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At Cloud’s Length is a collaborative compilation of musical works from artists on Melbourne/Naarm based collective WAT artists, using the vehicle of music as the driving force of connection.

While the opportunities to gather have been put on hold, this compilation is a collaborative release rising from a challenge set to the WAT artists roster to connect and create using isolation as a creative parameter from which to generate new music, resulting in surprising and powerful musical cross-pollination.

At Cloud’s Length - an ode to the use of cloud storage as the last front of musical collaboration during lockdown - reaches through the veil of isolation, passing overland, gathering energy and offering a release saturated with creativity and collaboration from afar.
This compilation is both a confluence of unique and diverse creative minds and a narrative of humanity's desire for deeper meaning and connection.

Music contributors:

30/70, Adam Halliwell (Mildlife), Alex Albrecht, Barney McCall, Bell Towers, Big Yawn,
Edd Fisher, Fantastic Man, IN2STELLAR, Kris Baha, Loure, Mike Callander, Morgan Wright, Michael Ozone, Rings Around Saturn, Sleep D, Sui Zhen, Toni Yotzi, ZFEX

First drop of 2021 from AE Productions is from New York legend Emskee. From solo releases to group projects with The Good People alongside Saint, plus a slew of guest features far and wide his catalogue is staggering! Emskee previously appeared on guest spots with AE Productions for the Cut Beetlez ‘What Beetlez?’ album in 2020 and Oxygen’s ‘Age Appropriate’ album from 2019 but AE and Emskee go way back to 2012 thanks to an introduction via mutual friends Diggers With Gratitude at their Marisco event.

Both tracks here are produced by AE boss Mr Fantastic but for this one turntable duties were shared between Emskee who is one of those rare creatures – a highly skilled MC and DJ, and supplied the timeless scratched in vocal chorus feel from a legendary old school gem for 'Wall To Wall', and Mr Fantastic who supplies the question and answer style cuts for ‘Supernatural Force’ utilizing a couple of Emskee's prior releases as the source.

This is a heavyweight release - 12" black vinyl complete with Main Version, Instrumental and Radio Edit of both tracks - just how Hip Hop singles should be. We all love 45's but a big 12" with space for longer tracks and extra versions is historically where it's at for DJ's and with precious few released now it is a shame so we aim to remedy that here with at least one more new 12” release.

The full sleeve artwork adds to the class of this release with a huge nod back to the style of Blue Note Records’ heyday of the 50’s and 60’s thanks to Nick at Fine Print who has perfectly recreated the feel of those classic sleeve designs.

Fleet Foxes' Robin Pecknold shares, "SHORE feels like a relief, like you'd feel when your feet finally hit sand after getting caught in a riptide. It's a celebration of life in the face of death, honoring our lost musical heroes, from David Berman to John Prine to Judee Sill to Bill Withers, embracing the joy and solace they brought to our lives and honoring their memory. SHORE is an object levitating between the magnetic fields of the past and the future." SHORE was released digitally in its entirety on the fall equinox (22/9) alongside an album length Super-16mm landscape film captured and edited in Washington State by the filmmaker Kersti Jan Werdal. The album was recorded in upstate New York at Aaron Dessner's Long Pond Studio, in Paris at Studios St. Germain, in Los Angeles at the legendary Vox, in Long Island City at Diamond Mine, and New York City's Electric Lady. Fleet Foxes' self-titled debut made a profound impact on the international musical landscape, earning them Uncut's first ever Music Award Prize and a spot in Rolling Stone's 100 Best Albums of the 2000's. The follow-up album Helplessness Blues was met with the same critical praise as its predecessor (MOJO âÿ_ âÿ_ âÿ_ âÿ_ âÿ_, Pitchfork's Best New Music) and earned them a GRAMMY nomination. Both Fleet Foxes and Helplessness Blues are certified Gold in the US. The band's third studio album Crack-Up, released in 2017, had the highest European chart entry at #5. Fleet Foxes has sold over 1 million records in Europe

