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Overcoming all manner of obstacles and finally raising £16,000 via their committed fanbase through Kickstarter, in November 2019 fast rising rockers Mason Hill recorded 11 songs at Riverside Studios in Glasgow, with Scott Taylor later travelling to New York to track his vocals at the legendary Electric Ladyland Studios. Titled in acknowledgement of struggles overcome, the result is Against The Wall, the most hard-hitting and engaging debut album to emerge from the British rock scene in 2020.
From its seductive, inviting opening notes, Against The Wall is an enthralling, spellbinding distillation of everything Mason Hill have learned in their 7 year history. It opens, in dramatic fashion, with the self-explanatory Reborn, climaxing with the lyric, “No more pain, I feel reborn”, a declaration of intent and purpose which sets the tone for what is to follow.

Another lyric encapsulating the defiant resolve of Against The Wall, is the opening line of the stirring, impassioned Hold On. “Wake up, wake up,” Scott Taylor sings. “Did you really think I'd disappear?” That same swagger runs through the album’s gritty title track, an anthemic modern rock masterclass to file alongside the likes of Shinedown and Alter Bridge. Their influence can also be detected in the beautifully bruised climactic epic Where I Belong, where Taylor sings, “I know who I am, and I know where I’ve been” before Bird launches into a stunning solo that recalls Guns N’ Roses legend Slash at his most lyrical.

Overcoming all manner of obstacles and finally raising £16,000 via their committed fanbase through Kickstarter, in November 2019 fast rising rockers Mason Hill recorded 11 songs at Riverside Studios in Glasgow, with Scott Taylor later travelling to New York to track his vocals at the legendary Electric Ladyland Studios. Titled in acknowledgement of struggles overcome, the result is Against The Wall, the most hard-hitting and engaging debut album to emerge from the British rock scene in 2020.
From its seductive, inviting opening notes, Against The Wall is an enthralling, spellbinding distillation of everything Mason Hill have learned in their 7 year history. It opens, in dramatic fashion, with the self-explanatory Reborn, climaxing with the lyric, “No more pain, I feel reborn”, a declaration of intent and purpose which sets the tone for what is to follow.

Another lyric encapsulating the defiant resolve of Against The Wall, is the opening line of the stirring, impassioned Hold On. “Wake up, wake up,” Scott Taylor sings. “Did you really think I'd disappear?” That same swagger runs through the album’s gritty title track, an anthemic modern rock masterclass to file alongside the likes of Shinedown and Alter Bridge. Their influence can also be detected in the beautifully bruised climactic epic Where I Belong, where Taylor sings, “I know who I am, and I know where I’ve been” before Bird launches into a stunning solo that recalls Guns N’ Roses legend Slash at his most lyrical.

Father John Misty is the nom-de-plume of Josh Tillman, who
has been recording and releasing solo albums under his own
name since 2003 and who recently left Seattle’s Fleet Foxes
after playing drums with them from 2008-2011.
When discussing Father John Misty, Tillman paraphrases Philip
Roth: “‘It’s all of me and none of me, if you can’t see that, you
won’t get it.’”
‘Fear Fun’, Father John Misty’s album from 2012 and now
available again through Sub Pop, began gestating during what
Tillman describes as an “immobilizing period of depression” in
his former Seattle home, when he had lost interest in
songwriting and wound up finding his voice by writing a novel.
After breaking from Seattle and settling in a spider-infested
Laurel Canyon treehouse, Tillman spent months demoing
songs, eventually liberating himself from his creative impasse.
With the help of LA producer/songwriter/pal Jonathan Wilson, a
wealth of talented musicians kicking around LA and producer
Phil Ek (who everyone knows has worked with Built to Spill,
Modest Mouse, Band of Horses, Fleet Foxes), ‘Fear Fun’
blossomed into a fully-formed expression of Tillman’s
unrestrained vision.
‘Fear Fun’ consists of such disparate elements as Waylon
Jennings, Harry Nilsson, Arthur Russell, All Things Must Pass
and Physical Graffiti, often within the same song. Tillman’s
voice has never been better and often sounds like Roy Orbison
at his most joyous, while the music maintains a dark,
mysterious yet playful, almost Dionysian quality.
Lyrically, his absurdist fever dreams of pain and pleasure elicit,
in equal measures, the blunt descriptive power of Bukowski or
Brautigan, the hedonist-philosophy of Oscar Wilde and the
dried-out wit of Loudon Wainwright III.
6-panel digipack CD. Gatefold LP.

Father John Misty is the nom-de-plume of Josh Tillman, who
has been recording and releasing solo albums under his own
name since 2003 and who recently left Seattle’s Fleet Foxes
after playing drums with them from 2008-2011.
When discussing Father John Misty, Tillman paraphrases Philip
Roth: “‘It’s all of me and none of me, if you can’t see that, you
won’t get it.’”
‘Fear Fun’, Father John Misty’s album from 2012 and now
available again through Sub Pop, began gestating during what
Tillman describes as an “immobilizing period of depression” in
his former Seattle home, when he had lost interest in
songwriting and wound up finding his voice by writing a novel.
After breaking from Seattle and settling in a spider-infested
Laurel Canyon treehouse, Tillman spent months demoing
songs, eventually liberating himself from his creative impasse.
With the help of LA producer/songwriter/pal Jonathan Wilson, a
wealth of talented musicians kicking around LA and producer
Phil Ek (who everyone knows has worked with Built to Spill,
Modest Mouse, Band of Horses, Fleet Foxes), ‘Fear Fun’
blossomed into a fully-formed expression of Tillman’s
unrestrained vision.
‘Fear Fun’ consists of such disparate elements as Waylon
Jennings, Harry Nilsson, Arthur Russell, All Things Must Pass
and Physical Graffiti, often within the same song. Tillman’s
voice has never been better and often sounds like Roy Orbison
at his most joyous, while the music maintains a dark,
mysterious yet playful, almost Dionysian quality.
Lyrically, his absurdist fever dreams of pain and pleasure elicit,
in equal measures, the blunt descriptive power of Bukowski or
Brautigan, the hedonist-philosophy of Oscar Wilde and the
dried-out wit of Loudon Wainwright III.
6-panel digipack CD. Gatefold LP.

*** UNRELEASED AOR / YACHT ROCK FROM 1979 AS FEATURED ON PRAISE POEMS 7***

It is a rare occurrence, especially when you consider that we are writing this in the year 2020, that an unreleased AOR/Yacht Rock album surfaces after 40 years. The Tramp crew first heard about it while discussing Penn Central's inclusion of their song "Sometimes" on "Praise Poems Vol.7".

The band Penn Central was formed about 1978 by Gary Phelps and his younger brother Shawn Phelps. They had been playing together in a few different groups in the Erie, Pennsylvania area since Gary returned there from Penn State in 1974. In 1978 Shawn was going to college at Edinboro State University, just south of Erie, where he met Curt Salvador, a student from the Pittsburgh area. They began playing together in a local Edinboro group when Shawn introduced Curt to Gary. Gary, Shawn, and Curt began to collaborate and soon Gary brought in friend and former high school bandmate Allen Bennett who was an accomplished musician on trumpet and percussion. Shawn then found Dave Lindgren who was playing drums in various bands locally and Penn Central was formed.

The group began rehearsing and playing small venues together. Soon, they began to work on original songs that Gary and the band were writing. They decided in 1979 to record some of the original music at a small independent studio in Erie that was owned and operated in by Keith Veshecco and John Mazza. Soon after recording 7 songs there, a large FM radio station, WDVE, in Pittsburgh sponsored a contest for local bands for a compilation album of local groups. Because of Curt's roots in Pittsburgh, he entered the Penn Central song "Sometimes" in the contest and it earned a spot on the 10 track album that was released in 1980. The band subsequently played in the area for the next few years before drifting apart as the members left college, began new careers, and started raising families. Gary, his brother Shawn, and Curt continued playing together and with other group configurations and as solo artists off and on since that time. They remain friends and share musical ideas to this day.

