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Beyond the Flesh (Re-issue) Almost ten years since its initial release Century Media re-releases "BEYOND THE FLESH" on CD and vinyl with remastered sound! After a phenomenal demo tape, SKELETAL REMAINS from California (USA) released their first full length album in 2012 which offers classic Death Metal from the rotten crypt and awakes the spirit of late 80s/ early 90s Morrisound stuff. If you like the early hymns of Gorguts, Pestilence, Death or Morgoth surely, you'll freak out with Skeletal Remains! "BEYOND THE FLESH" will be re-released on May 21st and will be available as Ltd. CD Edition (+ 4 Bonus tracks from “Desolate Isolation” Demo) and Gatefold LP (180g vinyl). Condemned to Misery (Re-issue) Half a decade since its initial release Century Media re-releases “CONDEMNED TO MISERY” on CD and vinyl with remastered sound! Three years after having released their studio debut album SKELETAL REMAINS dropped their second kick-ass Death Metal album. This is a Must-Have for fans of well-groomed Oldschool Death Metal. “CONDEMNED TO MISERY” will be re-released on May 21st and will be available as Ltd. CD Edition (+ 4 “live in Tokyo 2016”-tracks) and Gatefold LP (180g vinyl). Desolate Isolation – 10th Anniversary Edition Founded in 2011 Califonian Death Metal force SKELETAL REMAINS quickly evolved into one of the new driving forces within the hard-contested Death Metal landscape after releasing four powerful studio records. To celebrate the bands 10th anniversary Century Media releases something special and reissues the 2011 “Desolate Isolation” demo tape on 180g vinyl including various bonus content (4 “live in Tokyo 2016”-tracks, 3 bonus tracks) compiled from one decade of SKELETAL REMAINS band history. Featuring a brand-new artwork by Mark Riddick this release is the definitive SKELETAL REMAINS collectors’ item for every die-hard fan out there. “Desolate Isolation – 10th Anniversary Edition” will be re-released on May 21st and will be available as black LP and on all digital platforms.

Beyond the Flesh (Re-issue) Almost ten years since its initial release Century Media re-releases "BEYOND THE FLESH" on CD and vinyl with remastered sound! After a phenomenal demo tape, SKELETAL REMAINS from California (USA) released their first full length album in 2012 which offers classic Death Metal from the rotten crypt and awakes the spirit of late 80s/ early 90s Morrisound stuff. If you like the early hymns of Gorguts, Pestilence, Death or Morgoth surely, you'll freak out with Skeletal Remains! "BEYOND THE FLESH" will be re-released on May 21st and will be available as Ltd. CD Edition (+ 4 Bonus tracks from “Desolate Isolation” Demo) and Gatefold LP (180g vinyl). Condemned to Misery (Re-issue) Half a decade since its initial release Century Media re-releases “CONDEMNED TO MISERY” on CD and vinyl with remastered sound! Three years after having released their studio debut album SKELETAL REMAINS dropped their second kick-ass Death Metal album. This is a Must-Have for fans of well-groomed Oldschool Death Metal. “CONDEMNED TO MISERY” will be re-released on May 21st and will be available as Ltd. CD Edition (+ 4 “live in Tokyo 2016”-tracks) and Gatefold LP (180g vinyl). Desolate Isolation – 10th Anniversary Edition Founded in 2011 Califonian Death Metal force SKELETAL REMAINS quickly evolved into one of the new driving forces within the hard-contested Death Metal landscape after releasing four powerful studio records. To celebrate the bands 10th anniversary Century Media releases something special and reissues the 2011 “Desolate Isolation” demo tape on 180g vinyl including various bonus content (4 “live in Tokyo 2016”-tracks, 3 bonus tracks) compiled from one decade of SKELETAL REMAINS band history. Featuring a brand-new artwork by Mark Riddick this release is the definitive SKELETAL REMAINS collectors’ item for every die-hard fan out there. “Desolate Isolation – 10th Anniversary Edition” will be re-released on May 21st and will be available as black LP and on all digital platforms.

