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Far View’ is a compilation of tracks from Joel Vandroogenbroeck’s series of library
music releases for the Coloursound label, a uniquely trippy catalogue of music
vignettes long overdue for their day in the library music sun, remastered from the
original analogue reels.
 The late Joel Vandroogenbroeck was among the rare breed of musicians who defy
all categorization, using music conventions to explore the far reaches of human and
cosmic consciousness. After passing through the jazz and rock worlds from the
1950s through the ‘70s, Joel found new outlets for his expansive vision in the ‘80s
with the Swiss library music label Coloursound. ‘Far View’ draws tracks from these
releases, which form a unique entry in the genre of library music. For the uninitiated,
this is just one way to begin a brilliant musical trip through Vandroogenbroeck’s
undersung career.
 A musical prodigy from youth, Joel arrived at Brussels’ classical Music Conservatory
in the early ‘50s, but his studies were curtailed by the revelation of jazz. Soon, Joel
was touring in groups around Europe and beyond with luminaries like Eje Thelin,
Stan Getz, Bob Brookmeyer and Zoot Sims. As time passed, his musical
consciousness continued to expand: time spent in Africa sparked a deep exploration
of the music of the Middle East. The new rock sounds from England, like The Beatles
and Jimi Hendrix, were mind-blowing. And from Germany came the krautrockers,
with something completely else again.
 Vibing on the eclectic energies of the day, Vandroogenbroeck formed Brainticket,
whose approach to composition fused jazz, rock and a mélange of global musical
traditions, combining a Western rhythm section and analogue synthesizers with an
astonishing array of acoustic instruments; ethnic flutes, sitar, harp, kalimba and all
manner of percussion. Steeped in diverse approaches of playing and listening,
Brainticket drew from prog rock and psych, traditional sounds and minimalist music,
all of which passed through their hands like the tributaries that formed the basis of
what would soon be known as New Age music.
 In the late 1970s, Vandroogenbroeck began composing for sound libraries, with
recordings to be used as underlay music in films, radio and television. Gunter
Greffenius’ Coloursound Library was formed in 1979 with an inclusive vision of
music, including experimental, progressive rock, and some of the earliest examples
of ambient music - styles not well represented in other libraries. Coloursound gave
Joel the freedom to create music in any style or genre, and over the next decadeplus, he embarked on a musical journey that is unmatched anywhere in the world of
library music. Working under the pseudonyms VDB, his output on Coloursound is
some of his most sublime and otherworldly - ranging from dark electronics to
imagined music of the ancient past to ethereal ambient sounds of the future, which
makes sense, as Joel’s records were always ahead and in and out of their time.
 Joel VandroogenbroeckJ passed away in in December 2019, while work was being
done assembling this collection. Curated by David Hollander, whose ‘Unusual
Sounds’ album and book of the same name delightfully explore the library music
world, ‘Far View’ draws from ten of Joel’s Coloursound albums with lovely cohesion.
Featuring brilliantly remastered sound, liner notes from David Hollander, album art
designed by Robert Beatty and reproductions of the Coloursound album jackets, ‘Far
View’ is an entry point to Joel Vandroogenbroek’s mind-bending body of work - sonic
soma to expand your consciousness and vibrate with the cosmos.

LP Black Vinyl, DL card. ‘Until We Fossilize’ is the debut album from Marta Del Grandi, an eclectic singer songwriter from Italy. This is an award-winning jazz vocalist set in new territory, crossing borders of genre and style from West Coast ‘60s to ambient exotica, from plaintive Lynchian etherealism to dramatic Morricone scores. Marta gathers influences from near and far to create a unique genre-splicing style who’s now travelling her own unique and unchartered path. Newly signed to Fire Records, this debut is an unravelling of time and distance; a breathtaking journey from mainland Europe to the Far East and back again, delivered as an eerie, soundtrack by a captivating vocalist. A self-produced gem; filled with lush strings and electronic ambience and an eclectic vocal that transcends boundaries. Lead single ‘Amethyst’ takes inspiration by the myth of Amethyst, filled with Greek mythology, touching the wildest manifestation of imagination, it’s the story of a woman who frees herself from the expectations imposed on her by patriarchy. Composed with Indian drummer Tarun Balani, Marta sounds like Sandy Denny backed by Eno on Gamelan with a nod to Sun Ra. ‘Until We Fossilize’ is a lyrically aware set of dramas littered with life-affirming couplets over gorgeous, dramatic turns. “It’s modern and ancestral at the same time.”

There are records with empathy, records which are your friends and then there's the others... There might be little difference between them, a certain "je ne sais quoi", an "almost nothing but still something" which makes the difference between almost pointless and vital records. Despite, or rather thanks to his cynical despair, Matt Elliott's music never holds up a moralizing mirror to us - on the contrary, it creates a compassionate dialogue with listeners like the rhythm of two steps that synchronize to become as one. In 2016, Matt Elliot brought out his seventh solo album The Calm Before whose obscure title is neither exactly threatening nor comforting... the calm before what? Before the storm for sure but maybe also before the great record, the immediate classic we felt might be coming for a long time in the dual discography of the Bristol-born artist working under his own name and his electronic alias Third Eye Foundation. The elegant details and perspectives of Little Lost Soul (2000) already hinted at the upcoming masterpiece from the English singer-songwriter. The Mess We Made (2003) was Matt Elliott's first solo album and portrayed a universe in a kind of flight towards Balkan horizons made up of visceral despair. With the Songs trilogy, he put aside the electronic side of his work to continue working with a minimalist, stark and lucid style of writing. The Broken Man (2012) was full of tears and long laments sometimes carried by Katia Labèque's piano on a record which painted new shades of grey. On this record Matt began working with the producer, arranger and multi-instrumentalist David Chalmin (La Terre Invisible) who has kept on collaborating with the Bristol-born singer since then. Their partnership continued on Only Myocardial Infection Can Break Your Heart (2013) and The Calm Before (2016). Stéphane Grégoire is the head of the Ici D'Ailleurs label which has accompanied Matt Elliott since 2005 and perhaps he describes this album the best: "This new record by Matt is without a doubt his best album to date, a record that takes him into another dimension where he fully asserts himself as a songwriter and singer of the calibre of artists like Bill Callahan, Leonard Cohen or Johnny Cash." Matt Elliott's other records all seemed like empathic links between each other. Farewell To All We Know is an instant classic based on the sensitive piano and superb arrangements of David Chalmin, the sensitive cello of Gaspar Claus, the subtle bass of Jeff Hallam (who has also played with Dominique A and John Parish). There is a clear form of alchemy in all of this and still we find Matt Elliott's usual atmospheres and scenery, the same Eastern European folk music, long songs that take time to settle over time. Everything is the same but also is transfigured. By making his music stark and purifying and redefining the subject matter, Matt Elliott's work became so much more delicate. However this work is never frail nor really turned in on himself and thus becomes like a vital tune that vibrates and unfolds. The opening song Farewell To All We Know seems torn between the fear of what tomorrow may bring, inevitability and hope for the future in a permanent and progressive dramatic tension expressed by his Spanish guitar, the impressionist style piano and Matt's voice teetering on the edge of whispers. A funereal tribute to endless twilights and the dawns we all dream of seeing. There are touches of Leonard Cohen from Songs from a Room or Thanks For The Dance in The Day After That with Gaspar Claus's counterpoint cello. There is no spirit of resignation in Matt Elliott's work - life's path has to be followed against all odds. We have to follow the river's flow to reach the immense ocean and its infinite freedom. The haunted instrumental Guidance Is Internal harks back to the atmospheres of Howling Songs (2008) with its guitar parts full of scansions and muted threats. The music is transcendental but never seems afraid of the risk of falling. This is also what Bye Now tells us with its quasi-obsolete simplicity and sunburst melancholy reminiscent of the work of Luiz Bonfá, Bill Evans on Peace Piece or laidback crooners of the 50s. In Farewell To All We Know, Matt Elliott incessantly alternates between the dual desires to face up to the world or to protect himself from it. Hating The Player, Hating The Game is a lucid statement about the dullness of our daily lives sometimes, our right to get out of the game and no longer want to be part of it. Matt Elliott is tender but spares no one, particularly himself. Aboulia speaks of the tiredness of living and of looming death while Crisis Apparition says that there is always a time for reconstruction after chaos. This is like initially wearying wandering in the ruins of Aleppo with the slow dilution of the melody into a hallucinated drone. However the smell of great fires always fades and the earth always regenerates. Matt Elliott seems to suggest that the survival instinct is stronger than any cold winds could ever be. Matt Elliott never sings of certainties and prefers possibilities. Possibly the worst is over? Maybe... Maybe the storm has passed and devastated everything, now we just have to rebuild and live again. Farewell To All We Know shows us the distance that still needs to be walked and he walks next to you - right next to you, he is the friend who doesn't spare you the truth like all true friends really do.

