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Consolidated, the political dance/industrial music band from the early 90ties joined again for a studio session in San Francisco last summer, resulting in a new album. 'We're Already There'. The first release on Consolidated's own label 'The End Of Records'. What else to expect, the new recordings are an innovating mix of industrial, to hip-hop, to rock and funk with mixtures of live instruments and electronics. Topped with left political activism and politically radical lyrics address issues such as America, Covid and ecocide with song The Flood, demand *'Free Music, Stop America'* with Musica Sin Frontieras & welcome guest vocalist GRETA THUNBERG on the track The 'ol Mass Extinction Blues. The album starts in 'traditional Consolidatedgroove' with the song 'Capitalism A.F.', a mix of beats, industrial sounds and hiphop. Followed by funkypop songs, danceable industrial jams, techno beats, reggae and blues influences plus a remarkable noise track. Main musicians are Adam Sherburne (guitar/vocals) and Mark Pistel (synths/beats) backed by Lynn Farmer (Meat Beat Manifesto) on drums, who replaces the original drummer Phil Steir. The complete album is recorded, mixed and mastered by Mark Pistel at 'Room 5' in San Francisco. The cover shows art paintings from Ayelet Hay (front) and William Kendall (back). On 'We're Already There' Consolidated plays more music than ever. "I have zero interest in being in a band, especially my own_" "I had to develop a different way to be involved with music for aesthetic and mental health reasons_" "FREE MUSIC! is not to the detriment of artists, it's literally the end of artists-as anyone perceives them in the last 500 years" -Adam Sherburne - Consolidated are known for their live performances, in which a microphone is passed among audience members to discuss, rebut, argue or elaborate on song topics. Consolidated: Adam Sherburne & Mark Pistel.

Classic black vinyl, including DLC with estra track. "Here lies our ancient future, Deep England: our hope and compassion in the chokehold of power and glory.Hand in hand, here we cry our rage: summoning a lament into the ether, a divine androgynous force, a transcendental purge of the dizzying chaos of post-truth Britain." - Gazelle Twin & NYX. Gazelle Twin & NYX: electronic drone choir have announced details of their debut release, Deep England, an 8-track album out on vinyl, CD and digitally on 19 March 2021 via NYX Collective Records.Rooted in English pagan and sacred music, Deep England is an electronic-choral expansion of Gazelle Twin's 2018 album Pastoral (Anti-Ghost Moon Ray). Here, tracks from Pastoral, an album whose political themes have only intensified since its original release, are radically reworked and presented alongside original compositions by NYX, Paul Giovanni and William Blake.Gazelle Twin (aka Elizabeth Bernholz) and NYX, the electronic drone choir reshaping the role of the traditional female choir, originally created Deep England for live performance with Movement Director Imogen Knight, Sound Associate Peter Rice and Designer Chloe Lamford. The performance, described by The Times in their 4* review as a "spellbinding febrile techno-pagan pageant", premiered at the Queen Elizabeth Hall in November 2019. Deep England was transferred to the studio soon after, and the resulting album shows a powerful and often dreamlike Jarman-esque depiction of a country divided by its many selves. The performers are Adélaïde Pratoussy, Cecilia Forssberg, Elizabeth Bernholz, Natalie Sharp, Ruth Corey, Shireen Qureshi and Sian O'Gorman. The album was co-produced by Marta Salogni, Sian O'Gorman (NYX) and Elizabeth Bernholz (Gazelle Twin) with mix and additional programming by Marta Salogni, and mastering by Heba Kadry.

Death Trip by Iggy Pop & The Stooges is a mix of songs recorded in 1973 during rehearsals before the release of the famous and unmissable Raw Power.

Here you will find and feel the raw energy of the Detroit’s Iguane and his famous sidemen : the Asheton’s brothers (Ron on bass and Scott on drums), James Williamson (on guitar) and accompanied at this time (1973-74) by Scott Thurston on piano.

