quête:du

This LP was originally released in the summer of 1989 with Doug Raney
at age 33. He released during his rather short life (1956 - 2016) 17 leader
albums for SteepleChase including this 13th piano-less horn-featured
recording which won accolades from critics all over the world.
“Doug Raney is an elegant player even when he’s attacking, as he does here on
most of the content...Certainly recommended if you enjoy your jazz slightly in
advance of bebop, but with all of that basic feel still there.” - Martin Richards,
Jazz Journal International “No doubt, another in the string of successful Raney
releases.” - Paul B. Matthews, Cadence
Personnel: Doug Raney (guitar), Bernt Rosengren (tenor saxophone), Tomas
Franck (tenor and soprano saxophone), Jesper Lundgaard (bass), Jukkis Uotila
(drums)

Repress

Team Schatzi's racking up another batch of tracks, this time for a game of eightball, and we've got one for each pocket on the table.

Little bit of classic crackly disco, little bit of freaky funk, little bit of heavy-duty house, all handmade with a whole lotta love in the hometown of Brooklyn, New York.

Run the table with these disco diamonds. Just don't sink the eight early, alright?
Signs point to Schatzi!

Avant-garde cosmic sounds from Senegal, Wau Wau Collectif's "Yaral Sa Doom" is a groundbreaking album spanning borders and musical scenes. Inspired from West African tradition, Sufi praise songs, spiritual jazz, and dub rhythms, the effect is a genre defying entry in outernational sound. Hypnotic percussion loops across sweeping pads, call and response chants echoes layer over electronic beats, and children's voices sing out to recordings of crashing waves. In 2018, Swedish music archeologist and leftfield musician Karl Jonas Winqvist traveled to Toubab Dialaw, Senegal, a small fishing village turned hub of Senegal's bohemian art scene. Over the next weeks, local musicians, percussionists, poets, and beat makers came together, sketching out ideas and recording free improvisation. Winqvist returned to Sweden, trading recordings back and forth over WhatsApp with Senegal based collaborator and studio engineer Arouna Kane. "Yaral Sa Doom" is a Wolof phrase that means "educate the young." Central to the album is this theme of education, with songs that directly address social issues facing contemporary Senegal, education, and immigration. "Today you must educate children with an instrument and art, when you teach them an instrument you teach them to use their spirit," says Djiby Ly. With over 20 contributing performers from Senegal and Sweden, Wau Wau Collectif's debut is layered and complex, yet maintains a central vision. "It's like diving into the sea," explains Kane. "There are all different species of fish swimming around, but together they make the ocean." Nonetheless, it's also a geographic anomaly, made possible only by exchange of the internet age. An exceptional recording on its own, "Yaral Sa Doom" is a visionary entry in the future of transglobal collaboration

(Deluxe Edition) (translucent tri-coloured vinyl LP + MP3 download code in spot-varnished sleeve)

LP comes in gold foil lamination jacket housing printed record sleeve with 1x translucent gold, black & white insomnia effect vinyl, marketing sticker and free digital download card. The Sharecropper's Daughter Bonus Vinyl contains six new tracks serving as a companion piece to Sa-Roc's already acclaimed Rhymesayers debut, The Sharecropper's Daughter, released in October of 2020. These new songs further showcase Sa-Roc's sharp skills as a lyricist, and her gift for captivating melodies and engaging content, featuring production from Sol Messiah and Evidence, as well as a guest verse from MF DOOM. The lead single for the bonus vinyl, "Wild Seeds" is a lyrical testament to the beauty, mysticism, and wisdom of the elders and ancestors who've guided and bolstered generations of Black women through history's assault and neglect of them. With a title inspired by the sci-fi novel Wild Seed by visionary author Octavia Butler, the song serves as a celebration of women such as Queen Nanny, Harriet Tubman, Sojourner Truth and many others, whose legacies inform future generations of their propensity to bloom under the harshest of conditions. "Just like wild seeds, we remain unfettered and unbroken, adding beauty and immeasurable value to a world that chooses not to acknowledge us," Sa-Roc states, "but our very existence is the only acknowledgement we require." Throughout the songs of The Sharecropper's Daughter Bonus Vinyl, Sa-Roc maintains a concise blend of thought provoking commentary and razor sharp lyricism. On the opening track, "Options", she delivers a raw and searing testimony of the dedicated yet, all too often, underappreciated artist, reminding us to give our flowers to the living while we're still able. "The Great Escape" examines humankind's tendency to try to mask the unsavory elements of our past we're either unwilling or unable to confront head on. Echoing both sentimentality and sorrow, "Reconstruction of the Heart" recalls some of Roc's childhood memories and muses on the many ways in which our earliest experiences can scar, strengthen, and shape the very core of who we'll become. The Sharecropper's Daughter Bonus Vinyl chapter fittingly comes to a close with "The Rebirth", which remarks on the plight of the vulnerable artist and the quest for balance between creative transparency and overexposure. Here, Sa-Roc labors through her discomfort and commits to being brutally honest about the experiences that have informed her expression and made her a better artist. Featured guest, the late MF DOOM continues this line of thinking, offering his own unique observations, "Quick as a quitter will fold, some of what glitters is gold. Same story is old, getting left in the blistering cold. Broken souls get remold with little arbitration. Fortune favors the bold as does incarceration." This bonus vinyl pulls no punches in showcasing Sa-Roc's continual growth as an artist who, as NPR recently put it, "is a modern day griot whose aura radiates calm in a world of chaos."

Folklore Series is the music label created by the FOLKLORE team, based in Toulouse, south of France. Active since 2009, we gradually diverged from traditional clubs in order to reconnect with a certain freedom and to assert our values by investing alternately abandoned places, clearings and warehouses for our parties. The music we produce is inspired and dedicated to these gatherings and more generally to the sound system culture.

A Massive Skanker on the B1 !

Die südafrikanische House-Variante Amapiano geht bei ATFA mit "Teenage Dreams" in die dritte Runde. Nach TENO AFRIKA und DJ BLACK LOW schnappte sich das in New York beheimatete Label das 2019 gegründete Produzenten-Duo NATIVE SOUL, die mit "Teenage Dreams" ihr Debüt geben. Der Titel ist passend gewählt, schließlich sind Kgothatso Tshabalala und Zakhele Mhlanga (DJ Zakes) mit 19 bzw. 18 Jahren sozusagen selbst gerade erst den Kinderschuhen entwachsen. Obwohl die beiden in Pretoria aufgewachsenen Jungproduzenten zur Generation 'Ma2000' gehören, also nach Beginn der Demokratie geboren wurden und die Apartheid nie erlebt haben, überzeugt "Teenage Dreams" mit einer künstlerische Reife, die das jeweilige Alter der beiden Soundtüftler weit übersteigt. Die zwölf Tracks auf dem Debüt sind überwiegend moody, instrumental und mit Drums "made from basslines which stick out like a pocket turned outside of pants" versehen. Für Fans von BURIAL und MR. FINGERS!

Atlanta’s The Masamune presents his debut 12″ release on Ohm Resistance – 4 absolute dancefloor controllers, with a special guest appearance from DJ Hidden on remix duties. This self-titled EP is aimed squarely at the next generation of Drum & Bass DJs and listeners, competing for the top step on the production podium. A direct representation of the storied Drum & Bass history of the label, The Masamune wires together his signature traditional symphonic strings and orchestral elements with the hardest hitting modern dancefloor sound. His beats range from half time punishers, in his signature Neuro-hop style, to running and rolling steppers, with a strong hip hop/b-boy influence appearing throughout his produdctions. According to The Masamune: “This project was made almost specifically to serve as a prelude to the full length LP I’m currently writing for Ohm Resistance.” The EP showcases the numerous talents of the artist, as well as crucial amplifications from his collaborators. Including Jakob Klug on artwork (previously work includes Black Sun Empire and The Outside Agency) and The Netherland’s legendary DJ Hidden, who has remixed the closing track – Doomslayer. The Masamune comments: “I consider DJ Hidden a pioneer and an early influence of mine. He was gracious enough to lend his talents on the remix of my 2018 track “Doomslayer”. The Masamune is a multi-genre producer, remixer, & live act from Atlanta, GA. A composer and sound designer known for his niche style of blending orchestral elements into the chaotic palettes of hard drums and heavy synths, his tracks explore dark themes and deliver punishing consistency. A top-flight production ethic combines with rich exploration of the dark side of Drum & Bass, his works are an automatic dancefloor uplifter in the hands of skilled DJs. He has released on Harder & Louder, Mindocracy, Smackdown Recordings, and was a participant in the Ohm Resistance 7″ series, as well as an annual contributor to the Perihelion compilation series.




d B2 Doomslayer DJ Hidden Remix

Bunny Lee as producer. Prince Jammy as engineer. The Aggrovators making the tracks. A Holy Trinity of Jamaican Music. Throughout the years, recorded music has been shaped by some enduring partnerships between producer and engineer, such as Teo Macero and Fred Plautt for Miles Davis, Jerry Wexler and Tom Dowd for Atlantic Records, and George Martin and Geoff Emerick for the Beatles. But possibly none were as prolific as the collaboration between Bunny 'Striker' Lee and Prince Jammy at King Tubby's Studio between 1976 and 1982.

In 1977 and 1982 respectively, Conflict Dub and Dubbing In The Front Yard were released in London as white labels in extremely limited quantities. The two LPs found the triumvirate of Lee, Jammy and The Aggrovators on perfect form, with driving instrumentals, flashes of vocal beauty, and mixes that ripped apart and rebuilt traditional notions of sonic structure. Due to the nature of their limited release (not to mention the lack of artwork and even titles) the two dub LPs quickly disappeared into that mythic realm of records whispered about by only the most hard-core reggae collectors. This release is the first-ever reissue of these sought after LPs, and contains all the original songs in both vinyl form (double LP set with both albums on the original labels) and a lush double pack cd with 3 extra bonus tracks. The sleeve notes are by Diggory Kenrick with amazing photos by Howard Johnson, director of the influential Channel 4 documentary 'Deep Roots Music'.

The 3 CD bonus tracks are all remixes. Two from Paolo 'Dubfiles' Baldini for the Dubbing in the Front Yard set. One for Conflict Dub by Diggory Kenrick.

In 2018, Pressure Sounds celebrated its 100th album release since it's founding in 1995. In that time, the label has been responsible for unearthing and celebrating some of the rarest, most influential and unique Jamaican records ever cut.

Continuing to deliver Sounds From The Void, XVI Records are proud to welcome London based Producer Delonte Rivers back to the label, with his brand new EP ‘Delonte In Dub’ Having previously released his ‘Midnight Congas’ EP back in 2018 (as well as a slew of edits and releases with Banana Hill, Love Above Recordings and more) Delonte now channels an elevated state of consciousness into a new dubbed out, subterranean sonic offering.

Returning with the galvanising track ‘Rise Again’, Delonte enlists the vocals of Sir Moon (also the voice of local hellraisers Muckspreader) giving a furious manifesto on the state of the union. Psyched out guitar stabs reverberate ripple across a turbulent sea of low end frequencies, as a rock-steady rhythm section holds the line. ‘Dub Again’ unsurprisingly strips back the original into a state of ethereal and reverb soaked hypnosis. ‘Cosmic Frequencies’ bring a cosmic slice of bass weight, whilst ‘One For Road’ injects a surreal, eerie atmosphere into the proceedings. This record is one for a hazed-summer in a strange dystopian world.

The music that would become Conversation Peace began with a trip to KPM’s London HQ in late January of 2020. I had just finished wrapping up post production on my album Ocean Bridges with Archie Shepp and Raw Poetic. I actually received the invitation during the summer of 2019 during studio sessions for Ocean Bridges and scheduling for the top of 2020 made the most sense. So I packed up a few records and a few drum machines then embarked on my first trip to England. We had a quick meeting about expectations, then it was time to see the archive. As a record collector, I’m very familiar with the legacy of the KPM brand. I had been lucky enough to find a few over the past decade during my digging trips up and down the east coast, but looking at the complete vinyl catalogue was a great privilege. I anxiously began combing through records from morning to night looking for the right sounds. The whole experience was surreal.