Aufgang is back with its 3rd album, “Broad Ways”, slated for release in November 2021

With this 3rd album, the franco-lebanese duo perpetuates its winning alchemy by drawing on the psychic and collective traumas of recent History at the crossroads between European and Middle Eastern cultures.

What more was there to prove for the Aufgang duo since their re-invention of US techno a few years ago through the means of organic instruments like piano + drums, and releases on Infiné & BlueNote/Decca ?

Maybe that they would from now on independently take onto themselves, the full conception and distribution of their body of work, supported by a collective of visual-arts creators, dancers, and emerging talent-incubators (Bi:Pole/Believe/ BigWax/Alter-K)...

“Broad Ways” could be translated as «in many ways» in the sense that there are many ways of seeing the world, and that everything is not binary and that on the contrary, our lives are shaped by the each other’s own paradigms...

In this clever mix of experimental techno, lyrical prowess and melodies in the Arab tradition, can one imagine a future that would solve the world’s current contradictions in a boiling magma so complex of which Edgar Morin would be proud... Following this unique trademark, this art of mixing influences and cultures, along the New York, Paris, Lebanon and now Sydney axis... how far will they go?

According to Pitchfork, AUFGANG “blends piano, drums and electronic music with virtuosity, with one foot in the club and the other in the conservatory.”

Rami KHALIFÉ, composer and pianist, transcends the classical heritage of his years studying at the Juilliard School in NYC and the Middle Eastern origins of his masterful family: his father Marcel KHALIFÉ is a major composer and musician in the Arab world.

The drummer and producer Aymeric WESTRICH has an instinctive DIY approach and infuses his music with his knowledge of urban and electronic cultures, developed with Kery James, Cassius, Phoenix and more recently Lomepal.

Taking their inspiration from multiple artistic movements and currents, from the Disco of the mythical Larry Levan to the poetry of Oum Kalthoum, these two free electrons have created their sound between Paris, Beirut and New York, in reaction to the frenetic energy of big cities, as if in an effort to prevent this energy from corroding their freedom. It’s a unique experience born from the sublime diversity of these two masterful approaches.

Left Ear returns where they started, further highlighting the music of the enigmatic Leong Lau. Arguably one of the most unique artists to come out of Malaysia/Australia during the 70’s, Leong migrated to Australia to pursue an education in Engineering. He finished his degree but instead took a different ’career path’, choosing to explore his creativity.

From an early age Leong had been trained in the arts including both Chinese opera and flute. Leong recalls “making flutes out of grass weeds”, as he couldn’t afford a flute. It was this DIY ethos that Leong attached to his lifestyle. He found himself promoting festivals in the infamous town of Nimbin before moving to Sydney where he would record a small body of music with the sessional musicians he was playing with daily in the venues of Sydney’s Circular Quays. Leong’s ‘Late Night Flyer’ was the single to his supposed second album, which was allegedly manufactured but unfortunately a copy of the LP is yet to surface. One thing is for certain, two tracks landed on a 7” and together with a predominantly Chilean backing band known as ‘The East-West Unity Band’ they created two raw latin influenced jazz-rock tracks that stand the test of time.

The A-side a homage to the omnipresent characters that frequented the after-hours jazz clubs Leong performed at. Whereas the B-side is named after his favourite philosopher Herbert Marcuse’s novel ‘One Dimensional Man’, which sees Leong take a more psyched out approach.

Margo Cilker is a woman who drinks deeply of life, and her debut record Pohorylle, (out on Loose) is brimming with it. For the last seven years, the Eastern Oregon songwriter has split her time between the road and various outposts across the world—Enterprise, Montana, the Basque Country of Spain—forging a path that is at once deeply rooted and ever changing. As Pohorylle traverses through the geography of Cilker’s memories—the touring musician’s tapestry of dive bars and breathtaking natural beauty—love is apparent, as is its inevitable partner: loss. For what bigger heartbreak is there to be a fierce lover who must always keep moving? Cilker seems keenly aware of the precarious footing upon which love stands, and at many turns the record carries the desperation of being in the presence of something that is staggeringly beautiful, and slipping away.

Legally blind from birth, Brazilian keyboard player, composer and bandleader Manfredo Fest learnt to read music in braille and began studying classical music at a young age. By 17 he had fallen in love with jazz (particularly the music of fellow blind pianist George Shearing) before becoming swept up in Rio's emergent bossa nova movement in the sixties. Moving to the States in 1967 where he would go on to work with fellow countryman Sergio Mendes, Fest recorded and self-released Brazilian Dorian Dream in 1976, enlisting Thomas Kini (bass), Alejo Poveda (drums, percussion) and Roberta Davis (vocals).

