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P&F Recordings takes a quick break from original material to welcome back everyone’s favourite Episcopalian Minister/DJ: JAZ.

When it comes to left-field floor fillers, JAZ (née John Zahl) is in a league of his own. Over the past 13 years, he's churned out celebrated home listening mixes, jaw-dropping DJ sets, and extended edits with a pace that belies the usual slow-motion tempo of the majority of his selections.

Here, he serves up four colourful, cosmic, dance floor delights. EP opener ‘Cloud Worship’ marries a chugging prog-rock-esque bassline with virtuosic synth work. Then ‘Pick a Toy’ gets us sweating with some serious Caribbean flair.

On the flip side, ‘Puzzle’ delivers exotic chants and an infectious, serpentine beat - and lastly ‘Friday Night’ closes things out with infectious, retro positivity.

While one might wonder how JAZ consistently unearths these obscure -yet essential- gems, it's obvious that he's driven by a higher purpose.

Let the ceremonies begin!

Three years after Reno Wurzbacher’s entry into the series, Cook Strummer now offers up his own Berlin Gets Physical, a collection of all-new and exclusive tracks.

Berlin-based, Belgium-born Strummer has been a Get Physical associate for several years. He has dropped various singles including the standout 'Rising' which also featured on the Words Don't Come Easy series, and always crafts the perfect mix of rhythm and melody with plenty of hints of his homeland's famous cold wave sound. He often uses his own voice, drum machines, synths and guitars in his music, and since his debut album in 2018 on LOK Recordings, he has had high profile support from the likes of Laurent Garnier, Adam Port and Ame. This summer, he dropped 'Atmosphere' on Obsolet Records which proved another successful outing and now Berlin Gets Physical finds him digging deep into the famous city's freshest and most essential house sounds across 15 well-sequenced tracks.

His own new offering 'For Berlin' kicks off with a dark and edgy vibe, gothic vocals and tense drums. Glitchy hits and blurting synths add to the prickly atmosphere and immediately lock you in while Los Cabra & Manuel Sahagun's 'Italian Groove' then takes off on waves of serrated dark disco synths and Freudenthal feat. Nowhere People continue that macho disco vibe with the rugged chug and cosmic rays of 'Cipher.'

The twinkling 'Bad Karma' by Marvin Jam & Le Mythe then allows you to catch your breath with a slower, more spacious dub disco sound and the twanging bass riffs and exotic effects of Daniel Jaeger & Valenti's 'Quarantine Cowboys' rebuilds the atmosphere with some innovative house blues. The mid-section brings brain-frying synth work on 'Out Of The Blue', bubbling dub house and disco courtesy of dramasquad's sprawling 'ziggy' and percussive deep house looseness from 'Abayomi.'

After KEENE's rubbery and rolling Afro sounds comes more cosmic house richness from Dan Buri and Max Joni & MUKKIMIAU, the driving tech of Red Pig Flower & Lulla and heady sounds of Mike Book. There is a raw house heaviness to FreedomB's 'State of Shock' and things shut down with Electronic Elephant's tightly coiled minimal drum funk on 'Ask Yourself'.

This on point collection is an authentic snapshot of the contemporary underground sound of the Berlin.

Known for her time as vocalist in Fairport Convention and respected
globally , Sandy Denny left a beguiling, ever-evolving body of work - Kate
Bush was to namecheck her in song, and Denny's influence can be heard
in generations of singer-songwriters
After leaving Fairport Convention in late 1969, Sandy Denny formed Fotheringay
with husband Trevor Lucas. After one UK Top 20 LP in summer 1970, the band
split while recording a follow up, leaving Denny free to make her first solo album.
A beguiling mixture of covers and originals, The North Star Grass Man And The
Ravens is one of THE essential British folk-rock albums. From the dreamlike Late
November to the plaintive Next Time Around to her reading of the traditional
standard Blackwaterside, the album is a near perfect capture of the talent on the
scene at that juncture: including Richard Thompson's unmistakable guitar playing,
John Wood's production and Harry Robinson's string arrangements. Released in
September 1971, its reputation has understandably grown exponentially over the
years. Out of print on LP for a number of years, this re-issue faithfully replicates
the original 1971 Island Records UK release with gatefold sleeve and is pressed
onto high quality 180g vinyl

From 2008 comes 'Keys, Strings, Tambourines' - Kenny Larkin's fourth full length LP.

Yet another advanced, singular and funked out techno milestone that bears all of Larkin's idiosyncratic stylings and melodic touches. Once more he shows us how it's done, sounding like nothing you've heard from him previously, 'Keys, Strings, Tambourines' is a truly adventurous record that defies categorisation today. Quietly influencing producers and DJs since its release, it points to where techno can go and what it can be and is a truly and criminally overlooked modern Detroit techno classic. This is an essential purchase for all electronic machine-funk aficionados worldwide. This special expanded edition boasts a slightly reshuffled track order and some additional cuts that were only available on singles at the time, now giving the world 3 solid slabs of futurist techno sonics for the believers! Essential music from the motor city.

'Keys, Strings, Tambourines' has been legitimately reissued for 2022 on Kenny’s own Art Of Dance imprint. Remastered from DAT tapes and original sources by Curve Pusher. Artwork redesigned by Atelier Superplus.

Think about the classic from MAW "Work", Reel to Real "I like to Move it"... TROPICAL FLASH "Get up" has the same vibe and the same kind of potential on the dancefloor !

This is a truly essential for the coming summer, percussive rhythm and expressive Jamaican vocal style. Funky, efficient and with an organic feel due to the bass guitar and percussion.

Along both original mixes features a really cool remix by the NYC Legend DJ Spinna, this time Spinna did not produce a soulful house track but a real massive House Remix with some heavy 90’ influences, really sick! The 12'' has been cut by Mathieu Berthet so expect a very nice cut, the full picture sleeve has been manually designed by Felix Godefroy and is really colourful, it makes a very nice 12'' with good pressing quality on 140g from Vinyl de Paris.

“Pure psychotropic madness.” A screaming head on fire penetrated my chest, jolting me from the universal plane back to earth.” Guitarist/Singer/Sonic Alchemist Dave W’s vivid fever dream ignited The Revenge of Heads on Fire, WHITE HILLS’ latest release, which harnesses the energy of ferocious, hedonistic rock with blissful passages of dark ambience. Exploring themes of mortality, transformation and rebirth, the band reveals a spiritual depth unparalleled in previous works. The roar of fire, swirling of oceans and hallucinogenic visions can be heard throughout the 75-minute journey. From the intrepid prelude “The Instrumental Head” to the closing punk blaze of “Eternity”, the album ebbs and flows, smouldering and seething in the middle with the 21- minute mammoth opus “Don’t Be Afraid”. “’Don't Be Afraid’ alone makes this an essential listen for fans of contemporary psychedelia.” -All Music The Revenge of Heads on Fire consummates Dave W’s prototype for the 2007 release on Rocket Recordings, Heads on Fire, later picked up by Thrill Jockey. Six rediscovered songs accompany re-mixed versions of the original material, fulfilling the master arch of the pyre lit long ago. Recorded during the band’s tumultuous early years, the music vibrates with the energy and volatility of a sonic boom. The album will be released on Heads on Fire Industries, distributed worldwide via Cargo Records.

