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• Joe Brown is the English musician who has being working as a rock and roll singer and guitarist for more than six decades and continues to play over 100 shows every year. Often described as a ‘musician's musician’, Brown is admired by fellow artists and fans alike.
• In the early 1960s the hits began to roll in for Joe and his backing band the Bruvvers with tracks such as ‘A Picture Of You’, ‘It Only Took A Minute’ and ‘That’s What Love Will Do’ – all of which are included on this new Gold collection. Brown’s career continued to grow throughout the 60s and included headline British tours that featured the Beatles, Del Shannon and the Crystals.
• This new compilation features 16 of Brown’s best loved tracks pressed on 180g heavyweight gold-coloured vinyl, housed in a printed inner sleeve

Herself is the moniker of multi-instrumentalist Gioele Valenti, also known as JuJu in more recent years (Fuzz Club) or as part of the psych project LAY LLAMA'S. Herself's work was described by critics as the harmonious meeting between Sparklehorse, Gravenhurst and Will Oldham. Valenti's songwriting takes inspiration from low-fidelity apocalyptic folk, crooning and pop; boasting a rather extensive discography. Well rooted in tradition, his music often ventures in the realms of subtle experimentation. His new album "Rigel Playground" prepares the listener for a journey through cosmic folk, in which traditional Brit Pop flirts with an alt vein, as if the Beatles and Sparklehorse would meet the torments of Nick Drake and the intimacy of a Mike Scott. Continuing a long list of illustrious collaborations (Amaury Cambuzat of Ulan Bator, John Fallon of The Steppes,Capra Informis of GOAT, among others), the prestigious guest on this record is Jonathan Donahue from MERCURY REV, a group of absolute prominence in the international indie panorama, which in addition to having lent his voice to the single "The Beast of Love" - as Herself says - informs the essence of the entire record. Not surprisingly Mercury Rev chose Herself to support them during their Italian tour last year.

During an unprecedented yet poignant global situation, Bobhowla’s debut album EVERYTHING’S WRONG, BUT
IT’S ALRIGHT serves to soundtrack our daily challenges we all face since the start of the pandemic.
Recorded and produced by Rod Jones at Post Electric Studio, this 11-track strong collection of songs bring
together a wider scope of influences than usually found in any particular group’s output. Years of solo acoustic
performances around the north west have honed an acoustic base into more gritted tones, alongside folk,
electronica and dream-pop influences.
The single Million $ Man is as direct as a song can be, with crunchy guitars harking back to simpler times of loud
choruses and powerful anthems. Their debut album is the culmination of recording sessions with Rod Jones
(Idlewild) at Post Electric Studio. Working together to form 11 tracks, an accumulation of songwriting ideas
spanning years. Million § Man is the album’s example of taking a staple live favourite and letting the studio process
completely re-map the track’s direction. The once folky-skiffle ditty is now a hard-hitting, anthemic call to arms,
complete with a crafty hook and chorus to match.
Behind the music, hides deeper meaning. In what singer Howard Doupé believes to be first - a track dealing with
the emotional complexities of a life, delicately touched with health-laden ‘survivor’s guilt.’ Like so many songs
before, Million $ Man is an upbeat indie-pop tune that masks a sobering and very rarely explored subject matter.
It’s an honest and frank perception that attempts to deal with issues that will resonate with a particular section of
our community. In a daringly brave move, Doupé expresses a personal narrative with the track, firmly cementing
the album’s themes in real life matters.

There is a blink-and-you’ll-miss-it anecdote tucked into one of
the many fine documentaries about seminal 20th Century artist
Jean-Michel Basquiat regarding the habits of his studio practice.
As we watch inspiring footage of Basquiat darting from one
piece to the next with rapid-fire brush strokes, a friend or
gallerist in a voice over says that it was not unusual for
Basquiat to be working on several paintings in the same
moment as several radio stations and televisions played in the
background. Not much more time is spent on the anecdote but
it feels like a skeleton key into Basquiat’s endlessly alluring,
neoexpressionist work.
And while Bryan Devendorf’s solo curio ‘Royal Green’ doesn’t
possess the only-in-New York vibe of Basquiat’s work, there is
something shared in its many-channels-open style of creation.
Satellite signals, strange voices from lost television
documentaries and radio operas are all woven into its fabric -
like it’s using these endless tides of media and information to
unlock the subconscious. Even its covers - Bob Dylan,
Fleetwood Mac, The National (with a nice big wink), The
Beatles - are like stunning, albeit satanic takes on hymns, or
like American standards almost dragged into the underworld.
Like the best of Spacemen 3, Sparklehorse or massively
underrated San Fran band Skygreen Leopards - the music
makes you queasy in one movement and lulls you into
blissmode in the next. It’s the very edge of outsider pop
songwriting.
For all the amphitheaters and festival fields Devendorf has
played to over his career, ‘Royal Green’ almost feels like an unlearning and a newfound love of homemade/found/fractured
sounds - and how, if collaged just so, detritus can become
stunningly gorgeous and surreal. And not without hooks. Look
no further than ‘Frosty’, which could be Little Billy Corgan’s
decayed demo tape from just before the Smashing Pumpkins
appeared on the scene. And the unspooling, slightly unglued
dream-pop of ‘Breaking the River’ is as rapturous as it is
sinister. And that’s probably where Devendorf wants it.

Doc at the Radar Station is the eleventh album by American blues rock band Captain Beefheart and the Magic Band. Released in 1980, this album resulted in a resurgence of Beefheart’s (also known as Don Van Vliet) popularity. The album, which was self-produced by Beefheart, was critically acclaimed as well. It would be Beefheart’s second-to-last album before his retirement from music. The album is now available on black vinyl.

Repress

Arnaud le Texier (Cocoon Records): "Top quality! Really nice.." 10/10
Cio D'Or (Telrae): "An amazing double Vinyl of different interpretations from some music friends in techno for Hypnus! Thank you!" 9/10
David Att (ATT Series): "SUPER VARIOS ARTIST. THANKS: D" 10/10
Deepbass (Informa Records): "Great remix package here! Will be using most of them, a true showcase of the love for Hypnus" 10/10
Etapp Kyle (Klockworks): "Edit Select and Mike Parker are winners!" 8/10
Exium (PoleGroup): "Great stuff, thanks!" 8/10
Francois X (Dement3d): "Perfect Package of Remix!" 10/10
I/Y: "wow.. really good.. too many of them to choose one favourite" 10/10
Kwartz (Shapeless Records): "Congratulations for this great work, I love every song of the release" 10/10
Mattias Fridell (Gynoid): "This is a very solid compilation congrats." 8/10
MTD (Sonntag Morgen): "AMAZING release! hard to choose a favorite..." 10/10
Mod21 (Prologue): "No words for this release.. Hypnus is flying high!!" 10/10
Nima Khak (H-Productions): "Great bits! The Ness mix is outstanding, but a lot of great stuff in this package! Will play for sure!" 9/10
Nobody Home (Home Records): "Very nice release with many of my favorite musicians! Thank you very much :-)" 8/10
Reggy van Oers (Affin): "Some crazy stuff in here! love it!" 9/10
Samuli Kemppi (M_REC Ltd.): "Fan boy likes. Brilliant release. Full support." 10/10
Svreca (Semantica Records): "Excellent release. Full support." 8/10
Takaaki Itoh (Phobiq): "what a great trks. im sure to play all of them. full support!" 10/10
Terence Fixmer (CLR): "Top release, difficult to choose a favourite here...all are nice." 10/10
The Noisemaker (Par Recordings): "Hypnus is going to be one of the best label on earth! full support! all tracks have his own personality and are well designed.. top for opening a djset" 10/10
Tommy Four Seven (Stroboscopic Artefacts): "Big!" 8/10

Also supported by:
Dimi Angelis, Unam Zetineb, Antonio de Angelis, Artefakt, DARS, Gianluca Meloni, Jonas Kopp, Hector Oaks, Juho Kahilainen, Vilix, Eric Cloutier, Brendon Moeller (Echologist), Iori, Jose Pouj, VSK, AnD, Rasmus Hedlund, Victor Martinez, Antonio Vazquez, BLNDR, Luigi Tozzi and many more.

In the summer of 1978, an ambitious twelve-day experimental jazz project was undertaken at the ancient amphitheatre, Tasso della Quercia, on the slopes of Rome’s Gianicolo hill.

The idea was to assemble the leading players from Italy’s avante-garde jazz scene, revolving around members of Grande Elenco Musicisti (or GEM), such as saxophonists Tommaso Vittorini, Eugenio Colombo and Maurizio Giammarco, trumpeter Alberto Corvini and trombonist/composer Danilo Terenzi, together with visiting American players such as saxophonists Steve Lacy, Steve Potts and Evan Parker, trombonist Roswell Rudd, pianist Frederick Rzewski and drummer Noel McGhee, among others.

Different group configurations were enacted each day and the final gala concert formed the basis of this super rare and highly playful double album, which captures the delightfully messy proceedings. In keeping with the openness of the Roman jazz scene of the day, the project sought to push the boundaries, aiming to break big-band traditions whilst still emphasizing the collective nature of the experience.

Enrico Rava’s opening “Tromblues” emphasizes the disparate approaches of these trans-Atlantic teams and Terenzi’s “Dialogando” uses dual trombones to heighten musical discord; in mutated big-band mode, Giammarco’s thrillingly complex “Vortex Waltz” and Vittorini’s “La Legge E Uguale Per Tutti” both speak to the limitless
potential that the project was aiming for.

Following on from a sell-out first release, Serenity Records returns with a four track double-header from Thoma Bulwer & Anna Wall. In alignment with the label's policy of allowing the artists commissioned to choose a mental-health charity of their choice, 002 dedicates all its proceeds to Centrepoint - an organisation which seeks to combat the ever-growing problem of homelessness. The EP spans across the full spectrum of Techno, with the cuts varying from soft melodic textures, floaty synth work and a B1 that wouldn't stand at all out of place in a peak-time club setting - a nice surprise from this exciting new not-for-profit label...

After two tracks were successfully taken for a limited Maxi single, the whole album is now available on Double LP - Nicely remastered.

Patience, Violet ,and Pinky recorded their first Album in 1992. Knowing each other from the music scene, the back up singers turned friends teamed up with Emmanuel Diale and signed with Mob Music to embark on their music career as their own act. The first two albums were straight African Disco, A leftover sound of the 80's that some had still hoped to capitalize on. By the time they released their third album Why O Nketsa so Baby, loosely translated to "Why are you doing this to me Baby", Kwaito was still called either Disco or International House, and it was new sound that was taking over. The third album was influenced by the Shangaan sound made largely popular by artists like Penny Penny and Peta Teanet. Looking back now, at the time Mob Music was really leading the pack with this new sound. Being one of the last labels to have official releases with artwork and a group of young talented producers given full creative freedom they pushed the sound in a way only few other labels of that time can be given the same credit.

For their fourth and final album on Mob Music they worked with legendary producer/songwriter Malcom "X" Makume. With three years of songwriting experience and stellar talent behind the desk the result was the LP Malende. Eight tracks that would combine the early kwaito sound with the more uptempo International House topped off with productions heavily inspired by what had been slowly making its way from Chicago over the last 10 years. At the time they had some success and to this day are well known amongst the real heads.

The girls would go on to record one final album once their contract with Mob was up and then after a 5 album catalog would hang up their matching outfits for work a in a newly free South Africa. They remain friends to this day.

Ethno-alternative lo-fi absurdism from the mind of London based multi-instrumentalist & Primordial Soup member, Samuel Huxley. Expect everything from Hindu ceremonial music to dark lounge, post-punk & avant-garde, to Kabuki theatre score & world electronica, any number of which can be found within a single track.