Like a turbo-powered, intergalactic elevator ride, Brazilian Dorian Dream builds on the principle of the modal diatonic scales of the Dorian mode, with influences of Brazilian rhythms, North American jazz and funk, and music of the European baroque and romantic era. The coming together of these intergenerational and intercontinental styles coupled with Fest's visionary use of the Fender Rhodes, Clavinet, Arp and Moog synthesizers (plus a whole load of effects units), makes for an album light years ahead of its time.

The miraculous wordless vocals of American jazz singer Roberta Davis are nailed so tightly alongside Manfredo's keys and mind-bending synths that it sounds almost alien. On the album's liner notes, Fest preaches Davis' ability highlighting how hard it is to sing such precise intervals so accurately. One of the tracks on which the vocals shine brightest is space funk stepper "Jungle Cat", which features hard funky drums, freaky synth lines and expert Rhodes comping. The track builds up and up before releasing into the unmistakable scat melody in the chorus.

A few years after releasing Brazilian Dorian Dream, Fest recorded and released his Manifestations album in 1979, featuring 'Jungle Kitten'': a new dancefloor focused variation on "Jungle Cat". At around 140 BPM 'Jungle Kitten' was possibly deemed too fast for statside dance floors, which explains why it never got a US 12" release. But the track became something of an underground hit at jazz dance clubs and all-dayers across the UK in the 80s and as a result it has probably become Fest's most well known track since.

Welcome to the world of Spöön Fazer!

This lost cold wave artist self-released a sought after 7” single in 1980 - Music 2 Dance 2 - and a 12” EP Sunset on Illuminated Records in 1982. In 2008 German label Anna Logue released an EP of unreleased songs that quickly sold out. Spöön featured on Cherry Reds Close To The Noise Floor compilation (2016) examining innovative U.K. electronica released between 1975 and 1984.

The music on these releases showcase Spöön's unique style that blended together art rock, drum machines, guitar, bass, washes of synthesisers and a compelling vocal style.
Spöön Fazer took to the stage over 30 times between 1980 and 1982 at venues ranging from the famous New Romantic haunt the Blitz Club to the Mind, Body and Spirit Festival at Olympia. He either appeared solo singing to pre-recorded music or with his backing band the In-Sect.

OM Swagger brings you a collection of material collated from Spööns personal tape archive. As well as tracks like Do Different Dances and Beat Dance Drumming that appeared on those hard to find recordings, we serve up unreleased tracks recorded between 1980 and 1982. Songs like Fall In Love With The East, Dancing In London, Samurai Dancing Party, Wish, Chan and Birthday show a more commercial side that never made it onto vinyl. These tracks are on a par with music released at the time by artists like Blancmange and John Foxx.

Aptly named Alternative Regression Therapy this 17-track compilation gives an insight into the lost world of Spöön Fazer detailing a career that started on a drum stool for punk band Whippets From Nowhere to a one-man crusade to enrich the cosmos with electronic music! Tracks like Michael, Row The Boat Ashore show that with the right backing Spöön might have
Continued over…
even hit the charts. Spöön even turned down the opportunity to become the drummer for the Thompson Twins just before they hit the big time.

It’s time to fall in love with Spöön Fazer.

East Coast minimal wave institution Xeno & Oaklander’s seventh full-length further distills their iconic noir synth pop into a streamlined suite of gleaming, graceful retrofuturism. Inspired by ideas of synesthesia, scent, star worship, and obsolescent technologies, the duo of Liz Wendelbo and Sean McBride began conceiving the blueprint of Vi/deo while sequestered at their Southern Connecticut home studio during the pandemic. The context of isolation, streaming, and remote dreaming seeped into their chemistry, manifesting as both homage to and meditation on a certain cinematic strain of technicolor fantasy: the screen as stage, distance disguised as intimacy, where tragedy and glamor crossfade into one.



Opening with the precision synthetic melancholy of “Infinite Sadness,” the album marks a peak fluidity between the pair’s fusion of analog electronics and poetic melody, both refined and oblique, classic but contemporary. Wendelbo modeled her singing on “a young boy in a choir,” alternately holding notes and whispering them, with the lyrics clear, the voice elevated. McBride’s synthesizers serve as the perfect counterpart, tiered and polished, threading fluorescent architectures of a lost audio-visual age. Theirs is a... 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.

After being out of print for years, Atmosphere’s fifth studio album, You Can’t Imagine How Much Fun We’re Having, returns on vinyl. Following the breakthrough success of their four th album, Seven’s Travels, the group returned in 2005, showing impressive growth and inventiveness in their new compositions. Citing inspirations f rom a list of less-than-expected sources, including Tom Waits, Mark Lanegan, Shawn Phillips, Spoon, The Mars Volta, alopecia, Public Enemy, Boogie Down Productions, The Beauty Pill, infected wisdom teeth, Craig Finn, TV On The Radio, Australia and I-94 East, among others, the album pushed boundaries without over reaching.

“Atmosphere has never sounded as pointed and focused as it does here on its fifth album.” –Billboard [8 Oct 2005]

“Both a return to form and a major step forward.” –URB Magazine [Dec 2005, p.94]

“Producer Ant’s production is full and springy. Whether flipping operettas on ‘Say Hey There’ or dropping pianos from five floors up on ‘Musical Chairs’ he’s got sundry abilities.” –Pitchfork [3 Oct 2005]

“Ant has never captured Slug‘s pen strokes quite like this, and as an emcee and a songwriter, Slug has never sounded this good over the course of an LP. [You Can’t Imagine How Much Fun We’re Having] is absolutely their zenith, in every sense.” –HipHopDX [4 Oct 2005]

• Vinyl has been out of print for years.
• Written and performed by Slug. Produced by Ant.
• Features popular tracks “Smart Went Crazy”, “Pour Me Another”, and
“Little Man”.
• Vinyl packaging includes 12” gatefold jacket housing black double

Love Wash opens with “Across the Flats” and closes with its title track, both upbeat ballads that build from scorched drones into momentous sprawling pop songs that help ease in and out of the album, which features contributions from co-PC Worship collaborators (LEYA’s Adam Markiewicz on violin and NYC drum shredder Greg Fox).
The second and third tracks “Drive” and “Saints” carry the subtle intensity that opens the album, with unpredictable instrumentation, chord changes and arrangements. This vibe is revisited later in the album on “Dune House” and “Hidden Away”, all of which are sonically rich, unraveling, dark, introspective and powerfully optimistic.
The rest of Love Wash is comprised of catchy, borderline alt-country hits with a twisted Nashville tele vibe (“December Sun”, “New Thing” & “East Side Walk”), featuring pedal steel and vocal contributions from fellow Dougie Poole band members Tristan Shepherd and Francesca Caruso. Love Wash has a natural flow throughout, however the one real outlier is the well placed and hyper paced middle child of the album “Dredging Up Old Blues,” a schitzo-synth-pop Mountain Dew Rock jam that feels like buying trucker speed at a digital gas station in Middle-America.