Jazzanova released their 3rd album “The Pool” on Sonar Kollektiv in 2018. It evolved from various loose jam sessions, mixing up synthesised sounds, samples and real instrumentation. Many singers where involved incl. Edward Vanzet from Australia, who was also asked to provide lyrics. Which he did creating the song “I’m Still Here” giving the tune a Yacht-rock west coast feeling. I always felt the song was one of the strongest of the whole album so I asked some peeps to do remixes for my label Best’s Friends. German A-List remixer Larse gives the whole thing a pop feeling with an Italo-disco touch in his both versions. While Winnie & Somow from Berlin go for a more organic approach looking for that sun-rise House tune on a beach-rave or wherever. I think this remix package has something for every one in it -

Dead Can Dance members Lisa Gerrard and Jules Maxwell have teamed up under a new guise with James Chapman (MAPS) to create a studio album, titled ‘Burn’.
The record began its journey more than seven years ago, when Lisa met Irish theatre composer Jules Maxwell before working together for the first time. ‘Burn’ is set for release on 7th May 2021 via Atlantic Curve. Speaking about the origins of the album, Lisa Gerrard explains, “It is with great pleasure that I share this collaboration with Jules Maxwell. Jules and I began our creative journey with Dead Can Dance. We realised that we could connect through improvisation and that musical exploration continues to evolve with this present work.” Although this record is a new release, its beginnings go all the way back to 2012 during that year’s Dead Can Dance world tour. Originally brought in as a live keyboard player, Jules Maxwell helped create a new song with Lisa Gerrard called ‘Rising Of The Moon’, which was performed as the final encore of each show. By the time the tour finished in Chile in 2013, a strong affinity had begun to develop between the two of them and further opportunities to collaborate with each other resulted over subsequent years. In 2015, when Maxwell was asked to submit songs for the Bulgarian choir The Mystery of the Bulgarian Voices (Le Mystère des Voix Bulgares), he approached Gerrard to co-write material and travelled to Australia to work with her in her home studio. The pair came away with four new songs for that release, as well as the building blocks for this new venture together.

At first glance, Sarah Louise might seem an unlikely candidate
to credit technology as inspiration for her new album, Earth Bow.
After all, she has lived in rural Appalachia for the last decade,
foraging numerous species of wild mushroom, concocting
medicine from plants she gathers, and performing what she
terms “Earth Practices” to deepen her relationship with the
natural world. But it is precisely her ability to find connections
between false binaries that makes this album so novel and richly
immersive.
Louise conceived Earth Bow as an interconnected ecosystem,
meant to evolve, interact and grow. Known for her inventive
guitar playing, vocal harmonies and electronic experiments,
it was her use of the SP-404SX sampler that became a primary
inspiration for the album’s woven nature. “Improvising with the
404 during live shows allows me to collaborate with the music
as a living system, almost the way generative music works,” she
says. “I kept finding more and more samples that worked together
and realized I wanted to connect the entire record—and
that there were many ways it could be connected.”
Through this process, what began as eight core songs
blossomed into two sweeping suites. Samples—denizens of
her electronic forest—move around the record with changing
context like words in a sestina or phrases in the I Ching,
revealing new connections with each listen. Mesmeric sounds
abound on Earth Bow, from analog synth tones, to digitally
manipulated sonics that she stretches and layers with a painterly
touch. These electronic sounds inhabit the same environment as
field recordings, ceremonial percussion, guitars and empathic
vocals, weaving together her vast and borderless influences into
an enveloping world. “I want this record to take people on a
journey through the wonders of our incredible planet, to help
people feel held by the mysteries of nature,” she enthuses. “I
believe music can heal.” After a string of celebrated releases on
Thrill Jockey, Sarah Louise is self-releasing Earth Bow on her
new imprint of the same name.