The Romance of Baba Loco is the union of wisdom & madness, eastern mysticism & western folly, absurdism to catch you with yer pantaloons down… Bang bang smash to perennial illumination. Cling clang for funk monkeys. The bejewelled vistas beyond, nihilism be gone… The donkey was not ill-tempered after many blows, on the ass, from the stick. He smiled like a gentleman, and kept on clip cloppin’ towards the promised land…

The Romance of Baba Loco is the latest iteration of a recording project by Samuel Huxley that originally made ambient soundscapes for psychotropics (Paradise Dose). In 2017 Samuel was curating infamous venue and scene of a multitude of glories & horrors, The Five Bells in New Cross, SE London. One of his first acts to play was Primordial Soup, at that time a 3 piece absurdist art rock band. They quickly became friends & began performing semi-improv shows as a 5 piece, and later went on to form Primordial Soup Collective who’s main focus was esoteric experimental theatre & film, and rare multidisciplinary exhibitions.

This changing focus of Soup away from sound provoked Samuel to channel his musical compulsions in to his solo project which had by then ventured far away from ambient soundscapes to shrieking Indian and Moroccan oboes over African & Indian tribal rhythms, with the desire to create the raw lo-fi atmospheres of street music. Gradually guitar styles of South East Asia & Latin America were introduced, leading to backing track solo performances & outrageous live improv freakouts with Craig Deporto (ex-Flamingods) & Luke Bell (Ex-Wild Birds of Britain).

Finally two days before the glorious pandemic lock down, Samuel signed to Faith & Industry, which birthed new moniker “The Romance of Baba Loco” and 3 months worth of ceaseless creation. From the Hindu Ceremonial music of the Shehnai & Nadaswaram to post-punk, absurdism & experimental art, The Romance of Baba Loco finally united two seemingly dissonant sides of his personality in a manner he had not previously achieved. The old material was cast off, and these peculiar fruits of imprisonment, can be found on his first release, “Cling Clang For Funk Monkeys”.

When Claud Mintz's mother finally heard the 13 songs on her kid's magnetic first album, Super Monster, she asked a concerned question: Just how many people had her 21-year-old dated? From beginning to end, these sparkling pop tunes capture the assorted stages of a relationship's delight and dejection_the giddy sensation of a first kiss during the beaming "Overnight," the heartsick longing of a pending rejection during the yearning "Jordan," the reluctant call for a requisite breakup during the smoldering "Ana." Claud, though, replied that these songs detailed the phases of only two or three relationships, simply written during them or at various points after they were over. The debut release on Phoebe Bridgers' Saddest Factory Records, Super Monster is a vertiginous but joyous coming-of-age reckoning with such young love. Claud sees relationships as games of endless wonder, intrigue, and second-guesses, a roller-coaster thrilling you even when it's terrifying. If "Gold" turns the tension and indecision of a bad match into an undeniable bit of lithe disco, "That's Mr. Bitch To You" uses a spurt of righteous indignation to fuse a little soul and emo into one breathless hook. Super Monster is like a compulsive compilation that Claud culled from a lifetime of musical enthusiasms_the arcing alt-rock of '90s airwaves, the rapturous pop of '00s chart-toppers, the diligent genre-hopping of modern online life. Claud emerges as the chameleonic mastermind of this mélange, channeling all of love's emotions into songs so sharp they make even the hardest times feel fun. Perhaps you are in the throes of one of these romantic moments yourself right now, resentful of a frustrating paramour like Claud during "Pepsi" or indulging in lust like "In or In Between." Or maybe these songs recall those wild days and tough situations. Incisive, instant, and addictive Super Monster works on either level_to remind us of love's wild ups and downs or to help us deal with them in real time. In that way, Mom, these songs are about dating, well, everyone.

Repress

When you find DJ Sotofett and Telephones on remix duties for the mighty Joan Bibiloni it's sure to be a treat. For the 22nd installment in the Saft series, two of Bibiloni's greatest numbers from "Born" (1989), are re-imagined for the occasion.

Sotofett opens up the A-side with an extended version of Bibiloni's "El Sur". Clocking in just under twelve minutes, the so-called "mastermix" is a version in the vein of the extended disco singles from the era of the original. Sotofett's supernatural dancefloor touch centers around Bibiloni's guitar-licks that gently slide along and communicate with the other elements of the original. This is a version to close a night with - or better yet - to close a summer set just before sundown.

The B-side contains a reworked version of "Sa Fosca" by another Norwegian artist: Telephones. "Telephones Coastal Dub", is another lengthy endeavor. The ten (and something) minutes long venture keeps in line with the Mallorcan character of the Bibiloni sound, while giving it a subtle touch of dancefloor, complete with the signature lead of the original as the focal point. The extensive intro and the balance between breeziness and firmness is sharply done and will make sure that the version can find its way into numerous settings.

Gatefold Double LP Pressing of Amaryllis on Rustic Green Colored Vinyl.

Multi-platinum, record-breaking band Shinedown - Brent Smith vocals, Zach Myers [guitar], Eric Bass [bass, production], and Barry Kerch [drums] - have sold more than 10 million albums and 10 million singles worldwide, earned 14 platinum and gold singles, five platinum and gold albums, and amassed more than 2.7 billion total streams. Recent hits "Atlas Falls," "ATTENTION ATTENTION," "GET UP," "MONSTERS" and "DEVIL" bring their total to 17 No. 1s on the Mediabase Active Rock Chart and 16 No. 1s on the Billboard Mainstream Rock Songs Chart, breaking the record for the most No. 1s ever in the history of the Billboard chart. Additionally, all of Shinedown's 27 consecutive career singles have reached the Top 5 of the Billboard Mainstream Rock Songs Chart, another unparalleled achievement.

As part of their “Atlas Falls” COVID-19 relief effort, Shinedown has raised more than $300,000 for Direct Relief, one of the largest providers of humanitarian medical resources in the world whose mission is to improve the health and lives of people affected by poverty or emergency situations by mobilizing and providing essential medical resources needed for their care.

Hailed for their high-octane live shows, Shinedown continues to engender diehard love from millions of global fans and has racked up countless sold-out tours and headlining festival sets.

Gatefold Double LP Pressing of ATTENTION ATTENTION on Clear Yellow Colored Vinyl.

Multi-platinum, record-breaking band Shinedown - Brent Smith vocals, Zach Myers [guitar], Eric Bass [bass, production], and Barry Kerch [drums] - have sold more than 10 million albums and 10 million singles worldwide, earned 14 platinum and gold singles, five platinum and gold albums, and amassed more than 2.7 billion total streams. Recent hits "Atlas Falls," "ATTENTION ATTENTION," "GET UP," "MONSTERS" and "DEVIL" bring their total to 17 No. 1s on the Mediabase Active Rock Chart and 16 No. 1s on the Billboard Mainstream Rock Songs Chart, breaking the record for the most No. 1s ever in the history of the Billboard chart. Additionally, all of Shinedown's 27 consecutive career singles have reached the Top 5 of the Billboard Mainstream Rock Songs Chart, another unparalleled achievement.

As part of their “Atlas Falls” COVID-19 relief effort, Shinedown has raised more than $300,000 for Direct Relief, one of the largest providers of humanitarian medical resources in the world whose mission is to improve the health and lives of people affected by poverty or emergency situations by mobilizing and providing essential medical resources needed for their care.

Hailed for their high-octane live shows, Shinedown continues to engender diehard love from millions of global fans and has racked up countless sold-out tours and headlining festival sets.

Gatefold Double LP Pressing of Leave a Whisper on Clear Blue Colored Vinyl.

Multi-platinum, record-breaking band Shinedown - Brent Smith vocals, Zach Myers [guitar], Eric Bass [bass, production], and Barry Kerch [drums] - have sold more than 10 million albums and 10 million singles worldwide, earned 14 platinum and gold singles, five platinum and gold albums, and amassed more than 2.7 billion total streams. Recent hits "Atlas Falls," "ATTENTION ATTENTION," "GET UP," "MONSTERS" and "DEVIL" bring their total to 17 No. 1s on the Mediabase Active Rock Chart and 16 No. 1s on the Billboard Mainstream Rock Songs Chart, breaking the record for the most No. 1s ever in the history of the Billboard chart. Additionally, all of Shinedown's 27 consecutive career singles have reached the Top 5 of the Billboard Mainstream Rock Songs Chart, another unparalleled achievement.

As part of their “Atlas Falls” COVID-19 relief effort, Shinedown has raised more than $300,000 for Direct Relief, one of the largest providers of humanitarian medical resources in the world whose mission is to improve the health and lives of people affected by poverty or emergency situations by mobilizing and providing essential medical resources needed for their care.

Hailed for their high-octane live shows, Shinedown continues to engender diehard love from millions of global fans and has racked up countless sold-out tours and headlining festival sets.

Gatefold Double LP Pressing of The Sound of Madness on White Colored Vinyl.

Multi-platinum, record-breaking band Shinedown - Brent Smith vocals, Zach Myers [guitar], Eric Bass [bass, production], and Barry Kerch [drums] - have sold more than 10 million albums and 10 million singles worldwide, earned 14 platinum and gold singles, five platinum and gold albums, and amassed more than 2.7 billion total streams. Recent hits "Atlas Falls," "ATTENTION ATTENTION," "GET UP," "MONSTERS" and "DEVIL" bring their total to 17 No. 1s on the Mediabase Active Rock Chart and 16 No. 1s on the Billboard Mainstream Rock Songs Chart, breaking the record for the most No. 1s ever in the history of the Billboard chart. Additionally, all of Shinedown's 27 consecutive career singles have reached the Top 5 of the Billboard Mainstream Rock Songs Chart, another unparalleled achievement.

As part of their “Atlas Falls” COVID-19 relief effort, Shinedown has raised more than $300,000 for Direct Relief, one of the largest providers of humanitarian medical resources in the world whose mission is to improve the health and lives of people affected by poverty or emergency situations by mobilizing and providing essential medical resources needed for their care.

Hailed for their high-octane live shows, Shinedown continues to engender diehard love from millions of global fans and has racked up countless sold-out tours and headlining festival sets.

Half of Manie Sans Délire, June, turns up on Artificial Dance with his anticipated new mini-album, ‘Horizons’ - following on from his studio companion Trenton Chase’s ‘Planar Array’ released earlier in 2020. True to the signature synth-splattered sound of his and his duo, June’s newest wave-imbued manifesto has us swimming amidst an organized chaos of roughly extruded keyboard wizardry, punk-minded drum programming and a retro-futuristic headspace.

Scanning out the gap between Italo, new wave, EBM and new beat, ‘Horizons’ shifts seamlessly from forward-moving, arpeggio-laden circuitry (‘JW’, ‘Infinity Room') to hi-intensity body music (’New Horizons’), through ambientoid spaced-out sonic explorations (‘Uncharted Territories’) and quirky downtempo chuggers (‘Reverie’, ‘Psychic Process’). A kaleidoscope of rhythmic tricks and shape-shifting mirages, June’s scope-expanding six-track voyage vows to play mind games with its listener till all lights have gone off.

Originally Released in 2014 on Valentines day as part of the love dub remixes was the Ray Keith remix and for obvious reasons (Ray being a legend) it was a fav of the release & was very well supported by many, so we thought it was time or maybe even overdue (7 years Later) that us at Asbo released the connoisseurs 9 min extended mix from Ray we had stashed away in the Asbo vault all this time.

This is 100% one for our vinyl & audiophile crew, supported on the AA side with Rassterlins 'People' and Muwookies 'You' both bringing unique different flavors from the jungle/dnb spectrum, mastered on 180 gram, strawberry milkshake colored vinyl with full color 'Lock-down' sleeve.

Established in 2015 with a vision to push the envelope on bass-driven music at 140bpm, Belgian label DUPLOC have been doing just that ever since. Now, after a refreshing rebrand and enticing new label plans in store, they welcome Distance into the fold with his darkly raw and starkly haunting Sacrifices EP.