Key selling points:

- previously unreleased album from 1979
- all songs taken from the original reel-to-reel master tapes
- including full album download code

We can’t think of many artists that have had as diverse a career and who have been involved in as many different genres of music as Asha Puthli. A musical pioneer who forged a path through 60's psych, free-jazz, pop, rock, disco, and more.

Asha's 1976 album 'The Devil Is Loose' is maybe her most well-known record. Featuring the beautiful disco-funk-classic 'Space Talk’, Asha's ethereal soaring vocals take us on a journey that almost mirrors Asha's eclectic career. The track was championed by a wide-range of musical scenes and movements, and over space and time it has been commandeered as their own. You would hear it played by David Mancuso at the now ‘mythical’ underground New York party 'The Loft’, in the most discerning disco nightclubs across the globe, in the Rare Groove scene, and also being sampled by hip-hop heavyweights such as The Notorious B.I.G / P Diddy, and The Pharcyde. The appeal and lifespan of ’Space Talk’ keeps on extending and morphing as new audiences gleefully discover it for the first time - it still sounds as relevant and fresh on the dancefloor today - a sign of a true classic.

Here at Mr Bongo we are thrilled to be releasing records by such an iconic musical maverick as Asha, from her roots in India to becoming a globe-trotting artist with a celebrated career in music and acting, whilst always staying true to her art. She has blazed a trail so that others could follow. Whether you are buying this album as a replacement for your worn-out original copy or it's the first time you've heard of Asha Puthli and you're just intrigued and drawn in by the cover, we hope you enjoy this quintessential slice of Asha's world.

• Featuring the legendary ’Space Talk’.
• Played by David Mancuso at the ‘mythical’ underground New York party 'The Loft’.
• Sampled by hip-hop heavyweights such as The Notorious B.I.G / P Diddy, and The Pharcyde.
• Also available on Limited Edition Pink Vinyl

A guitarry hybrid of AZITA’s edgy rock / soul / R&B sound. Grooving good times, acerbic exchanges overheard in the street, shifts in community, the losses you will carry always, dark recesses late at night that echo with a wonder you've never felt before. Life.
All instruments played by AZITA; the wackest, most AZITA-harmonious sounding pop album yet.
For those who find the passage of time a one-way process of attrition, here’s good news for you. In the eight years since AZITA’s last long-player her fevered brain has barely rested and the proof is a new album of unbounded physical and mental activity, music and entertainment, entitled ‘Glen Echo’.
The worlds of the previous AZITAs have left their unmistakable essence. Her singular conception of pop music - the idiosyncratic songs, singing and playing that have graced seven acclaimed releases - is in verdant recurrence on ‘Glen Echo’, blossoming anew, cutting sharply in the spirit and image of her everevolving, always questioning style.
Writing and arranging on keyboards since the time of her solo debut, AZITA focused on guitars for this set of songs. Not simply for swagger or a fresh approach to soloing but as part of a way to elide expected singer-songwriter tropes, to democratically populate the sound-stage in equal partnership instead.
This is a key aspect of the ‘Glen Echo’ sound, one that determined another new choice - AZITA playing everything on the album herself.
Previous long-players ‘Enantiodromia’, ‘Life On the Fly’ and ‘How Will You?’ were achieved via close work with players and engineers who took the compositions from the demo to a finished form. Invariably though, something would get lost in the transmigration somewhere. With ‘Glen Echo’, AZITA comes through fully, jaggedly, most vividly, owning her intention entirely in the dialogue of singing and playing her rock and rhythm and blues.
The lyric sheet is riddled with language that circles, through the many moments of life, aspects of the passage of time, the pre-empted dreams and strangeness of the present and the way we invent an idealized past in response to the changes, guiding the narrative... where? It’s all banded together by AZITA’s wit, equal parts droll and dire, her dispassionate view of fates and outcomes for all of us here together on the planet, textured with unique, cinematic details and sudden dives into a deeply felt, utterly OG sense of soul.
In ‘Glen Echo’ are a multitude of sounds - all the moments in a life: the good time grooves, acerbic exchanges in the street, shifts in community and generosity, moments of loss you know you will carry forever, reflection upon unknown futures and pasts, the dark recesses late at night that echo with a wonder you’ve never felt before. You name it, AZITA’s got some sweet and sour theme music for it.

The Pet Parade,” the title track to Fruit Bats’ newest album, might be a surprising opening track for longtime fans of Eric D. Johnson’s beloved indie folk-rock project. The six-and-a-half-minute tone poem smolders and drones over just two chords, inspired by the strange and silly community events that he saw growing up outside of Chicago, in La Grange, Illinois, in which people dressed up and showed off their pets. Decades later, The Pet Parade emerges in troubled times, living within what Johnson refers to as the beauty and absurdity of existence. While many of the songs on The Pet Parade were actually written before the pandemic, it’s impossible to disassociate the record from the times. As an example, producer Josh Kaufman (Bob Weir, The National, and Bonny Light Horseman, in which he plays with Johnson and Anaïs Mitchell) was brought in for his deep emotional touch and bandleading abilities. However, Johnson, Kaufman, and the other musicians on The Pet Parade drummers Joe Russo and Matt Barrick (The Walkmen, Fleet Foxes), singer-songwriter Johanna Samuels, pianist Thomas Bartlett (Nico Muhly, Sufjan Stevens), and fiddler Jim Becker (Califone, Iron & Wine) were forced to self-record their parts in bedrooms and home studios across America. Still, says Johnson, “The songs have enough intimacy that it doesn’t sound like it was made a million miles away.” Such tension and turmoil also impacted the lyrics of The Pet Parade. While “Cub Pilot” and “Here For Now, For You” began as more traditional love songs from a personal “I” to a specific “you” Johnson quickly realized that these songs needed to comfort broader audiences, changing the words to a more inclusive “we” and “us.” So too in “The Balcony,” a song ostensibly about a particular space in his grandmother’s apartment, but one that evolved into a metaphor on patience. At times upbeat and reassuring (“Eagles Below Us”) and at times quietly contemplative (“On the Avalon Stairs”), The Pet Parade marks a milestone for Johnson, who celebrates 20 years of Fruit Bats in 2021. In some ways still a cult band, in other ways a time-tested act, Fruit Bats has consistently earned enough small victories to carve out a career in a notoriously fickle scene. And Johnson himself who has played in The Shins, composed film scores, gone solo and returned back to the moniker that started it all, and most recently, earned two GRAMMY® nominations with Bonny Light Horseman doesn’t take this long route of life’s pet parade for granted. “I’m still really excited to make records,” he says. “Lucky and happy and maybe happier that things went slower for me. I’m savoring it a lot more.

Thumbing Thru Foliage is a blunted journey through YUNGMORPHEUS’ mind where personal lyrics intertwine with socio-political themes and tongue in cheek humour. Produced entirely by ewonee. Lead single ‘Fistfulofgreens’ grooves on a g-funk-esque plain and is an assured mission statement - “original man who got the game plan, I aint switching my hands inside these strange lands” whilst also sharing some intimate insight “I don’t ever answer questions that the feds askin, they were cuffin’ my mama, you know I had to blast them”. Second single ‘Sovereignty’ takes a more soulful turn with ceremonial strings and r&b samples ringing under braggadocious bars. Third single ‘Middle Passage’ is a more introspective cut - sombre vocal and piano loops are juxtaposed with neck snappin’ energetic drums. Describing the project in his own words, YUNGMORPHEUS says, “Peace peace, I consider this album a call to action of sorts. The world is rife with distractions and oppressive tactics but niggas move through it nonetheless ! Respect to ewonee for providing a beautiful backdrop for me to get some much needed shit off my chest. Maneuver through the foliage yall... Power to all black people ! Salute to those who listen”. ewonee adds, “Growing up like we did in this corporation Neegas deal with a lot. Usually gotta go through the mud to get to the greens. Good comes with the bad and vice versa, learning how to adjust is a must. Hope y’all get that from this. Roll up count up and mount up. PEACE”. YUNGMORPHEUS is an American rapper and record producer, originally from Miami but now based in LA. He has released music on Leaving Records and Rap Vacation as well as collaborating with Pink Siifu, Fly Anakin, Koncept Jack$on and Ohbliv. Previously supported by Okayplayer, XLR8R, Bandcamp, DJ Booth, Tiny Mix Tapes, Earmilk, BBC6 Music, Dublab, NTS and Worldwide FM. ewonee is an American Multi-instrumentalist, Producer, Beat-maker & Audio engineer from New York. Part of the Mutant Academy crew and also involved with the Beat Haus Show, ewonee has previously produced & collaborated with the likes of Your Old Droog, Fly Anakin, Reginald Chapman and Koncept Jack$on.