“Pure psychotropic madness.” A screaming head on fire penetrated my chest, jolting me from the universal plane back to earth.” Guitarist/Singer/Sonic Alchemist Dave W’s vivid fever dream ignited The Revenge of Heads on Fire, WHITE HILLS’ latest release, which harnesses the energy of ferocious, hedonistic rock with blissful passages of dark ambience. Exploring themes of mortality, transformation and rebirth, the band reveals a spiritual depth unparalleled in previous works. The roar of fire, swirling of oceans and hallucinogenic visions can be heard throughout the 75-minute journey. From the intrepid prelude “The Instrumental Head” to the closing punk blaze of “Eternity”, the album ebbs and flows, smouldering and seething in the middle with the 21- minute mammoth opus “Don’t Be Afraid”. “’Don't Be Afraid’ alone makes this an essential listen for fans of contemporary psychedelia.” -All Music The Revenge of Heads on Fire consummates Dave W’s prototype for the 2007 release on Rocket Recordings, Heads on Fire, later picked up by Thrill Jockey. Six rediscovered songs accompany re-mixed versions of the original material, fulfilling the master arch of the pyre lit long ago. Recorded during the band’s tumultuous early years, the music vibrates with the energy and volatility of a sonic boom. The album will be released on Heads on Fire Industries, distributed worldwide via Cargo Records.

“Klangstof are conducting deliciously evil experiments on indie rock.” – Clash. Klangstof recently returned to attention with the ‘Ocean View’ EP, which was one of two projects they recorded simultaneously in 2021. Its release added to the anticipation for the bigger set that was recorded at the same time, their third studio album ‘Godspeed To The Freaks’, which will be released on September 16th. The band today launch the album by sharing its lead single ‘Disguiser’. ‘Godspeed To The Freaks’ will see the Edison Award (the Dutch equivalent to the Grammy or BRITs) winning band add to the widespread tastemaker attention that has greeted their previous two albums. It’s an album which focuses on self-reflection; finding the courage to confront your inner self and being at peace with your demons. There’s a power that comes with the acceptance that every good day might have a touch of darkness to it. And in a further contrast to the electronic-orientated 2020 set ‘The Noise You Make Is Silent’, this record is focused primarily upon the warmth of its live instrumentation and the intuitive interplay between the band members. Remarkably, the bulk of ‘Godspeed To The Freaks’ was recorded in just two weeks. The trio - Koen van de Wardt, Wannes Salomé, and Erik Buschmann - were boosted by the addition of their touring guitarist Wouter Van Nienes and channelled the energy of their live show, an approach further amplified by recording in a temporary studio in De Bolder, a music venue on the tiny Dutch island of Vlieland. Klangstof essentially rehearsed, recorded and produced the core of the record themselves in that serene environment, giving them a bubble of freedom amidst a world in chaos. Any outside input only followed later, with additional mixing by Sam Petts-Davies (Radiohead, Frank Ocean) and mastering by Heba Kadry (Björk, Slowdive, Big Thief). The album campaign’s visual aesthetic features band portraits courtesy of the iconic photographer and director Anton Corbijn. His timeless photography includes shoots for R.E.M., U2 and Nick Cave, while Nirvana, Metallica and Depeche Mode lead his numerous renowned music videos. He is also a feature-length film director who is best known for the Ian Curtis / Joy Division biopic ‘Control’. Klangstof will play several European shows this summer as guests to Pixies, including Manchester’s Castlefield Bowl on July 5th. They will again link up with Pixies in December for a tour of Australia and New Zealand.

Limited Pressing.

Invisible City Editions returns with an official repress of a fantastic double-sided private press rarity from 1989 Detroit. Featuring two legendary Inner City alumni Producer/keyboardist Engineer Art Forest and Inner City background vocalist dancer/singer Shawn Pittman. On the A side a lush slow modern soul slow burner “Dreams'' features a deep,spatial throbbing bass line with glistening synths floating underneath cool angelic hypnotic vocals by Ms Pittman.” 'Dreams are only Dreams till you make it real' chants Shawn Pittman and we’re lead down a dazzling maze of mirrors. With “I'm Losing Control (Extended Bass-ment Club Mix)” on the flipside a wild late night warehouse dub remix features sci-fi vocal effects,fostex tape loops and ultra-heavy bass and driving drum machines. Minimal lush soul perfect for early mornings and the post-club world and a wild sci-fi house winner for late night club sessions. An IC fave! Remastered by Brandenberg/The Carvery (Note: we’ve also removed the drum machine going out of sync that was on the original press) Official Repress via Art Forest and his label Wildboy.Essential stuff!

Art Forest is an Electronic Engineer and production wizard from Detroit Michigan. He originally recorded 2 of Inner CItys’ Biggest Hits “Good Life” and “Big Fun” and continues to record to this day. Art Forest still finds and repairs equipment to add to his studio today. He also recorded for Paula Abdul “Straight Up” and Madonnas’ “Justify My Love” Shawn Pittman was a singer and dancer from Detroit who was a good friend of Inner City vocalist Paris Grey. Shawn Pittman sang backing vocals and harmonies on “Good Life” and “Big Fun”.

Mit ihrem Berlin-Umzug Mitte der 1970er Jahre wollten David Bowie und Iggy Pop nicht nur für einige Jahre den Lebensmittelpunkt ins Zentrum Europas verlegen, sondern auch musikalisches Neuland erkunden. Auf ihren Trips nach Paris oder Warschau ließen sie sich von neuer, europäischer Musik inspirieren die so ganz konträr zu der grassierenden Disco-Welle in den USA war. 16 dieser Tracks sind nun von St. Etienne's Bob Stanley und Jason Wood (u.a. 'English Weather') zu einer Compilation zusammengestellt worden, die einen Einblick in die europäische Elektronik- und Krautrock-Szene gibt, von der sich vor allem Bowie inspirieren ließ. Passend benannt nach einem von Bowie's Liebelings-Bars in Berlin, kommt 'Cafe' Exil' mit Tracks von Amon Düül II, Faust, Michael Rother, Brian Eno, Soft Machine, Cluster oder auch der Jan Hammer Group! Die Doppel-Vinyl kommt mit dem Edgar Froese-Bonustrack 'Epsilon In Malaysian Pale'! Natürlich mit umfangreichen, sehr informativen Liner Notes zu allen Tracks!