Vinyl Only

Yet again the enigmatic Atlanta, USA-based label makes their second release with the EP "Spiritual Breath" by one of their very own "Isai". The A-side features two original compositions from Isai (aka Angel Jack) taking us into a sultry smooth outer orbit. The B-Side features remixes from Gab JR and Tom Ellis that take distinct interpretations of Spiritual Breath. This EP has classic 4/4 house grooves with signature leads and keys that dance to punchy 909's, colorful stabs and deep melodic atmospheres making the listener feel compelled to move and wonder to a nostalgic bliss. Touching all horizons, this window into Isai's Mithraic world can be utilized at home or on the dancefloor depending on the mood which is desired.

"As above, so below, as within, so without, as the universe, so the soul..." - Hermes Trismegistus

Harry Bertoia's Glowing Sounds LP contains three versions of the same composition, each transferred at different tape speeds in accordance with the artist's instructions. This is the third LP to be released from Bertoia's extensive tape archive and it's the first, of many, to be released using instructions left behind by the artist himself.

Bertoia wrote the concept for this Glowing Sounds LP on a note in 1975 and slipped it into the master tape case where it sat unread for 45 years. The idea was simple, transfer the original recording at its original speed and two slower speeds. Bertoia noticed that the results, however, were profound.

Recorded on January 20, 1975 using two large gongs, Glowing Sounds is one of the most powerfully minimal recordings yet discovered in Bertoia's collection. The artist's note left with the tape indicated that it was recorded at a speed of 15 IPS (inches per second) but slowing it down to speeds of 7.5 IPS and 3.25 IPS were quite effective for enhanced playback. Side A features the original 15 IPS recording and the 50% slower 7.5 IPS recording. Side B features a 20 minute, ultra-slow version at 3.25 IPS.

Long, deep drones and powerful overtones define the sound of this recording. Comparison of the three speeds provides a revealing magnification of Bertoia's gongs, overtones and the artist's inventive approach to performance, composition and recording.

Bio:
Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's 'Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term 'regret pop' to describe the music they made on the 'Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach. Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here." Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing. Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. 'Real Thing' is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. "Are you the real thing?" Laura Colwell questions in the song's repeated refrain. "Honey I'm the real thing," she answers back. They've called this one their 'prom' record; a sincere, alive-in-the-moment snapshot of the heady rush of love. "The prom idea started as a mood for us to arrange and shape the music to, which we hadn't done before," the band explains. " Prom isn't all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss - all the highs and all the lows." It's in both those highs and lows where Somewhere comes alive. Laura Colwell's voice is mesmerising throughout, and while the record is a document of falling in love, there's still room for her to wilt and linger, the vibrancy of the production creating beautiful contrasts for her voice to pull us through. Opening track 'Bad With Time' sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. "I didn't mean what I said," Colwell sings. "But I wanted you to think I did." Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

Reymour packed their bags in the pre-Alps of Switzerland and left to start a new life in Bruxelles. This debut album finds originates in this transition, again in a bilingual environment, by now a Knekelhuis theme. Leviosa documents the emergence of a kind of dance built from chansons, synthpop and cute minimal wave. Luc Bersier’s wide musical spectrum reaches great heights while staying small. He creates the musical bedrock on which Reymour’s cabinet of musical curiosities rests, allowing us to drift away on the unctuous fumes of Lou’s vocals. On these tracks she covers a wide array of feelings, of doubt, sexual orientation, play and melancholia. And it all comes together in the reflection of life. Close friend and family guy Low Bat contributes vocals and gameplay on 2 of the album’s tracks.

"Over the years, I have had the absolute pleasure of meeting countless wonderful people in every corner of this beautiful planet, and a lot of times these music enthusiasts have expressed a very similar-sounding story. That our presence – whether it be via a studio recording or our ferocious show – is capable of transporting them to a better place and washing away all earthly worries. Doesn't this sound amazing – especially during these challenging times?"
This gentle voice belongs to the vocalist-guitarist Jonne Järvelä, who happens to be the creative force behind the unique Finnish ensemble KORPIKLAANI. Having experienced multiple triumphant years within the inner circle of folk-influenced heavy metal, Jonne now acknowledges his position as one of the most recognisable artists ever coming from the land of a hundred thousand lakes.