Love Wash has echoes of a post-Beatles solo record, recorded in the Northwest in the mid-90s; transient in its influences yet tied together with the aesthetic of its approach. Sequenced like the best, most damaged early K / Kill Rock Stars records and driven by fingerpicked acoustic guitar, sweeping drones, euphoric synths, lush vocals and soaring Dead Man leads, Love Wash is a beautifully rich pop record at its core and an ambitious journey of an album that started as bedroom demos and evolved into a layered studio exploration.
-- Justin Frye (PC Worship

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

Branches Of Sun by Wyndham Wallace Like every musician, Markus Sieber is used to going the extra mile to make the music he hears in his head and feels in his heart. There aren’t many, however, who would – or indeed, could – get to work in the mornings by strolling across a frozen lake before settling in a small cabin high up in the mountains located close to the Old Spanish Trail in Colorado where he had set up a home studio. For most of an entire month, though, he’d begin his day by pressing “Record’, and end it by pressing ‘Stop’. The world outside barely existed. Sieber’s no stranger to solitude and frugal living. Born near Leipzig, East Germany, 15 years before the Wall fell, his parents moved to a remote village outside Dresden when he was six, spending his free time in the summer fishing or swimming in the nearby Zschopau and Mulde rivers and, in the winter, ice skating, sledging and skiing. It’s no surprise, then, that with a background like this, and in locations such as those in which he now works and lives, Aukai’s work is imbued with a sense of peace. Even if the album took another half-year to complete, this was done in an unhurried fashion: after a month, he returned to the cabin to “shape, carve and edit” the material, inviting others to contribute along the way..

UMe will release an updated version of The Best Of Bond…James Bond, a 2CD and 3LP black vinyl compilation featuring celebrated theme songs from the longest-running film franchise. The new collection will include “No Time To Die” by Billie Eilish from No Time To Die, the 25th film in the series. Also now included will be Adele’s “Skyfall” from Skyfall, the highest-grossing Bond film to date, and Sam Smith’s Spectre theme, “Writing’s On the Wall,” – Oscar® winners for Best Song in 2013 and 2016, respectively. In addition to Billie Eilish, Adele and Sam Smith, included is the signature instrumental “James Bond Theme” by The John Barry Orchestra, which remains one of the most recognizable themes from film. The collection also includes Dame Shirley Bassey, Louis Armstrong, Nancy Sinatra, Paul McCartney and many other classics.

Doug Payne is a graduate of LaGuardia High School of Music & Art (also known as FAME) in Manhattan NY, and Howard University in Washington D.C. He performed as a member of the Sister Sledge tour ("We are Family") has produced several recordings for quite a few East Coast acts and worked as the Music Director for The Dreamlovers, Eddie Holman, The Coasters and the house-band for the Atlantic City television show Chat-24.

We are happy to present two of his self released singles in full on one long 12". She Is On The Money is a A+ Boogie floor filler this previously unreleased in this full version massive 15 Mins long mix direct from master tape. On the flip we have Doug's first single "Holiday" which was previously 45 only and very hard to find, plus some other mixes of "She is On The Money" from a second tape, HEAT!

Strut return to the rich archives of Black Fire Records for the Drum Message album by Ghanaian master percussionist Okyerema Asante from1977. After playing a short spell early in his career with Ebo Taylor's Blue Monksband at Tip Toe's in Accra, Asante joined the fledgling Hedzoleh Soundz during the early '70s at their Napoleon Club residency in the city. After playing Fela's Shrine, Fela recommended them to Hugh Masekela as an ideal backing band and Hedzoleh joined Masekela on a US tour in December 1973. Sharing the same management company, Charisma, Asante first met Plunky and Oneness Of Juju during an East coast tou rwith Masekela, starting a relationship with the band that has endured until today. Recorded at Arrest Studios in Washington D.C. in October 1977 and featuring musicians from Oneness alongside Gil Scott Heron cohort Brian Jackson on piano, Drum Message represents an important milestone fo rAsante: "This album really came from my heart. I wanted to project the African spirit in the music and come out with some unique African jazz. To be able to record it on Black Fire was extra special." The album also involved some serious physical graft: "The studio was up on the 14th Floor and the elevator was often broken down. I showed up with a van full of African drums and Jimmy Gray from Black Fire and myself had to carry them all the way up there, each day!" The resultant album was well worth the sweat. 'Adowa' adds jazz arrangements to a traditional Asante rhythm and Oneness classic 'FollowMe' is skilfully re-worked ("I used the bass drum in place of the bass guitar so it was all based on rhythms."). New versions of Asante dancefloor favourite 'Sabi' sit alongside the mellow groove of 'Asante Sana' ("I wantedsomething cool like reggae or highlife on that track, a similar vibe. So, Iwent inbetween.").

Soul Deep Recordings is turning 10 Years old!! To help celebrate this monumental accomplishment, a 10 Year Anniversary LP has been put together, starting with this stunning eight-track vinyl sampler. The sampler includes songs from some of the scene's most influential artists such as Madcap, Paul SG, Blade, Furney, Decon, Dramatic, and many more. With this collection of talented artists, the release is destined to be an instant classic.

Soul Deep would like to thank all of the artists and fans of the label for your support over the last ten years. Without your support, Soul Deep has been able to pursue our mission of pushing soulful Drum & Bass music to new heights. A special thanks goes out to the artists who supplied songs for the 10 Year Anniversary Release! The vinyl sampler will be followed up with 2 albums, which will be released shortly after the vinyl sampler drops. Help us start the celebration by checking out this release, and get your copy before they're all gone. Thanks again for your support!! Looking forward to another 10 years!

Vinyl reissue of this classic Oi! compilation originally released on Secret Records in 1981.

It features tracks by the biggest bands of the genre like: 4 Skins, Blitz, Red Alert, Peter & The Test Tube

Babies, Infa-Riot or The Business. This album went straight to number four of the independent charts and became probably the best Oi!

compilation ever issued. Includes original artwork inner bag.

Exceptional recordings by this New age maestro. Only recently re-discovered by his friend JD emmanuel & the band Sun Araw. Originally released on cassette in 1983 and now for the first time vailable on 180g Vinyl. For fans of Joanna Brouk, JD Emmanuel and Pauline-Anna Strom.

Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance.

These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City's Alternative Museum in October, 1983.

The “Music of Rana” Enviromental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning “Sunbreath”, has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music’s original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition.

This album is the first volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall’s book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. EQ settings of treble and bass levels determine the music's effect upon you. Please explore until the most comfortable settings are found.

FACT MAG: "These deeply meditative pieces are an expert take on how subtleties and concentrated listening go hand-in-hand. There is inherent beauty here, but it’s the deeper aspects that make the biggest impact."