DJ Black Low burst on the international scene last year with Uwami, a collection of his early, downright avantgarde amapiano work. The young producer and DJ makes electronic music that sounds like nothing else: glitchy and fierce while smooth and soulful, all under the rubric of South Africa's most-exported dance music movement to date. Now comes Uwami II, which features the rest of the tracks from the acclaimed debut plus a new song "Gijima." The Pretoria, South Africa-based artist has more work in the pipeline as we present these inimitable songs for the first time on vinyl. The song "Gijima" is a previously unreleased track Black Low chose to include in this collection as cremates more work at a furious pace. "This is essential listening from a 20 year-old star." - Resident Advisor Best Tracks of 2021 "Uwami keeps an adventurous spirit at its core and pushes far beyond genre conventions in the process." - The Vinyl Factory "A producer with a fully realized voice." - Bandcamp Best Albums of Winter 2021 "The hard hitting beats of the electronic percussions make the songs seem like they're out of this planet." - AfroPop Worldwide

What is there to say about this album that hasn’t been said before? Multiple words could be used to describe this album: Timeless. Essential. Masterpiece. Definitive. Sickening. Yes, even sickening falls into this category, because believe it or not, back in 1996 when Cryptopsy released “None So Vile,” it was unlike anything else at the time. From the first drum hits and guitar riffs of “Crown Of Horns,” it would have been obvious, and still is to this day, that Cryptopsy improved on themselves since “Blasphemy Made Flesh.” But then you combine some of the most technical and speedy Death Metal to date with the sickening screams, snarls, growls, and grunts of vocalist Lord Worm, and I’m sure that 1996 was the year Death Metal changed forever. “None So Vile” is a testament to the Death Metal formula, and the odd thing is is that not many have tried to emulate it. I don’t know why. Maybe it might be because of how difficult it would be to emulate an album of this calibur. Cryptopsy is a massive influence upon Death Metal. Many factors contribute to the influence Cryptopsy struck upon Death Metal. One of them is absurdly seen from Flo Mounier’s maniacal drumming. As far as I’m concerned, two words can sum up this man: Speed Demon. But just because he’s speedy doesn’t mean he loses any shed of technicality. But Flo is not alone in making Cryptopsy. With the duo of Jon Levasseur and Eric Langlois on guitar and bass respectively, Cryptopsy was noted for their technical music playing. Just look at songs like “Slit Your Guts,” “Graves Of The Fathers,” and “Phobophile” to see how this duo completely tore apart everything that may have been considered a standard for Death Metal at that time. These two remade the standard by bringing shredding guitar and audible, crushing, and technical bass playing into the mix. The playing by these two is a testament to technical playing. But what truly makes Cryptopsy, and many would agree, is Lord Worm. This man is down right beastly. No true word in the English vernacular could describe what this man brings to Cryptopsy and what he did for Death Metal on “None So Vile.” At this point in time, I don’t think anyone could have anticipated vocals like this. He is downright in-fucking-human. His screams are vicious, his gutteral growls are putrid, and the longevity at which he can perform and hold these vocals is insane. But not only did Lord Worm bring a sickening unnatural vocal style, he brings

Copenhagens own dj legend and veteran producer KIM KEMI releases another jacking and euphoric banger- ONLY SMOKE - his stylish and subtle sound design and varied arrangement take hints of Robert Hoods minimal riffs and flesh out a full funky arrangement taking us on that classic luxurious sonic journey. Pres play and trigger the
smoke machine - or the soap bubbles.
Martinez ́s remix is a more electro affair that could blend well with classic Underground Resistance releases. Watch out for the acid topline. Martinez is a Swedish electronic music producer and DJ, currently based in Copenhagen. Martinez kick started his carrier
in 2000 with his "Laidback Grooves EP" on the notorious Chicago based Deep-House label Guidance Recordings.
Asmus Odsats remix of SMOKE KILLS is taking the track in a more broken but funky IDM territory, breaking the track down adding avantgarde dub details over the stuttering beat.
Asmus Odsat is a former resident at Culture Box and co-founder of Ritual Malmö as well as the BULK club night releases via. FALK DISKS, the club focused sub-label of FALK (Fuck Art Lets Kill) with his ‘Ecstatic Half Truth’ EP, is played by Courtesy - even in her BBC Radio 1 show mix.
An added bonus to these 3 unique remixes is Kim Kemis beautiful
Tropical Tucan, a perfect opening track fusing sensual chilly Detroit pads and jacking understated beats into a growing glowing mind-state that is worthy of a Carl Craig spin - let it ride - don't miss the climax - you will end up looping it. An essential tool. Enjoy!

FIRST PRESSING ON WHITE VINYL*Regenerator is the fifth full-length from the Rochester, New York-based trio King Buffalo.

Written and recorded by the band with mixing and engineering by guitarist/vocalist Sean McVay and mastering by Bernie Matthews, the seven-song outing is the third in King Buffalo’s stated ‘pandemic trilogy,’ following 2021’s The Burden of Restlessness and
Acheron.

Both of those albums – like 2018’s Longing to Be the Mountain, 2016’s
debut, Orion, and the various EPs and other offerings they’ve made over the last eight years – made bold declarations about who King Buffalo are as a band, and Regenerator is no different. As McVay, bassist/synthesist Dan Reynolds and drummer Scott Donaldson continue to explore the outer reaches of modern psychedelic
music, melding progressive rhythms, drifting atmospheres and
accompanying surges of electricity, this new collection only further establishes them as one of the brightest lights shining in underground rock today.
As the third of three, Regenerator inherently ties together the previous two LPs, and as the band unfold the leadoff title-track across nine and halfminutes, it becomes clear just how truly they have marked out their own sonic presence.

The later melodic highlight “Mammoth” – with McVay’s most confident vocal performance yet – shimmers with hope that somehow doesn’t come across as desperate; on “Hours”, the group engages classic space rock, and the closing “Firmament” acts as a summary
for all three albums, marking the final installment of this trilogy as the
essential cornerstone of King Buffalo's work to date.

Regenerator is available on 180.gr white vinyl (including download) and CD.

Mid-summer, 2021, Waleed quietly released his debut single 'Se Rompen'. The response was anything but, with the track immediately taking hold as a sleeper hit that summer, being played out by the likes of Four Tet, Floating Points, Daphni, DJ Boring, DJ Seinfeld, Tourist and more. With word already spreading, an inclusion in Ben UFO's winter Essential Mix solidified the desire for more from this surprising new producer.