Live At Robert Johnson kicks off 2021 with a new cut above the rest thanks to Benjamin Fröhlich, who dons a cosmic Acid-to-Italo four-track EP. Whether „Club Fantasy“ insinuates the phantasy of clubbing in times of a pandemic shutdown in global club cultures, or a club by the name of it, lies within the ears of the listeners. Either way, Benjamin’s ties with the Robert Johnson club can be heard resonating throughout this fantastic EP.

Club Fantasy (Club Version) introduces a a happy 303 reminiscent bouncy bassline, supported by relentless rim shots, fast-forwards the Club Version of the title track directly into the uplifting domains of well-established sounds. Sparse echoing vocal snippets, encouraging us to dance, and by the time the piano stabs finally kick in, it’s all hands up for your very own club phantasies. Club Fantasy (Fantasy Version) boasts a less peaky signature, while working a more playful and driving treatment of the title track, supported by mellow strings, a harder kick and subtle room reverberation. On the flip-side, Escape presents a warm, emotional and cinematic Italo soundscape, featuring floating arpeggios, which flash like coloured strobes in the dark. Benjamin’s final track, Dream Machine, is a beautiful kaleidoscope of sounds, slightly more energetic yet moody, that is sure to catch everyone's ears on the dancefloor.

As a co-founder to Munich based record label Permanent Vacation, but also as a DJ and producer, Benjamin Fröhlich’s musical involvement traces back many years in the Cosmic Disco and Balearic scene, and into the networks of both Robert Johnson club and its label.

“The rumors are true; Providence, Rhode Island is permeated with a mysterious energy”. So says Dave Litifreri, guitarist and vocalist of
Urdog. “Some of us focused this energy, learned to live with the ghosts and tell their story.” It’s a story chronicled on Long Shadows, the new Urdog retrospective on Rocket Recordings - the work of a mercurial band whose music may have been summoned from fog and ghosts, yet possesses considerable staying power beyond their brief time on the planet. “We were influenced by the horror of late-capitalism in general every day” says drummer and vocalist Erin Rosenthal, “This glued and glues us together, also love of bicycles, french fries and faerie folk. Big influences for me were Robert Wyatt, Incredible String Band, Dagmar Krause, but especially This Heat, Riot Grrrl and 90’s hardcore.” From such disparate inspiration came psychically heavy jams and wild improvisational voyages from this triumvirate which chart an instinctive and wild journey, drawing the interplanetary dots between early ‘70s freak-flag-waving transgressions and the folk-tinged frontiers of the early 21st century US underground. Mantric repetition, ceremonial ambience
and fuzz/wah tinged blowouts take equal prominence in this dreamlike realm. Drawing the interplanetary dots between the drone ’n’ klang of Amon Düül II and the cultish hallucinations of Sunburned Hand Of The Man, and replete with both an earthiness of approach and a powerful celestial intensity. “We used our intuitive connection to let three distinct voices be heard” reflects Dave. “There was no foundation; they supported each other. Once that is achieved, a vibe develops. Getting into the space of a song is something you can’t notate. We had the keys, but getting to the door was the trick. Some nights we got all the way through the roof to the stars.”

In early 2018, Nathan Jenkins returned from the coast of Arrábida to his new home studio in a cottage tucked behind the grand hotel setting of Wim Wenders’ Lisbon Story. Breaking for lunches under a Datura tree in the garden and a far cry from the Finsbury Park basement flat he rented the previous year, a set of recordings followed that galvanised into an EP - ‘We Had A Good Time’. Music informed by out-of-town trips in a 1987 Renault 9 Super, Pitchfork attributed “remarkable healing powers” to lead song ‘Hula’.

After leaving London for a spell in Portugal, Nathan lost his taste for the night life and drew a line under a long-running NTS radio show. Much of the time spent abroad was dedicated to a longstanding collaboration with Westerman, whose album they recorded in a remote part of the Algarve countryside in 2019. Nathan’s own discography opened in 2007 with ‘Pet Sounds: In The Key Of Dee’, before pivoting in a more electronic direction via ‘Get Familiar’ and ‘Young Heartache’. From the sampledelia of 2011’s ‘Too Right’, the new wave and rave of ‘Say Arr Ee’ to the Robert Wyatt-influenced ‘Love Me Oh Please Love Me’, he’s mapped a deliberately peculiar path. 2015’s ‘Rooster’ was Eno & Byrne’s ‘Bush Of Ghosts’ given a shangaan-electro lick and clip. While Nathan’s partnership with fellow out-there pop auteur Jesse Hackett, as Blludd Relations, staggered like a half-cut Prince.

Collaged, rhythmic alternatives. Syncopated avant-garde sambas. Off kilter Sci-Fi jazz. Think Asha Putli in the spot at the Star Wars cantina. Arty, angular. Rich, but uncluttered. Frenetic, electric, blurring the boundaries between what is sampled, what is played. Nathan’s is a wilfully weird Pop, showcased in 2016 on his album ‘Loop The Loop’. Wayward but woven with hooks that come out of nowhere. Lyrical, often beautiful, solos on violin, oboe and desiccated guitars. Songs that demonstrate a nose-thumbing playfulness, a refusal to sit still. Where there’s always the urge to interrupt a carnival beat with a burst of galloping horse hooves. Or juxtapose ambient chords with a kazoo.

A roll call of Nathan’s broader musical adventures encompasses work with Paul Epworth, Sampha, Westerman and Nilüfer Yanya. Commissioned remixes reach from Dita Von Teese to Model 500, Tricky, Todd Terje and Lee “Scratch” Perry. Solo efforts gracing labels Honest Jon’s, R&S, Young Turks, Whities and The Trilogy Tapes. ‘Blue Pedro’, on the latter, making it into Crack Mag’s Top 100 Tracks Of The Decade.

In 2012 Nathan started his own label, DEEK Recordings, assuming the role of inhouse producer to collaborators. The imprint’s tagline and aesthetic - Pop, not slop! - is illustrated by an ongoing playlist of the same name and further explored in a series of compilations where Nathan and friends cover and reinterpret unsung ‘unclassics’ from alt. country to obscure 80s European arthouse scores, bouncing between Captain Beefheart, The Pixies, Sade and Mazzy Starr. DEEK’s roster is equally eccentric, non-linear and pop-literate. Laura Groves and Nautic - the realization and crystallization of a shared love for the Cocteau Twins.

12” pressed on crystal clear vinyl.

The saga of composer Tim Story's 1982 debut is a case study in the shifting sands of the early progressive music industry. Recorded on a Tascam 4-track reel-to-reel in his basement bedroom in Whitehouse, Ohio using a ragtag array of equipment – salvaged vibraphone, pawn shop Les Paul, his mother's spinet piano, a PAiA synth kit assembled by his girlfriend's father, and a Yamaha CS-30 – Story optimistically dubbed six cassettes and sent them around the world. Following a polite rejection from Klaus Schulze, the French avant-garde label Atem (This Heat, Univers Zero, Art Zoyd) reached out with an offer to release Threads via their new instrumental electronic subdivision, Labyrinthes. After several letters confirming terms of the arrangement as well as multiple rounds of test pressings, correspondence suddenly ceased. Some months later the label folded, never having begun. Synchronistically, however, Schulze's copy ended up in the glovebox of an engineer associate, who happened to play it for a couple visiting journalists with contacts at a newish Norwegian imprint, Uniton Records (Popul Vuh, Harold Budd).