Exceptional recordings by this New age maestro. Only recently re-discovered by his friend JD emmanuel & the band Sun Araw. Originally released on cassette in 1983 and now for the first time vailable on 180g Vinyl. For fans of Joanna Brouk, JD Emmanuel and Pauline-Anna Strom.

Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance.

These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City's Alternative Museum in October, 1983.

The “Music of Rana” Enviromental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning “Sunbreath”, has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music’s original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition.

This album is the first volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall’s book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. EQ settings of treble and bass levels determine the music's effect upon you. Please explore until the most comfortable settings are found.

FACT MAG: "These deeply meditative pieces are an expert take on how subtleties and concentrated listening go hand-in-hand. There is inherent beauty here, but it’s the deeper aspects that make the biggest impact."

Born in Brixton, a child of the Windrush Generation, Letts’ slippery and unorthodox career is somewhat hard to define, without taking a few detours around London, New York and Jamaica. He began his working life managing the dauntingly hip Acme Attractions on Chelsea’s Kings Road, where he made a mark with his attitude, dress and, especially, the pounding dub reggae that vibrated the shop’s walls. His first gig as a DJ at the short-lived Roxy in Neal Street, became mythical for turning a generation of punks on to reggae. They in turn hipped him to their DIY ethos resulting in his reinvention as a filmmaker. This led to a shed-load of music videos (Linton Kwesi Johnson, The Clash, Bob Marley) not

to mention documentaries on the likes of Gil Scott-Heron, George Clinton and Sun Ra.



In the ’80s, he was part of Mick Jones’ new venture, Big Audio Dynamite and his innovative use of samples were a core part of their sound. Listeners of his weekly 6 Music radio show are taken on a musical safari that moves seamlessly between time, space and genre. It’s not called Culture Clash Radio for nothing. So this latest bulletin from Letts HQ is merely one angle of a multifaceted personality, his take on the JA tradition of the cover version.



The history of Caribbean music owes a debt to R&B as many of the early island releases were cover versions of US 45s. Ska’s breakthrough commercially, Millie Small’s ‘My Boy Lollipop’, was originally recorded by Barbie Gaye in ’50s New York. Cover versions became quite a thing in Jamaica and Don, following in that tradition, has dug deep with a selection of interesting dubbed out covers including thirteen exclusives.



“A disciple of sound system, raised on reggae n’ bass culture my go to sound was dub. Besides being spacious and sonically adventurous at the same time, its most appealing aspect was the space it left to put yourself ‘in the mix’ underpinned by Jamaica’s gift to the world - bass. But that’s only half the story as the duality of my existence meant I was also checking what the Caucasian crew were up to not to mention the explosion of black music coming in from the States. That’s why this version excursion crosses time space and genre, from The Beach Boys to The Beatles, Nina Simone to Marvin Gaye, The Bee Gees to Kool & The Gang, The Clash to Joy Division and beyond. You’d think it impossible to draw a line between ‘em but not in my world. Fortunately, the ‘cover version’ has played an integral part in the evolution of Jamaican music and dub covers were just a natural extension.”



There’s a diverse mix of classic and new, with legendary figures like John Holt, The Tamlins and Cornell Campbell, mixed in with British veterans Mad Professor and the irrepressible Dennis Bovell, while (relatively) young striplings Kiko Bun, Emily Capell and Prince Fatty deliver the goods, with laidback Texan groovers Khruangbin also offering an exclusive bass heavy-delight.



The song choices are diverse, from French dubsters’ OBF’s renditions of ‘Sixteen Tons’, the miners’ paean popularised by Tennessee Ernie Ford in the 1950s, to Ash Walker’s refix of Omar’s ‘There’s Nothing Like This’ and ‘All I Do Is Think About You’, immortalised by the ill-fated Tammi Terrell and preserved here by Quantic (the latter two both exclusives). Being a Rebel Dread compilation, there’s a cover (by Wrongtom Meets The Rockers) of The Clash’s ‘Lost In The Supermarket’ while Don’s exclusive, naturally, is a rendition of Big Audio Dynamite’s debut hit, ‘E = MC2’.



“Truth be told I’ve wanted to work with the Late Night Tales crew from the get go. We’re talking nearly two decades such was the allure of their musical aesthetic typified by curators like Nightmares on Wax, The Flaming Lips, MGMT, Trentemoller, Khruangbin and countless others. Now being as old as rock n’ roll (born in ‘56) and having nearly 20 years of Culture Clash Radio under my belt I figured I was tooled up to musically juggle with the best of ‘em. But I wanted to carve out a space that was distinctly my own - something that reflected my musical journey and the culture clash that’s made me the man I am today.”

Moments, Guy Mantzur's brand new label returns with its second release, presenting over fifteen minutes of revolutionary material by Tamir Regev. The two parts of this conceptually coherent release create an exciting and exceptional soundscape. Tamir uses his high-tech studio skills to form an elegant contemporary production with a fluid arrangement. However, this brilliant, forward-thinking artist doesn't just focus on the latest tricks in the book. His tonal elements address the thousand-year-old traditions of the Middle-Eastern culture. The music that tastefully connects the past and present. Nevertheless, Tamir's artistic expression isn't just an impractical experiment but powerful dancefloor tools. It's an electronic dance sound that can turn any party into a spectacle.

The longstanding DJ comes through with a brand new album for the modern times, keeping the tradition alive through a stacked tracklist of heavy hitters. With an extension of the popular posse cut, “Rolling 25 Deep,” DJ Kay Slay ups the ante with an 18 minute anthem, “Rolling 50 Deep,” featuring the likes of Benny The Butcher, Bun B, Styles P, Ghostface Killah, Raekwon and more. He further adds to his track record of pairing together artists for hit records with cuts from Ghostface Killah & Busta Rhymes, Conway the Machine & Sheek Louch, and Juicy J & Jim Jones.

Following the critically acclaimed Vinyan cassette, Kāthā is Siamese Twins’ second curated pan-Asian compilation selected to form a continuous and coherent whole, whose strong transcendental ambience comes tinged with Eastern psychedelia. Kāthā is the Khmer and Thai name used for chanted sacred mantras and magical incantations that offer protection, charm, or certain influence in life. Its origins stem from "Gāthā", a Sanskrit term referring to any poetic metre commonly used in legends - verses recited (usually mentally) in rhythm with the breath as part of mindfulness practice or meditation. A hypnotic sound bath in which tribally-rooted ambient morphs into one entity. Drones, live instruments and esoteric textures are transformed into a contemporary Kāthā interpretation.