Last month, Waleed announced his signing to City Slang (Caribou, Gold Panda) with a re-release of 'Se Rompen', offering the track on ultra-rare test pressings (50 / sold out already) for the first time.

Today, we announce the pre-order of a white label 12” with “Se Rompen” and his new single “SuenÞos”, limited to 300 units worldwide.

Born in Washington DC to Iraqi/Puerto Rican parents, Waleed works in coding by day. Built around ready-made for the dancefloor kick and chopped vocals, 'Se Rompen' is an ambitious debut that showcases his focus on sound design. Waleed’s meshing of cultures and references gives 'Se Rompen' a unique perspective on dance music. At once melancholic and high energy.

“A beautiful euphoric/melancholy fusion of cut-up vocals, soft electronics and two-step beats.” The Guardian

“Highly refreshing, 'Se Rompen' has a rare immediacy, a feeling that it has always been a part of your life." Clash

New version on Solar Orange Vinyl. RIYL: Slowdive, DIIV, Electric Youth, The Cure, My Bloody Valentine. Solo project of Los Angeles based Matthew Doty (ex-Saxon Shore). For Matthew Doty, Deserta has always been about exploring a sonic universe that allows him to express a kaleidoscope of emotions, without having to say much at all. Through a patchwork of reverb-tinged textures – drone guitars, lingering synths and driving percussion – the Los Angeles-based singer/songwriter and multi-instrumentalist weaves together stories of care, frustration and catharsis that ultimately stretch to a gentle resolve. On new album Every Moment, Everything You Need, Doty chronicles the kind of year we all fear, full of uncertainty, tension and sustained pressure, and transforms it into a celebration of perseverance. It’s an essential reminder that we have the power to shape the stories we tell. The pandemic meant that Doty had to give up his studio and downsize a lot of his gear and instead, carve out a space in his two-bedroom apartment to craft the next chapter of Deserta. Sharing the space with his wife and son, Doty and his partner are also essential healthcare workers, which meant the couple would often have to tag-team childcare, along with 13-hour shifts in PPE and people constantly calling with questions about the ever changing guidelines and protocols. Once the blueprint for Every Moment, Everything You Need was set, Doty reached out to a number of collaborators to stitch together his vision for the sonic landscape. James McAlister (Sufjan Stevens, The National, Taylor Swift) came onboard to perform and record drums, while Caroline Lufkin (Mice Parade) wrote and performed vocals on the ethereal “Where Did You Go.” Elsewhere, the LP was mixed by Dave Fridmann (Tame Impala, Mogwai, Interpol), with Beach House and Slowdive producer Chris Coady engineering and co-producing, making this the first time Fridmann and Coady had worked together on a project. While the vocals are more prominent than Deserta’s previous albums, it’s their amalgamation with the instrumental aspects that secures Every Moment, Everything You Need as Deserta’s most confident and assured release to date. An affecting emotional candor teamed with persistent riffs and tenacious rhythms sees Doty unafraid to dive deeper; an unrestrained approach that ushers in a lustrous purging of agitation and anxiety. Showcasing those dark, exhaustive thoughts through crucial swells and looped, electronic soundscapes, it’s an LP that’s infinitely layered, with something new to discover with each and every enchanting listen.

Living In Clip (25th Anniversary Edition) Newly remastered for vinyl + cd in deluxe packaging. This landmark double album by Ani DiFranco, features her trio from 1995-1996 with Andy Stochansky (drums) and Sara Lee (bass). Twenty-five years later the album is recognized as a point of entry that radically expanded DiFranco’s audience, and a historically important testament to the relationship between Ani as a live performer and the devoted community she created with her fans. If there was ever a record to help you pull through until the next time the Folksinger makes her way to your town, Living In Clip is the one. Affectionately named after the state of stage amps about to blow out, the record is constructed like a show complete with the onstage humor and antics we love. The culmination of years of studio work and constant touring, Living In Clip is a tour in itself: nearly two-dozen venues provide the atmosphere for over two hours of music complete with intermission and encore. Recorded straight from the soundboard on an 8 track ADAT, digital videotape and mixed by Ani and Andrew Gilchrist – Living In Clip is conceptually designed to preserve the authenticity and pulse of a live show. There are jazzy folkalicious renditions of "Letter to A John," "Fire Door," "Diner" and "Anticipate." Amusing and sweet snippets are interwoven throughout the songs and sometimes during them - "Out of Habit" harbors a little cinematic glimpse into Ani's first days in New York City. This dynamic collection also offers The Buffalo Philharmonic Orchestra playing on "Both Hands" and "Amazing Grace" at a hockey arena as well as a phenomenal version of "Shy," that was nominated for a Grammy for Best Rock Vocal Performance – Female (or whatever). Living In Clip is also considered one of Rolling Stone Magazine's essential albums of the 90's. Living In Clip includes a beautiful photo gallery that contains pictures of the sparkling faces, questionable attire and unique persons behind the road show.

Essential for fans of Celtic Frost, Vader, Obituary and S.O.D - Jungle Rot was founded in 1992 and remain a staple name in the Death metal genre. The band's moniker refers to Jungle rot, an infection of the skin that occurs in tropical climates. New album 'A Call to Arms' sees the first Unique Leader offering emerge with a punishing Dan Swano mix and eerie Voodoo themed artwork - a brutal culmination of the band's past sound melding with a slick, devastating polish bringing them firmly into 2022. A welcome addition to the iron clad ULR roster, JUNGLE ROT have decimated live stages worldwide with Deicide, Goatwhore, Cattle Decapitation, Krisiun, The Black Dahlia Murder, 25 Ta Life, Hate Eternal, Incantation, and Vital Remains, Six Feet Under, Suffocation, Obituary, Broken Hope and Decrepit Birth.

From 2008 comes 'Keys, Strings, Tambourines' - Kenny Larkin's fourth full length LP.

Yet another advanced, singular and funked out techno milestone that bears all of Larkin's idiosyncratic stylings and melodic touches. Once more he shows us how it's done, sounding like nothing you've heard from him previously, 'Keys, Strings, Tambourines' is a truly adventurous record that defies categorisation today. Quietly influencing producers and DJs since its release, it points to where techno can go and what it can be and is a truly and criminally overlooked modern Detroit techno classic. This is an essential purchase for all electronic machine-funk aficionados worldwide. This special expanded edition boasts a slightly reshuffled track order and some additional cuts that were only available on singles at the time, now giving the world 3 solid slabs of futurist techno sonics for the believers! Essential music from the motor city.

'Keys, Strings, Tambourines' has been legitimately reissued for 2022 on Kenny’s own Art Of Dance imprint. Remastered from DAT tapes and original sources by Curve Pusher. Artwork redesigned by Atelier Superplus.