Listening to the entire catalogue was a history lesson and the amount of great composers and compositions in the recordings was endless. I’d be lying if I said it wasn’t somewhat overwhelming. As a producer looking for textures, inspiration and grooves, the abundance of those things made it extremely difficult to narrow down what I wanted to use. From drums to sound fx to orchestras to small rhythm sections to ambient noises, I heard a wide variety of things and they were all so well produced and recorded. Every instrument you can think of was there! I spent a little over a week capturing sounds knowing that my work was cut out for me when I returned to my home in DC. Once I got home, I got to work. I captured so much, that it took me about a month just to organize all those ideas. Little did I know the world would drastically change in the next month following my return. My flight to and from London would indefinitely be my last time traveling for a while. I worked diligently with the material and took my time making sure I had strong ideas. The history of KPM and the opportunity to collaborate with the prestigious lineage made the stakes very high for me and I knew I needed to deliver a quality product. It’s an honor to be the first artist to release a KPM Crate Diggers title. - Earl Davis (Damu the Fudgemunk)

Oliver Torr is about to release his first full length solo album. The album features many moods and colours, with Oliver exploring the use of his voice and lyrics as a new form of his expression. Successfully mixing electronic avant-garde/experimental forms with pop-like harmonic structures is the main theme of the record.

The idea of recontextualisation and themes of observation are mainly inspired by the philosophical literature and ideas of John Berger, Marshall McLuhan, and many others was a driving force during the creation of the album. The lyrical and sound design content is mainly inspired by panic attacks and depression, and serves as a therapeutic tool to aid in personal psychological healing.

Tracks make use of creative sound design by utilising field recordings and various experimental instruments and sources of sound, such as the Radical Chip, designed by John Richards (one of Oliver's mentors) and Max Wainwright. Tracks like 'Deià' which create a chaotic sonic palette are the author's representation of his mind under the siege of an intense panic attack, experienced in the seaside town of the same name that is located on the island of Mallorca.

Oliver feels like the album has been writing itself for the past 5 years, and in the past few months it has decided to finally show its form. With the help of Aid Kid, who is mixing the album and providing additional production, Oliver has put together a 14-track rollercoaster record, with the help of some special guests. Guests on vocals include Chrysalism, BCAA's Bilej Kluk, and sci fi RnB newcomer LVCIFER. Other sonic collaborators include Sunnbrella (guitars on two tracks), Bastl Instruments' David Strobach (distorted samples in intro), Peter Kutin, and Radio Laude's DeSteffan and R.A. (distorted samples/vocal on one track).

The record's sonics are a combination of Oliver's conscious influences, including experimental music, classical avant-garde, shoegaze, IDM, EBM, electronica, hints of modern club music, as well as PC music influences.

Oliver Torr is known as a composer, music producer, performer and installation artist. Outside of his solo projects, he has worked with many prominent musicians and creative companies/film makers worldwide. He is the founder of XYZ project, a music label concentrating on electronic music and audiovisual art (xyzproject.bandcamp), and a member of the noise.kitchen crew (a music and synth shop run by Bastl Instruments in Prague). Oliver is also a part of the 2020 SHAPE Platform roster (shapeplatform.eu), and the 2021 Gravity Network roster (gravitynetwork).

Oliver releases the album prior to the release of his 'Trans Europe Postal Express' project (supported and arranged in collaboration with SHAPE Platform) and gallery exhibition at MeetFactory art space Prague, that will take place in March, and will further the sonic palette of the album.

The album's artwork is directed and designed by Kristyna Kulikova and photographed by Lukas Havlena (VICE, National Gallery of Prague).

The album's pre-release sees a teaser trailer shot and directed by Tereza Halamova and Filip Kettner that will be released 1st of February. A short movie music video with the same crew is scheduled a month after the album's digital release.

A remixed version with reworks from established European electronic musicians (including Peter Kutin, Fausto Mercier, Wim Dehaen, Natalie Plevakova, Evil Medved, NobodyListen, David Herzig, Ancestral Vision and Trauma), will be coming in the next few months after the release.

One of life's most difficult arts is learning to let go. You can try to cling to control in the face of a turbulent world, but the only constant we can count on is change—the tendrils of cleansing fire wiping away the old, new life springing forth from the dust and ash. So what's the point? Give yourself over to the depths. Surrender to the flow.

G.S. Schray's new solo album The Changing Account is an appropriate soundtrack for learning to cope with a world we can't count on. Each piece is full of elliptical melodies that swirl with the unstable logic of dreams. Flurries of piano, guitar lines, and other more alien instrumentation shimmer delicately, but before they coalesce into familiar shapes or rhythms they change, then change, then change again. Listening is a bit like falling asleep on a long road—with each passing song you're waking up somewhere new, trying to get your bearings in another strange world. How did I get here? Where are we going? It doesn't matter. Close your eyes, drift away again.

Composer and saxophonist Brian Brown produced some of the most refined Australian jazz recordings during the 1970s. A versatile musician whose distinct impressionist music melded modern jazz with the outer limits of free experimentation. Considered to be his greatest work was the 1975 concept album Carlton Streets, an ambitious recording that romanticised the sights, sounds and the nostalgia of this once-bohemian Melbourne neighbourhood. Differing from his eco-jazz composition Wildflowers heard on the recent Roundtable compilation Pyramid Pieces, Carlton Streets explores the polar opposite, offering jazz impressions of the urban environment. Comparable to other pioneering jazz-rock groups such as Ian Carr's Nucleus and mid-period Soft Machine, the album is a mosaic of ecstatic jazz-rock groove, spirited free improvisation and expanded experimental textures. A potent fusion that owes as much to Australian 20th-century avant-garde composers as it does to the influence of the electric jazz innovators, specifically early Weather Report and Herbie Hancock's Mwandishi. The Roundtable are pleased to showcase this important artist and offer a new edition of this landmark Australian jazz recording. Restored from the original master tapes and presented in a gatefold sleeve including liner notes and rare photos. Released for Record Store Day 2021.

Over the last few years, NuNorthern Soul has established a number of traditions, most notably annual releases that provide a snapshot of the label’s output while also considering their suitability for certain seasons. Perhaps the most popular is founder Phil Cooper’s Summer Selections series, which each year showcases warm and sunny gems mined from a range of forthcoming releases.

The 2021 edition of the sampler, the third in total, may well be the best yet. Six tracks deep and as subtly varied as you’d expect, the entertaining set features tracks from a mixture of exciting newcomers, experienced producers and long-time members of the NuNorthern Soul family.

To kick things off, Cooper introduces us to Marshall Watson, an American producer who later in the year will release two five-track EPs on the label. ‘A Door To The Sky’, which will feature on the Sunsets On Larkin Part 1 EP, is sumptuously sun-kissed, with delay-laden electric guitar textures and sparkling electronics reclining over a tactile electronic groove.

LOVA’s ‘Echoes of Memories’, the track that follows, recalls the atmospheric, synthesizer-sporting new age Balearica popularised by Quiet Force in the late 1980s. The Italian producer was signed after bringing a USB stick of productions to one of Phil Cooper’s gigs in Ibiza; his Gypsophilia EP will be one to check when it drops later in the year.

Gusk’s ‘Sketch #4 - Anafi Nights’ is seductive and exotic. It’s a crackling and atmospheric musical painting that daubs starry stabs and yearning melodies atop a bubbly, lo-fi drum machine beat. It provides a perfect snapshot of the Greek musician’s Mediterranean Sketches EP, which gathers together home recordings made between 1997 and 2003.

Arguably even more immersive and enveloping is ‘Aqua Blancas Sunrise’ by Tambores En Benirras, the musical project of Cumbrian selector DJ Gripper. A slow-burning delight full of intricate musical flourishes –think drifting female vocalizations, Indian-influenced percussion, twinkling pianos and haunting clarinet motifs the track is one of the many highlights on the Barrow in Furness based producer’s forthcoming debut album for NuNorthern Soul.

To round things off, Cooper has chosen to offer-up cuts from two very experienced artists. George Solar (real name Georg Boskamp) is an Ibiza-based German producer who has been collaborating and releasing music since the late 1980s. ‘Infrared’, his contribution to Summer Selections 3, is a languid and glassy-eyed slab of slow-motion Balearic dub. His Los Ra-yos Del Sol EP will be one to look out for later in the year and is his debut solo release.

The sampler’s final missive fittingly comes from long-time friend of the family B.J Smith, a regular contributor to NuNorthern Soul releases who has reunited with Huw Costin – a vocalist he previously worked with on Smith & Mudd releases for Claremont 56 for a double A side single due later in 2021. ‘Sun When You Come’ is as warming and hazy as you’d expect and features Costin’s emotive, reverb-laden vocals and mazy electric piano solos rising above a suitably horizontal groove. It provides a stunning, sunset-ready conclusion to another superb set of Summer Selections.

Audio premiere for Povratak na Parni Pogon on Monday 24th of May via Music is my sanctury

Video premiere via Clash or Twisted Soul

Airplay - dom servini (soho radio), WYEP Pittsburg (dubmission), WKDU Philadelphia (eavesdrop radio), Jocks & nerds (soho radio), Basic Soul Show, Bondfire Radio NYC + many smaller stations across EU, UK & US

LP review - Mojo, Songlines agreed so far

Key selling points:

Kozmodrum are pioneers of the Croatian nu-jazz scene
Kozmodrum's second albumGravitywon the highest award in Croatia, Porin

Individual members of Kozmodrum as well as Kozmodrum as a collective are acclaimed musicians in the Balkans and have won numerous prestigious awards for their work

Their music is like a DJ set played live - as all the music is played live with 'traditional' instruments by the Kozmodrum ensemble


numerous great reviews, but not many in English - we're looking to introduce the band to UK audiences with this release -- this is one review in english for their album Gravity:https://exclaim.ca/music/article/kozmodrum-gravity
Our PR for this 3rd album by Kozmodrum is done by Francesco Soragna (Jus Like Music) with specific focus on UK market.
BIO:

Kozmodrumhave been pioneering a new approach to electronic music in Croatia, often described by the band as Organic Dance Music. Techno, House and Dub styles intertwine through a continuous set, played by a live band on guitars, drums and keyboards.Simultaneously, the tradition of jazz ensemble performance is stitched into the architecture of music itself.

Kozmodrum have released 2 albums, 'Na Tragu Satelita' in 2016, and 'Gravity' the following year, receiving a Porin Award for the latter (the Croatian Grammy). Individual band members also received numerous awards for their accomplishments and are considered by many to be pioneers in the Croatian nu-jazz scene. Kozmodrum's main influences are Tycho and Elektro Guzzi, as well as Jaga Jazzist with whom they performed live. The band have played numerous festivals and concerts, with Kozmodrum's members performing with Hans Joachim Roedelius, noise/art/sound figure Sunao Inami, as well as jazz masters Reggie Washington, Peter Erskine, David Liebman, Alan Broadbent, David Murray and Saskia Laroo.

Onstage, Kozmodrum is a five-piece ensemble that adds a third dimension to their music, written and produced by the band's founder Janko Novoselić. Using the framework of a DJ set, the compositions are made to be played openly, where the beat is 'looped' until a cue is given to make a change or switch to another part. The pieces are often minimalistic to start with, but evolve over the performance into more complex patterns, harmonies and melodies. With constant shifts between the natural and the artificial, organized and improvised, quiet and loud - Kozmodrum create an unforgettable, mantric performance.

The debut “Moover” EP from the young Bulgarian producer and DJ - Raredub (Petar Vasev) on Sofia Records features energetic and emotional music that finds its place equally in those hands-in-the-air moments in the middle of the dancefloor, as well as laying on a carpet in the afterhours.