KORPIKLAANI – preceded by Jonne's own project SHAMAANI DUO (1993-1997) and the band SHAMAN (1997-2003) – was founded somewhere deep in the primeval northern forests in 2003. Ten celebrated studio albums, numerous world tours and hundreds of millions of digital streams alongside multiple other releases, have established KORPIKLAANI’s status as one of the leaders of innovative heavy music. For their diehard legion of fans, they are known as Folk Metal Superstars.

"I have always been fascinated by ancient Lappish/Samish culture and the infectious melodies of aged folk songs. However, that's only one side of the coin as I have loved rip-roaring metal since I was a frantic kid looking for some rebellious sounds. My butt was kicked by the likes of MOTÖRHEAD, IRON MAIDEN and JUDAS PRIEST", says Jonne.
"Since the early 2000s, KORPIKLAANI has combined these elements as we have tirelessly attempted to pump new life into the ancient tales of joy and heartbreak, and added the enormous energy of current heavy metal into that folk metal melting pot.We have always been on a mission to create something new and unprecedented."

Here and now, KORPIKLAANI’s fearless journey continues on – and this time, the journey is powered by rather serious subject matter. Their eleventh full-length studio record "Jylhä" (which has no direct translation but can be described as majestic, or wild and rugged in a beautiful way) brings all the well-known and essential ingredients to the table: heavy-duty guitar riffing, rhythmic folk melodies and more.

What about the tales of the wilderness then? The fascinating and miscellaneous tales have always been a crucial part of KORPIKLAANI’s journey within the realms of unspoiled Finnish nature, ancient Scandinavian myths, shamanistic voyages and beyond. "Did I already mention that "Jylhä" offers some new angles?", the singer/guitarist laughs. "Well, lyrically, there are definitely some previously unknown passages – such as fables connected to the infamous Lake Bodom murders in Southern Finland in early 1960s."

KORPIKLAANI’s long-time lyricist Tuomas Keskimäki – the renowned Finnish poet and author, comments: "When I am coming up with narratives, interesting wordplays and other ideas for KORPIKLAANI, I often feel like I am diving into some absorbing fantasy world. I would describe this state of mind as some kind of a deep trance", says Keskimäki.
"As a whole textual piece, "Jylhä" is rather widespread. For example, there are stories about the fragility of life, revealed by using nature metaphors. ‘Miero’ is one of these tales: after all, it's a fact that the lifetime of a human being is just one blink of an eye compared to the eternal aeons of the cosmos."
"On the darker side, there are several murder songs - I wasn't really planning these rather untraditional lyrics, they just happened... One of these is ‘Kiuru’, and that story is inspired by a famous Finnish double homicide case, which took place in the small village of Tulilahti in 1959. In these lyrics, the character called Kiuru – Skylark in English – acts as eyewitness and a prophet, but at the same time, this creature also functions as an allegory of many things... All in all, I am really happy with the lyrics and all these new themes!"

When asked about his current sentiment regarding the new KORPIKLAANI opus "Jylhä", the commander of the forest clan sighs and smiles. "Using "Jylhä" as our solid steppingstone, we are able to reach completely new heights. For me, it's crystal clear that KORPIKLANI has never been better."
It is a fitting album for our dark times, summed up well by the song ‘Huolettomat’ (The Careless). It talks about living in the present moment, alongside a story of joy and celebration. Today is today, tomorrow is uncertain.

It’s a decade since The Staves self-released their first EP and a lot has happened since then. Their third album Good Woman was written and recorded amid major upheaval, heartbreak and bereavement. The new-found boldness, loudness and lyrical directness on this record are indicative of lives forced to become a serious concern.

In early 2020 the band resumed touring, unveiling their expansive and exhilaratingly powerful new sound, and previewing these emotionally affecting songs in intimate venues across the country; with tickets selling out in seconds. They ended the tour with a triumphant homecoming appearance at the 6 Music Festival.