Impressed, they connected Story to the label head, but by then he'd already recorded a follow-up, the more neoclassical-leaning In Another Country, which became his inaugural release. Finally, 40 years later, Dais Records is rectifying history's error by properly issuing Threads on vinyl for the first time. It's a beautiful, beguiling work, exploratory but emotive, documenting, as Story puts it, “the path not taken... like the first chapter of a book that was set aside to begin another.” Despite only being in his early twenties at the time of its creation, Threads feels finessed and considered, weaving through a diverse spectrum of moods and minimalist melodies. From sunburst synthesizer devotionals (“Tethered By A Thread”) to shadowy cosmic drift (“Without Waves,” “Iso”) to fragile piano vignettes (“Burst,” “Scene And Artifact”), Story's compositional instincts skew subtle and sophisticated, carving gemstones of fluctuating radiance. He cites his discovery of tape loops as a central tool in the process, allowing him to generate recurring patterns of echoes and texture, decaying in volume and fidelity as desired: “A whole new and inspiring world opened up.” As both time capsule and discographical fountainhead, Threads vividly captures the threshold sensation of early 1980's electronic music: post-kosmische, prenew age, before ambient became codified, just as synthesizers began slipstreaming into the underground. It's an album of beginnings and forking paths, inner space voyaging towards limitless horizons, born of “youthful dedication to something one loves, in a world that feels uncertain.”

· First ever vinyl edition, originally set to be released in 1982 but due to original label's untimely demise, it was never issued until now.

· Collaborative releases with Hans-Joachim Roedelius and Dwight Ashley, with releases on notable labels Uniton, Windham Hill, and Hearts of Space.

· For fans of Harold Budd, Brian Eno, Roedelius, Nils Frahm, Klaus Schulze, Popol Vuh, Vangelis, Jean-Michel Jarre · The song "A Thousand Whispers" has been in regular rotation at Sirius XM.

· Tim Story is a Grammy nominated artist in 1988 for his "Legend of Sleepy Hollow" recording with Glenn Close.

The strange and majestic musical beast that is Africadelic was Dibango’s follow-up to Soul Makossa, but it was initially released on Louis Delacour’s library music label, Mondiaphone, before “Soul Makossa” became an international phenomenon. As a
Mondiaphone release, it was aimed at television and film producers seeking atmospheric background music, so the original titles are simply “Theme No 1,” “Theme No 2,” etc, with corresponding rhythmic notations such as “3/4 Africain,” “Afro Beat 12/8” and “Medium Soul Beat,” though once “Soul Makossa” hit the stratosphere, subsequent reissues bore actual song titles. In any case, the album is simply wonderful, a driving mix of Afro soul, funk and jazz, with an undercurrent of Latin percussion throughout, given further shades by rock guitar and soul organ, as heard on “African Battle” and the title track; opener “Soul Fiesta” builds
dramatic percussive tension before Dibango drops a killer vibraphone riff, while “African Carnival” makes the most of the full horn section, Dibango’s sax soloing giving room for complex polyrhythmic percussion breaks. “Oriental Sunset” has beautiful vibraphone from
Dibango too, as well as a thrilling flute melody, “Monkey Beat” and “Wa Wa” are funky soul struts and “Percussion Storm” has the band marching off into the African sunset as Dibango unleashes another killer vibraphone melody. Listening back to the album now, it is hard to believe that the whole shebang was written in a couple of days and committed to tape within the space of a week, but that is all more testimony to the greatness of Manu Dibango, one of African music’s true pioneers. Play loud and often for best effect!

First released by Cazzo Film in 2001, ebo hill’s Bonking Berlin Bastards has long achieved the status of an underground punk porn classic. Like the Cazzo productions of director Bruce LaBruce, hill’s vision was both ahead of its time and a playful distillation of 90s and early-2000s Berlin Zeitgeist: queer, industrial, hypersexual, exhibitionist and fueled by electronic music. The story is told in large part by the soundtrack, to be released for the first time on Ostgut Ton sublabel A-TON. The music follows a group of squatters, punks and drag queens as they fuck, party and stumble their way through an empty city at the turn of the millennium. Approaching these themes more through location than plot, the film’s narrative freedom is also a narrative of freedom; between chance encounters and sex in public, atop the maze of roofs in the city’s former East, bent over bridges and moaning in ecstasy at oncoming traffic, pants down in telephone booths, packed into sex clubs, in the shadows of abandoned factories and techno clubs lost in time. Composed by improvisational techno trio AeoX and noise / industrial producer Rouage aka CNM (respectively), the music spans a broad range of appropriately pounding industrial, weird techno, noise, ultra-stoned ambient, improvised dub and electro. It’s a sonic spectrum that connects Berlin’s queer hardcore techno and squatter party scenes from which AeoX and Rouage emerged, drawing a direct line between the likes of Berghain-forerunner OstGut (a primary meeting point for the film’s cast & crew) to the more industrial, breakcore and noise- oriented independent party collectives and locations who provided multiple settings for the film, including Grüne Hölle and Stellwerk.

*Artists:* CNM / Rouage (Kathinka): Born in 1975 and raised in East Berlin. Co-organization of subcultural events since 1998 in Berlin, Potsdam, Leipzig and Barcelona. Experimental music, collaborations, exhibitions and audiovisual shows since 2000.

AeoX: Active between 2001 and 2007. Originally a quartet, then a trio, the group eventually shrank to two permanent members: Alex.E and Hanno Hinkelbein. The latter founded Null Records, where AeoX released two album and numerous EPs. They also released on Mental.Ind.Records founded by former OstGut resident Cora S. Musically, the group experimented with combining improvisational hardware techno, breaks, traditional instruments (guitar, clarinet, piano) industrial and metal.

Ursprünglich 2001 von Cazzo Film veröffentlicht, hat Bonking Berlin Bastards von ebo hill längst den Status eines Underground-Punk-Pornoklassikers erreicht. Wie die Cazzo- Produktionen von Regisseur Bruce LaBruce, war auch hills Vision seiner Zeit voraus und ein spielerisches Destillat des 90er- und Anfang-2000er Berlin-Zeitgeists: queer, industriell, hypersexuell, exhibitionistisch, angetrieben von elektronischer Musik. Die Geschichte wird größtenteils über den Soundtrack erzählt, der auf Ostgut Tons Sublabel A-TON zum ersten Mal veröffentlicht wird. Die Musik folgt einer Gruppe von Hausbesetzern, Punks und Drags, die ficken, feiern und durch die leere Stadt um die Jahrtausendwende streifen. Bonking Berlin Bastards erzählt diese Themen mehr über die Drehorte als über die Handlung. Die erzählerische Freiheit des filmischen Narrativs ist gleichzeitig eine Erzählung von Freiheit: Von zufälligen Begegnungen bis hin zu Sex in der Öffentlichkeit, auf Dächern im früheren Osten Berlins, sich über die Brüstungen von Straßenbrücken beugen, trotz und wegen des Verkehrs stöhnen, mit heruntergelassenen Hosen in Telefonzellen, in überfüllten Sexclubs, im Schatten aufgegebener Fabriken, zeitverloren in Technoclubs. Der Soundtrack wurde sowohl vom Improvisationstechnotrio AeoX als auch von Noise-/Industrial-Producer Rouage aka CNM komponiert und spannt einen weiten Bogen von explizit pumpendem Industrial, schräg klingendem Techno, Noise, ultra-stoned Ambient, improvisiertem Dub und Electro. Das musikalische Spektrum verbindet Berlins queere Hardcore-, Techno- und Hausbesetzer-Party-Szenen, aus denen AeoX und Rouage selbst hervorgingen und zieht dabei eine direkte Linie zwischen dem Berghain- Vorgängerclub OstGut (ein wichtiger Treffpunkt für die Darsteller und Crew des Films) und den eher Industrial-, Breakcore- und Noise-orientierten Independent-Partykollektiven und -Locations wie Grüne Hölle und Stellwerk, welche mehrfach als Drehort und Kulisse des Films auftauchen.

CNM / Rouage (Kathinka): 1975 geboren nd aufgewachsen in Ost- Berlin. Co-Organisation subkultureller Events seit 1998 in Berlin, Potsdam, Leipzig und Barcelona. Experimentelle Musik, Kollaborationen, Ausstellungen und audiovisuelle Shows seit 2000.