Far from formulaic fast-food dance clichés, SOF005 offers fine and delicate layers but as always with its base in spicy street rawness.
Playing the records from start to finish one finds immersed in care-free optimistic melodies, passing through deeper and dreamy sequences, towards stripped down and honest groove. All garnished with the youthful energy that Raredub generates.

Flambéing it all, we have Sofia’s own KiNK collaborating on the track “How The Fire Started” urging all DJs and dancers to grab a fire extinguisher.

With this EP Raredub displays his unique musical personality combined with a strong execution - forming something very special that promises to age well.

Grey Marbled Vinyl

Carlos Nilmmns is back on Ornaments with another diverse EP ranging from Detroit-inspired house grooves, Dub-Techno, deep electro patterns and stunning soundtracks.

A selection of exclusive tracks from a dusty shoebox full of cassettes and DAT tapes, recorded by Facehugger and Deviant between 1995 and 1997.

The Parasite EP showcases their first batch of live analogue jams that mash the boundaries of experimental house, deep electro, acid and the hazy bustling sounds of the city – a soundtrack of travelling to raves, staying up late, coming home and making wild mixtapes until early Monday morning.

Despite the untimely passing of his production partner, Deviant, in 2009, Facehugger has remained a dedicated and unique beatmaker, close personal friend and unsung hero of the scene, not to mention “unofficial” manager of the Plates record shop, known for his outspoken, boisterous and loud opinions about any new releases which came in!

Now, nearly 30 years on, nestled in the quiet suburb of Carlton (Nottingham), Facehugger loads up his drum machines and starts to create, with the promise of a new wave of music on the horizon…

DJ support from: Charlie Bones (NTS), Bradley Zero, Coco Bryce, OK Williams, Glenn Astro

"It all began when one of us was Leaving Laurel". For Pierce and Gordon of Leaving Laurel, their music is a story of an old friendship that over many years, almost accidentally, blossomed into a musical collaboration. Friends on the internet first, and eventually roommates in Los Angeles, the pair spent years together making their own separate brands of dance music, long before ever collaborating with one another. Gordon was one half of bass heavy duo Botnek, whilst Pierce found fame and toured the world with his solo project. One day in Laurel Canyon, California, the pair were sharing their own unfinished music with one another. Pierce had an idea for a demo of Gordon’s, which spawned an impromptu writing session lasting the rest of the day. Elated by what had just happened, they continued to write together over the coming weeks, but just as they were getting new momentum, Pierce had to head back to his home on the east coast. The final song they wrote together before his flight was called 'Leaving Laurel'. The music Pierce and Gordon made together is rich with emotion, densely packed with atmosphere and often featured Gordon’s own gentle vocals.

BARBARA JEAN ACKLIN was working as a receptionist at Brunswick Records in 1966 when she co-wrote “Whispers (Getting Louder)” which became one of Jackie Wilson’s biggest hits and secured her a recording contract with the label. In 1968 she hit with “Love Makes A Woman” peaking at #15 on the Billboard pop chart. “Am I The Same Girl” followed in ’69 barely breaking the Hot 100. Dusty Springfield covered the song later that year giving the singer her final chart hit, peaking at #43 in the UK. Salena Jones cut a credible jazzy interpretation in 1970 and the British pop group Swing Out Sister scored a #21 UK hit in 1992 after first hearing the song in a Manchester Northern Soul club.
Brunswick producer Carl Davis was inspired to remove Acklin’s vocal and replace it with a piano solo shortly after the original release. He called the instrumental “Soulf Strut” and attributed it to Young-Holt Unlimited providing them with a #3 hit in the USA.

Ready to chant down Babylon with musical fire and brimstone, none other than Bukkha returns to the revered Moonshine Recordings with a truckload full of sound system music in Roots Dub and Stepper style. Ten organic heavyweight cuts on 2x12" - strictly dubwise, no compromise!

Originally from the US and now residing in Spain, a musical veteran with a career spanning more than a decade, it's safe to say Bukkha runs things when it comes to fuelling sound systems. On top of his long-standing involvement in the thunderous Moonshine Rec. discography, the prolific artist maintains a consistent record of top-shelf releases on numerous famed record labels within the global melting pot of Dub-influenced dance music, including System Music, Dub-Stuy, Lion Charge, and so on. His 'In Roots Vol. 1' debut LP features seven talented guest artists from around the globe, the extended Dub family in full force and effect - connected to Bukkha through previous projects, shared tours and overall engagement in the scene. The symbiotic nature of the collaborations can be heard and felt as big stacks of speakers lend their voice to the musical message. Rebellious sounds for the healing of the nation. In a conscious stepper style, the release marches through original future classics - whether instrumental or led by the Rastafarian teachings of Mowty Mahlyka, anthem brass melodies by JahWind All-Stars, harmonica meditation by Hazeldub or Don Fe's notoriously brilliant flute virtuosity. With true to the roots delay and reverb effects in the original Dub fashion, the album pays tribute to the technique pioneered by the likes of King Tubby, nothing less than a next-generation torchbearer. Sound system music, as timeless as its cultural heritage.

The music that would become Conversation Peace began with a trip to KPM’s London HQ in late January of 2020. I had just finished wrapping up post production on my album Ocean Bridges with Archie Shepp and Raw Poetic. I actually received the invitation during the summer of 2019 during studio sessions for Ocean Bridges and scheduling for the top of 2020 made the most sense. So I packed up a few records and a few drum machines then embarked on my first trip to England. We had a quick meeting about expectations, then it was time to see the archive. As a record collector, I’m very familiar with the legacy of the KPM brand. I had been lucky enough to find a few over the past decade during my digging trips up and down the east coast, but looking at the complete vinyl catalogue was a great privilege. I anxiously began combing through records from morning to night looking for the right sounds. The whole experience was surreal.



Listening to the entire catalogue was a history lesson and the amount of great composers and compositions in the recordings was endless. I’d be lying if I said it wasn’t somewhat overwhelming. As a producer looking for textures, inspiration and grooves, the abundance of those things made it extremely difficult to narrow down what I wanted to use. From drums to sound fx to orchestras to small rhythm sections to ambient noises, I heard a wide variety of things and they were all so well produced and recorded. Every instrument you can think of was there! I spent a little over a week capturing sounds knowing that my work was cut out for me when I returned to my home in DC. Once I got home, I got to work. I captured so much, that it took me about a month just to organize all those ideas. Little did I know the world would drastically change in the next month following my return. My flight to and from London would indefinitely be my last time traveling for a while. I worked diligently with the material and took my time making sure I had strong ideas. The history of KPM and the opportunity to collaborate with the prestigious lineage made the stakes very high for me and I knew I needed to deliver a quality product. It’s an honor to be the first artist to release a KPM Crate Diggers title. - Earl Davis (Damu the Fudgemunk)

When his mother brought Stanley Turrentine’s Salt Song LP back from a trip to Canada, Julien Lourau, then a teenager, was impressed by the scope of the sound and the groove of the saxophone. He was also charmed by the lush arrangements and funky sound of the record, typical of releases on the CTI label. Created by producer Creed Taylor, CTI left an imprint in the minds of 70s jazz fans much like Blue Note did in the 60s, and it even ended up releasing work by artists who started out on this mythical label such as Stanley Turrentine and Freddie Hubbard. The two even shared the same sound engineer, the great Rudy van Gelder.
Yet CTI, though highly prolific during its 15 years of activity, has not benefitted from the same aura as its predecessor. “To breathe life into this album, I listened to a wealth of CTI releases and discovered some I had never heard before. I noticed, oddly, that many of today’s musicians know very little about CTI - a label unfairly considered as minor.”

The choice of tracks was determined by Julien’s personal tastes, always keeping in mind a desire to help people discover them yet focusing on the joy of actually playing them too.

"The album is made up of 9 pieces. Mathieu Débordes got everything down to the nearest note before we even attempted to play them. CTI didn’t hold back in fuelling their compositions with brass and violins, but I erased this aspect and pared things down to a bass, drums and two keyboards."
English drummer Jim Hart, someone Julien worked with during his London years, propels the group - from hard-bop polyrhythms with “drum & bass” inflections to a reworking of classic Red Clay.

Sylvain Daniel on the bass and Arnaud Roulin on the analogue keys are two musicians close to the saxophonist, and that he met when they were students in 1999 while organising a master class at the Conservatoire de Nantes. Since then, they have become his esteemed companions.

The collaboration with young pianist Léo Jassef began on this recording, where he also plays the Prophet 5. The dynamic and overlap of the many keyboards played by Arnaud and Léo bring the record a richness of timbre and harmony that the strings and brass provided on the CTI recordings.
For the final track on the record, Julien called upon his friend of 30 years, guitarist Bojan Z, for a fresh, Gospel take on Love and Peace, a track recorded by Quincy Jones in 1969, which here, is dedicated to Bojan’s recently departed brother.

“When it comes down to it, this album really is as I had imagined it, with, luckily, a few unexpected turns. I created a playlist I then claimed as my own. But in the end, I must admit that I would have loved to have composed some of these tracks.”

Hammer Films has long held a special place in the hearts of horror fans, defining the British genre during the 1950’s with classics such as Dracula and The Curse of Frankenstein. Composer James Bernard scored both and went on to compose the music to a host of horror films for Hammer during the Sixties and Seventies. His distinctive clashing harmonies, often doubling the musical theme a tone higher, raise the on-screen action to a frenzied pitch, terrifying 20th Century cinema goers to the degree that his scores have become synonymous with the titular monsters.

Robert Jon & The Wreck are back and ready to tear up the UK and Europe
all over again with their new record, Shine A Light On Me Brother.
The impressive new album, written and recorded during the COVID pandemic,
and self-produced by Robert Jon & The Wreck, is set to release 3 September,
2021. Robert Jon & The Wreck is comprised of Robert Jon Burrison (lead vocals
and guitar), Andrew Espantman (drums and background vocals), Steve Maggiora (keyboards and background vocals), Henry James (lead guitar and background vocals), and Warren Murrel(bass and background vocals). They will take
the new album on tour in September/October 2021 AND February/April/May/
June/July 2022.
Robert Jon & The Wreck has been writing songs and releasing albums since the
band’s conception in 2011. During this time, this quintet of follicular proficient
gentlemen has been busy fine-tuning their sound playing to packed houses
across Europe and the United States.
The band has been received with accolades and raving reviews for years now,
from nominations of “Best Rock” and “Best Blues” and winning the title of
“Best Live Band” at the Orange County Music Awards in 2013, to numerous top
10 chart placement on Southern Rock Brazil’s Top 20 Albums to being praised
as “Classic and fresh at the same time” by Rock The Best Music, “Raising the
bar for the Southern genre” by Blues Rock Review, and “keeping the history
of classic 60’s and 70’s rock alive for newer generations” by Blues legend Joe
Bonamassa.
“A classy re-bore of well-trodden southern rock tropes by an Orange County
quintet with impeccably realised contemporary commerciality. Born of Allmans
and Skynyrd, but box fresh for 2000.” - Classic Rock Magazine
“Full of Eagles like guitar riffs and on infectious groove.” - Blues in Britain

Seit anderthalb Jahrzehnten geht Jan Plewka (Selig) auf Tour und singt die Songs von Rio Reiser und Ton Steine Scherben. Die Shows mit der schwarz-roten Heilsarmee sind inzwischen legendär und begeisterten bereits abertausende Besucher bei über 200 ausverkauften Performances. Im September erscheint nun das Live-Album + DVD "Wann wenn nicht jetzt - Jan Plewka singt Ton Steine Scherben und Rio Reiser II", das bei den Auftritten auf Kampnagel in Hamburg aufgenommen wurde. Die Singles "Jenseits von Eden" und "Macht Kaputt was euch kaputt macht" sind bereits erschienen. "Mit 14 Jahren habe ich Ton Steine Scherben zum ersten Mal gehört. Seitdem bin ich ein glühender Verehrer von Rio Reiser, von seiner Musik, seiner Poesie, seinen Utopien. Seit über 15 Jahren bin ich mit diesem Programm nun schon auf Tour. Das ist die eine Konstante in meinem Leben." - Jan Plewka Der Traum geht weiter: Wenn Jan Plewka mit der schwarz-roten Heilsarmee auf der Bühne steht, um die unvergesslichen Songs von Rio Reiser und Ton Steine Scherben zu feiern, wird sehnsüchtig und zärtlich, gleichzeitig revolutionär und kraftvoll. "Wann wenn nicht jetzt" versammelt auf Doppel-LP / CD 17 Livetracks, die 2019 auf Kampnagel aufgezeichnet wurden und filmisch von Tom Stromberg festgehalten wurden. Die beiliegende DVD kommt mit fünf Bonustracks auf insgesamt 22 Stücke.