The Staves’ first album in five years is an accumulation of everything that life has thrown at them in that time.

Emily: “You find strength in the vulnerability and you find beauty in the sadness and magic in the despair. We lost so much, but we found so much. And while the album is not all about mum, something shifted in us when she died that made us make the record in the way that we made it. We became more fearless.”
Camilla: “It feels more about trying to take ownership of these events and not letting sadness or trauma rule you.”
Jessica: “It’s a record about sisterhood, motherhood and daughterhood; love, loss, change and trying to be a good person, a good woman.”

After much anticipation, UK-talent Ben Westbeech returns under his Breach moniker next February. Serving up the long-awaited Sun Salutations on André Hommen’s These Eyes imprint, the EP marks his first release under the alias since 2018, and features Dekmantel mainstay Cinnaman on the second track. The ethereal sound of Sun Salutations sets the feel of the release, as progressive synths reside atop a distinctive kick-hat backbone. We’re soon graced with an enchanting mid-track breakdown, paving the way for a tribal-leaning bassline and dreamy, flute-like chords. New Horizons feat. Cinnaman brings things to a gentle close, as warm keys converge on reverberating vocals to form a soothing, slow-building cut that’s perfect for sunrise, sunset or anywhere in between. Ben Westbeech AKA Breach is no stranger to the scene. Cutting his teeth on Gilles Peterson’s Brownswood Recordings, it was in 2013 that Claude Von Stroke picked up Breach’s Jack EP for a release on his iconic Dirtybird imprint, the likes of which charted at number nine in the Official UK Top 40 Chart. Since then, the UK-talent has refocused his attention on the underground, launching his Naked Naked label as well as producing standout productions for the likes of Crosstown Rebels, Ninja Tune, Aus music and many more besides. André Hommen's These Eyes has cemented its standing as one of Germany’s leading labels, with the likes of Tlak (Denis Horvat), Marc Romboy and Jonathan Kaspar finding a home on the imprint in recent times. Refusing to be pigeon-holed by genre or style, Breach’s debut highlights the eclectic sound through which the label has become best known, a testament to the vision of label-founder Andr é Hommen.

Ubuntu Music is excited to announce the signing of Skeltr for the worldwide release of their album, ‘Dorje’. Skeltr began as a late night, post-gig session between Sam Healey (keys) and Craig Hanson (drums) in the dusty old cotton mills of Manchester. Forging a shared connection inspired by Post-bop and Modern groove, the pair developed a tightly knit, highly musical duo. Their first UK gig in 2017 at the Manchester Jazz Festival saw the duo sell all of their physical records of their debut release in one day. Within a few months of this auspicious start, the lads found themselves supporting L.A sensation KNOWER on UK tour, appearing on JazzFM, Worldwide FM, listed as ‘ones to watch’ in Jazzwise Magazine as well as performing across European jazz festivals, including Reykjavik Jazz Festival, InJazz, Rotterdam and the famous Osloscene Club in Norway. A tragic accident saw hard times fall upon the Duo as Sam suffered a serious hand injury. However, after operations and months of rehabilitation, Sam was able to return to his saxophone and continue playing music again. Having had chance to compose during rehab, the Duo immediately hit the studio and recorded their second album, named after Sam’s new-born son, Dorje. A nucleus of Saxophone and Drums set to scapes of synths, vocals and guest features, Skeltr's second album, 'Dorje', combines heartfelt statements of sensitive, illuminating, incensed improvisation which stem from ardent and fluent melodies. Craig ondrums is as much an expressive protagonist of the music as he is a foundation with deep roots, leading to intricate interplay between the Duo. Themes include understanding the nature of happiness, self-examination and acceptance in aquest to achieve a positive mental state. Ultimately, ‘Dorje’ seeks to provide the listener with a space in which to explore their own relativities with guidance, inspiration and accompaniment. Sam describes the project, saying, “What a wonderful experience it has been to create this album. We look forward to spreading the music far and wide with positive intentions. The sounds are crafted with a passionate energy in our hearts and I hope otherswill be able to feel and hear that.” Concerning Skeltr’s new relationship with Ubuntu Music, Healey continues, “It has been a three-year journey to bring this album to fruition and we’re so happy to have met Martin (Hummel) and Ubuntu Music as the album was coming to completion. This auspicious timing makes the new relationship all the more rewarding. The Ubuntu Music team’s knowledge, experience and phenomenal work ethic are vastly inspiring and will help Skeltr to reach a much wider audience across the world. We look forward to a close relationship with theLabel as we strive to bring great musical offerings to many people.” Martin Hummel, Director of Ubuntu Music, said, “These guys have breath-taking talent. I first came in touch with Sam on New Year’s Day (probably not the best day to do so) and told him what I thought of their music. It’s deep. It’s spiritual. And it shakes your senses, inside out and to your very core. Sam is meticulous in everything he does, and you can hear this in the recording. If you want to feed your soul with the best musical vibes, check this out.”