It took Sibille Attar five years and a lot of soul searching to produce Paloma’s Hand, the 2018 EP that served as the long-awaited follow-up to her debut album, Sleepyhead. Both that record and her first EP, 2012’s The Flower’s Bed, seemingly left her with the world at her feet, with widespread critical acclaim, television appearances and a Swedish Grammy nomination for Best Newcomer. The years that followed, though, involved both creative and personal turmoil, and left her feeling increasingly adrift musically as the uglier side of the industry reared its head.

“For a long time in my life, I tried to sit in certain constellations to please other people,” she says. “And it didn’t work, because I could only do it for a little while before I’d get frustrated and want to do things my own way. There was a time when I felt like I couldn’t trust the business, and it was draining me of my love for the music. Eventually, I realised you can’t live your life trying to fit into somebody else’s mould all the time.”

Paloma’s Hand, a six-track pop odyssey that slalomed through genres, brought years of struggle to a long-overdue end. Just as importantly, though, it served as a much-needed palate cleanser for Attar, breaking through the barrier of writer’s block. Just two years later, she’s back with her second full-length, the aptly-titled A History of Silence, a reference to that long period of searching for her voice. “I thought about calling it A History of Violence, because in many ways, the album is like a violent attempt to tell my own story when I’ve been silenced,” she explains.

Key to the pace at which she was able to work this time around was a realisation that she functions best on her own - “I just felt like, “fuck it - I can’t be bothered dealing with other people and their opinions.” Accordingly, A History of Silence was written, recorded and mixed entirely by Attar herself, and where she needed a little bit of outside help - sweeping strings on the epic "Dream State", for instance - she penned the arrangements herself and had friends record them exactly as directed. “It seems like that’s the way I have to work to get things done, and it helped things come together really quickly - the first song was done at the start of 2019, and the last one was finished around the time the pandemic was taking hold. It was frantically fast, but I work one song at a time, so it was never too chaotic."

The album never sounds too chaotic, either; like Paloma's Hand, it takes a broad approach to pop, but one that’s anchored by the key through-lines of sharp melodies and atmospheric soundscapes. Largely recorded in Attar’s Stockholm apartment, A History of Silence finds room for everything from sparse alt-rock ("Go Hard or Go Home") to spacey, electropop (the Madonna cover "Oh Father"), via the more up-tempo likes of "Somebody’s Watching". “On some tracks, I had really specific influences in mind,” says Attar. “There’s a lot of eighties stuff going on, and I was deliberately tracking down those kinds of synthesizers to try to capture that sound.”

Attar shies away from talking in too much detail about the themes that run through A History of Silence - she wants the record to be received as universally as possible - but it’s clear that the album marks the beginning of a hugely exciting new chapter after the rebirth that Paloma’s Hand represented. “If anything, it’s like a preacher’s album,” she says. “I’m preaching to myself, teaching myself, telling myself off in the lyrics. It’s about accepting loss of power, changing expectations, and getting rid of some heavy baggage. That’s the way I made the album, and it meant I had no limits - every single idea I had, I tried. When I said I was falling out of love with music, that feels like a very long time ago now.”

Tape

After tapes on Steep Gloss and Cruel Nature, we are happy that Stuttgart-based collective Zebularin join the OM family with their new release “Hermetic Topography“.

The album, a product of weekly recording sessions between March and July 2020, just when the pandemic slowed a bit down, might be the closest approach to what communal experiences sounded throughout 2020. It‘s a bold design of how collective improvisation can work in the post-covid era.

The first minute of „Budenzauber“ sets the tone for the whole record. Synth waveforms get joined by a drumset, both settling into a vivid conversation between digital noise and analog free jazz, finding a shared rhythm for this journey.

Daniel Vujanic, known to some from his recordings with Höhlenmusk Ensemble, Ixtar or E Jugend and the driving force behind Zebularin, had this urge to layer electro-acoustic solo material, synths, prerecorded audio meditations, without bending the sounds into detailed harmonic structures, but to build up dense, morphing atmospheres. In came Daniel Kartmann, a combatant in many of Vujanic‘s musical endeavours, his percussions, wind instruments and some deep musical talk - from obscure black metal to brazilian psychedelica, from Scott Walker to Gustav Mahler. The duo laid down basic tracks, kept arrangements vague, creating a perfect environment for a range of other players and instruments to walk in: piano, woodwinds, electronics, ebowed guitars and a vibraphone. The resulting record is a tender, affectionate take on jazz and electroacoustic composition. One can hear the routine of the involved cast as well as the fun, deep listening and correspondence that took place; even though this album was not recorded live in big-band-style, musical ideas interlock on an intuitive level and complement each other.