Paint A Picture are incredibly pleased to announce news of their first release: a fully
remastered, licensed reissue of rediscovered British 7” Funny Situation recorded by Reflex - a
band put together by drummer David Humphrey (Public Image Ltd., Sparks, Mike Oldfield) and
privately released on his Star Records back in 1981. With the original record now changing hands
for in excess of £200 and just in time for a 40th anniversary release the reissue - remastered and
cut by Frank Merritt at The Carvery - will include updated original artwork whilst also containing an
insert providing further details and context on the release.
Recorded a few months after seminal Britfunk tune "Southern Freeez" at the very same Vine
Yard Studios and with the same engineer Simon Sullivan - the release unfortunately suffered from
a lack of marketing and proper distribution but almost forty years later the record is now receiving
the attention it deserves and with a price tag to match.
The A side presents a beautiful mesh of funk and soul styles with influence from other Britfunk
bands of the time but with a more overt jazz and rock feel fusing a tight rhythm section with smooth
vocals and climaxing in a guitar and saxophone duel.
The instrumental Version Two provides a fresh approach with the addition of dub FX and
Indian percussion with the use of a tabla added to the mix.

Eight years deep into their existence, Paris-based Mawimbi are proud to present their debut album Bubbling.
Through their own label and events, the collective have championed up and coming artists who look to fuse african music
with the modern dancefloor. They’ve released records from Lya, Onipa, Afriquoi and James Stewart and brought
established artists and fellow travellers to such as Auntie Flo, Africaine 808, Awesome Tapes From Africa and Esa to
Paris. Now it’s time for the collective to unveil their identity as producers and musicians in their own right.
“Bubbling” refers to the many ideas, encounters and projects that the collective have come into contact with over
the past years. Through their events and their work as label curators and remixers (for artists such as Oumou Sangaré,
Blick Bassy, Cerrone, Onipa), Mawimbi have become known as ambassadors for “afro-electro” - whatever that might
mean - and their debut album buzzes with the contagious energy of the music they love. If you ask Mawimbi, Afro-electro
is about global and local inspiration, from both sides of the Black Atlantic. It’s about paying tribute to the forefathers and
the brothers and sisters in arms across the world. Afrobeat, highlife, South African bubblegum pop, Malian music,
maloya… Bubbling seeks to connect geographically separate but spiritually similar club sounds.
Hence “El Caribe” (feat. Ghetto Kumbé) is half cumbia, half Carribean dancehall, while “Ngana” (feat. Fatim
Kouyaté) has some elements of dub music and “Kakraa” (feat. K.O.G) nods to disco‐infused Ghanaian productions from
the 70s. Despite the influences, this is a record designed for home-listening, a nod to our present circumstances, but also
a deliberate step away from dancefloor. A moment of patience and reflection as much as joy and celebration.`
Above all, Bubbling is a personal record, about unexpected cross-pollinations and the collective’s individual
explorations of these musical territories. Mawimbi's own history is one of coincidences and chance encounters, and so is
“Bubbling”. All the collaborations were born out of the connections made over the last 8 years. A WhatsApp chat with
Zambian artist Mufrika, a spontaneous studio jam with Ghetto Kumbé in a Parisian Basement: these are captured
moments of real, vital connections made.
Like Mawimbi itself, Bubbling is a collage of relationships and shared experiences, shaped by nascent friendships
and musical encounters. It’s a truly DIY document in that sense, the sound of the last eight years of the Mawimbi
adventure: free spirited, passionate, warm and generous.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 proved to be the last of their collaborations.
Uncut Magazine referred to Series 1 music as “Pink Floyd without the mythology”. The first recording session for Space: 1999 took place on December 11th 1973 with a 52-piece orchestra performing the opening and closing title music. For the series’ incidental music between 32 and 38 instruments were utilised at any one session, all conducted by Barry Gray. The selections from Year 1 show Gray’s skills in creating a memorable opening theme as well as dramatically evocative cues highlighting the plight of the Alphans as they became known. The Year 1 album also showcases a selection of library cues which featured throughout the series.
Barry Gray was a classically trained composer and a versatile musician and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety. Fanderson, dedicated to the productions of Gerry Anderson, has gained access to all Barry Gray's original studio tapes and have undertaken a major re-issue project. Together with Fanderson, Silva Screen Records is championing Barry Gray’s incredible musical opus and is releasing the material in a series of physical and digital albums and vinyl records.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 Series 1 proved to be the last of their collaborations. For Series 2, composer Derek Wadsworth took over the reins to provide a more contemporary sound.
The Year 2 album contains Wadsworth’s score, specially selected cues to provide a driving and exciting narrative to convey the new adventures. Record Collector perfectly describes it as “classic 1976 period stuff: fast, furious and occasionally over the top in a dramatic way; nicely atmospheric for Sci-Fi and a touch funky every now and again.”
Derek Wadsworth enjoyed a long and successful career as a composer, trombonist and session musician. For over half-a-century he played, arranged, and conducted for some of the biggest names in music including Dusty Springfield, George Harrison, Judy Garland, Dionne Warwick and many more.

The Wicker Man soundtrack has achieved huge cult status over the years, it has certainly proved to be a major influence on neofolk and psychedelic folk artists ever since the film first appeared in cinemas in 1973.

The soundtrack’s songs were performed by the band Magnet. The band was assembled by musician Gary Carpenter (the film's associate musical director) to perform songs composed by

New York songwriter Paul Giovanni. Giovanni had always planned to release the songs recorded for his soundtrack, firmly believing them to be worthy of existing as an album in their own right.

Of course, this never happened, mostly due to the film’s troubled past, and consequently all of the existing soundtrack albums that have been previously released have included extra incidental music from the film.

So, this edition is the final word in the long history of this influential soundtrack, the songs recorded with Paul Giovanni by Magnet are presented here as an album,

just as Giovanni himself intended. This definitive version of The Wicker Man has only previously been available as a special edition released in 2013 to celebrate the

40th Anniversary of the release of the film. For that release Silva Screen commissioned artist Richey Beckett to create a brand new image for the cover of a one-off pressing on vinyl,

and that edition is long sold out and has become sought after.

This newly put together Silva Screen release features new artwork, extended notes, a gatefold sleeve and is pressed on yellow vinyl.

Comet Records is excited to present Afro Rhythms Vol. 1 the first repress since 1999 of Singles and Remixes out of Black Voices’s LP from Tony Allen Afrobeat pioneer, along with the iconic Psyco On Da
Bus creating a new sound between experimental, electronica and afrobeat, both albums produced by sound activist Doctor L

The compilation is a proper trawl through the vault of the early years of Comet Records featuring producers and artists as IG Culture, Eska, Catalyst aka Alex Attias, Psycho On Da Bus Featuring Doctor L and Tony Allen, Cinematic Orchestra and the legendary Parisian duo Chateau Flight.

The tracks "The Drum" and "Brotherhood" produced respectively by IG Culture (Son Of Scientist) and Cinematic Orchestra are part of The Allenko Brotherhood Ensemble project, a collaboration between the
unique drumming style of Tony Allen and the best in contemporary producers.

Comet label continues its hypnotic elliptical orbit through radical funk realms and dancefloor wormholes, connecting to five decades of music from four continents and still heading for the future, a pure and positive light to guide our way on.

180g vinyl record. only 300 copies - all hand numbered.

pressed in two verison - 200 black and 100 transparet with one white line ("crack" as the name of the TV series).

The first 100 copies have the Urbanski signature on the back cover.

This is another, after "Ultraviolet" collaboration project of the AXN Polska, U Know Me Records and the artist - Wojtek Urbański. The soundtrack for the Rysa series with Wojtek's original music will premiere on the 9th April.

"The music for the Rysa series is a combination of the world of electronics, modernity with traditional instruments and folk accents. On one side we have synthesizers, deep bass and wide spaces, characteristic of electronic music and close to my musical style. In opposition to these elements, however, I used traditional instruments such as hurdy-gurdy, pipes, flutes and strings" says Wojtek Urbański.

"I wanted the duality of this music to reflect the struggles and double life of the main character of the series. She lives in a certain suspension, between the 'day' world which she knows and remembers, but also the 'night' world which happens beyond her consciousness. Through music, I tried to convey the character of both these worlds, touching very dark and heavy emotions in one of them. I have invited an expert of traditional music, Sebastian Wielądek (hurdy-gurdy, pipes, flutes) and the outstanding violinists Stanisław Słowiński and Agnieszka Świgut to record these works. " adds Urbański

180g vinyl record. only 300 copies - all hand numbered.

pressed in two verison - 200 black and 100 transparet with one white line ("crack" as the name of the TV series).

The first 100 copies have the Urbanski signature on the back cover.

This is another, after "Ultraviolet" collaboration project of the AXN Polska, U Know Me Records and the artist - Wojtek Urbański. The soundtrack for the Rysa series with Wojtek's original music will premiere on the 9th April.

"The music for the Rysa series is a combination of the world of electronics, modernity with traditional instruments and folk accents. On one side we have synthesizers, deep bass and wide spaces, characteristic of electronic music and close to my musical style. In opposition to these elements, however, I used traditional instruments such as hurdy-gurdy, pipes, flutes and strings" says Wojtek Urbański.

"I wanted the duality of this music to reflect the struggles and double life of the main character of the series. She lives in a certain suspension, between the 'day' world which she knows and remembers, but also the 'night' world which happens beyond her consciousness. Through music, I tried to convey the character of both these worlds, touching very dark and heavy emotions in one of them. I have invited an expert of traditional music, Sebastian Wielądek (hurdy-gurdy, pipes, flutes) and the outstanding violinists Stanisław Słowiński and Agnieszka Świgut to record these works. " adds Urbański

Pre-pandemic, there was a plan. The plan was for musicians from South Africa and Senegal to travel to London's in uential Total Refreshment Centre to make an album with musical kindred spirits in the UK. Like so many plans, it had to be adapted. Album features an array of high profile players from the burgeoning nu-jazz scenes in London and Johannesburg, including Theon Cross, Asher Gamdeze, Siya Makuzeni (SPAZA), The Comet Is Coming's Danalogue & Alabaster dePlume

marbled 12" Vinyl

Seamless to our first release of the Stone Techno series we are presenting the second edition of this unique concept. Each artist has been given a sample library consisting of recorded minerals from the Ruhr Area. The task was pretty clear, to create a track exclusively out of those sounds. The results are remarkably differing from each other and showing the huge creative potential of this project, which is a collaboration between the world famous Ruhr Museum foundation and The Third Room collective.

While Matrixxman delivers us an ambient driven masterpiece, RODHAD shows us his impeccable skills to create an ever-evolving tension in his dub techno influenced approach. Yan Cook on the B-Side is exploring the full potential of those samples to honor the industrial era and its machines, while T3R-Resident VNNN. is hailing with his hypnotic grooves the late hours of an extensive musical journey.

We hope you enjoy this imposing line-up of artists and its different styles within the release. There is more to be coming. Stay tuned!