**400 ONLY REPRESS PHOTOLUMINESCENT COLOUR VINYL///!! 200 FOR EUROPE** “I was guzzling wine at my favorite bar in San Francisco, the Rite Spot, and the entertainment that night was some local opera singers singing along with a big video screen showing a collage of various operatic moments with subtitles. One particular subtitle, ‘Ah!-(etc)’ made me laugh, I thought it was a perfect description of life - the joy of existence against the etcetera of it all, the struggle. With a heavy head of rose’ it seemed like ecstatic poetry! I scribbled it on a napkin and thought it might make a good title for something” And so the mystery behind the title of Kelley Stoltz new record is solved. Less of a mystery is the quality contained therein… after 12 self-titled releases and a several more under pseudonyms, Stoltz is the word for “one-man-band-home-recording-pop-songs of idiosyncratic character.” A quick follow up to his more power pop and pub rock LP only “Hard Feelings” offering in the summer, “Ah-(etc)” finds Stoltz returning to his sweet spot, writing songs that never were, but should have been in the 60’s and 80’s.

As with other LPs Stoltz makes virtually every noise on the album which was written and recorded in 2019 at his Electric Duck Studio in. San Francisco. A few friends popped in to play along… Stoltz former bandmate, Echo & the Bunnymen’s Will Sergeant adds electric guitar to “The Quiet Ones” a sort of Scott Walker lyrical take on strangers and neighbors. Karina Denike formerly of Dance Hall Crashers adds gorgeous vocals on the bossanova groover “Moon Shy”, where Sergeant pops up again in a spoken word role on the outro. Allyson Baker of SF’s Dirty Ghosts sings on “She Like Noise”, a song Stoltz wrote for her in celebration of her love of seeing live bands.

The album was mastered by Mikey Young in Australia.

Limited edition 12” LP - 180 gram silver marble vinyl. In response to a
world struggling with disruption and discord, Tony Tixier has instinctively turned towards his music as a way to re-establish the sundered
connections of everyday existence.
‘I Am Human’, a series of remotely records duets - available only on limitededition vinyl - was created when he returned from a sell-out US tour to find himself locked down in his Paris apartment.
An escape route appeared out of a happy combination of chances: a loan of a new piano from Yamaha and an encounter with a neighbour, David Freiss, who turned out to be an expert sound engineer. Tixier conceived a plan to spontaneously record a series of pieces, all in one take, and then send them out across the world to a chosen band of his closest musical accomplices - Scott Tixier, Hermon Mehari, Ben Leifer, Logan Richardson and Adrien Soleiman - musicians with whom he felt so closely in tune that the enforced separation of time and space could be overcome - and invited them to overdub a response to create a series of virtual duet recordings “Each track is dedicated to a friend, someone I feel close to - I sent them the track in the morning, and by the afternoon I had the track back with their parts.”
Each side of the vinyl release is opened with a performance of an original solo piece by Tixier, both recorded back to back. ‘Leaking Life’ is a meditation on the passing of time and a call to action to make the most of every day. ‘Humain’ is an expression of his own identity “A presentation of myself - I don’t see myself as mixed race - I am 100% black, 100% white, 100% human.”
Tixier has travelled the world with the likes of Christian Scott and Keyon Harrold and performed for audiences across four continents, but this is his most personal, direct work to date. Reaching out across the world, sustained by a network of friends, he has delivered a statement for our times that transcends the limitations of remote recording with the sheer force of its emotional connection. Personnel: Tony Tixier (piano), Scott Tixier (violin), Hermon Mehari
(trumpet), Ben Leifer (double bass), Logan Richardson (alto saxophone), Adrien
Soleiman (tenor saxophone)