AeoX: Aktiv zwischen 2001 und 2007. Ursprünglich ein Quartett, dann ein Trio, dann verkleinerte sich die Gruppe auf zwei permanente Mitglieder: Alex.E und Hanno Hinkelbein. Letzterer gründete Null Records, auf dem AeoX zwei Alben und zahlreiche EPs veröffentlichte. Ebenfalls Veröffentlichungen auf Mental.Ind.Records, welches von der ehemaligen OstGut resident Cora S. gegründet wurde. Musikalisch kombiniert die Gruppe improvisierten Hardware- Techno mit Breaks, traditionellen Instrumenten (Gitarre, Klarinette, Klavier), Industrial und Metal.

It doesn't happen too often that you come across someone with Sam's composure and artistry at such a young age. 22 year old Sam De Nef has been in music for a while as lead singer of indie outfit 'Danny Blue and the Old Socks', but It wasn't until last year he started thinking of a solo career. Influenced by a generation of songwriters he listens to every day, Sam felt an urge to follow his own path and write genuine songs he could play all by himself and at any time, unadorned and without pretence.

He started recording demo's during the March lockdown, swiftly landed a record deal and started recording his debut with Nicolas Rombouts (Dez Mona, Ottla, Stef Kamil Carlens) and PJ Decraene (Rhinos are People too) - also his live band - in an old house in the French Vosges mountains.

The first tracks he released did not go unnoticed at national radio, press and streaming playlists alike. Sam is a prolific writer and lyricist, he recorded a 7 track debut mini album, expected in February. We are instantly struck by his stunning vocals, his versatility and maturity as a songwriter, embracing the classics but never without transcending their influence.

Sam De Nef's first solo project is a vehicle to tell his own stories and write songs that come to him in the most natural way. His debut mini album is an inspired collection of visceral folk and singer songwriter tunes, drenched in nostalgia. He's inspired by the likes of Dylan, Jack Kerouac, Leonard Cohen and Karen Dalton, but displays a unique voice and decidedly steers clear of platitudes.

"On my first trip to Serbia, visiting my girlfriends family, I discovered a whole new world in music. People played their songs around the diner table. What I saw was a family sharing food, alcohol and stories everyone could relate to. This experience opened up a new window, the wind blowing inspiration. I want to tell stories and touch people with simple songs and colorful language."

There is a directness and intimacy throughout each of the record's 23 minutes, which both sparks universal melancholy and makes Sam De Nef's debut very personal.

‘Island’, the latest album from Oscar-nominated composer and
songwriter Owen Pallett, released on Domino / Secret City
Records (Canada).
Almost entirely acoustic, ‘Island’ begins with 13 darkened
chords and was recorded live at Abbey Road Studios with the
London Contemporary Orchestra. The introduction is the sound
of waking up alone and on the shore of a strange land. What
follows is a shimmering and luscious orchestral album that
draws across the full breadth of Pallett’s discography, from
‘Heartland’’s Technicolor to the glittering, fingerpicked guitar
that marked Pallett’s first records with their trio, Les Mouches.
In addition to Pallett’s Grammy Award-winning work with
Arcade Fire, Pallett’s commissions have included string, brass
and orchestral work for Last Shadow Puppets, The National,
The Mountain Goats, Christine and arrangements for Frank
Ocean, Caribou, R.E.M., Linkin Park, Sigur Rós, Taylor Swift and
the Pet Shop Boys.
Since the release of ‘In Conflict’ (2014), Pallett has earned an
Oscar nomination for their film scoring work on Spike Jonze’s
‘Her’ and an Emmy for Sølve Sundsbø’s ‘Fourteen Actors Acting’.
Their score for Matt Wolf’s ‘Spaceship Earth’, a documentary
about a crew who spent two years quarantined inside a replica
of Earth’s ecosystem called BIOSPHERE 2, is out now.

William The Conqueror have paid their damn dues.
Like the sportsman cutting chipped teeth in the
lower leagues before shooting to the very top, this
band have lugged all the amps, placated the inhouse sound guy for an easier life, their nails dirty,
their hair unkempt. Enough.
Except it’s never enough, because despite their
slinky, swampy, razor-sharp, blues-drenched, guitar
thrashed alt. rock songs that form new album
‘Maverick Thinker’ and suggest that the door is
opening for bigger rooms and broader audiences,
it’s those sticky basement bar stages where the
songs have always shed a skin and come alive.
The record put the three piece behind the glass at
Sound City Studios in LA, treading the same carpet
as the likes of Nirvana, Johnny Cash, Neil Young,
and Fleetwood Mac and they might well have
inhaled the spirit of them all.
William The Conqueror’s protagonist is Ruarri
Joseph who knows his way around a melody and a
verse. Joseph’s wryness suggests life just ain’t
plain sailin’ and he fizzes that sigh and lament into
something that breathes heavy with heart and with
soul.
Vinyl format comes in a gatefold sleeve with
printed inner sleeve and digital download card.

Nearly three years on from that release (for Bernice a rapid turnaround by comparison to the seven-year gap between their 2011 debut and Puff), the band return with their third full-length, Eau de Bonjourno, out March 5th from Telephone Explosion and figureeight records. It marks their first collaboration with producer Shahzad Ismaily, the acclaimed multi-instrumentalist who has worked with artists as varied as Laurie Anderson, Lou Reed, Elvis Costello, Iggy Pop, John Zorn, and Bonnie ‘Prince’ Billy. While their genre reconstruction remains distinctly Bernice, Dann’s lyrics bring a newfound focus to storytelling in the present moment, compassionately meeting ourselves where we are, and finding joy in spaces that are familiar but ever changing.

Eau de Bonjourno, according to Dann, “openly plays with the shape of a pop song,” drawing on the band members’ backgrounds in jazz, subverting rhythmic formulas, and resting in grooves that sit just outside of predictable. Instead of letting instruments take

extended solos, the tone is set on opener “Groove Elation” with brief blurts of synthesized sax, patient passages of space, or clusters of beats, tenderly held together by Dann and Williams’ intimate vocals. The album’s sound is experimental in its truest definition, chopped up like musique concrète and then delicately placed back together with the loving touch of a scrapbook collagist.

This project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters.

This album was created with the generous support of the Ontario Creates.

Johnny Cash had a birth certificate marked J. R. Cash because his parents couldn’t decide what to call him. Their environment was the recurrent poverty that reigned in Thirties America, a background of depression where J. R. went to work in flooded fields, learned music and sang along with other cotton pickers, picking up jobs here and there, and finally signing up for three years in the Army.

In 1954 he went back to civilian life, married Vivian Liberto, and went through the studio doors at Sun Records, where Sam Phillips recorded his first hits. In ’57 he joined Columbia Records and a decade later married June Carter (of The Carter Family) in 1968. The following years were complicated by drugs, alcohol and constant tours, yet the pair remained together until June passed away in 2003. Johnny Cash only survived another four months.

His original country music showed empathy for those who had been rejected, and his vision of the misery around him. But he also had an especially warm baritone, and it gave Johnny Cash an immense and faithful audience. He sold 90 million albums, confirming him as one of the greatest artists in music, all genres included.

Hawkwind have always been associated with music festivals, most notably the free festivals, where Dave Brock has said that, at

those events, the band is not shackled to appease an audience by giving them what they expect and have paid to see. With that obligation removed, the band can relax and experiment more than usual and gigs become even more fun. Their sessions, where they played for free, sometimes with the Pink Fairies, at Canvas City, outside the official site of the Isle Of White Festival in 1970, are a matter of legend and Nik Turner gained much attention when he painted his face silver and was much photographed as a result. During his set, Jimi Hendrix referred to him as 'the cat with the silver face'. However, when we think of Hawkwind and festivals, the word Stonehenge leaps to the fore.

The band always loved being there, enjoying the whole event as well as the freedom of how and when they played. This was not a time of business, but a time of fun. The most important one of these was Stonehenge 1984, which proved to be the last festival before the authorities moved in the following year to block the festival from being set up and Hawkwind ended up playing a few miles away instead. It was the sad end to an era. It had taken place twelve times and, had it been allowed one more time, it would have become a public event and the powers that be were determined to prevent that from happening. Happily, the 1984 festival was recorded and filmed and the Hawkwind Solstice Eve and Solstice Morning were both preserved...and we should be grateful for that.