Before joining vibraphonist Terry Gibbs’ quartet in 1962, Detroit-born pianist Alice McLeod
played intermissions at the Paris Blue Note and appeared on French TV with saxophonist
Lucky Thompson, reaching Gibbs’ attention in a duo with vibraphonist Terry Pollard; in the
quartet, she became the perfect foil for Gibbs, her understated piano making room for his
intense improvisation, stepping up with her own expression when needed. El Nutto, their
third LP, captures Alice at her best in this setting, as heard on the reveries of ‘El Flippo’ and
the title track, this solid set of Gibbs originals showing her virtuosity, composure and
curiousness, which would soon reach more cosmic highs, once she became Alice Coltrane.

Nocturnes: Music For 2 Pianos was written during 2020 and 2021. There are 14 compositions, written mostly at night in lockdown. The decision to compose for two pianos gave me the ability to write more abstract compositions, blurring the melodies and harmonies to make a diffused sound. Other Nocturnes are more pure and focus on delicate melodic fragments, revealing their compositional process as they develop. Each short piece should stand on its own however the atmosphere and intention of each movement work together as a whole. Writing the work, which was composed and recorded at home was in a way therapeutic amidst the pandemic. I would like to think the beauty of the sound and reflectiveness of the music communicates and in turn perhaps might help the listener find some solace in these strange times. I wanted Nocturnes to be an acoustic album, playable by any two pianists who might want to perform them.” – Craig Armstrong

Blending screamo and metalcore seamlessly, the three-piece drop their debut full length filled with blistering hardcore as well as slower, expansive and epic post-hardcore. Misery Never Forgets is a crimson slice of emotional violence, whose attack is both frenetic and draining, a maelstrom of vulnerability frought with pain and aggression that calls to mind such stalwarts as Pg. 99, Majority Rule and Zao. Born as an outlet for trauma, Wristmeetrazor toes the duplicitous line of suffering and salvation. This paradigm flickers brighter than ever through the cloak of darkness that is the band’s debut LP “Misery Never Forgets”, nine tracks of blinding, chaotic emotion. Conceived in the bedroom of guitarist and vocalist, Jonah Thorne, Wristmeetrazor started as a solo project influenced by the likes of screamo bands Neil Perry and Kodan Armada in Spring of 2017. Shortly after releasing a demo, Thorne enlisted help from bassist and vocalist, Justin Fornof. After releasing two EPs in the Fall of 2017, and touring across the southeast, the band rounded out their line up by adding drummer and vocalist, Bryan Prosser.

When it comes to modern heavy metal there are few bands operating at the same level as Portrait. For a decade and a half the Swedish unit have been forging their own path, and in the process infusing life into a longstanding, well-established genre and taking it in new directions. Following up 2017’s acclaimed Burn The World, they return with the mighty At One With None. While Portrait fans will immediately recognize it as the work of their heroes they are not simply rehashing old ideas and treading where they have before.

In the Company of Serpents traffic in sonic catharsis. Their music inhabits the strange fringes between sludge metal and sprawling spaghetti western scores, constantly striving for visceral power and raw intensity, contrasted with eerie, spare instrumental passages. Founded in Denver, Colorado in 2011 the band quickly managed to establish a name for themselves. Several releases followed in the years to come and In the Company of Serpents managed to impress the masses on stage as well. Late 2019/early 2020 the band started to work on their album ‘Lux’. It turned out to be one of the most impressive Doom/Sludge Metal albums ever recorded. The band self-released the album in limited edition during 2020 but soon afterwards Petrichor noticed their supreme musical qualities and decided to offer the band a chance to release the album worldwide. A deal was made, hands were shaken and you now all have to face the impending doom before you. The music of In the Company of Serpents is so intense it mimics the gravitational pull of a black hole.

Produced by Benny Yurco (Michael Nau, Grace Potter & the Nocturnals), mixed by Dan Molad (Lucius, Emily King) and recorded live at Little Jamaica Recordings in Burlington, VT, Liz Cooper’s highly anticipated sophomore album Hot Sass marks multiple departures—from her nine-year home of Nashville, from her band addendum of the Stampede, and from the genre-based expectations she’s accumulated throughout her career. With these twelve new songs, Cooper comes into her own—both musically and as a person—embracing a newfound sense of independence, honesty, maturity and creativity. In addition to Cooper and Yurco, Hot Sass also features Cooper’s longtime bandmates and collaborators Joe Bisirri (bass), Ryan Usher (drums, percussion) and Michael Libramento (guitar, synthesizer). Reflecting on the album, Cooper shares, “It’s me learning about what kind of woman I am and it’s not pretty all the time…I’m still processing these songs. Still reflecting. And I think that’s the thing—Hot Sass is just a stamp in time of what was happening in my life. I just want to continue making art that displays myself, the moments, and the people around me.” The new record follows Cooper’s 2018 full-length debut album, Window Flowers, which was released to widespread critical acclaim. Of the album, NPR Music praised, “a gorgeously arranged and performed bouquet of psychedelia-tinged folk-rock,” while Rolling Stone hailed, “Cooper pushes her strand of folk rock deep into psychedelic territory by merging her idiosyncratic vocal style with swirling, droning guitar effects and lacerating solos that feel dusted with otherworldly magic,” and Paste declared, “If we’re lucky, we are going to hear a lot more artists in the future like Liz Cooper.” Originally from Baltimore and now based in Brooklyn, Cooper has continued to tour consistently since her debut, performing alongside artists such as Dr. Dog, Shakey Graves, Bermuda Triangle, Lord Huron and Phosphorescent as well as special festival performances at Austin City Limits, Newport Folk Festival, BottleRock Music Festival, Lockn’ and more.

Desmond Dekker is a Jamaican ska, rocksteady and reggae singer-songwriter and musician. He was originally a welder by profession, and it was his colleagues that encouraged him to pursue a career in music when they heard him singing in the workplace. He eventually signed a record deal with Beverley’s, and grew into one of Jamaica’s biggest stars. He is also credited with launching the career of fellow former welder Bob Marley.

In the 1993, he released the collaborative album King of Kings with English ska band The Specials through the famous reggae label Trojan Records. Released under the name Desmond Dekker and The Specials, King of Kings consists of songs by Dekker’s musical heroes including Byron Lee, Theophilus Beckford, Jimmy Cliff, and his friend and fellow Kong label artist, Derrick Morgan.

Motoko & Myers is the collaborative project of Bay Area-based duo Wonja Fairbrother and Daniel Letson. “Colocate” follows their 2018 debut release on the Open Hands Real Flames imprint, further developing their distinctive style which combines melodic, pop song structures with live improvisation and odd or no-meter approaches to rhythm and timing. It is a collection of bright, addictive listening, full of tracks that manage to feel at once hooky and aleatory, naive and rigorously arranged.

Recorded and assembled sporadically over a period of several years, the album’s idiosyncratic palette was achieved through much technical and methodological eccentricity: “4-handed” collaborative keyboard playing; 12-bit sampling and archaic presets; field recordings of cicadas in Louisville, Kentucky and church bells in Freiburg im Breisgau. The album’s nine tracks exude a homespun quality that is rare to find in contemporary electronic music – hazy, warm, and disarmingly organic.

In the most literal sense, globally renowned whistler Molly Lewis makes her gorgeous
and curious compositions out of thin air.
New entrees into the Exotica canon; sprawling, would-be Spaghetti Western scores;
and a dash of Old Hollywood glamour - the whistle-led songs on her debut EP ‘The
Forgotten Edge’ are as complex, delicate and indelible as anything performed with
viola or piano.
“Whistling is like a human theremin,” said Lewis, an Australian native who’s spent the
last several years in LA and whose performances there and around the world are
changing any preconceived notions of whistling by the room-full.
That’s not to say Lewis is all serious and snooty about the craft. Quite the contrary.
Her sense of humour is witty, self-deprecating and zany. She’s as likely to reference
the slapstick Leslie Nielsen film series ‘Naked Gun’ for music video concepts as she
is a classic piece of noir cinema.
Look no further than the equatorial and breezy opening cut ‘Oceanic Feeling’, a
lovely walk across the flotsam-sprinkled sands in the rum-pumping vein of Les
Baxter. Meanwhile, the title track - and really, the entire collection here - is a loving,
albeit rather haunting, salute to one of Lewis’s heroes, the Italian composer and
musician Alessandro Alessandroni, whose whistle and guitar you hear on the title
theme of Ennio Morricone’s ‘A Fistful of Dollars’. Lewis and her ensemble create
classic cinema for your mind.
Her own love for the artform began when, around the age of twelve she was given
the CD ‘Steve ‘The Whistler’ Herbst Whistles Broadway’. Something contained in it
clicked. “It wasn’t that I was immediately obsessed, but I knew it was something I
could do well,” Lewis said.
The daughter of a musician mother and a documentary filmmaker father who often
focused his films on niche communities and topics, Lewis recalls watching a
television documentary with her parents about The International Whistlers
Convention in Louisburg, North Carolina. “My dad said, ‘If you ever make it into the
competition, I’ll take you there’,” Lewis said. Turns out, there was no bar to entry, just
a small fee. And so, several years later, she and her father travelled to the
convention. New to the form, Lewis didn’t take home one of the bigger prizes but they
were awarded the prize for Whistler Who Traveled The Greatest Distance. “We really
just used the trip to drive around the United States,” she said.
After studying film in Australia, Lewis moved to Los Angeles to be close to the film
industry. There, her circle of artist friends grew naturally and with providence - her
unique talent drawing more and more recognition. And over the last few years,
Lewis’s Café Molly events at LA spots like Zebulon, Non Plus Ultra and The Natural
History Museum have become fabled, elegant happenings with appearances from
guests like John C. Reilly, Karen O and Mac DeMarco.
Recorded with a crack team of friends and musicians during 2020’s quarantine, ‘The
Forgotten Edge’ is rife with incredible performances from Thomas Brenneck (Sharon
Jones & The Dap-Kings / Budos Band), Joe Harrison (Charles Bradley, Lee Fields),
Eric Hagstrom (Brainstory), Abe Rounds (Meshell Ndegeocello, Andrew Bird, Blake
Mills), Leon Michels (El Michels Affair), Gabriel Rowland and Dave Guy.

‘Concordance’ is Susan Howe’s and David Grubbs’s fifth album in the
fifteen years of their unexpected and richly satisfying collaboration. Here
they’ve pared down their materials to voice and piano, aspiring to the
hushed intensity of their live performances. What had previously resulted
from Grubbs’s recomposition of recorded materials now arrives as
unadorned duo performance.
“Howe is a poet who has spent her career reminding us that our
experiences of meaning and sound are synchronous.” - Tess Taylor, The
New York Times
‘Concordance’ is Susan Howe’s and David Grubbs’s fifth album in the
unexpected and richly satisfying collaboration that began with ‘Thiefth’
and includes ‘Souls of the Labadie Tract’, ‘Frolic Architecture’ and
‘WOODSLIPPERCOUNTERCLATTER’. Where these works feature the
fragmentation and multiplication of Howe’s recorded voice - in a style
akin to her celebrated text collages - with ‘Concordance’ they’ve pared
down their materials to voice and piano, aspiring to the hushed intensity
of their live performances. After fifteen years of working together, the
subtleties of inflection and interaction that previously resulted from
Howe’s nuanced delivery and Grubbs’s composition using recorded
materials now arrives as unadorned duo performance.
One of America's greatest living artists, Bollingen Prize-winning poet
Susan Howe’s text for ‘Concordance’ originates in a collage poem of the
same name published by Grenfell Press, which then became the title
work in her most recent book, published to acclaim by New Directions in
2020. She has continued to rework the text for this performed version,
incorporating material from her 2015 book of essays, ‘The Quarry’. Her
source material is scissored from print concordances of the poetry of
Milton, Herbert, Arnold, Browning, Dickinson and Coleridge, as well as
old field guides to birds, rocks, trees, moths and mushrooms; Howe’s
fiery commitment to placing these echoes of the past in dialogue with the
present speaks to her position as one of America’s essential artists.
David Grubbs is Professor Of Music at Brooklyn College and The
Graduate Center, CUNY. He is the author of ‘The Voice in the
Headphones’, ‘Now that the audience is assembled’ and ‘Records Ruin
the Landscape: John Cage, the Sixties, and Sound Recording’ (all
published by Duke University Press) and, with Anthony McCall,
Simultaneous Soloists (Pioneer Works Press). Grubbs has played in
Gastr del Sol, The Red Krayola and Squirrel Bait and performed with
Tony Conrad, Pauline Oliveros and Will Oldham, among many others.

- Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

- Transparentes Vinyl mit roten und blauen Schlieren - Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

Gold Vinyl

Though the hallowed halls of Berlin’s nightlife excess now sit cold, the sounds that once haunted their depths beat ever onward, and colder still. Birthed in these hushed plaguelands, XTR HUMAN’s new full-length G.O.L.D evokes the frozen melancholy of a post-pandemic city, driven ever onward by the impetus of night’s primary currencies: sweat, release and change. The latest full-length from Johannes Stabel, G.O.L.D finds the German producer evolving as much as the rest of the world has had to. Taking his political and socially conscious lyrics into his native tongue brings a deeper and more powerful thrust to their weight—particularly at a time when Germany is weighing its own social consciousness after years of being seen as a leading world figure. Across G.O.L.D’s ten tracks, Stable brings our zeitgeist into a new realm, where the anger and frustration at our current existence is refined into the energy that fuels our engines, that primal desire always amplified during times of social upheaval—the desire to move your body. Many of the songs delve into Stabel’s own experiences as a German, from explorations of the Deutsch mentality of persistent fear to tackling the fake news, jingoism, racists and coronavirus deniers on hypnotic bangers ‘Dark Germany’ and ‘Dieser Klang’; issues just as prevalent in Germany as in the USA and UK. Yet each song carries just as much weight on to the dance floor, melding driving EBM bass with soaring synthlines and coldwave atmospheres that dispel the tenseness that such heavy topics imbue, in favor of intensity and beauty. Influenced by the pop hooks of Austrian New Wave legend Falco, G.O.L.D never neglects its danceability and HD club accessibility, no matter how heady the lyricism. ‘Starker Junge’, a dissection of toxic masculinity, drops down onto the listener with sparkling synths and razor-sharp guitar, while capitalist critique ‘Fleisch’ is a pogo synthpop anthem that could send any floor into a twirling frenzy. Wrapped in darkened beats and political ideals, G.O.L.D can’t hide the light that emanates from within its glistening, imminently catchy hooks and groove-laden rhythms. In a time where the dance floor sometimes seems like a distant memory, it’s the perfect philosopher’s metal to transmogrify your existence. All songs written and recorded by Johannes Stabel Mixing by Andrew Wiseman Arwork by Nicolas Zupfer Mastering at Dadub Studio

Ipek Yolu is the Turkish name for the Silk Road which connected the East and the West. This band does not deal in silk but they connect flavors, smells and sounds from different corners of the globe, connecting the world.

The band merges bass-heavy electro-tinged cumbia grooves, saz riffs and surf guitar into a multicultural melting pot of South American rhythms, Anatolian folk music and 60s psychedelic rock. A unique universe of sound that bridges the tropical jungles and the dusty deserts in a kaleidoscopic blend of music. Ipek Yolu has used 2020 to write their debut album Tropical Anatolia and are ready to hit the venues and festivals.

The members of Ipek Yolu first got together for an improvised jam session during the Aarhus Roots & Hybrid Festival in 2018. The show was set up as a special one-time-only show merging members from the bands Hudna & Junglelyd. The show ended up lasting for almost three hours. It didn’t take them long to discover they were onto something special. If you know any of these bands mentioned you know you’re in for a body-shaking party, characterized by musical curiosity and improvisation.

The three members of Ipek Yolu have all been part of the Danish music scene for several years. The band leader, Orhan Özgür Turan, is a well-known and respected saz player all over Denmark, and has made a name for himself through his efforts in the Anatolian Folk band Hudna. In 2018 he won an award as Global Roots Artist of the year at The Danish World Music Awards. Olaf Brinch and Lasse Aagaard have worked together for many years making high energy cumbia with their band Junglelyd and Afrobeat with their band African Connection. Olaf is also an integral part of the Danish band AddisAbabaBand. In addition, Olaf and Lasse have toured and recorded with great musicians such as CC Yoyo, former drummer of Fela Kuti, in both Ghana and Denmark. All of the past experiences collided to create Ipek Yolu.

“This is another new one off the greatest album ever made. It’s called ‘My Kingdom.’” Rock and roll arrogance has never hemmed so close to the truth as this Ian McCulloch introduction to “My Kingdom” during the 1983 A Crystal Day concert special. Not only were Echo & the Bunnymen aware of the instant classic status of their latest LP, but the grand, majestic and fluid nature of Ocean Rain made it clear that the band had indeed set out to make “the greatest album ever made.” Ironically, despite all of their work and focus, this masterpiece sounds like it was simply handed down from the gods. Following the more rock-oriented material on their first albums, the songs on Ocean Rain were a departure. The aim was to make something “conceptual with lush orchestration, but with a twist.” With their success using strings on tracks like “The Back of Love” and “Never Stop” providing confidence, the band employed a 35-piece orchestra for Ocean Rain. Guitarist Will Sergeant would later describe the finished recording as “windswept; dark and stormy.” The Scott Walker / Love inspired string arrangements, unusual instrumentation, inventive recording techniques and McCulloch’s abstract and bewildering mysticism all added to the unique and timeless quality of the album. A statement of purpose by one of the elite bands from the ’80s underground, Ocean Rain includes several of the Echo & the Bunnymen’s most adored recordings and some of the best songs from the era. “The Killing Moon,” “Silver,” “Seven Seas,” “Crystal Days” and the aforementioned “My Kingdom” continue to mesmerize a new generation of post-punk romantics, and the band’s influence can be heard in the grandiose spectacle of groups such as Arcade Fire and British Sea Power.

The Paradigm-Shifting Fourth Studio Opus From The Norwegian Pioneers.
Presented On 2cd Deluxe Digipack Format & Including A Retrospective Look
At The Album Courtesy Of Writer Jeff Wagner.
‘Themes from William Blake’s The Marriage of Heaven and Hell’ is the fourth
studio album by Norwegian experimentalists Ulver.
Having been known for their more folklore-tinged black metal compositions on
early studio releases, in late 1997, mainman Kristoffer Rygg invited keyboardist, sound conceptualist, and composer Tore Ylwizaker into the collective, and
together they devised a plan for The Blake Album; an altogether far more adventurous endeavour than prior releases.
What resulted was a seamless integration of electronic & industrial music, with
elements of progressive metal & avantgarde rock, all fused with ambient passages, & following Blake’s plates as track indexes. A work of deep and personal
art, the album, while initially surprising to fans due to its complete shift in genre, has become a classic today, and a prime example of the boundary-pushing
evolution beyond the confines of genre expectations through the latter part of
the 90’s. Upon release, ‘The Marriage of Heaven & Hell’ received widespread
acclaim from critics within the rock, metal & alternative music press, being
awarded Album of the Month in several high-profile magazines such as Terrorizer, Metal Hammer, and Rock Hard.
The album notably includes guest vocal appearances from Darkthrone’s Fenriz,
as well as Ihsahn & Samoth; most known for their work in Emperor.
This newly remastered edition of ‘The Marriage of Heaven & Hell’ is presented
on 2CD deluxe digipack format, including full lyrics/text, plus a new article from
writer and journalist Jeff Wagner on the background, nature & triumph of such
an ambitious release.

Over the past 16 years, Rebelution has had nearly everything a band could
ask for: chart-topping albums, hundreds of millions of streams, a GRAMMY
nomination, even their own festival in Jamaica.The only thing they haven’t
had, it seems, is time.
“When COVID hit, we found ourselves in uncharted territory,” says frontman
Eric Rachmany. “Suddenly we were just sitting still, which was a completely
new experience for us.”
Difficult as it was to leave the road behind, pressing pause proved to be a blessing in disguise for a band that has emerged from lockdown with their most
captivating, eclectic record to date: ‘In The Moment’. Recorded remotely in the
midst of the coronavirus pandemic, the collection is deliberate and wide-ranging, infusing the quartet’s soulful, exhilarating brand of modern reggae with
addictive pop hooks, alt-rock grit, and hip-hop grooves.
The performances here are bold and self-assured, and the production is equally ambitious, drawing on swirling reverb and trippy delay to create an immersive sonic universe that’s both futuristic and vintage all at once. Strip away the
intoxicating atmospherics, though, and what remains is a work of profound
reflection, a probing, revelatory meditation that balances joy and introspection
in equal measure as it contemplates the meaning of time and invites us to sit
back, slow down, and live ‘In The Moment’.
Includes guest appearances by Busy Signal, Kabaka Pyramid, Durand Jones, and
Keznamdi.
coverage out in reggaeville worldareggae niceup Print: Rock at
Night Magazine
Radio plays for “Old School Feeling” on BBC Radio 2 David Rodigan, The Random Reggae Show Swindon 105.5 Swindown FM and Vibes FM Reggae My
Limits

super rare psychedelic folk lp from 1969, which with Shide & Acorn and Parameter is one of only three genuine Psychedelic Folk lp privately issued in england in that authentic era. only 70 copies were made by Hollick and Taylors custom pressing plant. very little was known about this lp and until this edition and it had been thought of as a solo folk lp, very very WRONG, its a band, and completely in the hallucinogenic and magical english Incredible String Band and Donovan style, with mystical lyrics, flutes, and a serene vibe throughout. the original 48 page booklet of lyrics and poems is reproduced, and errors by the original printers, such as the use of the wrong font on the cover, have been corrected according to the bands original wishes. for any fans of ISB, classic Donovan (Gift From A Flower era), Dr Strangely Strange and Shide & Acorn this lp is manna from heaven. Their unusual name was inspired during a train trip on magic mushrooms when a band member saw a poster from the train window depicting a lion and three similar words, emblazoned above the image, the lion appeared wreathed in flames and spoke to him as he passed.

LTD Edition!

Wenn ein Großteil von DJ Seinfelds früherer Arbeit von sepiafarbenem Dunst geprägt war - ein Ergebnis der absichtlichen Lo-Fi-Produktionstechniken des Produzenten - dann rückt seine Musik auf dem brandneuen Album, „Mirrors“, fest in den Fokus.Aufgenommen zwischen Berlin und Malmö, ist „Mirrors“ der Nachfolger von DJ Seinfelds von der Kritik gefeiertem Debütalbum, „Time Spent Away From U“, von 2017 und sein erstes für Ninja Tune. Benannt nach einem Zitat von Armands Lieblingsschriftsteller, dem argentinischen Romancier Julio Cortázar, findet sich der Produzent auf dem Album in einer ruhigeren und geerdeten Stimmung wieder, nachdem ein unglücklicher Vorfall in seiner Familie ihn in den letzten Jahren dazu zwang, mehr Zeit zu Hause in seiner Heimat Schwedenzu verbringen.

2016 als Teil der Lo-Fi-House-Szene neben Produzenten wie Ross From Friends und Mall Grab bekannt geworden, veröffentlichte DJ Seinfeld (dessen Name auf ausgedehnte Sessions beim Schauen der klassischen US-Sitcom nach einer Trennung und einem Umzug nach Barcelona zurückgeht) 2017 sein Debütalbum, das unter anderem vom internationalen Rolling Stone und Pitchfork gelobt wurde. Es erregte auch die Aufmerksamkeit von Zeitgenossen wie Flume, Flying Lotus, Bonobo und Martin Garrix und führte dazu, dass DJ Seinfeld zu einem weltweit gefragten DJ wurde, der überall von Glastonbury bis Coachella, Warehouse Project, Sónar By Night und MoMaPS1 Sets spielte und die Bühne mit zahllosen Künstler*innen teilte, von Jeff Mills bis Stormzy, Underworld und Bicep, außerdem begleitete er Disclosure auf einigen Terminen ihrer US-Tour. Im Jahr 2018 erschien seine DJ-Kicks, wodurch er zu einer auserwählten Gruppe von DJs und Produzent*innen katapultiert wurde, zu der auch Moodymann, DJ Koze oder Nina Kraviz gehören. Um das Ganze abzurunden, eröffnete Aphex Twin seine Live-Shows mit dem DJ Seinfeld-Track, „Sakura“.