Take „Peljuga“ as a perfect example, a loosened jazz improv reminding of The Notwist‘s more psychic enhanced moments, which blends into a conversation between a contact mic and heavily manipulated synths and turns into a minimalist piano composition, which melds into a climactic peak and is interrupted only to rise again. And as complex as this description sounds, as uplifting is the actual song. Or the album‘s last track, „Holmen“, which starts out as an underwater ambient piece and evolves pretty organically into cosmic power electronics.

Despite its name and the Heideggerian flair of some song titles, „Hermetic Topography“ is all but hermetic. It‘s rich in musical colours without melting into a quagmire of maximalist noise. It‘s sophisticated but never top-heavy. It might be one of your favourite tapes of 2021.

Little do we know about Moondance, in fact when these tracks just showed up in the inbox one day, we said "Moon who?".
All we got was a link to a dropbox folder with three tracks signed Moondance.
One thing is for sure though, the music peaks volumes and that is why we didn't hesitate to sign all three of them.

The title track, 'Never Found Love' comes in two different shapes. While the original is a colourful, rich, and jazzy piano driven house track with a vocal to tie it all together, the Amen Mix is an off-kilter dub inspired version, it sounds like something straight out of a Innerzone Orchestra jam session

Moondance's own theme, 'The Moon Dance (2020)' sounds like the perfect blend between house and techno, carefully dipped into a pot with equal parts of forward thinking Detroit style and organic house.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

“Nothing ever really disappears,” Cassandra Jenkins says. “It just changes shape.” Over the past few years, she’s seen relationships altered, travelled three continents, wandered through museums and parks, and recorded free-associative guided tours of her New York haunts. Her observations capture the humanity and nature around her, as well as thought patterns, memories, and attempts to be present while dealing with pain and loss. With a singular voice, Jenkins siphons these ideas into the ambient folk of her new album.
An Overview on Phenomenal Nature honors flux, detail, and moments of intimacy. Jenkins arrived at engineer Josh Kaufman’s studio with ideas rather than full songs — nevertheless, they finished the album in a week. Jenkins’ voice floats amid sensuous chamber pop arrangements and raw-edged drums, ferrying us through impressionistic portraits of friends and strangers. Her lyrics unfold magical worlds, introducing you to a cast of characters like a local fisherman, a psychic at a birthday party, and driving instructor of a spiritual bent.

Jenkins’ last record, 2017’s Play Till You Win, confirmed the veteran artist’s talent. Evident of Jenkins’ experience growing up in a family band in New York City, the album showcased her meticulous songwriting and musicianship, earning her comparisons to George Harrison and Emmylou Harris. Jenkins has since played in the bands of Eleanor Friedberger, Craig Finn, and Lola Kirke, and rehearsed to tour with Purple Mountains last August before the tour’s cancellation. Her new record departs from her previous work in its openness and flexibility, following her peripatetic lifestyle. “The goal is to be more fluid, to be more like the clouds shifting constantly,” she says. The approach allowed Jenkins to express herself like she never has.

On album opener “Michaelangelo,” before the heavy drum beat and fuzz guitars enter, Jenkins sings quietly “I’m a three-legged dog, working with what I’ve got / and part of me will always be looking for what I lost // there’s a fly around my head, waiting for the day I drop dead.” Phenomenal Nature thrives in this dichotomy between ornate sonics and verbal frankness, a calming guided tour to the edge. Later, on “Crosshairs,” amid lush strings, she sings conversationally: “Empty space is my escape / it runs through me like a river / while time spits in my face.”

