitar, percolating percussion and a groove that will have you swaying side to side with the one you love.

'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
It is in a live setting where Joe Bonamassa the performer really thrives and in May
2009, he played the historic Royal Albert Hall in London. It was an incredible
memory for everyone present and one of his greatest live performances has been
remastered on high- quality 180g heavyweight triple vinyl for the first time. The
majestic evening saw him glide through his back catalogue of original hits as well
as inspired covers and featured guest performances from Eric Clapton and Paul
Jones – truly a special night to savour.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Deluxe Reissue of "House With No Home" - Pressed on Clear Blue with
Gray Streaks Colour Vinyl with bonus 7" included
The cover of House with No Home, the second full- length album from Horse
Feathers, a dusty west coast folk duo comprised of Justin Ringle and Peter
Broderick, depicts a wintry farm dusted with snow It's an image that's easily
conjured throughout each of the 11 songs that make up Home, a subtle, nuanced,
and quietly noble collection of Americana-kissed alternative folk that echoes the
work of Bonnie "Prince" Billy, James Yorkston, Iron & Wine, and Bon Iver. Ringle,
who blends Richard Buckner's soft, serpentine delivery with Andrew Bird's "I can't
open my mouth all the way" mumble populates his songs with the kind of
woodsy, heart and soul-broken characters that one would expect to find lurking
between the pines on a frosty Oregon morning in February, but it's Broderick who
provides the chill. His string arrangements are grandiose in their simplicity and
busy without ever interfering with Ringle's poignant, icy prose. From the heady
opener "Curs in the Weeds" to the surging, banjo-led "Working Poor," the two carve
up each track like master craftsman, finding the perfect middle ground between
the sparse, reverb- laden landscapes of the Great Lake Swimmers and the
orchestral, aching beauty of Hem. This deluxe reissue includes a bonus 7" with a
2021 reworking of 'Curs In The Weeds' with a full band as well as 2 songs from a
radio session recorded during the European tour for the original album release.

THE DEBUT STUDIO ALBUM OF EERIE DEATH/DOOM METAL DEPRAVITY
FROM GREG WILKINSON & CHRIS REIFERT OF US GORELORDS,
AUTOPSY
Static Abyss is the new mouthpiece for a rotten age consisting of the duo of Greg
Wilkinson (Guitars/ bass) & Chris Reifert (drums/ vocals), both members of
legendary American masters of sickness Autopsy, with Greg (also of cult act
Deathgrave) recently welcomed as new bass player for the long-running US act's
next studio opus & beyond.
Static Abyss' debut studio album, 'Labyrinth of Veins', presents an unnerving,
multi-layered eerie concoction of dirty doom & death, including themes exploring
the echoes of insanity manifested through human existence. The result, a sinister
onslaught of at times slow & bludgeoning brutal metal whilst at others whipped
into a storm of chaotic vile hysterics. The spirit of Autopsy is at times present in
the truly titanic riffs swathed in chilling atmospheric guitar leads, whilst Chris'
seemingly bottomless pit of morbid inspiration from the dark & twisted corners of
life permeate the release with his highly distinguishable delivery to further the
descent into madness.
'Labyrinth of Veins' was recorded at Earhammer Studios in Oakland, CA, & Great
American Music Hall, with engineering, mixing & mastering overseen by Greg
himself. Cover art appears courtesy of All Things Rotten.

Within 11 seconds of clicking “play” on “Lava Lamp Pisco” it’s instantly
apparent why Night Gnomes, the latest album from Psychedelic Porn
Crumpets might be their greatest offering yet
The track is a riffy monster that delivers a much- welcome Black Sabbath- style
slap to the head. It’s big, shiny, sleek and irresistible. It’s Psychedelic Porn
Crumpets giving their best and Jack McEwan the band’s fearless leader has the
battle scars from the four-second harmonica solo to prove it. “I hadn’t blown the
harmonica in five years. It was just sitting on my desk,” he recalls. “The first thing I
did was suck in all this dust, and I couldn’t talk for like a day. Afterwards, the rest
of the band was like, ‘You have to scrap that. It’s so cheesy.’ Anyone under 30
hates it, but it has the dad-rock vibe, so I kept it in.”
That devil-may-care spirit is present on each and every song on Night Gnomes.
With guitarist Luke Parish, drummer Danny Caddy, bassist Wayon Billondana and
multi- instrumentalist Chris Young by his side, McEwan bunkered down in his
home studio, creating a sonic pastiche that almost sounds like turning the dial on
a temperamental old radio every few minutes.

With her latest work, the TOKUNBO delivers a warm-hearted blend of folk
and jazzy pop, with a cheeky hint of country
An album like a golden autumn day. She wrote the eleven tracks for “Golden
Days” during Lockdown 2020, when the musician had to cope with both the
unpredictable situation as an artist as well as a young mother – challenging, yet
also inspiring weeks and months.
Thrown back on herself, she conjured up the new songs from memories, thoughts
and wishes. Music for the soul, earthy, luminous and gentle, which wraps itself
around the listener like a soft blanket and lets him see the beauty in this
sometimes dark-looking world.
The album is also a stylistic salute to the classic songwriters of the 70s such as
The Carpenters and Carol King. TOKUNBO sounds grounded, and at peace with
herself and the world.