An invitation to multi-cultural musics reunited around the Carribean Islands. From Haïti to the Bahamas, passing by the French West Indies this journey explores traditional rythms from Soca, Calypso or Biguine. Musicians as Gordon Henderson, Max Cilla or the band Skah Shah knew how to use Soul, Funk and Disco influences to create a unique groove with multiple faces.

Time and troubles seem to melt away during the fifteen enrapturing minutes of “Idle Moments,” the opening track of Grant Green’s sublime 1963 album of the same name. As the piece unhurriedly unfurls all the unique colours of the ensemble present themselves with Green’s soulful guitar joined by Duke Pearson’s elegant piano, Bobby Hutcherson’s crystalline vibraphone, Bob Cranshaw’s reassuring upright bass, Al Harewood’s subtle drums, and Joe Henderson’s magnificent tenor saxophone. The pace quickens for the rest of this tremendous set including the nimble Green original “Jean de Fleur,” a bluesy take on John Lewis’ MJQ standard “Django,” and a driving performance of Pearson’s original “Nomad.” This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Colkin, who is based in Wuppertal, is one of those guys who pushes things forward in the subcultural field and follows words with deeds. Together with Nico aka dont-call-him-molly and his other partners, he has been running the mauke_club in Wuppertal for several years. An ultimate melting point for dance culture, scene connoisseurs - as well as newcomers who want to be smoothly introduced into the things we love. Not to forget his considerable discography.

Besides the fact that he is a fine guy and we have been in exchange with him for a long time, we appreciate his taste in music very much. This seems to be mutual, as the ep he recorded fits us like a glove. Three what we find to be great, timeless house productions that forget the Covid circumstances for a brief moment and bring the dance floor to life with your eyes closed. These tracks will accompany us until the clubs reopen, That's for sure!

We are also pleased that Javonntte and melchiorsultana have been musical influences on these productions, which were recorded in Paris during Colkin's stay there. This obviously had a considerable influence on the naming. Whether in Paris, Wuppertal or Düsseldorf - we are actually looking forward to our fifth release with Colkin!

Analha was one of the first approaches I had with the design of analog basses and drums, to understand the way in which we can involve so many sounds and transform them to our own liking, to give it its own narrative, a sense, an identity in which it can be navigated about different styles without problem.

They are two pieces that make up totally different break paths where "Mi ama Dic K no" A1 is my own exploration and vision of the break beat, three melodies written in F # that count the subtlety, while the bass contrasts in an aggressive idea to the beat of many changing rhythms in the drums, which sorfs between a Mpc, 808, Dsm & V Modular ; Classic trip hop voices samples that guide the way this own idea progresses on the breaks and pads that generate a more complete environment with a very energetic atmosphere that is constantly on the rise in the active and natural development of the track.

Towards the B side "Run mami run" B1 is composed by a classic intro of acid cut while some seconds of drums interpose which are accompanied by a radio narration of a chase, a return change is present with a vinyl spin between voices from GTA & WU TANG CLAN which make an intro for an infusion of breaks fully aligned to the beginnings of oldskool drum and bass which are accompanied by voices recorded, treated and edited to connect more directly between the spaces interrupted by the glitch acid chords.

Among contrary structures "Analha" contains hidden but marked criticisms, it is a project that comes from 2018 and ended at the beginning of 2019 which made him think about how to involve more than music within his own sound narrative.

The sonorous identity of rachiid today is different, he understands his environment but does not believe in adapting, he tells us that each exploration and discovery during these years have led him to think how this first release was born until now but is not connected at all with what nowadays, describes his sonority today as changeable, essential and highly with IDM, experimental and breaks.

- 2021 repress / comes in label sleeve -

This is the 1st release from Seba & Paradox since 2011. It carries the traditional breakbeat sound that the duo is known for, but with a sense of modern electronic music.
Delusions is a 'think break' based track with a monotonous beep that brings the thoughts back to minimal techno. The
sub on this track is very low! Make sure your system can handle it.
Future now is an 'amen' track with typical Seba & Paradox break edits and vocal samples. This track has already gained a lot of interest within old Seba & Paradox fans.

More than any other album in the canon of Art Blakey & The Jazz Messengers, 1958’s Moanin’ — featuring the great drummer with trumpeter Lee Morgan, tenor saxophonist Benny Golson, pianist Bobby Timmons, and bassist Jymie Merritt —was the perfect crystallization of the band’s bluesy, soulful sound, and it still stands today as perhaps the most quintessential hard bop recording of all-time.

Originally self-titled, the album was later renamed Moanin’ due to the popularity of Timmons’ unforgettable opening track. The album also introduced several indelible Golson compositions that would become standards of the jazz songbook including “Along Came Betty” and “Blues March.”

This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Ramona Córdova is a sound artist — passionate about writing, communicating, linguistics, behavioural & social psychology, observation & investigative research, photography, sound recording, and design. Their artist focus is on project-based sound and visual media, public engagement and live performance — although they are best known for their music and are typical regarded as a singer songwriter. Ramona Córdova intends to speak to the challenges of living under systems of oppression while inspiring introspection and personal growth toward the maturing of our societies. Ramona is Haitian-Filipina, Puerto Rican, born in Kingman, Arizona, USA and is inter-feminine trans non-binary.

"When I first started working on Naïve I was completely consumed by all of the technical details involved in making a 'professional studio recording' on my own - one which could not be refuted or disregarded as subpar. My only other hope was to tell some sort of story with whichever songs i could piece together. The content and message of which were much less important to me.

The story that Naïve ended up telling comes from a cohesion of themes, ceaseless in my personal experiences living day to day in the world. Although the album dares to tread on tact while speaking poetically and lyrically about issues such as systemic oppression, racism, misogyny, policing and patriarchy - I think the album really just wants to reflect - to serve as a reflection - in order to foster healing and healthy growth towards maturing. I feel it commanding a kind of firm kindness as a reminder to love yourself enough to accept others, by way of accepting yourself.

Pressed onto this 180-gram vinyl are 10 songs I wrote while living in many different places around the world. Spontaneous recordings of inspired notions of song, written one rainy evening up high above the vineyards in Banyuls-sur-Mer became Men on the Mountain. A Scrap of paper holding jots about a sudden storm on a hot day in August while helping friends on their farm in Puglia became Mouth of Autumn and Peace Through Violence. As I dressed myself into the fragile reality of the United States, I became flooded by its manipulative social governing systems. As the monuments of slave-owners, colonisers, and white supremacists came crashing down in the name of responsibility and accountability, The Bridge Works was built, a song about crossing bridges towards empathy and equality. Civil rights activist and American-Football quarterback, Colin Kaepernick, taking the knee during the United States national anthem pre-game ceremony, brought about So Long. The incessant murdering of black, brown, and transgender citizens brought Woke, Scared I'll Bite You, and The End. The murder of Eric Garner and the feeling of being choked-out and suffocated under the weight of systemic oppression brought about Still.

From all of this birthed the collection of songs that is Naïve, a title given to the album by French Ghanian artist Eden Tinto Collins. Although written both in Europe and the U.S., most of the songs were performed and recorded at the end of the year 2018 in Philadelphia, during the American-Holidays season. Still, Loving Him, and The End were written in Philadelphia, but produced in Vlorë, Albania. This helped serve as a reminder that the issues these songs speak of are not isolated to the United States of America." - Ramona Córdova

SHORT INFORMATION/ SHORT BIOG
BUSY P - aka Pedro Winter- the boss of Ed Banger Records is back with his brand new EP “Track Of Time” !
Collector Double Black Vinyl edition .
Features Haich Ber Na & Shay Lia + 3 exclusive remixes by the legendary MASTERS AT WORK .
Former cult Ed Banger designer SO ME back especially to design the Vinyl artwork.

Crystal Winds legendary sophisticated soul LP first released on the privately pressed Cash Ear label in 1982, it's mad to me these amazing tracks have never made it to 45 yet so time to put that right, the classiest of classy 70s soul sides for your Djing and listening pleasure, you all know how much I love floaty 70s joints, not sure it gets better than this.


The key figures behind Crystal Winds were Paul Coleman and M.C. (Morris) Brown, both alumni of the band Rasputin's Stash which had had two albums out in the mid-'70s which had done reasonably well for Atlantic subsidiary Cotillion and Chicago indie Gemigo, respectively.

Between them, keyboardist Coleman and saxophonist Brown wrote the vast bulk of the album (guitarist Martin Dumas co-wrote Lover's Holiday with Brown, and one J.Lagrone is added to the credits of So Sad and Signs of Winter's Time) and handled the male lead vocals, with the distaff element provided by Theresa Davis. Brown wrote the horn arrangements, the pair did the string arrangements, and legendary concertmaster Rich Tufo (associated with Curtis Mayfield and other Curtom acts including Linda Clifford) was also on hand for the album (credited with conducting and orchestrating both strings and horns). Guitarist Dumas had also been a member of Rasputin's Stash, as had drummer E.Frank Donaldson (who plays on two tracks).

Brian Leeds a.k.a. Huerco S' West Mineral label present a groggy Midwestern ambient doozy with Chat, the first collaborative release by Pontiac Streator and Ulla Straus
Pontiac Streator previously appeared as a guest on the first West Mineral LTD release, Pendant's Make Me Know You Sweet, while Ulla Straus is perhaps best known for her part on the cultishly adored bblisss compilation tape which introduced Huerco S.'s Pendant alias to the world at large.
Their first album together is a bedroom-crafted confection where drowsy blues and raga smudge with lounging exotica themes in a blunted style to properly heavy-lidded effect.
Chat was recorded on July 5th in Pilsen, Chicago on Ulla's bed after a long week spent dancing with friends, staying up all night typing in chatrooms, and hate-watching Fox news. The results channel that experience into four lop-sided creations that feel satisfyingly burned out and immersive, like the murmur of zonked chat between close friends.
In four parts; Chat One thru Chat Four, the record unfurls with a muggy mid-fi tension between its illusive fidelities, kindling a smoky atmosphere that colours listening spaces with seductive smells
and a muggy, keening tension that recalls the minutes before sundown
This balmy feel of the surreal comes out in a sylvan patina of sweetened cicadas and curling pads urged along by a stream of wooden drums, variously recalling Spencer Clark on some kind of
Aguirre soundtrack mission in the tropics, a heatsick Rainforest Spiritual Enslavement piece, or, in the dream-pop drift of the last part, like Leven Signs smudged by Muslimgauze.
Coolly serving to expand West Mineral LTD's remit after that spellbinding Pendant album and a 12" of ectoplasmic dubs from uon, the flux of arid/fluid textures and para-dimensional fidelities in
Chat feels somehow calming yet fraught with a somnambulant appeal that's dangerously easy to

Paladin were a British progressive rock band which released two albums during their short existence (1970-1973). They played in venues across the UK as they worked to develop their sound, performing a mix of rock, blues, soul, jazz, and Latin music. In 1971, Paladin entered the Olympic Studios in London to record their eponymous self-titled first album. The reviews were good, but the sales were disappointing. The album comes across as a smorgasbord sampling of what the era had to offer with a few original twists and turns. As diverse as it is, Paladin’s infectious rhythms and strong melodies pull the album together, and the excitement never lets up.

Paladin is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl.