Self-released in 1969 ‘Our Thing’ is the debut album of the performing Houston unit known as Kashmere Stage Band. The Texas student band came together at the Kashmere High School and under the direction of musical director Conrad O. Johnson, released a series of cult album on Kram Records, before disbanding in 1978. Raw funk, that’s basically what they’ve been playing and clearly there was a blacksploitation feel all over the place, but their drive was quite unique. Rediscover the myth

Nonesuch releases a remastered, special edition of the 2005 record Our New Orleans for the first time on vinyl. The two-LP set, also available digitally, includes five previously unreleased tracks: ‘Do You Know What It Means’, by Davell Crawford; ‘Let's Work Together’, by Buckwheat Zydeco and Ry Cooder; ‘Crescent City Serenade’, by Dr. Michael White; ‘Walking By the River’, by Dr. John; and ‘Do You Know What It Means’, by The Wardell Quezergue Orchestra featuring Donald Harrison.

The $1.5 million raised from the 2005 release went toward providing housing in partnership with low-income musicians and others through the New Orleans Habitat Musicians’ Village, a concept that was developed by New Orleans Area Habitat for Humanity, working with Branford Marsalis and Harry Connick, Jr. Habitat–built homes in the village now provide musicians and others of modest means the opportunity to buy decent, affordable housing. The centerpiece of the village is the Ellis Marsalis Center for Music, dedicated to celebrating the music and musicians of New Orleans and to the education and development of homeowners and others who live nearby.

For Our New Orleans, many of the Crescent City’s best-known musicians recorded songs that are integral to their lives and that express their feelings about the city and the trauma of Katrina. The album was made swiftly and simply, over the course of a month, in one-day sessions across the country. Nick Spitzer, host of public radio’s New Orleans–based American Routes, contributed liner notes to the record, as did Pulitzer Prize–winning author Richard Ford, also a Crescent City resident. Other producers who made enormous contributions include Mark Bingham, Ry Cooder, Joel and Adam Dorn, Steve Epstein, Joe Henry, Doug Petty, Matt Sakakeeny, and Hal Willner.

Nonesuch’s parent company – Warner Records, part of the Warner Music Group – donated all production costs for Our New Orleans as part of the Group’s larger efforts on behalf of hurricane victims on the Gulf Coast. Many others involved in creating the album also generously donated their time and services.

Nonesuch President David Bither recalls, “What was most remarkable to me was the immediate response of the musicians. Many were in New Orleans when Katrina struck. Many lost everything they owned including even the musical instruments that are their livelihood. Yet they responded within days to the question of whether they might participate in this project. The emotion and the power of Our New Orleans come both from their anguish and from their incredible generosity.”

And the label’s Chairman Emeritus Bob Hurwitz said, “When we pick up a CD booklet, we usually skip over the page that says, ‘Special thanks to…’, but in the case of Our New Orleans, it is, after the listing of the musician’s names, the most important part of this package. Everyone wanted to help – studios that insisted on contributing free time, caterers, photographers and videographers, instrument rentals, producers, engineers – every step down the line, people gave, not only their profits, but absorbed all of their costs. It was an incredible outpouring of generosity.”

“Our New Orleans is a testament to the power of music to heal and provide a sense of community,” said Marguerite Oestreicher, Executive Director of New Orleans Area Habitat for Humanity. “Musicians helped the city heal after Hurricane Katrina, and Musicians’ Village helped them come home. We’re grateful to Nonesuch and everyone who worked on this album. This year has brought new challenges to everyone, but especially to our culture-bearers. This re-release could not be more timely.”