The fact that Hawkwind were playing for free didn't mean it was a basic show. As well as the line-up of Dave Brock, Harvey Bainbridge, Huw Lloyd Langton (who played the evening session, but not the following morning), Nik Turner, Alan Davey and Danny Thompson, there were half a dozen dancers, a mime artist and fire spitting. A free event, it was the ideal time to introduce the new rhythm section to the band in the form of Danny Thompson on drums and Alan Davey on bass, with Harvey moved to keyboards. A move which was to have a long term affect in the way he made music, leading to his solo career, as well as years playing synths for Hawklords, in years to come, after his stint as the Hawkwind keyboards player came to an end.. Danny fitted the bill comfortably and drummed for the band until he left in 1988, to be replaced by Richard Chadwick. Danny went on to play for other bands including Bedouin and Pre Med. He also recorded a cassette album called Skinwalker. Alan made a good team alongside Dave Brock and it can be seen on the video just how pleased he was to be playing alongside Dave Brock, a man whom he had only met for the first time in November 1982, backstage at the Ipswich Gaumont. He went on to be the longest serving Hawkwind bass player, before moving on to pursue solo projects and form a nmber of bands. So in terms of the line-up, Stonehenge 1984 had a notable impact on the formation of the band for a number of years and, indeed, the destinies of Harvey, Danny and Alan. As if that were not enough to make the event special in the annals of Hawkwind, they played an interesting and varied main set in the evening, featuring a blend of old and new Hawkwind songs, along with numbers from Inner City Unit and

Bob Calvert's Lucky Leif And The Starfighters album. In keeping with the relaxed atmosphere, there was a considerably extended

version of Ghost Dance, lasting around ten minutes. The sunrise set was special too, with a long, laid-back, jam at dawn, in fitting with the occasion.



A lovely and relaxing start to the day and the kind of jam they couldn't really play to a paying audience. It's good to have the

memories of this significant festival gathered together in three formats.

Enjoy this special set, which commemorates a special event, not only in the history of Hawkwind, but of the saga of Stonehenge festivals.

The Last Emperor is a lavish historical epic directed by the great Italian filmmaker Bernardo Bertolucci and starring John Lone, Joan Chen, and Peter O’Toole. The film tells the life story of Pu Yi, the last monarch of the Chinese Qing dynasty prior to the republican revolution in 1911. The score for The Last Emperor was created by an unlikely trio: Ryuichi Sakamoto, David Byrne, and Cong Su. The soundtrack is a theme-filled exploration of the sounds and musical traditions of Imperial China, filtered through some very contemporary sensibilities. Sakamoto’s contribution comprises nine cues and is focused around his main theme: a beautiful, lyrical melody for the full orchestra. It’s soft, wistful, and introspective, but becomes increasingly dramatic. Byrne contributes five cues, and the first one is the most recognisable, as it’s the main title theme playing over the film’s stylish opening credits sequence. It emerges from a set of evocative Chinese percussion items, with the melody being carried by a gorgeous, lilting erhu. It’s traditional and wholly steeped in Chinese classical music, but it has a real emotional weight that will connect with westerners. Cong Su’s contribution to the soundtrack album comprises just one cue – “Lunch” – but there is much more of his music in the film; Su was basically responsible for writing all the period-specific Chinese source music one hears in and around the imperial palace during Pu Yi’s childhood. All in all, Sakamoto, Byrne and Cong Su deliver an excellent score.

A jazz musician playing spirituals? In a sense that is what Louis
Armstrong has been doing all along. Anyone who has ever read a
history of jazz knows that there’s supposed to be a relationship
between jazz and spirituals, jazz and work songs, jazz and the
blues. The patterns which the sax and reed sections use in swing
band arrangements are drawn from the “call” (the preacher) and
“response” (the congregation) patterns used in churches. This
album clearly shows Armstrong’s heritage and what an outstanding
and versatile musician he was.

Clock, featuring two extraordinary songs written and performed by Arden herself. A vinyl-only edition of 250 copies, with fold-out poster and insert containing sleevenotes by Jack Bond, Sam Dunn, Charlotte Procter and Sebastian Saville. Arden and Bond’s collaborative career gave Britain some of the most extraordinary films it ever produced. Their filmography is woefully short - but it’s full to the brim of incredible, daring ideas and completely unfettered imagination. It’s packed, too, with pain and a disconcerting honesty about the human condition; challenging commonly-held ideas about madness and positing ideas which are far less easy to categorise or control. Anti-Clock, their final work together - Arden took her own life three years after its release - is a complex, contemplative piece, and Arden’s apparently comforting delivery of her self-penned songs and the see-saw flow of Mihai Dragutescu’s delicate instrumentation act only as a means to lure us in; to begin the de-programming. In Arden's book You Don’t Know What You Want, Do You?, the basis for the network of ideas at play in Anti-Clock – the motif of the rat is used as a metaphor for the rational mind. The lyrics to ‘Sleepwalking’ (living in a daze, wandering in a maze) also conjure up images of lab rats, of unthinking beings adhering to rules and systems, never questioning what is beyond what they think they know to be true. At the close of Anti-Clock, the central character, Sapha, simply says, ‘It has been my whole life's will to decode this puzzle, as though inside the answer to this equation was the insurance of that peace of mind that had eluded me. But there is no puzzle. And the mind is never peaceful. And dawn’s already here as the stars appear.’

Corvair is what happens when you trap two Scorpio songwriters in a house together. Comprised of a Portland-based husband / wife duo of two seasoned musicians (Brian Naubert and Heather Larimer), Corvair’s debut album charts a starcrossed love story over three decades, five cities, and six continents. Spanning from atmospheric pop to jangly confessional, 70s AM to 90s FM, this work is laden with stunning turns of phrase and prodigious melodies, two voices leaping to meet in the ether. Corvair’s debut album was largely created during the COVID pandemic shut-down of Spring 2020. It includes work with drummer Eric Eagle (Jesse Sykes, Wayne Horvitz) and Engineer Martin Feveyear (Brandi Carlile, Mark Lanegan, Mudhoney), who also mixed the record. Larimer explains, “Being stuck in a house together with very little outside influence made us more emotionally raw, definitely weirder, and also more patient and intricate in developing the songs. And because we were in a bubble, cooking dinners from paranoidly-disinfected groceries and listening to old records, really disparate references from some of our favorite music ended up colliding in odd ways--an emotional Judas Priest bridge, an anthemic Pixies outro, a spacey keyboard sound from Steve Miller, Jeff Lynne's acoustic guitar tone, a Carpenters-style lush harmony. I think it's a wonderfully weird record, but also very in-your-face pop because what else are you going to do when the world feels like it's ending?" Separately, Naubert and Larimer have created or appeared on more than 20 records. Heather’s musical mainstay was the garage pop band Eux Autres, broadly hailed as a “veritable cult classic” band, radio-debuted by the legendary John Peel, and featured in many shows, movies and commercials. Brian is a longtime fixture of the Northwest rock community, having played in vital bands such as Tube Top, Pop Sickle, and the critically-lauded Ruston Mire, since 1993. More recently, Brian released his first solo record, Hoffabus and a record with the NW Supergroup, The Service Providers. Naubert and Larimer’s decades of separate music making have finally combined, culminating in this tour de force from two formidable songwriters. Corvair sounds like nothing you’ve ever heard and everything you’ve always loved.
Press quotes: “Smart, infectious, jangly pop.” Everett True // “An irresistible set of bouncy indie-pop tinged with surf music and ‘60s girl groups, contrasted with the band’s often-biting lyrics.” KEXP.org // “One of the more exciting independent releases of the year...a veritable cult classic.” Under The Radar // “Three chord garage pop that hangs on a raunchy guitar line and crisp production from Janet Weiss (Sleater-Kinney, Quasi).” MAGNET Magazine // Brian Naubert - vocals, guitars, bass, keyboards, percussion. Heather Larimer - vocals, keyboards, percussion.