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

Peace Chord is the new project from Daniel Robertson, a Canadian musician and core member of Vancouver-based Crack Cloud. His eponymous debut album is a deeply personal, ethereal collection of songs in which he reflects on the worlds he has been immersed in. From minimalist explorations of gentle voice, upright piano, and vintage syn-thesizers, vulnerable meditations emerge. Through these spacious composi-tions, Robertson makes room for ideas to take hold and evolve gradually, drawing the listener into his world.

“Some tracks chime and soar like Coldplay. Others are just a post-rock whimper away from Radiohead... Marillion deserve a fair hearing.” UNCUT
Marillion formed in 1979 and have sold over 15 million albums worldwide.
Rightly regarded as legends of progressive rock, the band have also continued to evolve and have been keen to embrace the possibilities of the internet, using innovative ways to interact with listeners resulting in an incredibly loyal legion of fans around the world.
‘Somewhere Else’ was Marillion’s fourteenth album and was originally released in 2007. Following on from the success of the previous album ‘Marbles’, which spawned two hit singles, ‘Somewhere Else’ gave the band their first UK top 30 album in ten years.
This new Kscope mid-price CD edition of ‘Somewhere Else’ is presented in four panel digi-pack packaging complete with a 12-page booklet. And 140gm 2LP edition of ‘Somewhere Else’ is presented in gatefold sleeve and features three bonus tracks recorded live on the 15th and 16th June 2007 at the Forum in London.

HIGHLIGHTS 180g vinyl reissue of the mega rare Mexican-only Luiz Eça album from 1970 in facsimile artwork and remastered sound. The Brazilian pianist and founder member of Tamba Trio is accompanied here by a large group of top-notch Brazilian musicians including Joyce, Nana Vasdoncelos, Wilson Simonal and Claudio Roditi delivering an outstanding mix of energetic arrangements and delicate vocal harmonies. A samba jazz masterpiece. Exclusive RSD 2020 release. DESCRIPTION Tamba Trio (Helcio Milito, Bebeto Castilho and Luiz Eça) released their first LP in 1962 and quickly became one of the most popular bossa jazz combos out of Brazil. By the mid 60s the band would expand becoming Tamba 4 and Luiz Eça would record his first albums as a leader. Trained as a classical pianist, Eça's style was a mix of jazz and pop then blended into bossa resulting in a fresh and unique sound that evolved over the years towards an even more eclectic blend. "La Nueva Onda del Brasil" was recorded in 1970 by Luiz Eça accompanied here by " La Familia Sagrada", a large group of top-notch Brazilian musicians including Joyce, Nana Vasdoncelos, Zeca do Trombone, Mauricio Maestro, Claudio Roditi_ even Wilson Simonal joins the group on Jorge Ben's 'Pais Tropical'. The album was released years later on the tiny Mexican label RVV, run by Rogelio Villareal, also home to the very rare LPs by Primo Quinteto or Rozana in a similar vein. Villareal was the owner of the Camino Real hotels group and the RVV records were exclusively available for sale at the hotels premises, as souvenirs for visitors. The band spent some periods of time touring Mexico, performing at different Camino Real locations. The album distribution was very limited and never got a local release in their native Brazil (or anywhere else) making this LP a very sought-after record that has reached cult status among Brazilian music collectors Worldwide. "La Nueva Onda del Brasil" includes both standards and originals, all performed in a very free style, an outstanding mix of energetic arrangements and delicate vocal harmonies, a sort of very late and evolved bossa mixed with jazz, emphasizing the rhythmic elements with an afrosamba twist. A samba jazz masterpiece.

Isasa’s fourth LP is a guitar excursion from a skillful, humble guide. Minimal, contemplative songs, rich in atmosphere and warm in spirit.