Now onto its fourth volume, NuNorthern Soul’s annual Summer Selections EP is fast becoming a must-check for fans of slow-motion sunshine sounds, contemporary Balearic beats and sumptuous downtempo grooves.

Summer Selections Four showcases six hand-picked tracks from EPs and albums to be released by NuNorthern Soul in 2022. A genuine ‘cream of the crop’ or ‘best in class’ feel, with NNS label boss and curator Phil Cooper putting together a varied EP piled high with evocative melodies, atmospheric chords, tactile grooves and ear-catching instrumentation.

First to step up to the plate is experienced producer James Bright, whose cut ‘Amber’ offers a bubbly, colourful and analogue-rich stroll through mid-tempo Balearic house territory. The track is one of the highlights of Bright’s forthcoming Totem EP. It’s quickly followed by ‘Nana a Leon’ from Be.Ianuit’s Entre Dos Islas EP, a gorgeous mixture of deep bass, twinkling pianos, sultry synth-strings, sparkling synthesiser arpeggios, echoing machine drums and spoken word vocals from guest performer Marcos de la Fuente.

San Francisco’s Cole Odin offers a snapshot of his forthcoming Songs For Suns EP via ‘Growing’, a slow-motion sunset soundscape built around ethereal chords, chiming melodies and head-nodding drums, while Gold Suite’s ‘The Cowboy’ – taken from the On My Horizon EP – brilliantly joins the dots between jangling Americana, mid-‘80s Balearic reggae and sun-soaked instrumental synth-pop. While brand-new, it could easily be mistaken for the kind of obscure, hard-to-find gem that gets Balearic record collectors so hot under the collar.

Next up is another new signing to NuNorthern Soul, North of the Island, whose debut EP Feeling Free is undoubtedly a highlight of the label’s 2022 release schedule. ‘I Feel’, the track showcased here, adds attractive, sunset-ready musical flourishes to a chugging, delay-laden rhythm track and the kind if squelchy bass-line most often found in proto-house and early ‘80s electro-funk cuts. It’s a spaced-out, mind-altering delight.

Rounding off another sizzling Summer Selections excursion is ‘Smoke & Fly’ from fast-rising twosome Residentes Balearicos, an Ibiza-based Italian duo who impressed many with their 2021 EPs on Balearic Ensemble. Dusty, bass-heavy, drowsy and picturesque, the track is a simply gorgeous chunk of Balearic dub piled high with organic percussion, undulating acid lines and mazy solos. It provides a fittingly triumphant conclusion to another essential sampler EP from NuNorthern Soul.

First Word Records is pleased to welcome back Souleance with a brand new single for Summer 2022!

'GUILI GUILI' is a double AA side 7" single, with an additional remix by Art Of Tones on the digital version.

French slang for "tickle", 'GUILI' is an epic disco-funk piece inspired by the likes of Azymuth, Herbie Hancock and Marcos Valle, but incorporated with Souleance's trademark sounds of fuzzy bass-heavy electronica, synths and samples, giving the track a fresh contemporary twist. Meanwhile, the (digital only) Art Of Tones mix ramps up the disco elements heavily, incorporating some vocals, strings and horn stabs to create some sure fire heat for the summertime. The flipside 'TORO' is a much more tweaked-out, synth-heavy bomb, influenced by artists such as Prince, Parliament and French electronic club music. All tracks mark the evolution of the duo into a full live band, whilst remaining true to their sonic mission of producing music crafted especially for the dancefloor.

The band have been performing live at various festivals and venues across Europe, with upcoming appearances scheduled at the Pura Vida Festival, Greece in August and Jazz à Vienne in July.

This two-track vinyl 7" / three-track digi-single is released on First Word Records, worldwide on May 27th 2022. Another essential one for your record bags.

Credits:

Bass guitar, synths and programming by Fulgeance.

Scratches and programming by Soulist.

Wurlitzer, Moog grandmother, ASM Hydra synth & Roland Juno 60 by Vincent Choquet.

Mastered by DJ VAS.

Giallo is the fourth in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. The Maestro. This collection was announced before Ennio Morricone passed away on July 6, 2020. We’ll continue to release the series to honour this great composer.

When we think of 1960’s Italian pulp cinema, the spaghetti western is the genre that comes to mind. However, Italy was responsible for another classic cinematic exploitation movement around the same time, one that is equally as compelling, but less widely recognised. Giallo…

Giallo, meaning ‘yellow’, is the Italian term for crime fiction, it was named after the bright yellow colours of early pulp fiction paperbacks. Film audiences adopted it as the name for a peculiarly Italian sub-genre of thriller cinema that had its heyday in the 1970’s - just as the Spaghetti Western movement was waning. The Giallo can be difficult to define, but essentially it is an Italian crime film that draws from a pool of common themes: stylized murders, amateur sleuths, sleazy glamour, psychological crimes, enigmatic titles and all these themes are underpinned by creepily atmospheric Ennio Morricone music scores. Starting 70 years ago as an arranger for the piece Mamma Bianca, Ennio Morricone is the emperor of scores and soundtracks. Morricone has always been a huge influence for the likes of Hans Zimmer, Danger Mouse, Muse, Metallica and many more musicians. He was one of the most successful composers of all-time, selling over 70 million records and winning dozens of awards.

Giallo is available as a limited edition of 3000 individually numbered copies on “giallo and black marbled” (clear, yellow and black mixed) vinyl. The package includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a silver foil spot varnish on the outside and images of iconic movie posters on the inside.

Hot Creations welcome back Fabio Neural and DJ Fronter who join forces once again for their second release on the label titled Ding Dong. Following on from their success with the first release, the eagerly anticipated second drops in May.

The title track opens proceedings, plunging straight into a heavy 4x4 beat, creating a stripped back, minimalistic base, expertly layered with finely chopped vocals. Foghorn like sounds and sharp percussion bring the piece together, resulting in a raw, industrial experience. Shocked follows, encapsulating the Hot Creations sound in true style, packed full of energy. Riveting bass lines paired with fanfare-esque melodies lay at the forefront of the track, transporting the listener to a bustling, colourful dancefloor.

Fabio Neural threw himself into the music industry at an early age. His productions have seen him release on Steve Lawler's Viva Music and feature in Pete Tong’s 500th Essential Mix. His eclectic DJ sets have enabled him to share the stage with heavyweights such as Carl Cox, Richie Hawtin and Adam Beyer. Colombian native DJ Fronter has become one of the greatest promises to come out of South America with releases being supported the likes of Paco Osuna, DJ Sneak and Matthias Tanzmann.