The Luka State are Cheshire Cats, Conrad Ellis (voice, guitar), Sam Bell (bass, voice), Jake Barnabas (drums) and Lewis Pusey (guitars). Their hometown is famous for salt mining, and not much else. Yet being halfway between Liverpool and Manchester – hence, every kid in the town wanting to be a footballer or pop star the minute they can kick a ball or play a guitar. The Luka State chose music.

The band racked up 68 shows around the UK in the twelve months leading up to the lockdown, and despite not having the chance to play their latest releases live, they have amassed over 6 million Spotify streams. This is no mean feat for an independent band, so it’s no wonder that Shelter/BMG jumped at the chance to sign them.










[i] 9. [Insert Girls Name Here]

On their Night Dreamer debut, Sarathy Korwar and his allstar “UPAJ Collective” gain brand new ground in their mission to rebalance spiritual jazz with authentic Indian classical music. “UPAJ” means “to improvise” inHindi, and recording direct-to-disc at Artone Studios with almost no preconceived directions, they truly capture the “spirit of spontaneous improvisation”, as Sarathy puts it, like never before.


Sarathy Korwar 2020

"Recording in one take, direct-to-disc is a unique scenario to be in. I feel very blessed to be presented this opportunity. I decided very early on that in order to make the best use of this scenario, the music had to be completely improvised and spontaneous. That is the only true way to record within the limitations of one take. No regrets, no mistakes, no fear and no judgement. These were the ideals. In a way, this was about creating a utopian vision of a world I would like to live in. A microcosm of the ideals that I would like to live by, in the recording studio. The vision of going into the studio with this in mind, was more important than the resulting music we created. Process over product.

Before the session we did some collective breathing exercises that I have learnt from my mother (who is a pranayama practitioner/teacher) and Wim Hof. I believe this helps centre the focus of the group and balances the mind, making it most receptive to new sounds and inspiration.

The song So said Said is a tribute to Edward Said. Intimate Enemy, a tip of the hat to the book of the same name by Ashis Nandy (Intimate Enemy: Loss and recovery of self under colonialism). A cover of Flight IC408 by State Of Bengal is on Side B, as I am a massive fan of the band. Elephant Hangover is the imagery that the tune conjures for me personally on listening to it. A beautiful remix by the brilliant Osunlade of So said Said is on side D.

Thank you to the gifted musicians - Al, Tamar, Achuthan and Giuliano for trusting and letting go. I am lucky to spend time with you."

Velvet Season & the Hearts of Gold is the musical adventures of Gerry Rooney & Joel Martin. They have a rich musical history with Gerry Black Cock Records & Joel Quiet Village.

Aldo Tamborrelli – ‘Voices’ (VSHOG Special Version)

VSHOG present their official special version of this highly desirable hidden treasure of hypnotic electronic sleaze excavated from the cult soundtrack to a 1983 Italian ‘Apocalypse Now’ cash-in, and transform it into an 8 minute erogenous bump n’ grind trip to the twilight zone torture garden, cruising leather boys & fetish girls looking for Love in all the wrong places !

‘Voices’ is a narcotic synthesised masterpiece of body music to completely immerse your dark desires on the dancefloor. A dark risqué world of crisp chugging drum machines, mesmerising warm bass pulses, and the erotic wails of seductive screams in the night !

Stefano Torossi – ‘Having Fun’ (VSHOG Special Version)

The VSHOG version of 'Having Fun', from Stefano Torossi's 1974 album 'Feelings' (a holy grail of Italian library music) is an uplifting lush orchestral string laden funky breakbeat feel-good track to raise your vibrations!

Opening with a chunky stripped down drum & bass intro, the strings entice you further in & then the Disco Funk Psyche guitar riff really lifts the track to the sweet spot & you are completely hooked! A beautiful piece of music for all occasions - Balearic Sunsets/Sunrise, Disco dancing, B-Boys and Hip-Hop heads, Jazz Dancers & library music connoisseurs!