2x12" + DL Repress

NOTE: ALL FORMATS CONTAIN THE FULL VERSION OF "RAUSCH". THE ALBUM IS MEANT TO BE HEARD FROM BEGINNING TO END AS A WHOLE. IT HAS BEEN TRACK MARKED OR SEPARATED DUE TO FORMAT RESTRICTIONS

Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there's nothing / Once upon a time there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas / A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite

Wolfgang Voigt 2018

Rausch ohne Namen / Mein schöner Schein / Du bist die Sonne / Hier will ich sein / Rausch ohne Morgen / Wir brennen hier / Die Sterne funkeln / Im Flammenmeer / Hörner und Fanfaren / Fanfaren der Freude / Fanfaren der Angst / Den Wein den man mit Augen trinkt / Gießt Nachts der Mond in Wogen nieder / Vorsicht mit der Axt Eugene / Personal Jesus / Kein Anfang Kein Ende / Achtzehnter Oktember / Die Nacht bricht an / Der König kommt / Die Jagd beginnt / Freude schöner Götterfunken / Der lange Marsch durchs Unterholz / Glaub mir da ist nichts / Es war einmal ein Räuber / Der liebte einen Prinzen / Das ist lange her / Frühling Sommer Herbst und Gas / Es fährt ein Zug nach Nirgendwo / Pauken und Trompeten / Zukunft ohne Menschen / Warmer Schnee / Alles ist gut / Die Glocken läuten / Du bist nicht allein / Das Rauschen im Wald / Das Rauschen im Kopf / Leicht wie Nebel / Schwer wie Blei / Musik ergibt sich / Strömt wie Gas / Eine Lichtung / Schweres Gepäck / Einstand im Jenseits / Der Tod hat sieben Katzen / Weltkulturerbe Rausch / Endlich Unendlich

Wolfgang Voigt 2018

Ridiculously rare & sought after private pressed 45 from Atlanta, Georgia, that hardly ever turns up for sale in its original issue. It features the seemingly widely unknown pounding modern soul dancer "I Wanna Take A Chance With You", an absolutely killer tune with stellar production and vocals from the talented Early. A side's "Who Are You " is an intimate and deep piece of soul music with superb songwriting techniques.


Featured on the playlists of very few crate digging DJ's out there, this 45 gets an overdue and legitimate repress in its original form. Essential! Born and raised on a small farm in the heart of Georgia, lead singer and guitarist Early Clover started his own band Early Clover and The Bosa Novas' at the age of 14. In1967,
he changed the band's name to the Middle Georgia Soul Drifters'. They became very popular locally and began being the backup band for such acts as Rufus Thomas, Joe Simon, William Bell, Jay Hines, Nancy Butts, and opening for such acts as Tyrone Davis, Marvin Sease, Clarence Carter, Betty Wright and Full Force. After the breakup of the group, Early Clover put together some musicians and went to Haywood Recording Studios in Atlanta, Georgia, and recorded Who Are You' and I Wanna Take A Chance With You' in 1977 to be a part of an album, but went on the road and didn't complete the album but performed the
song live a year and a half before releasing it as a 45 rpm single.

Clarinetist, composer, singer & spiritual jazz soothsayer Angel Bat Dawid presents this powerful live document alongside her band, Tha Brothahood. LIVE was mostly recorded on November 1st, 2019, at Haus der Berliner Festspiele in Berlin, Germany, during the 2019 edition of JazzFest Berlin. For Angel and Tha Brothahood - which includes Deacon Otis Cooke (vocals, synth), Viktor Le Givens (vocals, auxiliary instruments), Xristian Espinoza (tenor sax, percussion), Norman W. Long (electronics, synths), Dr. Adam Zanolini (double bass, bass guitar, soprano sax, flute, percussion), Isaiah Collier (drums), and Asher Gamedze (drums) - it was the first stop of their first European tour. Angel and her band experienced a number of difficult, racially charged interactions during their two days in Berlin. But despite, or perhaps in light of the difficulties they faced, they performed a set at Berliner Festspiele that Angel considers to be one of their best ever. "The show was very deep, and really helped me to process all the rage, and uncomfortable things I was feeling... It made me think of all the artists of the past who endured way more than I ever will with this music industry. It was a very freeing and beautiful show... we played our ass off!!"

A rare treat for Drumcode faithful: A-Sides Vol.10 is set to drop in December, the second edition of the beloved series to come in 2020.

Fuelled by the extra time and space to be creative during lockdown, Drumcode’s collective of artists have stepped up. Across 17 contributions, the producers have gone deeper into their sonic repertoire, crafting powerful, yet reflective works that capture the range of the label’s sound.

Jay Lumen leads the way with a rousing riff-driven weapon, ‘Galactic Rainbow’, while Ramon Tapia brings us the muscular gem ‘Drum Control’, mixing up ruffneck techno with a barrage of synapse-tickling synths in the second half. Both rousing highlights of the compilation.

Victor Ruiz, Drumcode’s most prolific contributor in 2020, dishes up ‘Love Story’, led by a huge vocal lead. Zimmz also returns with ‘Tension’, which deftly combines deep squelchy grooves with a silky synth interlude. Thomas Hoffknecht follows up his debut on Vol.9 with ‘Escape’, keeping listeners on their toes with dynamic, choppy shifts throughout. Veerus joins with another stirring addition ‘I Know’, reinforcing why Beyer rates him so highly.

Elsewhere a string of debutants feature: buzzy newcomer Lilly Palmer gives us ‘Amnesie’, a brilliantly pummelling and eerie cut; Alex Lentini & Stomp Boxx serve up ‘Expanders’ mixing up drone effects, trippy vocals and an unsettling melody line; and Patrik Berg’s ‘Activated’ is full-bodied techno that drops down into funky rhythms.

Long-time DC family member Bart Skils brings his A-game with the thrilling no-nonsense ‘Solid State’ that hits like a steam train. Likewise, Alan Fitzpatrick who brings a momentous slab of techno energy with ‘Rochus’, while Thomas Schumacher, now feeling like a regular on the imprint, crafts another dark techno opus, this time in collaboration with CAITLIN.

There’s even a special appearance by the chief Adam Beyer, who makes a welcome return with the progressive-tinged ‘Changes’, driven by organic tones and spacey atmospherics. The track stands as his first original contribution to A-Sides since 2017.

As Dense & Pika, Alex Jones and Chris Spero have garnered an enviable reputation for making devastating club ordnance that finds the sweet spot between dark, mysterious house and roaring, brawny techno. With over a decade of material under their belt, Jones and Spero are set to release their first studio length debut album, ‘Colour Burn’ via London major imprint BMG on 4th December, home to the likes of Leftfield, The Prodigy, Holy Ghost and Faithless.

‘Colour Burn’ is a 13-track composition crossing through downtempo house and electronica, built as a conceptual sonic representation of the pair’s live audio and visual set up. The album is a step away from harder and faster material and a move towards a more leftfield sonic trajectory, featuring a handful of impressive heavyweight features of Jones & Spero’s musical heroes who have informed the Dense & Pika output.

Released today, album moment ‘Honey’ features the master of sensual, slow-burn techno, Matthew Dear whose contribution to ‘Honey’ arrives in vocal form – a breathy, brooding ensemble of spoken word that glues perfectly with the duo’s trademark rough and textured sound palette. It helps turn what Alex calls “a headsy, dusty piece of housey tech” into something sensual and otherworldly.

Dark and smouldering, it seems to the suck the air out of the room like a tightly packed subterranean dancefloor deep in the throes of night. Glitched out percussion and fizzling hi-hats feel caustic against the track’s low-end frequencies. The thumping bassline and kick drum combination delivers punch and pressure to the mix in a true Dense & Pika format. Matthew’s sauntering vocal contribution guides the track into a deep and hypnotic groove well equipped for any late-night excursion. “The boys sent over a lengthy jam, but there was that simple loop that stood out and had me hooked. I put it on repeat and let the mind and pen wander. It’s a bit of cosmic abandonment, brazenly sung by a professional of the night.” Matthew Dear

Elsewhere on the LP, standout track ‘Hidden’ features the drums of Sepultura’s legendary metal icon Igor Cavalera resulting in a fabulous frenzy of percussion and driving rhythm. The equally momentous and unforgettable ‘Control’ features the heavily robotic vocoder of Leftfield’s Neil Barnes aiding and abetting in its quest to be a high-octane, twisted rave jam.