Some musicians give their name to their first album, signifying introduction. Some hold it in reserve — it took Wire 39 years to get around to calling an LP Wire. But whenever they do so, they are making a statement. For Conrado Isasa, an acoustic guitarist from Madrid, Spain, the decision to call his fourth album Isasa reflects the fact that his music’s relationship to his own identity has evolved. Isasa presents an artist whose work reflects that he knows and accepts where he comes from.
Between 1993 and 2003, he played electric guitar in the hardcore metal band Down For The Count and the post rock combo, A Room With A View. These were collective statements, communications between small groups and a select underground community. After the latter group’s demise, Isasa stepped back from recording, and for a while from guitar playing as well. He spent some time learning to play the trumpet, but was inspired to return to the guitar in 2007 after he heard Geoff Farina play a Mississippi John Hurt song for the encore of a Glorytellers gig. Then came another period of learning, during which he studied the playing of Hurt, John Fahey, Jack Rose, and Glenn Jones.
Performing as Isasa, he made three records, each of which can be heard as confrontation with an artistic challenge. Las Cosas (2015) is between the man and his acoustic guitar; what could he do with his fingers, a slide, six steel strings, and a box of wood? Los Días (2016) faces the broader issue of how to deal with the requirements of the American Primitive guitar style. Like Fahey, Rose, and Jones, Isasa sought to make an album that used a cohesive sequence of guitar and banjo instrumentals to express personal experiences. With its references to the sights, sounds, and tastes one might encounter in Madrid, it is like a poetic diary written with the distance that comes from having mastered a second language. After making that record, Isasa toured parts of the United States, and played at The Thousand Incarnations Of The Rose, a festival that gathered representatives of American Primitive guitar’s past, present, and future in Takoma Park, the town where the style’s original synthesist, John Fahey, was born. Insilio (2019) began to look beyond that style, dealing with Hindustani raga forms and adding other instrumental textures.
And now comes Isasa. The name suggests something very personal, and it’s true that it draws upon Isasa’s closest relationships. Two compositions are either named for or feature the voices of his children, but their presence helps this music to transcend the purely personal. For what could be more universally shared than the joy and love one feels for children? Others invoke concepts — absence, liberty, love, reunion. They may mean one thing to Isasa, and another thing to you, but by sharing his reactions to them, he invites you to recognize yours. Isasa isn’t just using his experiences to tell you about his life; he is using what he knows about life to help us know a little more about ours.

MICROCORPS is the new project by artist and musician Alex Tucker (Grumbling Fur, Alexander Tucker, Imbogodom) exploring electronics, cello and voice. The debut release XMIT, an eight-track album featuring collaborations with Gazelle Twin, Nik Void, Simon Fisher Turner and Astrud Steehouder, is out on 16 April 2021. Tucker's ever-evolving soundworld continues to unfold with this collection of harsh realms centred around processed electronic systems, strings and vocal manipulations. On the new album, MICROCORPS employs altered voices, sound synthesis and atomised beat constructions. In a move away from previous projects XMIT investigates erasing the self, removing obvious traits of the hand and voice, and allowing a focus on the humanoid rather than the human. Instead of recognisable lyrics and coherent imagery, MICROCORPS evolved synthesised voices to generate alternate characters. He expands, "I was investigating how language brings our world into being and how manipulating the actual grain of the voice could open up momentary shifts in perception." Each track is born from a balance between composition and improvisation within set parameters. At each stage audio is heavily processed and then reconfigured. Setting up systems that are non-repeatable, where decisions can be premeditated and intuitive but never the same with each performance, using hardware and instruments outside of the computer to make live stereo takes that have limited room for editing and mixing. "I'd been looking into combining dream music with machine rhythms, but there are so many great examples out there of both music forms, so I started to cut up the drones and really filter the drum patterns to create a hybrid space." The album artwork features manipulated ink drawings by Tucker that originally featured in his recent comic ENTITY REUNION 2. XMIT refers to a time in which information both physical and nonphysical transfers at an alarming rate beyond human comprehension into an age which is at once banal and terrifyingly alien.