An essential slice of contemporary roots reggae and dub on Jah Works label, extended versions recorded & mixed at Earth Works Studio, Amsterdam with veteran singer Vivian Jones.

Perhaps the best Soul / Funk LP Athens of the North has ever released and you know we have high standards, not one filler and mostly unreleased tracks – Essential LP

The Up Tights were formed by Henry Bradley in Forrest City, Arkansas in March of 1967 while most of the band members were attending Lincoln High School.They took their name from the Stevie Wonder song "Uptight - Everything's Alright." Playing at school functions, they quickly branched out to playing bigger shows and headlined the 1968 St. Francis County Fair in Forrest City.

The Up Tights first recorded for Action Records in Memphis as Noble and the Up Tights. The 45 featured an original song by singer, Izear "Ike" Noble Jr. titled "Don't Worry About It."

Henry Bradley was drafted into Vietnam in 1968. He served in the 1st Squadron, 11th Armored Cavalry Regiment. While he was away, the Up Tights continued with Henry's brother, Arthur, taking over all the guitar duties. The band also hired a manager named John Mitchell. In 1968, the band met Joe Lee, who owned Variety recording studio in Jonesboro, Arkansas.

For the band's first recordings at Variety, Lee chose two originals by Noble titled "Look a Little Higher" and an updated version of "Just a Dream" which Lee released on his Alley Records label in 1968. Lee continued to record the band over the next several months. He liked to experiment in the studio and produced many versions of the group's original songs, adjusting the mix and adding elements to each unique take.

For the group's second Alley release, they appeared simply as Ike Noble on the record label. Lee brought in a local songwriter named Charles "Jamie" Holmes, who had previously written for Alley records and Joe Keene's studio in Kennett, Missouri

The resulting 45 from this collaboration was "It's Bad" backed with "That's What I Get," two Holmes originals. Another Holmes original was unreleased at the time, but available here titled "There's Gonna Be a Better Day Coming." Stax Records was interested in signing the group and wanted to re-cut "It's Bad" at their studio, but ultimately the label passed since they generally had a policy of working with Memphis based groups.

As the band grew in popularity, they began appearing with and competing with Memphis legends, the Bar-Kays. The group's biggest show in Arkansas was an opening slot at Barton Coliseum, one of the largest venues in the state, in Little Rock in mid-1969. As a result, the band was offered a spot on George Klein's "Talent Party" television show on WHBQ in Memphis in July of 1969..... Further Sleeve notes on back of the LP

"Emotional Rescue continues its 10th anniversary by again presenting Jorge Reyes’ collaborative album with Antonio Zepeda – a masterpiece and therefore, worthy of the time and effort to share.

From cult artist to becoming an essential musical discovery, Jorge Reyes is an example that no one discovered or owns the music beyond the writer and creator.

Growing up in Mexico’s 2nd City, he spent much of his life dedicated to travelling and learning music traditions and instruments. While at University to study Flute, he was involved in several influential bands of the era before going on to travel the world to further his learning, before returning to found the seminal Chac Mool group.

By the early 80s he went solo, exploring an increasing interest in the use of Prehispanic instruments mixed with electronics. In the opening songs, I-Cana and A La Izquiedra Del Colibri, the interplay between flute, guitar and vocals with TR-700, Poly 800 and DX7, all fuse his vision perfectly.

The additional contribution of Antonio Zepeda’s percussion creates a timeless mystique to the album, taking you on a journey deep in the mind of one of Mexico’s most important experimental artists.

Passing away at just 56, Jorge Reyes work was cut short, however he has left over a dozen albums to be explored. While critics increasingly question the valedictory of reissues, the premise on whether something should be heard is if it’s good. Therefore, let A La Izquierda Del Colibri be heard."

Ramrock Records are hugely excited to announce the forthcoming release of Ghetto Priest’s ‘Big People Music’ LP, the long awaited follow up to his 2017 album, ‘Every Man For Every Man’. The idea for this LP was originally floated in 2018 and was intended to be a 6 track EP called ‘Songs for my father’. However, once Ghetto Priest got in the studio, the idea expanded as he went the extra mile adding his personal favourites, conjured up from childhood memories of his father’s tunes being played on the family radiogram with additions from his youthful excursions. A magical mixture of tracks associated with the greats – Nat King Cole, Dean Martin, Slim Smith, Ken Boothe, Aaron Neville – ‘Big People Music’ can lay claim to being the 21st century’s equivalent of John Holt’s ‘1,000 Volts of Holt’ – an absolute essential on every Blaupunkt radiogram on a Sunday and a blues party staple.

The combination of standards and righteous releases were mixed down by the Bishop of Dub, Adrian Sherwood who blessed the project with the title ‘Big People Music’, a powerful acknowledgement to those tunes which filled many a Caribbean household with immeasurable sentiments that echoed down through subsequent generations.

Please be upstanding for Ghetto Priest and ‘Big People Music’.
'In memory of the Right Honourable Arthur Beresford Townsend - My Father'

Steve Cradock reveals a different side to his music talents with a new instrumental LP drawing on jazz, folk, classical and film soundtrack influences. Conceived during the “most extraordinary” months of lockdown, ‘A Sound track to An Imaginary Movie’ began life one afternoon in summer 2020 when Cradock felt struck by inspiration. The music that poured out in subsequent sessions suggested to Steve an imaginary film soundtrack – hence the album title – with many of the songs exuding a quiet, hymnal grace and a profound sensation of stillness and inner peace. Hints of Eric Satie, Burt Bacharach, Ennio Morricone and Philip Glass can be detected – together with a piquant flavour of the jazz and classical greats. Steve is joined by guests including, his wife Sally, Jess Cox (cello), the Stone Foundation’s Rob Newton (congas), son Cassius Cradock (piano), plus fellow members of The Specials’ touring band Nikolaj Larson (Hammond B-3) and Tim Smart (trombone). Cradock is keen to impress that the record is in his mind, essentially a folk record, despite being amazingly mixed “ultimately, I could play most of these tunes on an acoustic guitar.”