The impressive features on ‘Colour Burn’ are an insight into the hugely artistic and visionary A&R skills of Alex and Chris and the start of a new chapter for Dense & Pika kicking off with the long-awaited release of their first studio length album.

Collection of unreleased demos of every track written for the fifth PJ Harvey studio album Stories From The City, Stories From The Sea, including demos of ‘Good Fortune’, ‘A Place Called Home’ and ‘This Is Love’. Audio has been mastered by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator Head. Features brand new artwork with previously unseen photos by Maria Mochnacz.

Reissue on vinyl of the fifth PJ Harvey studio album Stories From The City, Stories From The Sea. Produced by PJ Harvey with Rob Ellis and Mick Harvey, and originally released in November 2000, Stories From The City, Stories From The Sea features the singles ‘Good Fortune’, ‘A Place Called Home’ and ‘This Is Love’ and includes a duet with Radiohead’s Thom Yorke on ‘This Mess We’re In’. The album won the Mercury Music Prize in 2001. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer Head.

A new ship of fools sails on Bolombia lands! These strange people seem to celebrate the whole jazz universe and african idioms, but they've never been in Africa. The great continent, more than physical, is a mental place of encounter and psychedelic skids. Neurotic and schizoid sorcerers, a furious wind drags them towards the total effervescence of the groove: an unprecedented cauldron of dangerous substances, hybrid styles and influences mixed with secret recipe. Their music is an explosive bubble of expressions, a feverish, impulsive and unstoppable ritual. A cosmic attitude, such as Heliocentrics or Embryo, marries the majestic and floating sounds of synths and psych organs, acidified by toxic dub sparks and deadly funk forays. A crazy horn section travels without maps from Sun-Ra and Ethiopian echoes, hard-bop reminiscenses, to sudden and virulent Balkanisms, making this soup an indecipherable combination of flavors.

This is Dorothy Ashby's debut album, originally released in 1957 by the Regent label. Recognized as the woman who gave the harp a Jazz Voice, here Ashby is at the head of a highly distinctive combo featuring Frank Wess on flute, Eddie Jones or Wendell Marshall on bass and master Ed Thigpen on drums. The Jazz Harpist is an unprecedented mix of evocative classic sounds and jazz soul, awarded by Allmusic as her first and best album, period!

This is Jack Wilson's debut album as a bandleader, originally released in 1963 for Atlantic label, featuring a young Roy Ayers on vibraphone, bassist Al McKibbons and drummer Nick Martinis. Jack Wilson was a fine and often underrated pianist and composer who played with many great names such as Gene Ammons, Jacki Mclean, Esther Phillips, Lou Rawls, Johnny Griffin, Ertha Kitt, Lambert Hendricks & Ross, Antonio Carlos Jobim... This is a lively studio session opening up with a beautiful rendition of Jobim's classic "Corcovado" and followed by WIlson's five originals. A great debut album full of warm, sophisticated and yet highly dynamic Jazz vibes.

TERMINAL BLISS makes their Relapse Records debut with the unrelenting album Brute Err/atta! A veritable who’s who of Virginia punk, the band features vocalist Chris and guitarist Mike Taylor (Pg. 99 and Pygmy Lush), drummer Ryan Parrish (Darkest Hour, Iron Reagan, City of Caterpillar) and bassist Adam Juresko (City of Caterpillar). Inspired by the likes of Born Against, Gauze and Void—not to mention Black Flag, Crass, Negative Approach, Disrupt, Necros, Crossed Out and Disclose—TERMINAL BLISS conducted their first band practice on January 14 th, 2020. Just six weeks and five practices later, they were recording their full-length debut with Majority Rule frontman Matt Michel in the engineer’s chair. The name TERMINAL BLISS was born out of the merciless consumerism and environmental destruction that are America’s enduring legacy. From dystopian, sci-fi themes in tracks such as “March of the Grieving Droid”, to the apathy of the checked-out masses on “Small One Time Fee” and the personal recount of loss and the inefficacy of our healthcare system in "Clean Bill of Wealth", it’s the merging of personal experience and social critique that has informed the punk edge behind the members of TERMINAL BLISS for decades now. For TERMINAL BLISS, it’s become a crucial combination born of decades of playing live. (Unfortunately, the band’s first show was cancelled when the US began its COVID-19 lockdown.) “I realized early on that if you don’t write something that resonates with yourself on a fundamental level, it’s going to get trite when you’re performing night after night,” Chris Taylor says. “So, with the idea in mind that we’ll eventually play shows, I always try to write something that will resonate.”

LIMITED BLACK VINYL VERSION + 24”x36” Poster!

"Flight of the Behemoth" is the third album by sunn O))).

The band collaborated with legendary Japanese noise artist Merzbow, who mixed tracks 3 and 4. The first ever use of a drum machine on a sunn O))) track is heard on "F.W.T.B.T.", a deconstructive interpretation of Metallica's "For Whom the Bell Tolls”.

This punisher also features the first ever vocals heard as evoked from the band themselves.

Contains full color 24”x36” folded poster and all this grimness is housed in a glorious case-wrapped gatefold jacket. Also contains the vinyl only bonus track: "Grimm & Bear It”.

Vinyl/metal cut by Matt Colton (Alchemy Mastering) who also cut the vinyl for the bands 2019 releases: “Life Metal” & “Pyroclasts.

At an age of plastic and digital screen reigning, when it is almost impossible to feel anything in front of a contemporary art piece, it is still possible to be moved by a drum machine …. and a keyboard……

There are still artisans and sunday painters who will put a little of their troubles and their humanity at the service of their art. Certainly a merchant of colors in a previous life, Med paints his songs with a Benedictine patience, distilling its doubts in its small pop compositions with soft water reflections where everyone could see themselves as in a mirror.

MED is Médéric Gontier, guitarist of Tahiti 80, first solo effort. Where the band had not often ventured outside English, Med uses the French language and caresses it in the direction of its melodies. Produced with the help of Pedro Resende, these are ten pieces both aerial and aquatic, light but finally of a real consistency.

Immediately pop («Dans ses yeux»), reminiscent of the great French composers of the sixties («Avec toi») and with them that of the English of Broadcast to Vanishing Twin («Muzak»).

It’s a bit time for the Norman to make a pause and for that, to put his nose out, it’s freetime, the one of those who will never claim to be better than the others but whose records will be kept close to the heart.

Lancaster had initially cut his musical teeth with the avant-garde on New York’s Lower East Side in the 1960s (famously on sessions with pianist Dave Burrell and drummer Sunny Murray) and in Paris during the ‘70s after an appearance at the Actuel festival but, throughout his career, his path was built around community engagement, positivity and “the Philly jazz sound, Germantown style.” He became an ambassador for the music of the City Of Brotherly Love, starting his own Dogtown label, helping launch the Philly Jazz imprint and campaigning tirelessly to improve the circumstances of the city’s street musicians. Lancaster’s sessions for Black Fire were planned following a gig at Caverns Jazz Club in Washington DC. “Jimmy Gray of Black Fire and I originally met during the ‘riotous blisters’ of the late Sixties there,” explained Lancaster. “We became the best of friends.” Backed by a band of Philly musicians including percussionist Keno Speller and Baba Robert Crowder (drummer for Olatunji and Art Blakey), the album also featured the Drummers From Ibadan led by Tunde Kuboye, another influential figure dedicated to community jazz with whom Lancaster had bonded while teaching in Lagos. The result was a free-flowing set of spirituality and positivity, built around full band groove workouts, solo pieces and heavy African roots. “We had big fun documenting this music,” remembered Lancaster. The message of the album remains as relevant today as ever, “I dedicate this album to all African Americans in the USA. To the youth, I ask ‘What does it profit a man to gain the whole world and lose his soul?’”