“Hard Drive,” the third track and album centerpiece, opens with a voice memo Jenkins recorded at The Met Breuer: a guard muses about Mrinalini Mukherjee’s hybrid textile and sculpture works, which were then on display in a retrospective titled Phenomenal Nature. “When we lose our connection to nature, we lose our spirit, our humanity,” she explains. Stuart Bogie's saxophone & Josh Kaufman's glittering guitar make way for Jenkins' spoken word which constellates scenes from her life, gradually building and blossoming as she recreates a meditation guided by a friend who incants, “One, two, three.”

Sounds of footsteps and bird calls run through the album’s glittering conclusion, “The Ramble.” Meditative and bright, it recalls how Jenkins felt while writing and recording her new material: “Everything else is falling apart, so let’s just enjoy this time,” she said. If Phenomenal Nature has a unifying theme, it’s the power of presence, the joy of walking in a world in constant flux and opening oneself to change.

Detroit’s ALTON MILLER (KDJ, SOUND SIGNATURE) returns to NOBLE SQUARE with “WHERE DID WE GO WRONG” & “SWEET LOVE". Both are 2 incredibly deep messages to HOUSE MUSIC. Chicago’s RICARDO MIRANDA provides a downtempo remix of “SWEET LOVE” with heavy Moog work. Full color sticker on jacket!

BACK IN 2001, when Detroit exploded all over the airwaves, the Dirtbombs’ released this album.. it flew out.. and here it is again on glorious vinyl format. Mick Collins and his merry band of Dirtbombs (which, this time around, features Bantam Rooster's Tom Potter and Detroit studio wiz Jim Diamond) bring the soul on their sophomore album Ultraglide In Black, named after Ultraglide in Blue, a cool late-nite flick from your youth. All the influences that helped shaped his sonic psyche are in the forefront here - Sly & the Family Stone, Marvin Gaye, Curtis Mayfield, Stevie Wonder, Parliament, the Miracles and host of others too obscure to mention all have their presence felt. If the Temptations owned fuzz pedals and read too many comic books they might've sounded something like this. There are a lot of young bands claiming to be creating "soul" music and "testifying" (we won't name names) but this here is the authentic item - accept no substitutes. "The Dirtbombs' combination of squealing feedback-driven guitar, dual drumming and walloping bass presence rivals that of the Velvet Underground. Imagine the Velvets, Gories and Oblivians battling to the death inside a tuna fish can, their raw and ultra crude instrumentation blazing away with hell-bent fury. Led by Mick Collins (who spent time fronting the Gories and the rockabilly grunge outfit Blacktop), the Dirtbombs' distinctive Motown howl and wicked axe slingin' escapades shred like one of Dolemite's rapid-fire, X-rated monologues.… Collins executes some snarling, self-professed "cyclone" guitar riffs underneath the stomping, mummified mayhem. These Detroit cavemen have found their place in a fuzz-drenched, garage band sound reminiscent of Question Mark and the Mysterians fused with the sonic annihilation of the Stooges." -Tucson Weekly
Every shop /home NEEDS THIS ALBUM.

Cool Ghouls - a band fledged in San Francisco on house shows, minimum wage jobs, BBQ's in Golden Gate Park and the romance of a city’s psychedelic history turns 10 this year. What better a decennial celebration than the release of their fourth album, At George's Zoo!

How did San Francisco's fab four arrive at George's Zoo? The teenage friendship of complimentary spirits Pat McDonald (Guitar/Vox) and Pat Thomas (Bass/Vox) serves as square one. The Patricks were munching on Eggo-waffle-sandwiches and downing warm vokda in suburban Benicia (San Francisco bay) years before McDonald would hear George Clinton address his fans as "Cool Ghouls". The boys played their debut gig as Cool Ghouls at San Francisco's legendary The Stud in 2011, but there's no doubt the musical moment cementing the band's trajectory was much earlier at the 18th birthday party for boy-wonder Ryan Wong (Guitar/Vox) - at the Wong household.