Demon Records is proud to present a new series of vinyl reissues from American singer-songwriter Black Francis / Frank Black
“Salutations from the Twilight Zone, and if you think I mean the 1960s sci fi television program you are correct;
I am quite literally inside of a 1960s sci fi television program. And in that context Demon have allowed
me to correct certain anachronisms in my published works and are releasing some for the first time on vinyl
(https://en.wikipedia.org/wiki/Polyvinyl_chloride).” - Black Francis
• First released in 1996, The Cult of Ray is Frank Black’s third studio album and includes the singles ‘Men In Black’, ‘The Marsist’
and ‘I Don’t Want To Hurt You (Every Single Time)’.
• Black Francis explains the Cult Of Ray “was the band that was also the band for the first Frank Black & The Catholics record. I
hadn't stumbled on to my live to 2 track obsession just yet, but I was quite enjoying the parameters of 16 track 2 inch. Fat and
warm, aided by my sweet as candy pal Lyle Workman on lead guitar. Lyle can be best described as a HOT DOG with a
telecaster in his large, supple hands. Super fun motorcycle ride.”
• Long out of print, this new vinyl reissue is pressed on 140g blue vinyl, housed in a printed inner sleeve.

Vangarde's 11 songs represent the culmination of not only what this year has wrought, but also the talents of Lif and Bangas, an emcee-producer duo built for this. And you can hear that for yourself as soon as the second track, "Shelter in Place," blasts its way into your speakers. From the driving production to Lif and Blacastan's bars, the single embodies the raw, visceral feel of the entire LP. It carries through to the previously leaked "Basquiat," the stirring and gripping posse cut "8 Minutes 46 Seconds," and the highly personal "Now is Only Now," in which Lif explains how he wrote most of his lyrics secluded from his wife and young son due to the pandemic.

What makes Vangarde so impactful, however, is that it doesn't beat you over the head with the same sound or approach. Lif and his guests may tackle subjects related to oppression and corruption throughout the record, but it's done through nuance. The same goes for Bangas' stellar production, which maintains the momentum of his vocal counterparts. It's no surprise then that the two speak so highly of each other, with Bangas referring to Lif as a "storyteller and a reporter," and Lif noting that he was saving the name "Vangarde" for a project with an "elite producer."

'Endlessly strange and formlessly mesmerising' - The Quietus. 'on the feet of a wind' is a wild assemblage of carbonated synthetic music from Powell and a sister record to 'flash across the intervals' and 'multiply the sides' - two albums already released in 2020. Recalling Xenakis, Parmegiani and Hecker but with the smile/smirk of vintage Powell, the record is released via a folder, a new music and film platform created by Powell, Michael Amstad and Marte Eknæs that bundles up music, film, image, text and other forms of madness into folders that are shared/expanded online.The release is accompanied by a 'Hi-sensitive' film directed by Amstad and Eknæs entitled 'flares, currents'. The film contains a recombined live version of 'rise, world unfold', the musical series that concludes this album. a folder is a collection of disorienting works of experimental film, ambiguous texts, and other assorted media set to the most brazenly strange and formlessly mesmerising musical structures of Powell's career. It's also a work of artistic assemblage, without fixed notions of time. Tarkovsky once described his filmmaking as "sculpting in time," and a folder exists in a similar kind of "zone;" it is a project continuously added to, subtracted from, abstracted, and injected into the glut of cyberspace like a slow moving pathogen that refuses to be defined or categorised. Shunning titles in favour of oblique category markers, films like a34 present a mosaic of images of biological forms and sublime landscapes set to super-synthetic, carbonated compositions. All of this signals an artist liberated from the confines of the narrow branding signifiers an electronic musician can find themselves in. While it is aware of its place in cyberspace, this project also connects to something primordial and awesome. "Xenakis talked about creating universes with sound," says Powell, "and we are all free to create our own worlds in life, art - whatever. This is what happened to me in a way: I have been in this world for three years or something, and I don't really want to leave. The folder is a refuge.'

Comes with download code. Limited 300. " "Où cela commence-t-il ?_x000B_Where does cultural appropriation end and procreational fusion begin?_x000B_The answer to that depends on the perceiver. For some, applying the structures of electronic music to folkloristic samples may seem de-contextualizing. Yet when considering the similarity between dancefloor compositions and the minimalism of Steve Reich and Terry Riley, the gap to traditional music begins to fade away. They remain distinct mostly by aesthetic characteristics of sound. Nicolas Sheikholeslami's premiere solo record as Çaykh is named after the French conjunction "Où" - meaning "where" - as this was the linking element during production. We witness an attempt to re-contextualize music that travelled from analog tapes - recorded in different localities along the Indian Ocean - to a hard-drive via 192kb youtube rips. The sample-based compositions were digitally arranged before regaining their warm sonic qualities in a vintage mixing studio This EP assembles three metamorphic 4th-world disco pulsations. Expect some heavily trancy and polyrhythmic analogue-fi jams. Nicolas Sheikholeslami aka Çaykh is a Hamburg-born and Berlin-based DJ and producer. He is active as drummer & percussionist for the projects Spiritczualic Enhancement Center and Circuit Diagram. Çaykh's three earlier sound-collage cassette releases have already earned him a certain fame in the 4th-world and outsider-disco realms. His collection of pre-war Somali music called "Au revoir, Mogadishu" paved the way for the Grammy-nominated "Sweet as Broken Dates" compilation, which he co-curated.

Just when you thought every loner folk genius had been outed/discovered, hyped, and pontificated about, a new/old challenger lurks in the murky depths of time...and Maine. Sure, you have your Skip Spences, Dave Bixbys, Stone Harbours, and Perry Leopolds already, but have you heard the lonesome sound of Bill Stone? Well, don't feel bad or "unkool", hardly anyone has--unless you lived in rural Maine in the early 70s and grabbed his barely-ever seen LP in the day. Titled simply Stone, Bill's mysterious album was pressed in the micro-est of quantities, covering wistful, airy psychedelia on par with the UK's Mark Fry's classic Dreaming of Alice, while still evoking the earthy, evening-hour melancholy of Leonard Cohen or Tom Rapp. Stone was also especially influenced by one Donny P. Leitch, one Robby Zimmerman, and much trad folk, while growing up in his hometown of Old Town, Maine. Stone started out playing in a few small folk ensembles while also moonlighting with occasional solo gigs, finally recording this lone platter in 1969 in a pottery studio (!?) on a 2-track Panasonic tape recorder in Boothbay, Maine (where he says, they competed with a cat in heat). The LP features Tom Blackwell/Bill Stone-guitars, Arthur Webster-bass, Bob Blackwell/Skip Smith-drums, Bill/Beth Waterhouse on vocals. It also seems cover artist Doug Bane went on to become an acclaimed cosmic painter--committing loads of animals, psychedelic scenes, and Native American portraits to canvas, who knew? But we digress--anyhow, seems Stone's solo career slowed down after marriage hit, and he transitioned to playing covers in bars for cash, but after acquiring a masters and doctorate in education, he moved into the teaching walk of life. Bill published books and articles on subjects as diverse as school counseling and chaos theory--but now retired, he's returned to music, even recording a new album of originals and traditional numbers, based on his experiences as a cab driver (another wrinkle in the Stone Saga we must hear more of someday - but for now check out). So with Bill back in action and the world slowly crawling out of a disillusioning haze, now seems like the perfect time for a first-time-ever reissue of this incredibly rare, happy-sad, gently delicate, Stone(d) classic of a downer song-cycle.

Die Songs auf Lesbian Show, dem 4. Album der Griechen, sind durchdachter arrangiert als die auf Athenian Echoes, mit Effekten wurde etwas sparsamer gearbeitet, dafür wird mit Tempiwechseln und genialen Riffs nur so um sich geworfen und vereinzelt tauchen wieder die Double-Bass-Orgien auf, die diesem Werk den letzten Schliff geben!

Over the course of their remarkable career, Barenaked Ladies have sold over 15 million albums, written multiple top 20 hits (including radio staples “One Week,” “Pinch Me,” “If I Had $1,000,000”), garnered 2 GRAMMY® nominations, won 8 JUNO Awards, had Ben & Jerry’s name an ice cream after them (“If I Had 1,000,000 Flavours”), participated in the first-ever “space-to-earth musical collaboration” with astronaut Chris Hadfield, and garnered an international fan base whose members number in the millions. In 2018, the band were inducted into the Canadian Music Hall of Fame and Toronto Mayor John Tory declared October 1st “Barenaked Ladies Day.”

For the 20th anniversary of their 6th Reprise studio album, Maroon, Run Out Groove is finally issuing the album on vinyl for the first time as a 2LP set with bonus tracks. The album is limited to 3000 copies and features a previously unreleased demo version of “Falling For The First Time.”
The band are currently in the studio working on their 16th album. BNL will return to the US in Summer 2021 with their ‘Last Summer on Earth Tour’ featuring Gin Blossoms and Toad the Wet Sprocket. They will also tour the UK in Autumn 2021.

DIO – EVIL OR DIVINE: LIVE IN NEW YORK CITY
Limited Edition Lenticular 3LP / Standard 3LP / 2CD Deluxe Mediabook
• Reissue of DIO’s long out of print 2005 live release. First time in vinyl!
• Newly remastered & newly created cover art
• LIMITED EDTION VINYL VERSION INCLUDES LENTICULAR 3D ALBUM SIZED ART PIECE ALONG WITH 3LP 180g BLACK VINYL / TRIPLE GATEFOLD
• Also Available in 2CD Deluxe Mediabook and 3LP 180g Black Vinyl / Triple Gatefold Standard Edition
• Features the complete live show experience as if you were there, including never before released version of “Lord Of The Last Day” and an amazing Simon Wright drum solo not on the original release!
• Both 3LP Vinyl Versions feature special mini 4 track bonus from the 1996-2004 studio albums featuring “This Is Your Life” (from Angry Machines), “Fever Dreams” (from Magica), “Push” (from Killing The Dragon), & “The Eyes” (from Master Of The Moon)

DIO – HOLY DIVER: LIVE
Limited Edition Lenticular 3LP / Standard 3LP / 2CD Deluxe Mediabook
• Deluxe Reissue of DIO’s long out of print 2008 live release. First time in vinyl!
• Newly remastered & newly created cover art
• LIMITED EDTION VINYL VERSION INCLUDES LENTICULAR 3D ALBUM SIZED ART PIECE ALONG WITH 3LP 180g BLACK VINYL / TRIPLE GATEFOLD
• Also Available in 2CD Deluxe Mediabook and 3LP 180g Black Vinyl / Triple Gatefold Standard Edition
• Features the legendary DIO album HOLY DIVER performed live in its entirety plus DIO classics from across his career including Black Sabbath and Rainbow!
• Recorded Live at the London Astoria

Dehumanization is the only full length album from the band Crucifix. Recorded in 1983, it is considered a classic American hardcore album and a landmark of anarcho-punk.Dehumanization delivers a raging critique of war, violence, displacement, and the decimation of human rights and human dignity—themes at once global in scope and also completely endemic to Reagan-era America. The intensity of this message is matched only by the intensity of the sound: a heavy minimalist construction built on brutal guitar riffs, low-end distortion, hardcore fury and teenage speed. It is an album of pure raw power, a hot blast of personal and political outrage and musical adrenaline.Fusing California hardcore with metal and second wave British anarcho-punk, Crucifix carved out their own highly distinctive wall of sound on this release. Ignoring the rules of punk purism in favor of a well produced huge guitar sound, the album preceded much of the hardcore metal crossover of the mid-80s and played an influential but often unacknowledged role in the punk and metal subgenres that followed. “Annihilation,” the album’s opening track, has become iconic . Quoted often, it’s been sampled by Orbital and covered by A Perfect Circle and Sepultura. The original vinyl version of Dehumanization was released on the Crass Records offshoot label Corpus Christi in the UK, and has been out of print since the 1980s. This new Kustomized rerelease has been carefully remastered from an original vinyl source and adheres closely to the audio quality of the original. In addition, the six-panel foldout poster sleeve has been reproduced in its entirety. Taken together, the words, music and graphics of Dehumanization form a complete work and a resonant and enduring document of the period