MICROCORPS is the new project by artist and musician Alex Tucker (Grumbling Fur, Alexander Tucker, Imbogodom) exploring electronics, cello and voice. The debut release XMIT, an eight-track album featuring collaborations with Gazelle Twin, Nik Void, Simon Fisher Turner and Astrud Steehouder, is out on 16 April 2021. Tucker's ever-evolving soundworld continues to unfold with this collection of harsh realms centred around processed electronic systems, strings and vocal manipulations. On the new album, MICROCORPS employs altered voices, sound synthesis and atomised beat constructions. In a move away from previous projects XMIT investigates erasing the self, removing obvious traits of the hand and voice, and allowing a focus on the humanoid rather than the human. Instead of recognisable lyrics and coherent imagery, MICROCORPS evolved synthesised voices to generate alternate characters. He expands, "I was investigating how language brings our world into being and how manipulating the actual grain of the voice could open up momentary shifts in perception." Each track is born from a balance between composition and improvisation within set parameters. At each stage audio is heavily processed and then reconfigured. Setting up systems that are non-repeatable, where decisions can be premeditated and intuitive but never the same with each performance, using hardware and instruments outside of the computer to make live stereo takes that have limited room for editing and mixing. "I'd been looking into combining dream music with machine rhythms, but there are so many great examples out there of both music forms, so I started to cut up the drones and really filter the drum patterns to create a hybrid space." The album artwork features manipulated ink drawings by Tucker that originally featured in his recent comic ENTITY REUNION 2. XMIT refers to a time in which information both physical and nonphysical transfers at an alarming rate beyond human comprehension into an age which is at once banal and terrifyingly alien.

A conceptual album featuring five long tracks with raw in–your–face sound and production, over–charged fuzz & wah wah guitar, powerful vocals with killer echo/reverb and studio effects. This is must for any hard rock / metal / heavy psych aficionado, reissued for the first time on vinyl and remastered from the original tapes.

Including insert with liner notes and rare pictures from the archive of Vicente Feijóo, the original guitarist & vocalist from Zarpa. Heavy carboard sleeve + OBI.

Formed in Mislata, Valencia, in 1977 by four teenager friends (Vicente Feijóo on lead vocals & lead guitar, Eduardo Feijóo on bass & vocals, Javier Herviás on guitar and Jesús Martinez on drums), Zarpa Rock (“Claw Rock”), later shortened to Zarpa, evolved from a group called Wolframio. After spending most of 1977 learning how to play their instruments, they were approached by a management agency called Zeus Rock, joining their roster in company of bands like Doble Zero.

Under Zeus Rock guidance, the band did their first recording: a conceptual album titled “Los 4 Jinetes del Apocalipsis” (The Four Horsemen of Apocalypse) which due to low studio budget, was recorded “live in the studio” in a single one-hour-and-a-half take. After the bankruptcy of Zeus Rock, the proposed album project was shelved. Zarpa shared stage with legends like Ian Gillan and later on, in the heyday of Heavy Metal in Spain, they managed to release two more LP’s which established them as a very popular band, even opening for Barón Rojo, true Metal Stars in the early 80’s. They’re still in active.

“Pretty much heavier and more loaded with crazed lead guitar than any of the other big ones from Spain like Storm, Tapiman, Leño or anything else I can think of” – Rockadrome

“Their music combines the slightly bluesy mid-70s Spanish hard rock sound of bands like Storm, which channeled Sabbath and Deep Purple, with a just-this-side-of-NWOBHM early heavy metal sound”
-Shit-Fi

1994 by French artist Continental and backed by a remix from Cosmin TRG.
Amrboise Boret is a French engineer, mixer and producer located in Paris who released material under various guises from the nineties through to the early 2000’s. Here we see his Continental moniker brough back into the limelight, highlighting a selection of material from the Pushin' It Up EP on Alliance Records. Up first is ‘Flying Dub’, as the name would suggest a dub-infused excursion through gliding chord sequences, snaking bass licks and bright string sequences while swinging analogue drums dynamically evolve throughout. ‘Way U Jack’ follows, introducing a more Chicago leaning attitude rhythmically alongside low-pitched vocal murmurs, fluttering dub chords and a bumpy bass line. Title-track ‘Whispers’ follows on the b-side next, employing ethereal atmospherics, flute like synth melodies, organ bass tones and crunchy, shuffled percussion. Rounding out the EP Cosmin TRG reworks ‘Whispers’, offering a contemporary twist on the original with intricately programmed drums, subtly nuanced introductions of the originals atmospherics, winding low-end pulsations and an overall ornate, dynamic feel.