You might remember the Ghouls' earliest days... McDonald’s hair hung luxuriously past his waist, Thomas dreamt of no longer having to crash on friends' couches to call SF home and Wong looked forward to turning 21. Cool Ghouls' Pete Best, Cody Voorhees, thrashed wildly – but briefly - on the drums and Alex Fleshman (Drums), who still claims he's not really "a drummer", turned out to be a really good drummer. Thomas would sleep pee on tour. Those were golden days!

Flash forward to today and everything is up in flames. No shows, parties or bars. Cool people are streaming out of SF. It's been 2 years since the last time Cool Ghouls have even played. The STUD is gone, The Eagle Tavern is for sale and The Hemlock has been demolished for condos. Your boss is an app. Fascism is no-knocking down the door. There's a pandemic.

Fortunately for us, the Ghouls got an album in before it all went to shit, and they made it count. At George's Zoo includes 15 of the 27 tunes they managed to eke out while simultaneously working through major life moves. It was a 5-month, all out, final sprint down the homestretch (to Ryan's moving day) with affable engineer Robby Joseph, at his makeshift garage studio in the Outer Sunset (pictured on the cover). Instead of recording the entire album over a few consecutive days - like they'd done with Tim Cohen, Sonny Smith and Kelley Stoltz for the first three LPs - the band took it slow by working through a few songs each weekend after rehearsing them the week before. Robby would cue up the tape, McDonald would throw some steaks on the grill and they'd get to work - much to the neighbor, George's, chagrin.

These guys have a real commitment to elevating as songwriters, musicians and ensemble players. It's always been for the music with Cool Ghouls and this long-awaited self-produced outing is a track by track display of the ground they've covered and heights they can achieve. Their vocals and trademark harmonies are front and center and out-of-control-good. Ryan's guitar solos are incredible. The horns by Danny Brown (sax) and Andrew Stephens (trumpet) hit in all the right places. Maestro, Henry Baker (Pat Thomas Band / Tino Drima), plays keys throughout. There's even a mesmerizing string section ("Land Song") by sonic polyglot, Dylan Edrich.

None of this growth is to the detriment of the fun, natural, feeling that fans have come to expect from the band. This is a fully realized Cool Ghouls album. It paints a remarkable portrait of SF's homegrown heroes and the many corners they've explored over the last decade. The songwriting, harmony and playing are nothing if not solid. The lyrics are keen. Robby's recording and mixing sound great start to finish and even better after mastering by Mikey Young. It's a triumphant addition to their catalogue. Recommended for Stooges and Beach Boys fans alike. Listen and see!

Yes, many things have changed since 2011. Who knows what the 20's will have in store for life on Earth, let alone the Cool Ghouls? We at least know that 2021 has At George's Zoo for us, a beautiful keepsake from the Before Times when we used to stand in living rooms together while bands played.

White Void is absence of direction and sense in life. It’s a description of the fundamental disharmony between the individual's search for meaning and the meaninglessness of the universe.
Eclectic hard rockers White Void are a curious bunch. Forged in the space between the occult rock of the seventies, the no-excuses-hard rock of the eighties and the British New Wave movement, they balance on the event horizon that separates old from new. Aggression from melody. Dream from drive.

Add to that the fact that the bandmembers of White Void have their backgrounds in Norwegian black metal, chiptune electronica, pop music and blues, and you’ll see why “Anti” is an album that’s hard to pin down. It’s darkly melodic, it’s driven, and it’s infused with earworms, hooks and licks. Boasting a shameless attitude, though, it comes forth as deeply true to the core of our shared hard rock heritage.

In the center of White Void stands Lars Are Nedland, long time member of Borknagar and Solefald. Leading a team of musicians including Tobias Solbakk of Ihsahn fame, electronica staple Vegard Kummen and blues rock virtuoso Eivind Marum, he navigates the waters of hard rock riffs, new wave harmonies and blues rock solos with determination and elegance.

Still, “Anti” probably doesn't sound like you think. It’s an album riddled with contrasts and references, musically as well as philosophically. The concept is based on Albert Camus’ Absurdism and deals with how you cope with an existence that is in its core absurd. Musically it draws on the past while forging towards the future. And the result? Well, enter the Void to find out!