Influenced by a life split between Lima, London, and Twentynine Palms, Peru-born M. Caye Castagnetto’s Leap Second is an intriguingly personal and hard to classify debut album. The album is a thick collage of samples Caye recorded with different artists and musicians, including Beatrice Dillon and the late Aileen Bryant, that spans five years in the making. There is something in Leap Second that tracks the speed of bodies, how they approach and retreat. The ten tracks are speedy and languid, thick ruffles, and dirges. In parts it feels like one’s stumbled upon a forgotten incredible ’70s folk record but that feeling gets broken quickly by clever sleights of hand. Caye’s balladry is angular, time is elastic. Each song is a fresh cape. How dandies really mean it, so masc- that it’s fay, how the only moment is this one and it’s just passed, etcetera.“While it doesn’t really sound like anything else, there are moments that feel like a Latin-flavored Nico, that’s edging its way towards some of the outings of the Sun City Girls. In my opinion it checks all the boxes, by checking none of them.” —Bjorn Copeland, Black Dice “A truly interesting conglomeration of loose inspirations and conjurings. A hard to decipher sound all together which makes it worth every moment...a sprinkling of Catherine Ribeiro, Dr. John, Terje Rypdal and Nico. Far-out sun-soaked odysseys and moon-dappled woodland night creepers...” —John Dwyer

Me And Ennui Are Friends, Baby is the latest full-length from New Zealand-born, Melbourne-based singer-songwriter, Sarah Mary Chadwick, whose brutally honest songwriting has cast her contrary to the gentleness of most current music. Comprised entirely of minimal solo piano arrangements, the album is despondently clear-eyed and smirkingly self-deprecating, completing a trilogy of records that started with The Queen Who Stole The Sky recorded on Melbourne Town Hall’s grand organ, and her only outing to date featuring a full band, Please Daddy. Each record has followed Chadwick’s internal processing after a traumatic event, with Chadwick’s zeal for psychoanalysis front and center. On Ennui, Chadwick presents an exacting intensity with her choice to pare back to piano and vocals. It’s in this stark setting that she focuses on the attempt she made on her life in 2019. The methods Chadwick employed here contrast those of her previous full-band record, which thrust her into a very different world of rehearsal, planning, restraint and control as a functional tool. The result, 2020’s critically acclaimed Please Daddy, was her most aching and engaging achievement to date: “a raw, often unnerving experience,” which “delivers compelling and uplifting catharsis” (Mojo). Recording Ennui shortly after those sessions, Chadwick concludes her trilogy by returning to the most immediate compositional process she can muster, doing it alone, with less between her and the microphone than ever before. Joined by long time production collaborators, Me And Ennui was mastered by David Walker at Stepford Audio and mixed and recorded by Geoff O’Connor at Vanity Lair—both expertly bringing scale, subtlety and intangible ascendence to this recording.

*TRANSPARENT GREEN*Moving backward in the
catalog of stellar releasesfrom Warsaw’s foremost
psychedelic stoner rockers,Weedpecker’s self-titled debut
album joins its older siblingsII (2015) and III (2018) in a
brand new reissue onStickman Records.
The wonderful thing aboutWeedpecker has always been
their evolution of sound,giving each of their three fulllength
albums its distinctiveflavor and charms.
Weedpecker was recorded in2013 with the band’s original
lineup featuring drummer PanFalon (of Belzebong) and Jeso
Alonzo and most prominentlyfeatures the band’s affection
for 70’s hard rock and grungealongside the obvious stoner
and psychedelic rock influences.One can imagine Alice
in Chains meets Baroness andElder as a good starting point
for this album. Yet this doeslittle to describe the unique
writing style of brothers and
guitarists Piotr and Bartek Dobry,whose melodies and riffs
provide the perfect counterplaybetween dreamy psychedelia
and headbanging fuzz.After years out of print and unavailable,
this new version hasbeen remastered for optimal
sound and features reworkedartwork in gatefold packaging.
The LP version is available oncolored 180gr. vinyl and includes
a download code.4 046661 692914
Completing the trilogy of Weedpecker releases, Stickman Records
is proud to announce the reissue of the band’s debut album from
2013, long since out of print.
4 046661

Leeds-based art-rock trio Mush release their feverish second
album, ‘Lines Redacted’, via Memphis Industries. The new
release, which finds the group recruiting Lee Smith (The Cribs,
Pulled Apart By Horses) on mixing duties, arrives just under a
year after their debut, ‘3D Routine’, capping off what has been
an obviously tumultuous but remarkably prolific year for the
band. With any prospect of live shows decimated, the group,
led by songwriter Dan Hyndman, have found the time to
release two EPs (‘Great Artisanal Formats’ and ‘Yellow Sticker
Hour’) and now a duo of full-length albums.
Tipped previously by the likes of 6 Music, Loud & Quiet, Uncut,
Q, Stereogum, DIY, The Line of Best Fit, Dork and more, Mush,
comprised of Hyndman (guitar/vox), Nick Grant (bass/vox) and
Phil Porter (drums), present their own sonic idiosyncrasy. It’s a
sound that blurs the lines of abstract surrealism, existentialism
and social commentary; utilising guitars as tools in 2020 to
stave off malaise whilst simultaneously commenting on the
nation’s ability to fall into such dire straits. It’s a sensory
overload of wiry tones that zig-zag between punk, prog and
sardonic-funk with a relentless ability to reflect society’s faults
and apathy in a unique and acerbic manner.
Whereas the band’s debut was very much a product of its time,
something part-inspired by the political atmosphere of mid-
2019 and a genuine moment of optimism when the prospect of
a socialist government in the UK was on the cards, this new
record uses tongue-in-cheek cynicism as a coping mechanism
for the environment that we now find ourselves in. From one
song to the next, ‘Lines Redacted’ introduces a string of
different narrators with each providing a different reflection on
the Armageddon scenario that we are slowly entering, whether
that’s bemoaning it or gleefully willing it along. ‘3D Routine’
presented a bed of scathing political jibes latching onto themes
and decisions of the time. ‘Lines Redacted’ mutates these ideas
into something slightly more sinister whilst maintaining all of
Hyndman’s razor-sharp wit that permeates the album.

African-born, Baltimore-based experimental hip-hop producer Infinity Knives joins PhantomLimb for the release of his unique debut album Dear, Sudan, a vibrant and polymathic labyrinth of moods and colours.

Infinity Knives - aka producer and musician Tariq Ravelomanana - moved from Tanzania (via Kenya, South Africa and Madagascar) to Baltimore with his family as a teenager, soaking up the raw,vociferous hip hop culture around him, devouring Western classical music, and embedding himself with the city’s verdant music scene. This unique combination of life experiences and contrasting strands of musical education empowered and enabled him to create his Infinity Knives guise, allowing us a window into his singular energy with Dear, Sudan.

​Tariq writes “Music has always been my medium. Since I was a child living in Tanzania, music has been my babysitter. The one central idea I kept dwelling on was that all humans experience sorrow, but despite the fact that it's universal, we still experience it as if we were alone.”

Appropriately, Infinity Knives casts a wide and thrilling net. Dear, Sudan runs like a masterful showreel of deftly balanced disparate elements, a late night channel-hopping between multiple, vital, powerful musics. Tariq himself offers “experimental, drone, hip hop, leftfield minimalism, neo-classical and Baltimore” as his key styles. “I wanted Dear, Sudan to be a record of the things that I enjoy, the things that keep me coming back to this life and I wanted it to be in the language I understand the most. I hope that this album can be a companion to those in need.”

An obscure and deep acoustic jazz-funk LP from 1974, remastered and repressed in an edition of only 300 copies !

“Profile” is the first and only Ken Rhodes LP as a leader. This intimate and rare recording captures an explosive concoction between blues, jazz and a touch of funky swing. Though an acoustic performance, this LP offers overwhelming grooves, breaks as well as introspective moments .
The upbeat and funky titile track “The Profile” forshadows the raw grooves of the session.The composition is driven by Rhode’s very soulful and bluesy improvasitions in a colorful dialogue with Joachim Knauer’s percussive and obsessive bassline which embraces the funky rhymthms of George Greene. However, this raw “in-your-face” formula is beautifully constrated in “Nothing New” and the piano solo “Robyn’s Lullaby” where the trio slows down to play deep, dreamy and hazy tunes.

Biography
Ken Rhodes was born August 14, 1945 in Memphis, USA and grew up in a family of excellent musicians. He attended the American Convervatorium of Music in Chicago, studied classical music and received Bachelors and Masters Degree. At the age of 16 he toured with his own jazzband throughout the eastern states. During this time he wrote classical compositions for symphony orchestras and organ-music. Gerry Mulligan called him for an extended tour. Studying at the University of Cincinnatti he received the Down-Beat Prize in 1970 as “Best Arranger”. In August 1970 he came to Germany and worked four years as writer, arranger and conductor at the theatres in Augsburg and Nürnberg. Besides that he played with wellknown european musicians at the famous “Domicle” club in Munich, he founded his own group and performed in Germany and Austria. Since July 1975 he works as a professional jazzmusician travelling Europe.

What is a shlundee is probably the first thing you’ll ask yourself when you hear this.
In short, it’s a mixture of every music genre that you could imagine, brought to you by Indy Erens. The one-man project Shlundee finds the balance between house, hip-hop & electro. "Himawari" explains that Asia always had a big influence on Shlundee, it's a classic samurai anime. Influenced by club music and the Baltimore / Jersey culture, Shlundee made this EP during lockdown. He had this idea of making something really vibey and different than what people usually expect of him. 'Wait, What?' perfectly represents how Shlundee can expand his boundaries and trying out other stuff. Shlundee is massively influenced by Anz, Lefto, Young Marco, Park Hye Jin, Jamz Supernova & Acemo...

As part of their ambitious ‘The Feeding of the Five Thousand Remix Project’, punk pioneers Crass are returning with another exclusive coloured 12” single featuring remixes by industrialists Test Dept and LA based artist Maral. Late last year Crass took the step of making the original separate track stems of their seminal debut album ‘The Feeding of the Five Thousand’ available as a free download. With a call to take the original sixteen track recording in its pre-mix state, the intent was for people to create their own remixes and interpretations and breathe fresh life and ideas into this revolutionary music. First released in 1978, ‘The Feeding of the Five Thousand’ pre-empted rap and grime in its hard-on-the-beat, fast fire, uncompromising lyrics and the iconic sounds and messages are ripe for reinterpretation. Crass encouraged people to rip apart the sound and ideas and create something new, then send the files to Crass Records for future releases and charitable projects. The message is DIY like it never was before. “Yours for the taking, yours for the making,” Crass said.

The trinity of piano, bass and drums is an ensemble construction with a particularly prominent place in jazz, past and present. Indeed, some of these piano trios are among the most revered and popular groups the music has seen.
The standing of the piano trio in the Norwegian jazz landscape is no different. And like a lot of modern jazz from Norway it has also taken on flavours very distinct to this country.
Pianist Torvik met and played with double bassist Bjornar Kaldefoss Tveite and drummer Oystein Aarnes Vik during a short stint in Oslo.
They quickly hit it off, and the idea of making an album with this trio began to take shape. The resulting album, ‘Northwestern Songs’, was recorded at Newtone Studio in Oslo, June 2019.
Here, Torvik continues to explore the relationships between pop sensibilities and jazz, which was also a feature of the music on his debut as a leader, the 2016 quintet recording ‘Northwestern Sounds’. At the same time, the open and revealing nature of the trio format allows him to further explore and challenge himself as piano player.
Personnel: Arne Torvik (piano), Bj rnar Kaldefoss Tveite (bass), ystein Aarnes Vik (drums)

Though any and all vocals on De Sidera are wordless, language is central to the album. ‘I try to make my vocalisms sound like words,’ she explains, ‘but it is a kind of invented language.
Somehow the form, the signifier, is enough to express meaning, sense, emotion.’ Burelli notes that this concept has resonance with her practice in Greek and Turkish music, in which wordless vocals and instrumental improvisations are common.
This is front and center on a song like the title track ‘De Sidera,’ where Burelli’s rising and falling vocals dance atop an undulating, contemplative bassline - close your eyes, and the clear tides of the Mediterranean lap at the sand - her wordless intonations guiding you to a tranquil state.
Burelli surrenders to the natural world and the ineffability of words - on De Sidera she shares the gem of universality she discovered while doing so.