Hooveriii - Water For The Frogs Having originally been born as a solo drum machine project by Bert Hoover, Hooveriii (pronounced "Hoover Three") has now evolved into it's true final form - a six member band adept at creating their own brand of psychedelic space rock. And after almost a decade in, the band is set to release their sophomore album and debut for The Reverberation Appreciation Society, Water For The Frogs. Influenced by Iggy’s The Idiot, Bowie’s Berlin records, and Soft Machine, the LP sees the band creating their own version of prog rock, circa 2021. In 2019, Hooveriii took their live show to Europe for the first time. Bert Hoover shares, “seeing all the old cities and beautiful landscapes while becoming closer as a band had a huge impact on this album. A lot of our favorite music came from the Krautrock scene in Germany from the late 60's-70's, and when we had a day off in Furth, Germany, we spent most of it writing the record,” he continues, “we were able to rehearse in an old German bunker that has been converted to rehearsal space. It definitely had a strange energy that helped give this album light.”

Orions Belte: «Villa Amorini» Jansen Records 2021 Do you remember the time the doorman ran after some drunken kids around the lake outside the club? As he dives into the lake, he scrapes his stomach on a sharp object in the water, but catches up and returns with one youth under each arm. At the same time the singer from the band playing inside, jumps from the loft hoping that the chandelier he grabs will hold him. It doesn’t. Endless afterparties and constantly trying to avoid visits from the police or the liquor control. Still nothing? This was the 90’s club scene in Bergen, and Villa Amorini was the place where everything happened. Starting as an 80’s fine dining spot, it evolved into an extravagant club with tons of artists and DJ’s in screaming shirts and oversized sunglasses. This sets the scene for Orions Belte’s second album. Still a mix of all the sounds they like, reminiscing eras they haven’t experienced, trying to navigate in their own musical atmosphere. Chaotic and calm at the same time. Villa Amorini is recorded at Norsk Riksstudio by engineer Njål Paulsberg, making sure the sounds were on point while leaving the band alone to play together for hours upon hours, chiseling out the base for the album. Where the debut was summery and a bit brighter, this album tends to lean a bit more towards the big city, night life and leftover food from the fridge. Mixed as always by the magnificent Matias Tellez.

“Maestro melodist Christophe Petchanatz (aka Klimperei) and all around music fanatic David Fenech engage remotely in a repetitive exchange of recordings and overdubs on their debut album titled ‘Rainbow de Nuit’, sporadically spanning over the last decade. Evocations of experimental and improvised jazz, chansonesque songs, bluesy folk, and outsider music undulate harmoniously across the record. From music boxes and walkie-talkies down to plastic straws, plucking various stringed instruments such as the charrango and banjo, kazoos and snake-charmer ocarina and flutes, all the way through the sweet accordion and melodica, found and traditional tuned percussion - there is far from a shortage of sound sources on this freakishly inviting record. What germinates as an imaginative and emotional chord progression played by Klimperei, evolves with Fenech layering additional recordings, which would then find their way back home to Klimperei yet again, and so on, and so forth. This recursive compositional and improvisational loop, combined with Fenech’s musique-concrete-like mixing and editing techniques, transforms the acoustic recordings by way of compression, saturation, and reverberation or simple pitch changes - resulting in the duo’s recordings seemingly sound like they may very well be an octet in real time. While the majority of the recordings have been ping-ponged remotely, David and Christophe unite under one roof to record the closing track of the album.