The dusty streets of apartheid-era Soweto, 27 July 1987. The politically charged funeral of a young activist who fled South Africa to became a commander in the military wing of Nelson Mandela's African National Congress. Police await in armoured cars. The funeral is restricted by specific government decree.

The man being buried is Peter Motau, assassinated in neighbouring Swaziland on the orders of South Africa's most notorious government-sanctioned killer, Eugene de Kock, orders carried out by his secret police unit in a bloody ambush.

For De Kock and the apartheid government, Peter Motau was a terrorist. For the singing, chanting mourners at his funeral, he was a freedom fighter, a hero from the streets of Soweto itself.

ZA87 is a raw audio document of one extraordinary day under apartheid. A father mourns, himself breaking the regulations declaring any political statements at the funeral illegal. Young activists, the "Comrades", sing in praise of the banned ANC's military wing, sirens blare, helicopters hover overhead, a police officer orders all television and photojournalists to leave. Nigel Wrench's microphone remains. Also there is Winnie Mandela, on behalf of the ANC's exiled leadership. Banned from speaking at the funeral, she speaks instead into Wrench's microphone and stages a remarkable intervention as the police seek to detain activists.

The authorities sought to keep the events of that day away from the eyes and ears of anyone who wasn't there. ZA87 breaks that silence.

Nigel Wrench is an award-winning journalist whose career began in South Africa under apartheid. He is the winner of a Sony Award for "Out This Week", BBC Radio's first national lesbian and gay news programme, and a New York Radio Award for BBC Radio 4's "Aids and Me", chronicling his experience of living with HIV. "Few journalists have quite so intimately captured the essence of their era's great moral panics as Nigel Wrench" (The Quietus).

ZA87 is the follow-up to Wrench's acclaimed first cassette on The Tapeworm, ZA86, "a remarkable documentation of South Africa under apartheid in 1986" (Boomkat), "chilling and at times stunningly beautiful" (The Quietus), "stylistically not dissimilar to Adam Curtis's 2015 documentary 'Bitter Lake', its hypnagogic float through the rushes feels curiously vivid, free of the dating or distancing effect further media packaging might bring" (The Wire).

With XXI Century remastering: "La Ventana" (1973) by Los Jaivas is released now on vinyl format for the very first time. Los Jaivas has often been considered one of the most important rock bands in Chile and South America. This influential Chilean band formed in 1963 mixes psychedelic rock and progressive rock with Latin American folk instruments and rhythms. In this album Los Jaivas shows many different artistic facets from improvisation and song writing to the first steps of symphonic creation. "La Ventana" version 2020, is the first work of a series to rescue the musical heritage of the band, which includes the search for archival material saved for years and the reissue of other historical titles of Los Jaivas. More info: Finally available on vinyl, 47 years after its original release on the Chilean label IRT, here it is Los Jaivas' "La Ventana", the iconic album that includes the anthems 'Todos juntos' and 'Mira niñita'. Original master tapes have been used for this reissue, following the reels find at the IRT vaults after years unavailable. State of the art technology has also been used to guarantee a top-quality remastered sound that shows music details barely noticeable in the original pressing. The artwork restoration process has been undertaken by Martín Uribe, a member of the band's team, with great attention to detail, by using several copies of the original issue. According to Felipe Domínguez (Al Albordaje Muchachos SPA), supervisor of this reissue project, "we aimed to publish a top-quality release, improving on previous rather average reissue editions. So, when we opened the box containing the tapes of "la Ventana" and found the reels with all the annotations made at the time, we knew we would be able to make a difference." This is the first in a series of various projects that will make the musical heritage of Los Jaivas available again, including recordings that have remained archived for years and the reissue of other historical titles of the band. This is the aim of the Los Jaivas Cultural Foundation: "to pass on its experience to new generations, along with encouraging a love for music without distinction of race, faith, political color or gender", highlights Mario Mutis, bassist and vocalist of the band. This 2020 reissue is presented in its original artwork and complete tracklist.