Dominique Fils-Aim is a JUNO Award winning singer-songwriter from
Montreal who draws inspiration from soul icons of the 40’s and 60’s such as Billie Holiday, Etta James, and Nina Simone.
While her musical roots are grounded in early soul and jazz, her voice transcends contemporary urban soundscapes. Her sophomore record Stay Tuned!
won the 2020 JUNO Award for “Vocal Jazz Album of the Year” as well as the Felix prize for “Best Jazz Album” at the ADISQ Gala.
Her 3rd album THREE LITTLE WORDS is a startlingly self-reflective look at affecting societal change while reminding the listener that it is equality and love which feeds the soul and inspires us to do better. Fils-Aim has a disarmingly literal interpretation of soul music as music that comes from the soul, and the album pays homage to a plethora of musical genres that fed and nurtured her love of lyric-driven jazz and soul music.
Love and loving oneself is the common link throughout, and Fils-Aim is certain that love is the key that will provide us with a path to equality. We need to, and deserve to, fight for the right to love both ourselves and each other.

One of the most striking documents of Italy’s Minimalist movement, Giusto Pio’s "Motore Immobile" is a work with few equivalents. Produced by Franco Battiato in 1979, at the outset of a long and fruitful period of collaboration between the two composers, and issued by the legendary Cramps Records, its triumphs were met by silence, before falling from view.

"Motore Immobile" now sits within a reappraisal of a large neglected body of efforts made by the Italian avant-garde during the second half of the 1970’s and early 80’s. It is singular, but not alone. It resonates within a collective world of shimmering sound, one familiar to fans of Battiato, Lino Capra Vaccina, Luciano Cilio, Roberto Cacciapaglia, Francesco Messina and Raul Lovisoni.

An exercise in elegant restraint - note and resonance held to the most implicit need. Where everything between root and embellishment has been stripped away. A sublime organ drone, against interventions of deceptively simple structural complexity - executed by Piano, Violin, and Voice. A sonic sculpture reaching heights which few have touched. A thing of beauty and an album as perfect as they come.

Jupiter, the gas giant in our Solar System, with thunderstorms a thousand times more powerful than on Earth, rainfalls of diamonds in the atmosphere, temperatures below -100°C, plenty of hydrogen, 79 moons and a South pole that looks like an abstract painting, has just the kind of environment this music seems to emanate from.

Jupiter and Beyond, the second collaborative effort of composer/performer Rafael Toral and percussionist João Pais Filipe as a duo (after Saturn in 2016), is definitely not quite a record of Earth music. On the contrary, Jupiter and Beyond, is indeed gas music, unfolding over two long movements without solid body or any tangible outline, between ambient and noise. A music of sheer volume and beauty, icy, massive, in which the elements of Toral's signature, in particular his use of jazz-inspired electronics and feedback, dissolve to become a labile, nebulous, expansive material, occasionally struck by abyssal depressions and masterful densities, magnified by the return, after 17 years of silence, of the electric guitar in Rafael Toral's instrumentarium.

Towards the end of Beyond, the second piece on the record, lurking behind the volutes of feedback, a bell and a bass drum, one can detect from the distance... a barking dog, as a surreptitious and prosaic reminder of where we are here and now, a calling back to Earth. Between sadness and joy, anger and peace, movement and stillness, Jupiter and Beyond is indeed a mirror held out to us, music reflecting our times and that emotionally speaks first of all about us.

"While João Pais Filipe was drummer in the Space Quartet, we played a live duo set. During soundcheck we were jamming for a while on bowed gongs and feedback and lost track of time, it just flowed so well. I joked "we could make a whole record with this!". But later we took the idea seriously and set to record an improvised session at his cymbalsmith workshop (he made the gong on the cover and it was used in the recording). When we listened to the first take the mass of sound was amazing. At some point it reminded me of the complex clusters of sound in Ligeti's music as it appears on Kubrick's 2001 scene "Jupiter and Beyond the Infinite". In the end the title felt like an apt choice for Saturn's successor. Back at my studio I felt the need for some more layers of density in some sections. I thought of using trombones, but ended up picking up the electric guitar, which I hadn't used since 2003.” Rafael Toral

For Rhye’s Michael Milosh, the home is the center of creativity and community. It transcends conventional understandings of walls, stairs and hardwood floors. A culmination of a wayfarer’s journey, the home is a balm for a restless spirit — a place to simply be.

For much of his life, the Canadian singer, songwriter and multi-instrumentalist has wandered, decamping in Toronto, Montreal, Thailand, the Netherlands, Germany and Los Angeles at varying times. Since the meteoric rise of Rhye’s 2013 debut Woman, he’s mostly lived on the road—playing between 50 and one hundred shows a year. But over the last couple of years something changed. On the heels of some major life changes, including a new relationship, Milosh yearned for a more permanent space. “It's this idea of creating a safe place that's not just conducive to creativity, but one that’s truly an anchor point from which to make art and be creative,” he says.

That longing was fulfilled in August of 2019 when Milosh and his partner Genevieve happened upon the perfect place in Topanga. It had been on and off the market for two years as the owner sought the perfect buyer, one who would carry on its creative tradition. “She did this ceremony somewhere on the property where she was trying to call in the right people, and apparently we came the next day,” Milosh explained. “The right kind of home presented itself to us, and we presented ourselves to it. It was like a union between us and the home.”

Written throughout 2019 and early 2020, recorded at Milosh’s home studio, United Recording Studios and Revival at The Complex, and mixed by Alan Moulder (Nine Inch Nails, Interpol, My Bloody Valentine, U2, The Killers), Home is familiar in its synthesis of propulsive beats, orchestral flourishes, piano ruminations and sultry, gender-nonconforming vocals, but never have they sounded more cohesive or alive.

“I'm always trying to always accomplish musical goals that are connected to the way I listened to and interact with music as a child,” Milosh says. The sentiment also underscores a broader, less obvious, but no less important theme echoed through his new record: No matter where life takes us, we can always go home.

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
6x platinum-selling album includes "New Sensation," "Never Tear Us Apart," "Devil Inside," and the No. 1 hit "Need You Tonight"
180-gram 45 RPM double LP release
Mastered by Ryan K. Smith from an EQ'd tape copy
Pressed at Quality Record Pressings
Tip-on old style gatefold double pocket jacket by Stoughton Printing

Kick, the sixth and best-selling 1987 studio album by Australian band INXS, has the unmistakable sound personified by its four U.S. Top 10 singles, "New Sensation," "Never Tear Us Apart," "Devil Inside" and "Need You Tonight," — which reached the top of the U.S. Billboard singles charts.

Between 1980 and 1984, INXS released four studio albums and had toured their native country Australia extensively. With Kick, producer Chris Thomas fused the funk and soul of their previous album The Swing with the mainstream rock of Listen Like Thieves. In an interview with MusicRadar, Andrew Farriss stated, "The melding of funk and rock was always in our heads. We were very excited about the idea of overlaying two types of songs and genres together."

Kick showcased a diverse range of musical styles, blending rock, pop, funk, and dance elements. This versatility appealed to a wide audience, making the album accessible to fans of different genres. It's four catchy singles became radio staples and were accompanied by stylish music videos, helping propel INXS to international stardom.

Incorporating elements such as electronic percussion and synthesizers gave Kick a modern sound, helping it stand out, together with Michael Hutchence's charismatic and sultry vocals that created a strong emotional connection.

All the hallmarks of a top-notch Analogue Productions reissue are here for you to savour: Mastered directly from an EQ'd tape copy by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

There is a blink-and-you'll-miss-it anecdote tucked into one of the many fine documentaries about seminal 20th Century artist Jean-Michel Basquiat regarding the habits of his studio practice. As we watch inspiring footage of Basquiat darting from one piece to the next with rapid-fire brush strokes, a friend or gallerist in a voice over says that it was not unusual for Basquiat to be working on several paintings in the same moment as several radio stations and televisions played in the background. Not much more time is spent on the anecdote, but it feels like a skeleton key into Basquiat's endlessly alluring, neoexpressionist work. And while Bryan Devendorf's solo curio `Royal Green' doesn't possess the only-in-New York vibe of Basquiat's work, there is something shared in its many-channels-open style of creation. Satellite signals, strange voices from lost television documentaries and radio operas are all woven into its fabric _ like it's using these endless tides of media and information to unlock the subconscious. Even its covers _ Bob Dylan, Fleetwood Mac, The National (with a nice big wink), The Beatles _ are like stunning, albeit satanic takes on hymns, or like American standards almost dragged into the underworld. Like the best of Spacemen 3, Sparklehorse or massively underrated San Fran band Skygreen Leopards _ the music makes you queasy in one movement and lulls you into blissmode in the next. It's the very edge of outsider pop songwriting. For all the amphitheaters and festival fields Devendorf has played to over his career, `Royal Green' almost feels like an un-learning and a newfound love of homemade/found/fractured sounds _ and how, if collaged just so, detritus can become stunningly gorgeous and surreal. And not without hooks. Look no further than "Frosty" which could be Little Billy Corgan's decayed demo tape from just before the Smashing Pumpkins appeared on the scene. And the unspooling, slightly unglued dream-pop of "Breaking the River" is as rapturous as it is sinister. And that's probably where Devendorf wants it.

Calypso Drip FM is a journey of styles & influences that formed the varied musical landscape of its creator. Only known by the moniker of Gryff, the author wanted a project that reminded listeners of radio stations of decades past. Particularly the type you would have on GTA: Vice City.

Gryff is a 90s kid, but the track list of his debut album plays like a greatest hits of a much mature songwriter and producer.
Almost exclusively written by himself, requesting the help from Andrew Threlfo in production for 'Do You Feel Like This?', and with NY songstress Primo The Alien as guest and co-writer for Reverse, his undeniable talent is showing in spades.

This incredible debut album is going to make waves in the scene and turn the young musician into a big player.

The first volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.

Many thanks to Wayne Anthony, Simon Reynolds, Stephen Hebditch & The Pirate Radio Archive.

We’ll get to the vocal content in a second, but first it’s time to acknowledge what a patchwork tapestry of genius ‘Peace is not the word to play’ is in terms of production. Large Professor being a prodigy on the SP-1200 is well established, but the way he flips parts of MFSB’s ‘TLC’ and Milly and Silly’s obscure ‘Gettin’ Down for Xmas’ with a sprinkling of Lyn Collins here establishes his credentials in the top tier.

Lyrically, it’s a tour de force, with Main Source taking exception with the misuse of the word ‘peace’ by the hip-hop fraternity. With even the most homicidal of gangster rappers dropping it at the end of tracks at the time, time was overdue for some regulation.

The album version makes its point pithily in a single verse, while the remix, included on the flip of this first ever 7” release, expands on the topic with new verses and some new samples too. It’s a welcome reminder of the time when remixes were remixes – not just the identical track with the latest hot rappers joining in.
Most of all, Main Source once again walk the fine line between lyrical lecture and head-nodding banger – the rare example of a track with a point to make that can still fill a dancefloor and get necks snapping.

• Samples MFSB’s ‘TLC’; Milly and Silly’s obscure ‘Gettin’ Down for Xmas’ and Lyn Collins

• First ever 7” release of the Remix

Billy Nomates, the fierce, funny, outspoken force of nature who hails from Melton Mowbray and now flits between Bournemouth and Bristol, has arrived to rattle cages.

The songs on her debut album all come from a place of defiance. Rebellion against Brexit. Against soul-sapping, dead-end jobs and zero-hours contracts. Against gender inequality, sexual harassment and festivals with obligatory female acts hidden in the small print. Billy’s songs lampoon the same bleak reality satirised by her beloved Scarfolk website and explored so abrasively in the fringe theatre
she finds solace in.

Musically, there are snatches of Nick Cave’s rumbling sprechgesang; the “off-the-wall-ness of musicians like Captain Beefheart”; Sleaford Mods’ febrile post-punk; the groovesome lofi art-rock of Sonic Youth and the brassy Americana of Emmylou Harris. What dominates, though, is a feeling of release. Of letting it all out.

The track ‘Supermarket Sweep’ features guest vocals by Jason Williamson of Sleaford Mods.

LP is pressed on yellow vinyl, housed in a heavyweight spined sleeve with gold foil text print. Includes printed insert with handwritten lyrics and digital download card.