Vinyl now gone back to June. RIYL: Slowdive, DIIV, Electric Youth, The Cure, My Bloody Valentine. Solo project of Los Angeles based Matthew Doty (ex-Saxon Shore). For Matthew Doty, Deserta has always been about exploring a sonic universe that allows him to express a kaleidoscope of emotions, without having to say much at all. Through a patchwork of reverb-tinged textures – drone guitars, lingering synths and driving percussion – the Los Angeles-based singer/songwriter and multi-instrumentalist weaves together stories of care, frustration and catharsis that ultimately stretch to a gentle resolve. On new album Every Moment, Everything You Need, Doty chronicles the kind of year we all fear, full of uncertainty, tension and sustained pressure, and transforms it into a celebration of perseverance. It’s an essential reminder that we have the power to shape the stories we tell. The pandemic meant that Doty had to give up his studio and downsize a lot of his gear and instead, carve out a space in his two-bedroom apartment to craft the next chapter of Deserta. Sharing the space with his wife and son, Doty and his partner are also essential healthcare workers, which meant the couple would often have to tag-team childcare, along with 13-hour shifts in PPE and people constantly calling with questions about the ever changing guidelines and protocols. Once the blueprint for Every Moment, Everything You Need was set, Doty reached out to a number of collaborators to stitch together his vision for the sonic landscape. James McAlister (Sufjan Stevens, The National, Taylor Swift) came onboard to perform and record drums, while Caroline Lufkin (Mice Parade) wrote and performed vocals on the ethereal “Where Did You Go.” Elsewhere, the LP was mixed by Dave Fridmann (Tame Impala, Mogwai, Interpol), with Beach House and Slowdive producer Chris Coady engineering and co-producing, making this the first time Fridmann and Coady had worked together on a project. While the vocals are more prominent than Deserta’s previous albums, it’s their amalgamation with the instrumental aspects that secures Every Moment, Everything You Need as Deserta’s most confident and assured release to date. An affecting emotional candor teamed with persistent riffs and tenacious rhythms sees Doty unafraid to dive deeper; an unrestrained approach that ushers in a lustrous purging of agitation and anxiety. Showcasing those dark, exhaustive thoughts through crucial swells and looped, electronic soundscapes, it’s an LP that’s infinitely layered, with something new to discover with each and every enchanting listen.

Pan Daijing's exhibition-performance Tissues premiered in the Tanks at the Tate Modern in autumn 2019. A five-act immersion in performance, sound, movement, space, and most of all emotion in its most distilled and conflicted states, Tissues engaged with the conventions of opera and tragedy to present a searing representation of the embattled human psyche in space and time. While the ambitious multi-sensory artwork made use of the range of Daijing's artistic capabilities, music, particularly the voice, was at its formal and emotional core. The vinyl and digital release of Tissues on PAN serves as a record of that work, in the form of an hour-long audio excerpt: an invaluable archival document from Daijing's expansive live practice. Tissues is both a solitary work and a formal study in relation. Composed, directed, designed, written, and performed by Daijing (alongside a cast of twelve dancers and opera singers), the work_its libretto written in a mixture of old and modern Chinese_lingers inside a single human perspective. Daijing conjures states that are by turns delicate and severe, the tension between opposing modes animating the work as it unfolds. And yet, for all its interiority, Tissues foregrounds an intimate relationship with its audience through details like its engulfing visual landscape and its rattling, confrontational narrative arcs. Daijing uses the opera form as a prism through which to question the boundaries of music itself: perhaps, she proposes, music is much more than simply what is heard. It is in the relationship between voice and electronics that this limit is most clearly breached. Across the four acts gathered in this documentation, a counter-tenor, a soprano, a mezzo-soprano, and the artist herself voice a mixture of stunning laments and cries over an instrumental landscape, built out from industrial texture. Meant to be heard in a single listen, rather than track by track, the work unfolds through tender hollows and agitated peaks. At its crescendo, the operatic vocals melt away and the synthesizers themselves seem to howl with grief. Daijing uncovers an essential, sometimes painful, music in all that surrounds us, inviting something like catharsis but also a greater understanding of the thing she and her cast conjure and draw close. A tissue, after all, is both a disposable object one uses to wipe away a tear, and the building block of our fleshy human forms. Daijing reaches and excavates the roiling core of what it is to be alive and full of feeling. Music from Tissues, an opera of five acts at Tate Modern, London on Oct 2nd, 4th and 5th, 2019 Composed, written, produced and directed by Pan Daijing. Performed by Anna Davidson, soprano ; Marie Gailey, mezzo soprano, Steve Katona, countertenor and Pan Daijing, additional vocals. The recording is mixed by James Ginzburg , Jan Urbiks and Pan Daijing, mastered by Rashad Becker. *2xLP comes in a gatefold cover, and includes an obi strip and a booklet containing images from the performance & liner notes, as well as a postcard granting access to exclusive video documentation*

Gondwana Records sign LA bassist and composer Seth Ford-Young's Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material

Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulfulmusic draws on jazz and classical influences together with Ford-Young's own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics' name and ultimate aim is to find 'Phi' – the golden mean – in art, nature and self. Ford-Young explains:

"It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere."

Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combinedintense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young's meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:

"My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music".

It's this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it's immersive quality and quiet power. Revealingly the music that would becomeThe Cradle, wasn't written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer's home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.

Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:

"Phi-Psonics make beautiful, humble and honest music, it's not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label". Whereas for Ford Young: "Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated."

Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered 'deluxe edition' with an extended running time featuring extra tracks and new artwork from Daniel Halsall.

The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young's resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it's harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.

This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.

The first volume of Back To Mine was released back in 1999 by Nick Warren, designed to showcase a selection of tracks you’d find and be heard playing at the artist's home. Selectors have come in the form of New Order, Pet Shop Boys, Fatboy Slim, and Faithless who all dug deep to find their essential at-home listening.

The latest compilers in the Back To Mine series are none-other than the renowned four-piece, Horse Meat Disco. The horsemen are known for their incredibly fun, deep-diving selections, and this shines through in their Back To Mine compilation in flamboyant style.

Over the course of 16 years of their nightclub tenure, they have become a global brand as pinnacle players of the queer party scene in London and beyond, holding down residencies in New York, Berlin, and Lisbon. Their flamboyant nature and incredibly fun, deep-diving selections have made them one of Disco’s most beloved acts.

Across 15 eclectically brilliant tracks, Horse Meat Disco, which comprises Jim Stanton, James Hillard, Luke Howard, and Severino Panzetta expertly traverse through classic disco cuts, wonky dancefloor groovers, and silky smooth soul.

Pauline Oliveros' The Wanderer is available on LP for the first time since it was originally released in 1984. Cut at Golden and pressed at RTI for maximum fidelity.

An utterly essential document of early American minimalism from this Pauline Oliveros. The Wanderer is the sister record to Accordion & Voice, also available on LP from Important Records.

The Wanderer is based on a single modal scale (B C# D D# E F# G#) and rhythmic modes based on a meter consisting of ¾ and ⅜. Part I, Song, is intended to explore the unique resonant qualities of accordion reeds through long sounds. Subtle variations come about from differences in tuning and air pressure. Part II, Dance, demonstrates the sharp accenting power of the accordion bellows in a mixture of cross-rhythms characteristic of jigs, reels, batucadas, Bulgars, klezmer forms, Cajun dances, and music of other diverse cultures.