Based in the Havana Nightclub, in the central plateau town of Jos, the Sahara All Stars of Jos weren't part of the Lagos scene or the one in the east. Their leader, Dan Satch Ayo, had played with Dr Sir Warrior in the Orientals. He'd jammed with Mohammed Ahidjo and Sonny Akpan from The Funkees. Together with the All Stars he took the best of both scenes and created his own tight, hypnotic groove. First released in 1978, Sahara All Stars of Jos is a musical journey through all of those influences. 'Freedom For Africa' is a potent rallying cry sugarcoated with a sweet reggae vibe. 'World People' is an Afrobeat gem that condenses a night out at The Shrine into 10 min 43 secs. You can almost feel the steam coming out of New York manholes on 'Take Your Soul.' And the Highlife-tinged 'Alikali Adajo' brings it back, full-circle, to the Jos Hotel, just off the roundabout, where it all began. Engineered by Fela Kuti's regular knob twiddler, Emmanuel A. Odunesu, Sahara All Stars of Jos is a tight, funky sonic gem and a timely reminder that, in 70's, the groove was strong all over Nigeria.

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.

Fresh one on Music With Soul - a channel for hot 7"s that always fly out here. TIP!

"Two and a half frenetic minutes that sound like Aphex Twin and The Incredible Bongo Band dancing Capoeira in the early hours of an illegal rave, somewhere in the deep amazon forest. After the success of his first solo 45, Alex Figueira comes back to the aesthetics of the early Fumaça Preta, with an utterly bonkers 45 that can only be described as an “in-your-face acid macumba techno breakbeat funk freakout”.

The flip side contains a haunting Psychedelic ballad, with the sweet vocals of Maddie Ruthless, from NY’s leading Lovers Reggae sensation, The Far East. Equally trippy and beautiful, the soothing sounds of the Wurlitzer piano and the electric sitar will be bouncing in your head for hours after first listen. The kind of song that finds collectors dropping eye-popping sums, decades after the original release. Guarantee your retirement now by getting a few copies! The song “Maracas” is the main theme of the movie “Maracas, tambourines and other hellish things” directed by fellow record nerds Matteo Fava and Dave Potsma. They managed to convince Figueira to play the main character, and later on, to do the complete music score. The movie tells the story of a struggling underground musician / part time record store clerk, whose music career is basically going nowhere until an improbable encounter gives his life a dramatic turn. They asked Figueira to give them something with “a fresh tropicalized take on Blacksploitation”. One might argue, after listening to the insanity carved on the grooves of this piece of vinyl, that he certainly did deliver.

The characteristic mix of synthesizers and heavy percussion used by Figueira in almost all his projects, gains here a somewhat freer dimension, embracing the chaos openly, without ever neglecting the groove, nor the ancestry axis. Values that are at the core of the label. Even while laying down all the instruments himself, Figueira has managed to capture the same out of control tropical psychedelic spirit of his former band, Fumaça Preta. Fans of the group’s outfit will certainly be rejoiced by this new release.

The flip carries “Grasping & Wishing”, an evocative Psych ballad that retains the same tripped-out flair of the A side, while slowing down the tempo considerably with a decidedly african 6/8 beat. Sung by New Orleans’ own “Rocksteady Queen”, Maddie Ruthless, stepping out of her classic Reggae background, to grace the track with her beautiful voice, permeating the issues of belonging, doubt and introspective reflection portrayed in the lyrics, with a thin layer of exquisite fragility that will comfort your ears.

The production includes a significant number of sound effects, ranging from different types of percussion performed with liquids to bamboo flutes of different sizes and several layers of multiprocessed electric Sitar tracks. Listen carefully and you will discover new sonic nounces every time you put the record on."

WSTR were born from the belly of Liverpool in
2014 and had a swift rise as a part of the
burgeoning UK pop punk scene alongside bands
like Neck Deep, Boston Manor and As It Is.
Originally released on No Sleep Records, where
they signed before they had even played a show,
the band's debut EP ‘SKWRD’ and debut album
‘Red, Green Or Inbetween’ cemented them as one
of the favourites of the scene and saw them tour
the world multiple times over.
Now on Hopeless Records, who are reissuing
these titles on coloured vinyl (‘Red, Green Or
Inbetween’ on purple & bone split and ‘SKRWD’ on
red & bone split coloured vinyl) after having been
out of print for years.
For fans of Neck Deep, As It Is, Boston Manor.

'Deutsche Krimi passionnel' oder 'Ostalgie fuer begeisterte Kranken'? Well, this album may very well have been the perfect soundtrack of some very obscured 5-year-planned and very mentally disturbing, for truly some very fucked-up alienating D.D.R. / East German Democratic People's Republic remake of Tarkovski's old sci-fi classic 'Stalker' and that somehow, thank God, never made it to the Elevated Socialist Working Masses, for otherwise that 'Berliner Mauer' would have collapsed much earlier and certainly with a hell lot of more drastic damage! I mean, ''Mein Selbstmord! Im Monschein hinter dem Baum!'', now, what psychotic poetry of Goethean-Nietzschean 'Faustian' 'Sturm und Drang Tragoedie' and Romantic Mass-Industrial 'Todestrieb' Mantra is that? 'Das Ewig Weibliche (oder gibt's vielleicht auch Das Ewig Maennliche?) des alten Werthers Leiden in Teutobuerger Schwarz-und-buchenwaldklinik?' For this dark synth-guided croonin' could have turned into the ultimate 'Alan Vega Suicide' Project of the Soviet Bloc, its bloody very last Collective Act! Mastered by Guy Tavares.

Compiled by Hunee, 'Sounds from the Far East' features eccentric and highly sought after material by legendary Japanese house producer Soichi Terada and fellow producer Shinichiro Yokota!
Soichi Terada is an adventurous music multi-talent and over all a good sport. Born in the Sixties, Terada majored in computer science and electronic organ; not being able to find a label for his eccentric compositions, he founded Far East Recording soon after his graduation, in 1989.

"Sounds From The Far East" shines new light on Soichi Terada's label and work, and consists of material that was originally released in the early Nineties. Next to Terada's music, Hunee also selected a few tracks by fellow artist Shinichiro Yokota, included in this compilation, and the incredible Paradise Garage gem that is 'Sunshower', by Terada and Nami Shimada.

"King Gizzard & The Lizard Wizard have always greeted creative boundaries with the same respect bulldozers visit upon anything foolish enough to stray into their path. Over 11 years and across their 17 studio albums to date, the sui generis sextet have turned their many hands to luminous acid-rock daydreams (I’m In Your Mind Fuzz), gritty western horse operas (Eyes Like The Sky), never-ending science-fiction song cycles (Nonagon Infinity), dystopian death-metal epics (Infest The Rat’s Nest) and winningly mellifluous jazz-folk (Sketches Of Brunswick East). They’ve even invented their own musical instrument – a hybrid electric guitar sharing much of its DNA with the traditional Turkish bağlama – to explore the notes between the notes (a mission that’s yielded three albums thus far: Flying Microtonal Banana, K.G. and L.W.).
But their 18th album, Butterfly 3000, might be their most fearless leap into the unknown yet: a suite of ten songs that all began life as arpeggiated loops composed on modular synthesisers, before being fashioned into addictive, optimistic and utterly seductive dream-pop by the six-piece. The album sounds simultaneously like nothing they’ve ever done before, and thoroughly, unmistakeably Gizz, down to its climactic neon psych-a-tronic flourish. "

This is the first official re-release on vinyl under licensed courtesy of BMG Rights Management,UK, remastered from an original master copy out of the vaults of BMG, originally released in 1972 on Bronze Records.