• 180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE
• LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON SILVER COLOURED VINYL

Few artists in the music profession are as unclassifiable as
Nina Simone. During her long career she tackled material from
a variety of styles, garnering an audience that included soul
devotees, folk followers, R&B lovers and even jazz buffs.
Embarking on this project, she joined a host of seriously
talented individuals: the likes of Ella Fitzgerald, Sarah
Vaughan, Billy Eckstine and Frank Sinatra, who had recorded,
and would continue to record, items from the Ellington
songbook for many years to come

A double album of sumptuous, expansive downbeat luxury written by Pete Woosh - one half of the celebrated duo Digs & Woosh and Nottingham's DIY collective - with Andy Riley (Toka Project, Inland Knights) during the illness which would eventually claim Pete's life. Given the background of its creation, it's a blissfully peaceful and optimistic sounding collection.

The chilled disco/house hypnotism of 'Keep Yr Shape' and 'For Your Love', all slinky, hazy vocals and headnodding back room hedonism, are obvious highlights, but more reflective moments like 'Piano Fades' make this into a varied and enduring 'proper album' listen rather a mere collection of tracks.

All profits will go to the Spirit Wrestlers foundation, founded in honour of Pete's memory and devoted to good causes in his hometown of Nottingham.

In My Sleep is the debut vinyl release from French producer Margee. Having gained a loyal following last summer with a remix for Tommy Guerrero, released on Music For Dreams, this EP showcases his natural ability at creating low-slung, densely layered productions, perfectly aimed at the dancefloor.

The release also features two heavyweight remixes. The first of these comes courtesy of underground House legend DJ Nature, who takes the title track and gives it a completely new twist with his inimitable ‘ruff disco’ stylings. Hailing from Bristol (via New York), recent years have seen Nature release on Futureboogie, Golf Channel and Jazzy Sport.

The second remix on the release comes from Hardway Bros (AKA Sean Johnson). Having been an early champion of Margee’s work on his regular ALFOS streaming marathons, Sean took the second track on the release, Wrong Dream, and went into heavy-dub mode. The resulting remix clocks in at just over 11 minutes and is everything you’d expect from him, and more…

Margee said of the release ‘In My Sleep started while taking a shower. The bassline popped up in my mind and I ran out as quickly as possible to record it. From there, I got pulled into a deep emotional trip with groovy tones and dirty sounds. Wrong Dream is actually a lost project that I had to start over again. It turned out to be more fierce than the first one, experimenting with arps and fuzzy synths, while keeping a certain groove that was easier to reproduce.’

In My Sleep is the second release from London based label Other Goodness, following on from Bawrut’s ‘Divergent Emotions’ EP last year, which quickly became a mainstay of the live-streams and a DJs favourite.

Working his mellow magic on the Growing Bin, Sorcerer entertains your inner child with eight tracks of instrumental west coast pop suitable for dancing, dreaming and surfing a wave or two.
While Basso sat in a Teutonic treehouse, feeding his head with the sounds of the woodland, Dan Judd danced on the sands of San Francisco's Baker Beach. Stretching between them, like the world's longest tin can radio, was the Dream Chimney. This legendary forum, run by Ryan Bishop, better known as The Beat Broker, helped to launch a thousand labels, and the Growing Bin is one of them - all hail the Chim!
Here, Dan, naturally mystic in his Sorcerer guise, satisfies all our sensory needs with a Kinder Surprise of sweet melodies, coastal cool and playful rhythms inspired by his children's earliest responses to music. Following his feelings and avoiding overthinking, he creates open, enticing and accessible cuts; each living and breathing that mellow magic you only get on the West Coast.
'Kids World' kicks into gear with the spheric bass of '2000 Studio', a bouncy embodiment of that spacious San Francisco sound. There's a nod to nu disco but the dreamy dubiness takes the track much deeper, especially as those surf guitars start to detune in the summer heat. The breezy fretwork continues on 'Disco Drums', topping a wriggling groove tailor made for the terrace. Shades of rave refract through a healing crystal at the midpoint, encouraging al fresco dancing from sunrise to sunset. The A3 sees Sorcerer get into the groove of 'Bahia Brothers', rolling that rubberised B-line out of his own Paradise Garage before putting the top down for the carefree Balearic pop of 'Spray Paint.'
The B-side glides into being via the night dubbing grooves of 'Fire Feel', a reverb laden journey though glassy tones, off beat perx and gorgeous chord progressions. Next up, the new wave inspired 'Crunchy' translates Sheffield's daring synth pop into a wide eyed blast of psychedelic house, boosting our mana ahead of the loose limbed and light footed 'First Wave'. Ringing guitars reference Ghanaian highlife, shimmering in the heat haze as Dan funks up the drum kit ready for the broken beat and blissed out energy of sundowning set closer 'Escape Route'.

Let’s get back to the program. Picking up from where things were left off in July 2020…

Whilst most electronic producers of the dance-floor persuasion dabbled with conducting micro-symphonies for their micro-herbs, locked inside their micro-mansions, Dreems has dusted off his dance-floor accreditations and got back to work creating some serious indoor waves for Le Temps Perdu.

The Blue Water EP has all the stuff that encapsulates the label - raw, fun, powerful and free, yet deep, loving, warm and friendly. The music carries on from the previous Shark Water and Blue Hole EPs, calling all sea monsters with Die Orangen Remix of Shark Water, later emerging in calm waters for mermaid pleasing Iñigo Vontier Remix of The Dolphin Communion, and finally swimming into the salty, acidic tones of the Blue Hole (Break Mix).

Dear water-lily enthusiast, you need fear not, there is a hearty nod to the plant-life in Something Else for Spring that grows and sprouts new life with each turning phrase and finally blossoms with a sprinkle of joy. Label head-gardener V gives it the extra push put on the dance floor with his tougher take.

You grab a copy of the vinyl at some bricks and mortar stores if you are fond of wearing your scuba suit whilst browsing the shelves, otherwise head to the regular online outlets to get this small slice of history. It contains, we feel, the best of the past 2 EPs.

Birthed in Brooklyn from her home studio during lockdown, producer and stay-at-home DJ Lauren Ritter unveiled her own, newly-minted label Rift Vision last winter with four deep,
glittering, dream-like compositions. As the world begins to re-open, Rift Vision returns with a stellar cast of guest artists to provide their own take on her four originals.
The inimitable Octo Octa kick-starts the project, giving “Vespers” an injection of energy with groovy, bouncy percussion that underpins the track’s warm and buoyant pads. Bumako visionary Jenifa Mayanja gracefully pairs vocals and rhymes from Tenesha The Wordsmith and
JB!! AKA Dirty Moses with warm, floating, and glistening melodies that refresh “Thirst Trap” for the summertime.

Re-mastering by: Kevin Gray

This is a reissue of a now out-of-print album from live trio date by the legendary LA-based pianist, composer and multi-bandleader, Horace Tapscott. Pianist Horace Tapscott is always at his best when he is leading a trio. Born in 1934 in Houston, Texas, Horace came from a musical family centered around his mother, Mary Malone Tapscott, who worked professionally as a singer and pianist. When Horace was nine, the family moved to Los Angeles. As a teenager in the late 1940's, Horace was surrounded by the music of Central Avenue: Art Tatum, Charlie Parker, Coleman Hawkins, Dexter Gordon, were among the many cats on the set. Around this time, Horace also began to take music lessons from teachers Dr. Samuel R. Browne and Lloyd Reese, whose other students included Eric Dolphy and Frank Morgan. Horace's musical studies included trombone in addition to piano.

In 1952, Horace graduated from Jefferson High, got married to Cecilia Payne and went into the Air Force. Horace played in an Air Force Band while he was stationed in Wyoming for his term of duty. After mustering out, he returned to Los Angeles where he worked around on various gigs until he joined the Lionel Hampton Big Band as a trombonist.

In 1959, Horace finally went with the Hampton Big Band to New York, where his friend Eric Dolphy introduced him to John Coltrane. A tough winter, a lack of gigs, and too many nights on the floor of a friend's art gallery finally sent Horace packing for sunny Southern California, where a life with wife and family awaited his return.

The sixties saw Horace emerge as a die-hard leader of the Avant Garde. Horace began to gain public notice playing with his own group, that included alto saxophonist Arthur Blythe, bassist David Bryant, and drummer Everett Brown II. Horace also appeared on records for the first time.

Horace was always outspoken about racism, politics, stereotypes, and social ethics. His forward-minded vocal presence on and off the microphone is as much a part of his art as his piano playing. As a result, he was labeled a "dissident," categorized as an "employment risk," and black-listed from the music industry establishment in the early 1970's. None of this slowed Horace down. He began gigging sporadically at Parks and Recreation events and for churches around Watts. This "dark period," with his only regular gig at his friend Doug Weston's Troubadour on Los Angeles' "Restaurant Row", was also a time of intense creativity.

Around 1977, Horace reorganized the Pan-Afrikan Peoples Arkestra with the help of several old friends and many new faces. The Arkestra performances involve singing, dancing, and poetry in addition to the music. Soon after the new group's debut, Horace came to the attention of producer Tom Albach who contracted Horace to record a number of albums for Nimbus Records. Albach also helped introduce Horace to an international audience by arranging several European tours.

The 80's saw Horace emerge as one of jazz's premiere solo pianists. He recorded several solo piano albums for Nimbus.

Keplar re-issues the fourth album 'Chessa' by Dan Abrams' project Shuttle358 on vinyl for the first time. The double LP edition includes 3 previously unreleased tracks from the same recording sessions back in 2004, as well as an extended artwork with unseen photographs by Dan Abrams.

While undoubtedly associated with the microsound and 'clicks & cuts' movement around the turn of the millennium, on 'Chessa' Shuttle358 left behind the classical rhythmic patterns of the genre and shifted further towards warmer territories, meandering between modern digital minimalism and the soft tones of ambient music. Counter to his microsound synthesis approach on Frame (2000), Abrams created Chessa by writing software that manipulated samples from his unreleased songs, guitar pieces, and vintage japanese films sampled from video tape. In particular, a special granulating technique was written and performed at intentionally low sample rates that gave the uniquely fragile, yet dense sound to the album. Over fourteen tracks Abrams arranges slowly evolving sonic entities of unfading elegance. Strayed and hazy melodies pulse and cascade, elongated but brittle harmonies shimmer and disappear, echoing far-off in the rounded corners of the mind. The patient and detailed way Abrams combines the broken with the beautiful in creating organic collages of sound that retain the euphonic essence of a song, makes this piece of work so powerful and timeless, sounding just as relevant today, as it did 17 years ago.

Under modern scrutiny in Abrams latest studio, he refocused the original recordings to emphasize the elements most important to the original vision. The final mastering and vinyl preparation was done in collaboration with Stephan Mathieu, vinyl was cut by LUPO.

From the original press release in 2004 by Taylor Deupree:

Without a doubt Shuttle358 has become one of the most admired artists to emerge from modern electronic music’s sea of musicians. From the humble beginnings of a demo CD in 12k’s mailbox to 4 critically acclaimed CDs, Dan Abrams is, to some, the one credited for bringing a warmth and human touch back into what has often been considered a very cold, sterile genre. It began with 1999’s Optimal.lp (12k1005), a groundbreaking debut release that immediately defined the Shuttle358 sound; a hybridization of the then-emerging “microsound” genre with Eno’s true ambient explorations. In 2000 Abrams outdid himself with Frame (12k1011) by honing his sound design and exploring production techniques at rates that made his “now” quite brief and creating what was to become one of the most sought-after CDs in the 12k catalog.

Chessa is the third release from Abrams’ Shuttle358 moniker on 12k and he continues to do what he does best: attempt to move microsound away from the world of theory and towards absolute real life. Like his photographs, Chessa is music about, and to be listened to in, unexpected places. It is a narrative, a simple slice of life that plays out through the incidental photography of the cover artwork. To achieve this Abrams fuses irregular granular sound particles, like the movements of everyday life, with a deliberate melodic base that captures emotion and simplicity.