On the highly acclaimed “Old New Ballads Blues”, originally released in 2006, the blues-rock legend Gary Moore is stepping back in time, mixing self-penned songs with blues classics such as Willie Dixon’s ‘You Know My Love’ and ‘All Your Love’ by Otis Rush.
An exciting album, which is now available on vinyl again. The re-release comes on black heavyweight double vinyl in a gatefold packaging and is a definite gem in every vinyl lover’s collection.

This is the legendary Monk's appearance at the legendary Newport festival in 1963 when the so-called "High Priest of Bop brought one of his greatest quartets featuring master Charlie Rouse on tenor sax, Butch Warren on bass, and Frankie Dunlop on drums. This is a great performance based on five of Monk's classic compositions: Criss Cross, Light Blue, Nutty, Blue Monk, and Epistrophy. This is pure Monk's essence, don't miss it

Plump is fat positive, sex positive, queer positive, feminist and anti racist with a focus on centering underrepresented and marginalized voices. Think feminist Ghetto Tech, uplifting while militant, raw and empowering. A place of refuge for everyone who has ever felt unseen or excluded no matter gender, colour or creed.

Plump is about an attitude and ethos, more than it is attached to a genre specific sound. Plump is about radical acceptance. Plump is a return to the origins of dance music as a space for people from all walks of life to be able to come together, embrace joy, pleasure and be free to truly be themselves.

Plump is a creative partnership and collaboration between Kevin Knapp and Jessica “Hutch” Hutcheson, AKA Hutchtastic. Hutch is a visual artist, vocalist, Detroit native, burgeoning producer and overall performer and art personality. Kevin Knapp is music producer, DJ and vocalist, with a slew of releases on formidable labels in the dance music industry.

Kevin also has a new streaming show on Dirtybird Live called Plump’d. The Plump’d livestream show originates from Berlin and is created by Kevin & Hutch.

Kevin says
"Plump'd is an opportunity I've been gifted in the wake of the world shutting down due to the pandemic. Life is funny that way when life closes some doors it opens others. I've been given the opportunity to host a show every Saturday night during the prime time slot, on Dirtybird's Twitch channel for Dirtybird Live. Each week my hope is to have artists I respect, revere, and consider a friend to come on and play some music with me, just for the love of the music. The show is named after our new record label and carries with it the label's ethos of going back to the roots of dance music as a place of radical acceptance."

I notice this Melly Eye blink to the Fenek 01 with the A-side tunes witch will perfectly feet to the mix between both records (almost same tempo and tune, well done). B-side stands a solid dancefloor track too... 2 banging shirts !

Morrissey and David Bowie’s duet of T-Rex’s ‘Cosmic Dancer’, that was recorded live at the Inglewood Forum, Los Angeles on 6th February 1991, is to be released officially for the first time.

The 7-inch double A-side single featuring ‘Cosmic Dancer’ alongside Morrissey’s 2020 cover of The Jam’s ‘That’s Entertainment’ is to be released on 19th February. The sleeve front and back features photographs of David Bowie with Morrissey and were taken in New York City by Linder Sterling.

As a point to note, this version of 'That's Entertainment' is different to the commonly circulated version from 1993.

33 1/3 years after its first release Piranha Records reissues the groundbreaking Stella Chiweshe international debut Ambuya! on quality 180g vinyl, remastered from analog tapes, together with a bonus John Peel session from 1988. Stella Chiweshe stands as one of the most enduring and successful women activists in African music. She started playing the Mbira and performing in her motherland Zimbabwe despite all kinds of racial and male dominant mentalities of that time, setting a spectacular example of how music can cross all kinds of borders, a message that is perfectly aligned with our core values as a record label. With her album Ambuya? the Mbira finally went electric and combined the spiritual with the popular in a creative exchange with British world indie legend 3 Mustaphas 3. Thrilled to have, and still be, teamed up with such a pioneering artist, we feel like time spins like an album: our mbira-meetstapha kick-off of 1987 still lives and rotates with Piranha Records in 2021. Ambuya? Ambuya!

After a decade gap, northern soul legend Dean Parrish has once more hooked up with Acid Jazz Records to release a new single. ‘It’s Time - Purple Mountain Majesty’ is a towering slice of psychedelic soul, that references the work of Norman Whitfield and like those records, comes with a powerful message.

Known predominately in the UK as ‘the Northern Soul star that sold over one million records’, Dean is an esoteric musician who has worked with the likes of Jimi Hendrix, Santana, Herbie Mann and Bob Marley. All whilst following a career as an actor too, appearing in hit US TV series The Sopranos

The iconic status of his hit records such as I’m On My Way, Tell Her & Bricks, Broken Bottles and Sticks has meant that Dean has always been welcome in the UK. In the noughties, he released records with Acid Jazz and was the subject of a Radio 2 documentary by the late and much missed Pete Mitchell. Now 79, Dean has not stopped writing & recording. This latest single presents us with a stunning return to form.

The shoegazing giants Slowdive had their track In Mind remixed by Bandulu and Reload. Bandulu take the minor chords and stretch them into a dub- inflected whirlwind. The standout is the Reload mix by Tom Middleton & Mark Pritchard (aka Global Communication). The result is a shimmering, blissful track with downtempo rhythm and futuristic soul. The ambient, experimental techno remixes are cut on 45 rpm, but there are several DJs who preferred to play this at 33 1/3 rpm.

This is a limited edition of 4000 individually numbered copies, pressed on translucent blue & red swirled vinyl. The package contains an insert with Music On Vinyl’s Slowdive catalogue.

In the 2000’s Chee Shimizu helmed an untouchable Tokyo DJ collective called Discossession alongside Dr Nishimura (House music buyer for Cisco Records at the time). Balancing out this unit were a young Scotsman-abroad named Jonny Nash (who’d later form Sombrero Galaxy ESP001 and Gaussian Curve as well as the Melody As Truth imprint), and the late guitar virtuoso and tattoo artist Zecky. Formidable DJs and multi-talents on the Tokyo scene, Discossession released two EPs on Kenji Takimi’s Crue-L imprint and various mixes individually on lovefingers, all holding well-deserved eternal cult status. Chee’s Denshi Meisou 2006 and Follow My Dream 2007 for Lovefingers as well as his legendary “listening sessions” at HiFi lounge SHeLTeR in the Tokyo suburb of Hachioji, laid foundation for what would become known to his followers as “Organic Music” or “Obscure Sound”, the former extending as the name of his record shop and the latter as the title of his 2013 book.

Obscure Sound chronicled his tastes in detail and has since become a sort of diggers bible for peers and younger generations. At the ESP Institute’s inception in 2009, Shimizu contributed two tracks to Lovefingers’ Concentration Vol 1 compilation as apéritifs to a later release. “Later” eventually became “forever” and the mythical piano track (appearing only as a demo on Golden Age and Dekmantel 061) is still, to this day, not ready for formal release. Skip a dozen years, musical interests and major life changes, and Chee has now unveiled something quite special in accordance with his Obscure Sound—rather than making new out of old rope, he presents a collaboration with Tokyo guitarist miku-mari a.k.a. Takahiro Matsumura. The artists frequently collaborate at the experimental audio/visual event, Sacrifice, held irregularly at Tokyo’s ForestLimit, and in 2018 when Chee was invited to DJ at Japan’s only Ambient festival Camp Off-Tone, he and miku-mari endeavored to expand these works into a 2-hour improvised performance. Chee collaged various percussion samples and personal field recordings utilizing four CDJs, supplementing with live windchimes and Andean chajchas, while miku-mari coupled a guitar-controlled synthesizer, Sound Tube software (developed by Japanese Ambient composer Hiroshi Yoshimura) and more live elements such as Tibetan bells and pyramid crystals. Rehearsals for this performance were held prior to the festival at ForestLimit, recorded as multi-tracks and edited into these two cerebral Reconstructions.

We’ll get to the vocal content in a second, but first it’s time to acknowledge what a patchwork tapestry of genius ‘Peace is not the word to play’ is in terms of production. Large Professor being a prodigy on the SP-1200 is well established, but the way he flips parts of MFSB’s ‘TLC’ and Milly and Silly’s obscure ‘Gettin’ Down for Xmas’ with a sprinkling of Lyn Collins here establishes his credentials in the top tier.

Lyrically, it’s a tour de force, with Main Source taking exception with the misuse of the word ‘peace’ by the hip-hop fraternity. With even the most homicidal of gangster rappers dropping it at the end of tracks at the time, time was overdue for some regulation.

The album version makes its point pithily in a single verse, while the remix, included on the flip of this first ever 7” release, expands on the topic with new verses and some new samples too. It’s a welcome reminder of the time when remixes were remixes – not just the identical track with the latest hot rappers joining in.
Most of all, Main Source once again walk the fine line between lyrical lecture and head-nodding banger – the rare example of a track with a point to make that can still fill a dancefloor and get necks snapping.

• Samples MFSB’s ‘TLC’; Milly and Silly’s obscure ‘Gettin’ Down for Xmas’ and Lyn Collins

• First ever 7” release of the Remix

Discodelic presents the second release in this series of exclusive 45 RPM records. From the Caribbean coast of Costa Rica, province of Limón, the town of Cahuita, we present you with the incredible BOCARACÁ!

Bocaracá is without a doubt a gem from Caribbean Central America, bridging a spectacular concoction of Psychedelia with Afro Latin rhythms. Created by Isidor Asch and Luis Jákamo, two restless "limonenses", who were on the path of discovering their Latin musical roots since childhood, while also experimenting with soul and Rock in their own compositions. Together and on their own, they have written a big chunk of the history of Soul in Costa Rica with their subsequent outstanding groups: Marfil, Grupo Stop, and Manantial.

This limited edition is part of a project that has been in the making for several years. This is a labor of love and respect for the music of this singular band. Four “maes” who were known as “the only hippies in Limón” in their hometown.

This reissue includes historic material that was originally recorded between 1973 and 1974 in Audio Centro, a recording facility in San José. It’s a priceless and important document, a window to what was happening with music in the largely abandoned and forgotten province of Limón, where a musical revolution was cooking in the early ’70s, and where Bocaracá was the cornerstone.

Get to know the full story of Bocaracá in the special liner notes included in the release, prepared with love for all of you, featuring band anecdotes and photos.

NOTON signs Italian-born, Bern-based sound-artist and producer Saele Valese.
In ‘IVIC’, his debut LP, Saele Valese, distills hauntological noise, droning tonal experiments and minimalist rhythms into a series of electro-acoustic-wave ventures written over five years in Berlin, Saas-Fee and Thun.
Drawing influences from the psychoacoustic properties of the live album format, IVIC’s 11 tracks were mixed and recorded live on DAT cassettes and through DAW experimentation, without the possibility to revise the final recordings. Valese adopted this approach to conceptually propose reconciliations between the irreversibility of the
past, and acceptance of its residuals in the present. The track titles themselves follow this pathos, citing the works of the American photographer Francesca Woodman and the poet Sylvia Plath. The inclusion of passages incorporating live sonics and throes of industrialismnso,ton.info contributes to the images of gravity, intimacy and spatiality that the music presented here invokes.
In keeping with this imagery, the music possesses a dilated, shuffling rhythmic base, much like the firm traversal of a tanker against a storm of jangling components, and still moments of gloomy sonics
alternating with more ravenous upheavals of power electronics.
If the track divisions do not pass by unheeded, they are consistently assembled to sonically accompaign the emotional charges and momentum of an imaginary cinematic experience; the beats caves in
for instants of relief, only to recoil in a cognated tempo but rearranged structurally. In another gesture of cogitated stride, the portentous waves of the record progressively rage into a turmoil in its third quarter during 'Horse The Color Of Rust'. The album reaches its closure fluctuating through microtonal oscillations to slowly eclipse into silence.
´In Your Rosary ì and Yì ou Cannot See Me From Where I Look At Myself ì were previously released on vinyl via Saele Valese’s own imprint, JSMË.
The track ‘You Cannot See Me From Where I Look At Myself’ 4 - is dedicated to the memory of Marco Bacher.
Artwork designed by Carsten Nicolai. Mastering by Matt Colton (Metropolis Studios, London).