Co-founder of Colosseum in 1968 with Jon Hiseman, he knew from his Jazz Club years as drummer for Georgie Fame, Dick ran through this group's hectic recording and touring schedule for over 3 years until November 1971, when it disbanded.

In his late 30s at that time, on top of his musical shape, he moved on to start recording on his first solo project, with material left over from Colosseum days (written by D. H.-S., Clem Clempson and Jon Hisemann) and new material jointly composed with well-known lyricist Pete Brown. He recruited the help of Colosseum mates, Hiseman, keyboardist Dave Greenslade and vocalist/bass player Mark Clarke, plus the brilliant ex-Elton John group Caleb Quaye (Hookfoot) on guitars and Rob Tait (ARC, Battered Ornaments) on drums; old pal G. Bond is featured providing remarkable moog work on 'Pirate's Dream', funky organ on 'Moses In The Bullrushourses' and sharing piano duties with Gordon Beck (G.B. Trio, Nucleus) on 'What The Morning Was After'; Paul Williams (Juicy Lucy) gets the lion share of vocal duties, and Chris Farlowe and Chris Spedding (Nucleus, Battered Ornaments) have respectively a sole vocal and a guitar spot on 'Pirate's Dream'.

The album track by track:
Side one starts with 'Future Song', the track that really rises above the other tracks here. The guitar, vocals (by Mark Carke) and sax are great on this one. Killer sax 2 minutes during an excellent instrumental interlude. H.-S. sounds slightly eastern-influenced on his outstanding sax lines. Such an uplifting track with it's repetitive riff and hard, driving sound! Next is 'Crabs', starting off in a mellow way with Greenslade's piano and reserved vocals as the sax joins in followed by guitar and drums as it builds. Irresistable! Great vocals by Paul Williams. One could easily imagine both tracks on a Colosseum album. 'Moses In The Bullrushourses' is uptempo, owing just as much to jazz, blues and hard rock. Great groove! Lots of organ here to send shivers down your spine and perfect guitar playing. 'What The Morning Was After' opens with some sax excursions as the drums help out. Acoustic guitar by Quaye and powerful vocals by Paul Williams take over as the piano joins in. Our second favourite tune on here after the opener. A folky song really until it picks up half-way through.

Side 2 opens with the 11 minutes 'Pirate's Dream', with Farlowe on vocals and Spedding's initial rock blues riff, but soon evolving to a complex multi parted composition in the best spirit of Valentyne Suite, driven by Hiseman multi faceted drumming. D. H.-S. twin saxes soar on a calmer mid section with Spedding doubling the licks and the bass grumbling relentlessly behind; it slowly gains speed with moog, sax and vocalizations duelling and answering each others with dazzling, demanding and inspired phrasings on top a thundering rhythm section; after the lyrics resume it evolves into a majestic, grandiose finale. A bluesy clean guitar lick opens 'Same Old Thing', a swinging, calm heavily modulated twisted blues, with a punchy rhythm section, a soulful Williams on vocal, Quaye delivering an inspired sparkling solo and D. H.-S.'s sensitive fat sax enhanced with some double tracking on the solo part. A great ending to a great album.

Album comes with the reproduction of original gatefold cover sleeve, additional cover-sized insert with band story, lyrics and photos. A highlight! Highly recommended!

Inspired by the Golden Age of Hollywood but grounded in East London
culture sees Eloise release ‘Somewhere In-Between’ - her debut physical
release - and the follow up to critically acclaimed EP ‘This Thing Called
Living’, released in the summer of 2019.
Eloise has already managed to accumulate over 25M streams; 100K fans across
her social media channels, perform more than 100 live shows, as well as receiving kudos from Billie Eilish for her lyricism and songwriting.
“Somewhere In-Between is my love letter to love and its woes. It’s mainly a
collection of songs that I wrote from a place of hindsight, reflection and acceptance. A lot of the themes of this body of work are of longing and aching for
yesterdays and its possibilities.
I think that the different shades and angles of romance aren’t often enough
explored. We so often hear songs about the hurt or the lust and I know when
I’ve been heartbroken in the past, I didn’t feel like there was enough music that
represented the specific types of things I was feeling.
That’s why I wanted to write these songs. I want people who hear them to feel
heard. I want people to know that love is so messy and we don’t always get
it right and that’s okay. We are all humans without a clue, trying to navigate
staying happy and alive... And if you’re lucky, love is what happens in between.
The world is filled with love songs and we might not need anymore but love
and I have been going steady for 21 years now and it will probably always be
my muse.”

“an aggressively modern merger of Rush’s arena art rock, U.K. prog
classicism especially Pink Floyd and King Crimson and the post-grunge
vengeance of Tool” Rolling Stone
Having recently announced that Snapper Music will be representing Porcupine
Tree’s Transmission label worldwide, new CD and LP reissues of the band’s extensive catalogue will roll out throughout 2021.
Originally released in 2007, ‘Fear Of A Blank Planet’ was Porcupine Tree’s ninth
studio album. It was the band’s biggest selling album at the time, was their first
album to break into the Billboard top 100 in the USA as well as charting across
Europe, earned the band a Grammy nomination and has been featured in Rolling Stone Magazine’s Greatest Prog Albums Of All Time.
‘Fear Of A Blank Planet’ was an ambitious 50-minute piece of music made of
6 tracks that flow together to create a cohesive whole, the British art-rockers
Porcupine Tree created a concept album based on the Bret Easton Ellis novel
‘Lunar Park’, with lyrics that addressed how the adolescent protagonist battled
his bipolar and attention-deficit disorders with a regimen of prescription drugs
and Internet overstimulation.
The music used sprawling vocal melodies, atmospheric guitars and drums that
tumbled through chaotic passages to echo the main character’s manic-depressive states. ‘Fear Of A Blank Planet’ features guest appearances from Robert
Fripp (King Crimson) & Rush guitarist Alex Lifeson.
Porcupine Tree released their last album, ‘The Incident’, in 2009, marking another step forward in the incredible journey of the band that began as a solo
studio project created by Steven Wilson in the late eighties to a multi grammy
nominated act and one of the world’s most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances.
This new Transmission version of ‘Fear Of A Blank Planet’ will be released as a
2LP gatefold 140gm edition.
“a dramatic, wide-screen, expertly executed, genuinely thrilling rock record” Q
Magazine

Swift newcomer Tommier Joyson makes his debut on Hot Creations this July with his first single, Clap Your Hands. On the B side, Eastenderz boss East End Dubs makes a long-awaited return to the label as remixer.