Looking back, Jimmy Edgar has a lot to be proud of. Over the course of the last decade-and-a- half, the Detroit native has proven both a celebrated favorite and consistent fixture of dance music in its multitudinous forms. Looking over the arc of his lengthy and diverse discography, both under his own name as well as pseudonymously, it’s hard not to see him as one of the most innovative producers and skilled sound designers to emerge this millennium, an artist whose legacy has touched untold numbers of home listeners and dance floor revellers alike. His upcoming album, CHEETAH BEND, achieves its ethos with the aid of some well- placed vocal guests. On "GET UP," a tough love motivational set to springy synth flourishes and bass rattling, Edgar links w/ fellow Detroiter Danny Brown who does irreparable microphone damage. FOR FANS OF: Flying Lotus, TNGHT, Danny Brown, Vince Staples, Schoolboy Q

Malik Alston and Javonntte Garrett have been at the beating heart of the Detroit scene for decades now, with releases on Kai Alcé's NDATL, Patrice Scott's Sistrum, and Jerome Derradji's Still Music just to name a few. It's no surprise that Bristolian-cum-honorary-Detroiter Andy Compton and the two aforementioned would link up on Detroit's northwest side for a master-class in 21st century soulful house music. This EP, the product of July's 2017 collaboration, features 4 mixes— a percussive heavy 'Linwood Mix' from Malik Alston featuring his sensual vocals and a talkbox solo from Javonntte. 'Malik & Javonntte's Side By Side Dub' feature the two stripping it back to the bouncing bassline and syncopated percussion. For the flip we travel to Bristol, where Andy Compton's mix takes on a bit more of a neo-soul vibe that accentuates his guitar playing and Malik's vocal and Rhodes performance. The EP closes with 'Andy Compton's Dub', which puts Javonntte's harmonica prowess at the forefront.

Prague based FM Label connects music, fashion and design. Established in 2020 by Uncalled 4, the label joins the flourishing scene of Prague with a vision of music in which the new revisits the old. The second release, Enough, comes from our very own Detente 2020 - the killer combo of Uncalled 4 and his studio partner and close friend, Universe Of Everything. Featuring NYC hip hop legend Afu-Ra and Charlie One on the vocals, the eponymous track Enough combines iconic 90's street rap with contemporary electronic sounds, presenting a scenic layer that provides a movie-like feeling. The EP also features the Czech Filharmony drummer Jakub Tengler, who jammed buckets, pots, pipes and any other unusual object at his reach to create the heavily percussive Bucket Tube. Norway's Fett Burger takes Bucket Tube on a ride through NYC with his 'Work Out' remix, providing the ever-astonishing impression of walking around the streets of the Big Apple. Olsvang?r remix of Enough is designed to smash the dancefloor. Heavily influenced by both the past and the present, his rework shifts between intelligence and sheer rawness. As a final touch, the release is accompanied by an acapella track that will also be found on future FM label releases. Enough EP comes in a special cardboard sleeve which can be reshaped into a vinyl display holder.

Cabaret Voltaire is Richard H. Kirk and ‘Shadow of
Fear’ was the band’s first studio album in 26 years
and was released in 2020 to critical acclaim.
The single ‘Shadow of Funk’ delves deeper into
Cabaret Voltaire’s arsenal of “vocal samples, harsh
rhythms and threatening detonations” (Classic Pop).
Three brand new tracks released on Curacao coloured vinyl with digital download code included.

Sixteen years after their previous effort, in 2017 Nicola Conte met again his friend and colleague Gianluca Petrella, an encounter that led to the release of 3 EP's and this full-length album. From Detroit future dance to afrobeat and spiritual jazz through a nu-disco sound, the unique vibe of "People Need People" drags us in search of deep music in a spiritual and mantric context, with a message of hope, aggregation and Universal Love. More than just a new album, it's a collective experience wisely directed by the duo, whose goal is to accompany the listener through a collective spiritual elevation path, guided by the only true universal language: music. In a historical period marked by contrasts, lack of communication and forced social distancing, "People Need People" proves to be even more essential and necessary.