Main Source’s paean to the simple pleasures of relaxing with friends is built over two tried-and-tested samples. The dreamy, swoony sounds of Vanessa Kendrick’s timeless ‘90% of Me is You’ is ever-present during this stone-cold classic, while Sister Nancy’s unmistakeable ‘Bam Bam’ lends several elements to the mix. Throw in some Skull Snaps and Sweet Charles and you’ve got the perfect soundtrack for a roll call of Large Professor’s nearest and dearest.

There are plenty of reasons why so many regard ‘Breaking Atoms’ as an all-time classic album, and the sheer variety of singles lifted from it is chief among them. Large Professor was happy to roam over varied topics at a time when many rappers had a manic focus on one thing.

And where better to hang out with friends than at a barbecue? ‘Live at the Barbecue’ is rightly regarded as one of the best posse cuts of all time, and famous for showcasing the debut of one Nasty Nas. While he delivers a dope verse full of quotables over drums from Bob James’ oft-plundered ‘Nautilus’, credit is also due to the other guests. Fatal and Akinyele aren’t disgraced in this company, and Large Professor tops it off with a rare verse of pure brag-rap.

An undisputed entry in the pantheon of head-nod hip-hop, this is its first official UK release, and another debut on 7”.

• Samples Sister Nancy’s unmistakeable ‘Bam Bam’

• Taken from the all-time classic album ‘Breaking Atoms’

• Features the debut of Nas

• Limited Edition Purple vinyl

Nonesuch releases a remastered, special edition of the 2005 record Our New Orleans for the first time on vinyl. The two-LP set, also available digitally, includes five previously unreleased tracks: ‘Do You Know What It Means’, by Davell Crawford; ‘Let's Work Together’, by Buckwheat Zydeco and Ry Cooder; ‘Crescent City Serenade’, by Dr. Michael White; ‘Walking By the River’, by Dr. John; and ‘Do You Know What It Means’, by The Wardell Quezergue Orchestra featuring Donald Harrison.

The $1.5 million raised from the 2005 release went toward providing housing in partnership with low-income musicians and others through the New Orleans Habitat Musicians’ Village, a concept that was developed by New Orleans Area Habitat for Humanity, working with Branford Marsalis and Harry Connick, Jr. Habitat–built homes in the village now provide musicians and others of modest means the opportunity to buy decent, affordable housing. The centerpiece of the village is the Ellis Marsalis Center for Music, dedicated to celebrating the music and musicians of New Orleans and to the education and development of homeowners and others who live nearby.

For Our New Orleans, many of the Crescent City’s best-known musicians recorded songs that are integral to their lives and that express their feelings about the city and the trauma of Katrina. The album was made swiftly and simply, over the course of a month, in one-day sessions across the country. Nick Spitzer, host of public radio’s New Orleans–based American Routes, contributed liner notes to the record, as did Pulitzer Prize–winning author Richard Ford, also a Crescent City resident. Other producers who made enormous contributions include Mark Bingham, Ry Cooder, Joel and Adam Dorn, Steve Epstein, Joe Henry, Doug Petty, Matt Sakakeeny, and Hal Willner.

Nonesuch’s parent company – Warner Records, part of the Warner Music Group – donated all production costs for Our New Orleans as part of the Group’s larger efforts on behalf of hurricane victims on the Gulf Coast. Many others involved in creating the album also generously donated their time and services.

Nonesuch President David Bither recalls, “What was most remarkable to me was the immediate response of the musicians. Many were in New Orleans when Katrina struck. Many lost everything they owned including even the musical instruments that are their livelihood. Yet they responded within days to the question of whether they might participate in this project. The emotion and the power of Our New Orleans come both from their anguish and from their incredible generosity.”

And the label’s Chairman Emeritus Bob Hurwitz said, “When we pick up a CD booklet, we usually skip over the page that says, ‘Special thanks to…’, but in the case of Our New Orleans, it is, after the listing of the musician’s names, the most important part of this package. Everyone wanted to help – studios that insisted on contributing free time, caterers, photographers and videographers, instrument rentals, producers, engineers – every step down the line, people gave, not only their profits, but absorbed all of their costs. It was an incredible outpouring of generosity.”

“Our New Orleans is a testament to the power of music to heal and provide a sense of community,” said Marguerite Oestreicher, Executive Director of New Orleans Area Habitat for Humanity. “Musicians helped the city heal after Hurricane Katrina, and Musicians’ Village helped them come home. We’re grateful to Nonesuch and everyone who worked on this album. This year has brought new challenges to everyone, but especially to our culture-bearers. This re-release could not be more timely.”

DeWolff return with their new album, Wolffpack, released on 5th February 2021 via Mascot Records.

DeWolff, the kaleidoscopic warriors were not long into their 2019 Tascam Tapes European Tour when the Covid19 pandemic broke and they, like so many others, had to turn back and head home. They started working on the new album Wolffpack.

The album kicks off with the first song they finished, the soulful psychedelic funk of "Yes You Do," featuring Ian Peres and longtime friend of the band, Judy Blank. "We wrote it in a Zoom meeting!" Pablo says. "Treasure City Moonchild," struts in with a funky swagger and Piso's trademark swirling Hammond, with Dawn Brothers' Levis Vis providing some Bass juice. "Do Me," includes Theo Lawrence on vocals and is through the eyes of an anti-hero who realizes he isn't worthy of the woman of his dreams, and dates back to 2019 and the Next of Kin live show. "I consider this the best song I ever wrote, so I couldn't stand the idea that it was only used for those Next of Kin shows and then never again! That's why I brought it to DeWolff, but it needed some rearranging," he says. Another song from the Next of Kin sessions was "Sweet Loretta" and features Dawn Brothers' Stefan Wolfs and Darilyn's Diwa Meijman. "Loretta is the protagonist's childhood sweetheart. She has a rich dad, but he's really conservative, and so she can only inherit his money if she marries a man. But she's lesbian. So, the protagonist, who's also out for this old guy's money, suggests they play pretend and marry so they can split the money."

They sweep through disco on "Half Your Love," swamp rock on "Bona Fide" and take on sci-fi and the Old Testament on "RU My Savior." Their tour buddies The Grand East show up on "Roll Up the Rise." Written in the first days of quarantine, it's about the end of the quarantine - told from a future perspective. "Lady J," came after Pablo watched the documentary "13th." "I was quite shaken up by it," he admits. "The lyrics are based on the idea that Lady Justice seems to have a scale that doesn't measure the "weight" of your crime but the tone of your skin. She is supposed to be blindfolded, but the people who act in "her" name aren't blind at all: they discriminate between white and black."

The album ends with the forlorn "Hope Train." Based on the Pulitzer prize-winning novel by Colson Whitehead about two slaves in the US during the 19th century, who make a bid for freedom from their Georgia plantation. "I found it really hard to envision the world in which it takes place," he says. The band used a 1970s Fisher-Price Toy cassette recorder in the intro, "We wanted to see if we could somehow approach the sound of those very early country blues recordings, like the ones by Blind Willie Johnson.”

Talking about the foundation of Jamaican music, the Alpha Boys School in Kingston can be considered as one of the places where it all began! Back in the day, under the direction of Sister Mary Ignatius, the school was the place where young boys from the poor neighborhoods in Kingston could embrace an instrument (mostly brass and drums). Then history tells us that some of these kids became among the most influential musicians in the history of Jamaican Jazz, Ska, and Reggae. Joe Harriott, Dizzy Reece, Tommy McCook, Don Drummond, Cedric Brooks, Rico Rodriguez, Johnny Osbourne, Leroy Smart and Yellowman are just some of the fruits of such a great community art project. Now this compilation contains some rare gems produced between 1959 and 1962 by Jamaican Jazz heavyweights such as Tommy Mc Cook, Don Drummond, Ernest Rangling, Lennie Hiibert, Cecil Lloyd and others. This is highly swinging music inspired by the Black American tradition with a unique and inevitable Caribbean flavour. Don't miss it!!!

Soul Intent delivers his second studio album, this time on Dope Plates, the 90s influenced sub-label for his Lossless Music imprint.

"Everything And Nothing" sees Soul Intent reach back 25 years to the sounds and vibes that soundtracked his teenage years in the mid 90s. It was this period when he first discovered rave and jungle through his brothers CD collection, MTV's Party Zone and Dreamscape tape packs, which were being passed around at school.

Some of the track names refer to memories from this era including "Standard Deluxe" (a long since defunct skate/surf clothing brand) and "Tribal Gathering" - the legendary 1993 rave put on by event organisers Universe.

'IDMEMO' would not pretend to be a representative compendium of 90’s-00’s Intelligent Dance Music. It was not Vladimir Ivkovic & Ivan Smagghe’s point when they decided on the project. It is a very personal snapshot of a moment in time, when both of them were working in record shops, when they were listening to indie and electronic music. One can not stress enough the importance of this crossing of roads, pop kids getting through to the dancefloor via Aphex Twin and nerdy house heads dissolving their four to the floor into the futuristic world of Warp compilations.

The compilation unfolds in the loosest, the best way to make some kind of sense. There are some classics (Black Dog’s lysergic 'Psyl-Cosin'), there are some rarities (that Zugzwang track), some tested late night floor melters (Reload remixing Slowdive) and some personal outlandish choices that strangely take their place (Spiritualized’s 'Anyway That You want Me-remix 3').

All in all, This is an anti-archive, a choice of tracks primarily lead by emotion, more pads than glitches,”intelligent” music depraved by that last half-pill at 6am rather than high-brow destructurations, Ivkovic & Smagghe hitting, as ever, at their own margins.

'IDMEMO' is a collaborative project between Above Board Projects, Offen Music and Les Disques De La Mort. Selected and sequenced by Vladimir Ivkovic and Ivan Smagghe. Art and design by Atelier Superplus. Mastering courtesy of Keith Tenniswood @ Curved. Manufacture and worldwide distribution by Above Board, 2020.

“The album title ADELA comes from a song by Rodrigo which constitutes the emotional culmination of our duo’s programme. What counts is not the name, but the person we love and long for. Everyone certainly has such a person, and so we hope that each listener will find something close to his or her heart on our album.

The piano and classical guitar virtually never collaborate in music. However, after our first joint performance with Łukasz Kuropaczewski, we immediately realised that we could create intriguing music worlds together. We followed the same line of thinking in our choice of programme, which derives from both the piano and guitar repertoires, though the spirit of the South that informs most of that music is more typically associated with the guitar tradition. In my arrangements of classical works, I strove to represent the sonic qualities of both instruments, their unique expression, and cultural associations. I reworked Domenico Scarlatti’s famous “Sonata in D Minor (Toccata)” K. 141 so as to bring out its Spanish roots. Titled “Domingo” on our album, it features distinctive flamenco qualities and an improvised layer. The “Aranjuez Concerto BWV 1056” is, as its very name suggests, a fusion of the world’s most famous piece for guitar and orchestra, Joaquin Rodrigo’s “Concierto de Aranjuez”, with Johann Sebastian Bach’s “Keyboard Concerto in F Minor” BWV 1056. Themes from the second, slow movements of both concertos interlink here as in the film cross-cutting technique, and we swap roles, Łukasz leading the Bach theme while I take up Rodrigo’s.

Three of the works on this album have been enriched by the angelic voice of Jakub Józef Orliński. In these three, Egberto Gismonti’s guitar composition “Água e Vinho”, my own “Quarantine Song”, and even the famous “Adela” by Joaquin Rodrigo, the voice has been treated more as an instrument than a lyrical subject. “Quarantine Song” was composed during the COVID-19 quarantine in 2020 specially for Jakub Józef Orliński as its performer. “Pedro” was inspired by the films of Pedro Almodóvar.