The pieces presented on ‘Rainbow de Nuit’ treat the ears to a carousel ride waltzing through a multiverse made up of surrealist puppet theaters, dramatic film noir act changes, and a mosaic of polyphonic instruments and toys alike. In other words, a score to a fable brought to life with haunting yet charming melodies and occasional hallucinatory voices reminiscent of laughter and infantile epiphanies which we hear on Tarzan en Tasmanie and Madrigal for Lola. This is taken a step further by Fenech, to a brief libretto of incomprehensible tongues on Pocarina. Amid the mysterious and dark (Septième Ciel and Rugit Le Coeur) also lies tender and simple compositions (Rainbow de Nuit and Chevalier Gambette), murky suspenseful melancholy (Levy Attend and Eno Ennio), and casually slipping into pensive psychedelic backdrops (Un Cercueil à Deux Places) - forming a colorful blend of sounds. A world of echoes. A tale of tales. One persistent earworm that you’ll likely be whistling and humming along to on a first listen.”

SWINGROWERS are an Italian quartet from Sicily. They have been at the forefront of the electro swing scene for many years but have evolved beyond it more recently. Their constant touring and festival appearances from Boomtown to Glastonbury's Avalon stage, from Tokyo's Blue Note club to tours in India and more have secured them a large international following while their YouTube videos regularly reach multi-million views. Starting as a DJ/Vocal duo with the debut album in 2012, via the 5 piece band on Remote (2014) to the current line-up on Outsidein (2018) they are now poised to release their best album yet and take things up another level.

HYBRID is a lyrically ambitious project held together by ecological themes but what really sets this apart is the brilliant melodic work of a tightly-knit group working perfectly together, plus exemplary musicianship in the gypsy guitar work and alto sax department, coupled with a gorgeous voice and brilliant, original production work. This album is their masterpiece. Usual support expected from previous supporters like Craig Charles and BBC 6 Music, but this album is also likely to reach out to a much wider audience than before. SWINGROWERS have also been lucky to have many significant syncs and this album is expected to generate many more. In particular future single and video WANNABE has the standout qualities of an anthem, concerning itself with female empowerment and individuality that will have wide appeal.

After an almost 6 year hiatus, and the break up of the audio-visual trio it had evolved into, Origamibiro returns with Miscellany, a body of work amassed during the years since the release of 2014’s Odham’s Standard.

Though the group never officially disbanded, a number of life-changing events meant it simply became impossible to continue together. As such, the project organically reverted back to the solo pursuits of composer Tom Hill. Fellow multi-instrumentalist Andy Tytherleigh, however, remains a strong collaborator.

Miscellany comprises a varied mixture of work, ranging from electroacoustic to orchestral chamber music. Drawing upon much of the found-sound style for which Origamibiro became known, the DIY approach to sampling and composing continues to play a central role in the process.

Exploration into the tangible nature of everyday objects and textures - both in and outside of the home - is a theme relished in much of Origamibiro’s work. Forest brambles and plastic toy Easter eggs are examined in surgical detail alongside the debris of demolished piano parts, to be repurposed into whatever sonic potential they offer up.

However, new additions to the instrumental palette - viola da gamba, piano, zither, singing bowl, glockenspiel, drum machines and gongs - contribute to an even broader timbre.

solid white vinyl / 180 grams

British Electro veteran Bass Junkie returns for his second vinyl outing on Bass Agenda Recordings, this time with a full-length album. As his last release, "Low Frequency Fugitive" indicated, he has been working hard on developing his trademark sound and taking things forward; no mean feat for someone who has been ahead of his time since he began releasing Electro in the mid-nineties. He has succeeded though and everything he is loved and respected for is here, plus some advanced structures and elements - Bass Junkie evolved - a true Sub Sonic Survivor. The harder edge is here in tracks such as "Blast Them to Infinity!" and the insanely hard kick of "Star Destroyer". His funkier side shines through too, in tracks like the shimmering space funk of "Rum and Raspberries". For fans of his exceptional vocal work there are treats in store too, particularly in the aggressive attack on the modern state of things that is "Reset".