The Wanderer was composed in November, 1982 especially for the Springfield Accordion Orchestra, directed by Sam Falcetti. This recording documents The Wanderer's world premiere, as it was performed 27 January, 1983 at Marymount Manhattan Theatre. The orchestra consists of twenty accordions, two bass accordions, and five percussionists, with Pauline Oliveros as soloist, Sam Falcetti conducting.

Horse Sings From Cloud, written in 1975, is one of Oliveros' best known works. Like most of her Sonic Meditations, it can be performed vocally and/or instrumentally, solo or in collaboration. A solo version of Horse Sings From Cloud has been recorded on Accordion & Voice. An early version of the score reads, “Sustain a tone or sound until any desire to change it disappears. When there is no longer any desire to change the tone or sound, then change it.” This time, Horse Sings From Cloud is performed in ensemble. Joining Pauline Oliveros on bandoneon are Heloise Gold on Harmonium, Julia Haines on accordion, and Linda Montano on concertina. This quartet version incorporates the microtonal differences in tuning of the selected instruments, creating shimmering reed sounds somewhat similar to the shimmering of a Balinese gamelan.

Yellow Vinyl
The first volume of Back To Mine was released back in 1999 by Nick Warren, designed to showcase a selection of tracks you’d find and be heard playing at the artist's home. Selectors have come in the form of New Order, Pet Shop Boys, Fatboy Slim, and Faithless who all dug deep to find their essential at-home listening.

The latest compilers in the Back To Mine series are none-other than the renowned four-piece, Horse Meat Disco. The horsemen are known for their incredibly fun, deep-diving selections, and this shines through in their Back To Mine compilation in flamboyant style.

Over the course of 16 years of their nightclub tenure, they have become a global brand as pinnacle players of the queer party scene in London and beyond, holding down residencies in New York, Berlin, and Lisbon. Their flamboyant nature and incredibly fun, deep-diving selections have made them one of Disco’s most beloved acts.

Across 15 eclectically brilliant tracks, Horse Meat Disco, which comprises Jim Stanton, James Hillard, Luke Howard, and Severino Panzetta expertly traverse through classic disco cuts, wonky dancefloor groovers, and silky smooth soul.

Known for his work on Transient Force, Gigolo, and of course as a contributor for Fundamental's Time Capsule a.k.a. 808 Box project, -=UHU=-'s album is a selection of his best unreleased tracks. Compiled from an old folder full of tracks that have that twenty years old spirit in each of them, that futurist funk that -=UHU=- can deliver so well. ''Ezzential Electro'' is the biggest project Electro Records has done so far. It consists of 36 vinyl records produced by artists they consider essential for the current underground electro movement. The first six parts of the series come in beautiful white silkscreen printed sleeves on recycled cardboard and include a real puzzle piece on the front cover, indicating which part of the series you have in your hands.

The Magic Mixture were a London based , psychedelic band comprising Terry Thomas (guitar/vocals), Melvyn Hacker (bass), Jack Collins (drums) and Stan Curtis (organ) .

The 60’s were productive years, though if one explores these years, you’ll find that most of the bands that rose during those heady days had some real talent, some sincere visions, and a burning desire to shape a bit of the music scene with their sonic atmospheres.

The magic found within these highly prized and rare grooves shows they did pulsate with the moment, This Is The Magic Mixture, should certainly be considered an essential part of the garage psych movement that flowered during 1968.

Originally released by Bethlehem Records in 1959, NINA SIMONE AND HER FRIENDS was a compilation album comprised of the few remaining, unreleased tracks from the Little Girl Blue recording session plus songs recorded by two other former Bethlehem artists, the powerhouse jazz vocalist Carmen McRae and the elegant song stylist Chris Connor.

As Daphne Brooks explains in the release’s brand new essay, “Bethlehem clustered their work—tracks that had previously appeared on the label’s Girlfriends compilation—together with the younger, upstart Simone’s and essentially offered up a collection of songs that span a range of genres—folk, jazz, pop song staples, and torch song laments, plus a couple of provocative original compositions by McRae and Simone. Each track is a reminder

of the clear-eyed independence, verve, and confidence of three artists whose music, taken together, brims with the majesty and the assured talents of the late 1950s women artists who led with conviction and invention as musicians and song interpreters.”
Featuring a brand new stereo mix by four-time Grammy winner Michael Graves. Includes new essay by author of Liner Notes For The Revolution, Daphne A. Brooks.

Spectacular live recording from 1986 of two seminal figures of the Japanese avantgarde - Akira Sakata on saxophone and Takeo Moriyama on drums.

Mitochondria captures the reunion of the two free jazz masters, who started playing together in the Yosuke Yamashita Trio in 1972 until 1975. For both, the experience with the trio was an important step in the development of their own career and musicianship. The recordings are a remarkable performance in which each successfully highlights the essential elements of his playing while giving of room for the other musician.

Recorded at Kashiwa Church Chiba Pref. In Japan on 24 May 1986 by Yukio Tezuka on Sony stereo cassette recorder.

Mixed by Jim O’Rourke, Mastered by Martin Siewert. Graphic design/cover photo by Lasse Marhaug.
Liner notes by Kazue Yokoi.

Artist/composer/producer and Algebra Records head Casually Here's ambitious second solo album Possible Worlds will be released on the 1st of April on vinyl and digital distributed by Kudos.

Casually Here (Nic Nell) is a multidisciplinary artist, composer, sound designer & record producer with a background in art & mathematics. Recent projects include producing, co-writing & mixing Orlando Weeks' acclaimed 'A Quickening' album (PIAS) with playlisting and 200+ plays across BBC radio and fantastic reviews "Nothing short of stunning" DIY. And a collaborative electronic art/dance album 'Many Worlds' w/ Lawrence Hart (Hotflush Recordings) released as a series of EPs with wide DJ/radio support in the dance world from DJs like George Fitzgerald, Sasha and The Blessed Madonna, and featured in two Radio 1 Essential Mixes.

His music has been featured by The Guardian, Pitchfork, FACT Magazine, The Fader, Dummy, The Sunday Times, Dazed etc. Other projects include being half of both Young Colossus & art pop duo Rainer. His music & productions have been streamed over 15 million times & released on labels such as XL Recordings, Play It Again Sam, Hotflush Recordings & Bella Union.

Nic founded and runs Algebra Records with a focus on supporting emerging artists practically, technically and collegiately to help foster artistic community and context. Recent Algebra releases included the two debut EPs from Heavenly Stems, artist/composer/architect Emma-Kate Matthews' 'Far Flung EP', Liam Hutton's Trials EP, ELY's debut album 'Are You Invested In The Economy Of Love?', Lake Turner's Prime Mover EP and Sunplus' debut album 'More Colour'.