[c] A3. Água e Vinho [feat. Jakub Józef Orliński] - Egberto Gismonti


[f] B2. Quarantine Song [feat. Jakub Józef Orliński] - Aleksander Dębicz

[h] B4. Adela [feat. Jakub Józef Orliński] - Joaquín Rodrigo

Marc Bolan’s passions included the blues, soul, rock ‘n’ roll, hard rock and disco-soul, and his intent to explore these genres are all visited on this collection of classic album tracks and singles. His influences – Jimi Hendrix, Eric Clapton/Cream and Bob Dylan are all apparent amongst the material on Shadowhead, but the music here is unique.
Bolan’s creative fire produced a phenomenal catalogue of work: the material on this album was recorded over five
years (1972 – 1976), in seven studios, in five countries.
This record provides insights into Bolan’s creative process whilst keeping the essence of the music in its classic
form. Shadowhead showcases the development of tracks such as Precious Star and Groove A Little, and a track that
made its public debut on the CD release, Blues Jam (Dreamy Lady Session). Other tracks reveal many of the
instruments and sounds from the master tapes to enable the working processes to be more clearly understood.
This release marks the first time that this collection has been issued on vinyl.

a 1. Midnight [master version]
[b] 2. Rapids [working version]
[c] 3. Hang-Ups [master version]
[d] 4. Do You Wanna Dance [master version]
[e] 5. Baby Boomerang [master version]
[f] 6. Truck On (Tyke) [master version]
[g] 7. Blues Jam [Dreamy Lady Session] [jam]
[h] 8. London Boys [master version]
[i] 1. Lady [master version]
[j] 2. Buick Mackane [master version]
[k] 3. Stand By Me [working version]
[l] 4. Precious Star [working version]
[m] 5. Fast Blues (Easy Action) [master version]
[n] 6. Dreamy Lady [master version]
[working version]

Though synthesizers are the backbone of Shen’s music, while performing live, she plays self-made synths, invented instruments, and even acoustic objects like a bull whip.
Her live show vacillates between moments of restraint and swells of frenetic and confrontational movement. Her sound is dynamic with a sensitivity to texture and structure throughout. This sensitivity is maintained in her debut LP
Hair Birth, the result of several weekends locked in a studio creating cacophonous, wondrous synth noise with Harvard’s Buchla 100 and Serge modular systems.
She tracked hours of stems before cloistering herself in a painstaking editing process. Songs like ‘Under The Stall Door’ sound like a cybernetic rollercoaster with rumbles and shrieks that hurtle the listener through virtual space. Others, like ‘Bolete,’ are tense, dense mood pieces that move from the queasy to the tranquil to the surreal.

Fulled By Ramen will be reissuing one seminal album from our 25- year history each month throughout the calendar year of 2021. For February 2021, we will be releasing The Academy Is…’ 2005 studio album ‘Almost Here’ on silver vinyl.

FBR 25 Podcast

We are currently working on a 16 part podcast that will delve into the history of FBR, it’s cultural relevance and Global impact over the past 25 years. Each episode will look at the careers of some of our most important artists, and deep dive into the making of albums told by the artists themselves in their own words.

25th Anniversary Merchandise

We announced the 25th Anniversary around Thanksgiving last year with our first 25th Anniversary limited merch drop, and then will be working throughout 2021 on new and exclusive designs to drop throughout the year.

“You’re trouble” is an avant-garde electronic pop album about questioning and locating a sense of self in a disorienting, breaking environment of dissolving certainity which grows increasingly chaotic, about dysmorphic dissatisfaction, becoming disillusioned and alienated. It seeks to juxtapose beauty, serenity and vigour with instability, ugliness, chaos and crisis, expressing itself fluidly without genre or otherwise boundaries. A kind of sinister, anxious but still forward-pushing and at times positive and hot-blooded empowering energy can be felt that wants to urge the listener not to give up but to try and take courage and take control of the troubles and fears in their life. The tone is sometimes reflective, sometimes confronting. The album navigates fairly abstract musical territory, cathartic abrasiveness, heavy and unrelenting sounds of post-club music and noise fused with stretches of pop music, never settling down or resting for long, constantly breaking up and re-assembling itself. Between chaos and form, it’s finding relief in imperfection and the in-between. As such the music is ambivalent and is equal parts some kind of crisis club music as well as introspective reflection.
Downloads

It's tempting to think that you have all the answers, screaming your gospel every day with certainty and anger. Life isn't quite like that though, and the debut album from London four-piece TV Priest instead embraces the beautiful and terrifying unknowns that exist personally, politically, and culturally. Posing as many questions as it answers, Uppers is a thunderous opening statement that continues the UK's recent resurgence of grubby, furious post-punk music. It says something very different though - something completely its own. Four childhood friends who made music together as teenagers before drifting apart and then, somewhat inevitably, back together late in 2019, TV Priest was borne out of a need to create together once again, and brings with it a wealth of experience and exhaustion picked up in the band's years of pursuing 'real life' and 'real jobs', something those teenagers never had. Last November, the band - vocalist Charlie Drinkwater, guitarist Alex Sprogis, bass and keys player Nic Smith and drummer Ed Kelland - played their first show, to a smattering of friends in what they describe as an "industrial freezer" in the warehouse district of Hackney Wick. "It was like the pub in Peep Show with a washing machine just in the middle_" Charlie laughs, remembering how they dodged Star Wars memorabilia and deep fat fryers while making their first statement as a band. Unsurprisingly, there isn't a precedent for launching a band during a global pandemic, but among the general sense of anxiety and unease pervading everything at the moment, TV Priest's entrance in April with the release of debut single "House Of York" - a searing examination of the Monarchy set over wiry post-punk and fronted by a Mark E. Smith-like mouthpiece - served as a breath of fresh air among the chaos, its anger and confusion making some kind of twisted sense to the nation's fried brains. It's the same continued global sense of anxiety that will greet the release of Uppers, and it's an album that has a lot to say right now. Taking musical cues from post-punk stalwarts The Fall and Protomartyr as well as the mechanical, pulsating grooves of krautrock, it's a record that moves with an untamed energy. Over the top of this rumbling musical machine is vocalist Charlie, a cuttingly funny, angry, confused, real frontman. Uppers sees TV Priest explicitly and outwardly trying to avoid narrowmindedness. Uppers sees TV Priest taking musical and personal risks, reaching outside of themselves and trying to make sense of this increasingly messy world. It's a band and a record that couldn't arrive at a more perfect time.

-LTD. LOSER EDITION-

This LIMITED LOSER INDIES edition is on GREY MARBLED Vinyl! It's tempting to think that you have all the answers, screaming your gospel every day with certainty and anger. Life isn't quite like that though, and the debut album from London four-piece TV Priest instead embraces the beautiful and terrifying unknowns that exist personally, politically, and culturally. Posing as many questions as it answers, Uppers is a thunderous opening statement that continues the UK's recent resurgence of grubby, furious post-punk music. It says something very different though - something completely its own. Four childhood friends who made music together as teenagers before drifting apart and then, somewhat inevitably, back together late in 2019, TV Priest was borne out of a need to create together once again, and brings with it a wealth of experience and exhaustion picked up in the band's years of pursuing 'real life' and 'real jobs', something those teenagers never had. Last November, the band - vocalist Charlie Drinkwater, guitarist Alex Sprogis, bass and keys player Nic Smith and drummer Ed Kelland - played their first show, to a smattering of friends in what they describe as an "industrial freezer" in the warehouse district of Hackney Wick. "It was like the pub in Peep Show with a washing machine just in the middle_" Charlie laughs, remembering how they dodged Star Wars memorabilia and deep fat fryers while making their first statement as a band. Unsurprisingly, there isn't a precedent for launching a band during a global pandemic, but among the general sense of anxiety and unease pervading everything at the moment, TV Priest's entrance in April with the release of debut single "House Of York" - a searing examination of the Monarchy set over wiry post-punk and fronted by a Mark E. Smith-like mouthpiece - served as a breath of fresh air among the chaos, its anger and confusion making some kind of twisted sense to the nation's fried brains. It's the same continued global sense of anxiety that will greet the release of Uppers, and it's an album that has a lot to say right now. Taking musical cues from post-punk stalwarts The Fall and Protomartyr as well as the mechanical, pulsating grooves of krautrock, it's a record that moves with an untamed energy. Over the top of this rumbling musical machine is vocalist Charlie, a cuttingly funny, angry, confused, real frontman. Uppers sees TV Priest explicitly and outwardly trying to avoid narrowmindedness. Uppers sees TV Priest taking musical and personal risks, reaching outside of themselves and trying to make sense of this increasingly messy world. It's a band and a record that couldn't arrive at a more perfect time.

Collection of unreleased demos of every track written for the fourth PJ Harvey studio album Is This Desire?, including demos of ‘A Perfect Day Elise’, ‘The Wind’ and ‘Angelene’. Audio has been mastered by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator John Parish. Features brand new artwork with previously unseen photos by Maria Mochnacz.

LP Info

1LP, 180gsm black vinyl
Full colour outer sleeve, with printed inner sleeve
Artwork includes previously unseen photos
Download card

You could think of the collection of tracks here as a library record of sorts, and each track inhabits its own universe. Tropical fits various moods and situations, and it could soundtrack any number of activities at home or on a dancefloor - whether real, imaginary, or hallucinated. Strangely enough, it sounds like it could have been constructed from obscure Italian library breaks, when instead every instrument has been played and panned, several times over, across magnetic tape.

The genesis of many of these tracks began when CV Vision moved to Berlin in 2014. His flat had a small chamber where he could fit a drum set, so he treated the walls with foam, and in true DIY style, dived headfirst into recording these tracks. It was the natural next step on an audio adventure that first began when CV Vision picked up the guitar in his teens, and a couple years later started recording with friends in his home town of Bayreuth. Fast forward ten years and here is his debut - a culmination of practising chops and learning instruments, mastering recording techniques and fine-tuning the CV Vision sound.

It’s a sound that condenses elements of acid rock, psych soul, library funk and new wave oddities into a movie soundtrack for your mind. It’s a journey from ‘60s west coast LSD-drenched excursions to ‘80s synth and post-punk mutations. Tropical is a plunge into another time, another music you can simply swim around in and explore.

Side A opens up with Tropical Tune In, which rides in on a clave and a warm wind, blowing a distinctly herbal aroma and recalling exotica dons like Les Baxter and Martin Denny. Following on with the aural equivalent of a sea breeze through your mind, Spaziergang am Meer blows away the cobwebs and conjures some nice library moments like Stringtronics or F eelings . Next, Ba_c_k(Lava) bounces out of a cold wave post-punk melting pot and crashes through the speakers like a blazed Zebedee, with some sweet eastern synths for added flavour, before the rolling bass licks of Der Böse Schamane take us into another dimension, landing somewhere between a psych rock freak out and a Black Ark dub session. Mr Maze channels the arpeggiators of synth outsiders like Mort Garson and Bruce Haack, creating a glorious interlock of robotic electronics and freakbeat vocals. The side comes to a close with the guitars of Der Strand (außer Rand und Band) letting loose like syrupy springs, and setting a languid mood like the bedroom scene in Bedazzled (1967 version). Side B kicks off with Parallel Universum, which comes through like a woozy krautrock workout, all ducking synths with big chord shifts to create an epic deranged beehive of a soundtrack. Im Land der Ameisen evokes the spirit if not the sound of White Rabbit, when logic and proportion have fallen sloppy dead, before waking up and wandering through the side alleys of Marrakech with the West Coast Pop Art Ensemble and the Electric Prunes, as Ritual (No. 4) blares out the speakers of passing tuk tuks. Ein Wasserfall plumbs the deep synth depths, like Raymond Scott in scuba gear, modular rack strapped to his back delivering oxygen as he swims between connector cables and seaweed forests through a watery underworld. Banana King sounds like a lost soundtrack to Donkey Kong or Mario Cart, if the cart radio was tuned into a synth

documentary hosted by James Pants, while Das Kloster am Berg takes the baton from Brenda Ray and her Naffi cohorts, all dubbed-out niceness and post punk swagger. The LP closes out with Tropical Drop Out, a dreamscape rather than a wake up call, coaxing you deeper into the trek across the desert of your mind.

And that’s Tropical in its essence: capsules from another time, snapshots of another sound, messages from another mind - all in the service of inducing the visions in your head.

written by Max Cole