The title track leads the charge. Manifesting as a fast-paced, techy-leaning number, reverberating vocals reside atop driving kick-hat combos whilst whispering hats create a signature four-four rhythm. East End Dubs’ remix completes proceedings, showcasing the UK-minimal sound with which he’s become best known. Stripped-back, looping and built for the late-night hours, it’s a seven-minute cut that you can’t help but groove to.

Tommier Joyson may be new to the global electronic music circuit but the quality of his sound speaks for itself. The rising talent has landed his first-ever release on Jamie Jones’ Hot Creations, a remarkable feat that sets the tone for a standout 2021. Eastenderz label head East End Dubs has become one of the most in-demand artists in recent years. A prolific producer, his work has found a welcome home on Fuse, Hot Creations and many more besides, whilst regular performances across Ibiza and beyond have cemented his reputation as an international talent.

Joshua is the follow-up album to Olympic. While the second album, typically, often shows what critics call “maturity”, here Simon has released instead an album of adolescence. The musician opened up his own memory box to contemplate his childhood souvenirs, and dust them off of all nostalgia. At that time, he would VHS-record movies from TV and tape record soundtracks directly from the TV speaker, so he could listen to them in his bedroom. This is when he “discovered the power of music, the way it makes you enter another world, far from reality. I wanted to pay tribute to the era I shaped myself in – the ’80s and ’90s”. Tangerine Dream, Kraftwerk and Soft Machine. Logically, these are the sonic signatures that seem to haunt the album. The timeless pioneers of synthetic music constitute the sound references, without any established chronological timeline, that blend with the atmosphere of typically “French Touch” movie soundtracks – long before the term was even coined. “I use a musical palette that acts as a flashback to my favourite teenage movies: the synth sounds of Close Encounters of the Third Kind; the synth pads in Jean-Jacques Cousteau’s fascinating documentaries about the sea world; the melodies in the manner of François De Roubaix; the themes that evoke the soundtracks of late-night TV sessions (those by Verneuil, those with Belmondo, Depardieu, etc.); and the sci-fi ambiences like in Blade Runner.” In short, an aesthetic was decided on by Simon very early on: French analog synths instead of North American symphonic orchestras.

The name Joshua has two meanings for French 79: one is linked to the idea of nostalgia, the other to adventure. On the one hand, the computer in the 1983 movie Wargames, and on the other, the boat of French sailor Bernard Moitessier.

The track titled Joshua synthesizes the spirit of the album – an odyssey, a neverending crossing of the world in search of oneself, a spontaneous escape into the future, under the benevolent eye of the past. This epic invites everyone of us to a specific place in our imagination, which is also the source of an indescribable pleasure for French 79: a gust of wind, a sailboat ride, a skateboarding trick, the smell of freshly fallen snow, or the dull roar of an impatient audience.

The same aesthetic preferences are found in the videos that illustrate Joshua’s first tracks: for Hold On, the skateboarder chose to recall the cult ’90s skate videos that he would watch on repeat as a teenager, while Hometown hints at Close Encounters of the Third Kind. Although he now calls Marseille home, Simon continuously draws with passion from the anachronic contemporaneity of his childhood in the Eastern French region.

“I need escape to be able to create. A two or three-day sailing trip gives me enough inspiration to lock myself in the studio for a week when I’m back on dry land.” His boat takes him far away from everything, far from the Old Port where she moors, the rest of the time Simon would escape by walking the streets of his city or climbing the Alpine mountains.

Not only does the new version French 79 reveal a few biographical pieces of Simon henner's history, but it also inaugurates the first vocal track for the musician. One feels a guilty pleasure when hearing him take the lead on the first track, The Remedy. The electronic fugue that opens the album sets the tone: Simon has found the cure for his inner turmoil and wants us to discover our own treatment too. Hold On is a sonic explosion that celebrates the feeling of freedom - what's more of a teenage dream than this feeling - and it eventually command one to feel the same way too. Echoing Olympic, the electronic argonaut invites his muse again, singer Sarah Rebecca. On By Your Side and Touch The Stars, the native of Ocean Springs, Mississippi, now based in Paris, hoisted the mainsail of dream pop. First, though a dialogue that surfaced their unfailing attachment to the bonds of friendship, then through the light hearted atmosphere that leaves us with no choice but to believe in our own dreams and do anything possible to fulfill them. The quest for peace in the midst of the daily din is heard in both Code Zero and the title track Joshua, two majestic journeys in search of hedonism, combined with introspection.

Unveiled Nuance is the newly founded imprint by Manchester’s Means&3rd, a platform solely for his own productions. The Eastern Bloc Records staff member inaugurates his debut vinyl release with 3
tracks covering a balance between hypnotic and driving techno, in keeping with his adopted style of recent years.

‘Thought contortion’ opens the EP with a thunderous low end, propulsive rhythms and immersive sweeps of sound design, teamed with modulated synth patterns that assist the unfolding of its persistent structure. ‘Fragility of perception’ follows with its elastic 3 step synth groove and reverb rich textures which provide the bed while the percussion provides an airy dynamic. ‘Aural Dissociative’ closes the EP with an all together headier affair, a dynamic drone providing the backdrop while flickers of rhythm supplement its evolution and heavily modulated lead lines take the focus.

Pressed on 140g Black Vinyl, reverse board full colour print sleeve with poly-lined inner sleeve

Contemporary hard driven Jazz Funk from the north of England. Bee To The Flower, initially released under the influence of Newcastle’s finest Warr
Thompson in a much slower and kind of stepped down version has been rearranged and recorded again by the band expressly for Tesla Groove Internation
at the Loft Studios. We have been on this project for a long while and the biggest thing we blame covid for is the goddamn delay it forced into t
development of artistic projects, of which the physical final release is only the latest of the steps. Driving (and very creative) basslines, a beautiful and almo
psychedelic Fender Rhodes intercalate with a vibrafone played with such a mastery I could only remind of thegreat Pharoah Sanders at the time of h
performances with Lonnie Liston Smith and Nathaniel Betties, one of the greatest afro percussionists of all times. All of this on such a hitting drumming I ju
can’t wait to fire it out of a proper soundsystem. Created in 2011 by north-east based Dave Wilde and Chris Jelly, the original jazz/funk fusion sounds of th
seven piece Newcastle based band have carved a niche as some of the finest exponents of the genre in the UK. The band has given exciting dance induci
live performances up and down the country, at Band on the Wall, Hoochie Coochie and many more, supporting the likes of Craig Charles, Roy Ayers an
Lonnie Liston Smith along the way. New material has been in the making for quite a while, but after the enforced lockdown, King Bee are ready to release th
latest recordings at long last. Worth waiting for.