Another fantastic offering from the VSHOG Special Version series of releases.

There are few genres in which German artists play such a central pioneering role as they do in electronic music, be it techno, electropop, trance or rave. At the frontline for many years were Kraftwerk and U96, two absolute trailblazers of this musical direction. While Kraftwerk wrote international music history mainly in the 1970s with cult albums such as Autobahn (1974), Radio-Aktivität (1975), Trans Europa Express (1977) and Die Mensch-Maschine (1978), U96 had a profound influence on the global pop music, rave and techno scene of the 1990s with hits such as ‘Das Boot’, ‘Love Sees No Colour’, ‘Night In Motion’ and ‘Heaven’. Transhuman, scheduled for release on UNLTD Recordings on 30th October 2020, will feature a spectacular collaboration between U96 (Ingo Hauss

& Hayo Lewerentz) and Wolfgang Flür, Kraftwerk’s drummer in the years between 1972 and 1987 and therefore involved in the most seminal albums by the group from Düsseldorf.

This remarkable cooperation was first announced and implemented by two joint numbers on U96’s 2018 offering Reboot. Transhuman sees U96 and Wolfgang Flür develop their creative exchange across a full album, creating fascinating sonic worlds. The title song ‘Transhuman’ and an updated version of ‘Zukunftsmusik (Radiophonique)’ will be released as lead singles, including, as we’ve come to expect from U96, experimental video clips. That New York record label Radikal Records immediately secured the rights to the album for the US and Canada points to major interest in this project, not only on these shores but also across the Atlantic.

“Transhuman is a stylistic mélange of our different histories,” describe Wolfgang Flür and U96 masterminds Hauss and Lewerentz an offering that is spectacular in many respects, featuring, along with typical U96 tracks such as ‘Clone’ and ‘Specimen’, numbers such as ‘Transhuman’, ‘Planet In Fever’ and ‘Sexersizer’ that are inspired by Flür’s past. Notably, the content has been reduced to the sheer basics, in other words: sparingly used associative statements with deep, but at times also playful and mysterious messages that the listener feels rather than consciously registers. The lyrics are about the transformation of people through technology and our massive interference in life on our planet. Hauss: “Pieces like ‘Zukunftsmusik’ and ‘Transhuman’ don’t tell a story in the classic sense, they articulate emotions and associations in very few words, bringing to mind recordings such as Radio-Aktivität, Autobahn and Die Mensch-Maschine. In addition Transhuman, features a number of melodies created on the basis of computer algorithms, in other words fractal music which takes us even further back in history, to Klaus Schulze, Stockhausen, the electronics laboratories of the fifties and sixties and the musique concrete compositional technique.”

Ralph Heidel is one of the young musicians that represent the spirit of Berlin’s new musical ecleticism better than others. He is part of the avantgarde circles that mix modern jazz and contemporary classical music with elements of new electronica and experimental ambient music. This is the vibe of Germany's next generation.

Heidel creates a sonic universe that is unique. He takes the listener into a deep, atmospheric travel that stimulates emotions and feelings on a different level. Heidel brings together two worlds: what he learned at Musikhochschule München, Germany’s leading academy for classical music where he studied saxophon and composition and the moods happening in Germany's new electronic circles.

On „Relief“ Heidel created six songs. Except one, all of them are instrumental music. Partly composed and often improvised these sounds take the listener into Heidel's specific sonic universe. Raw beat structures, emotive horn lines, strong harmonical tensions and dramatic build ups. Heidel’s signature sound.
In fact Heidel is a multiple influenced artist with a strong personality that absorbs whats around him, connects it with his own wide artistic knowledge and fullfills it into magical musical moments.

Relief is the next step in what could become a longtime artistic career.
After a (very composed) debut album for string quartet and rhythm section for Kryptox (Moments of Resonance 2019), it was important for Heidel, to process current feelings of daily life.
Not just his cultural learnings, but also emotions connected to the hard COVID times and a lot of personal experiences.

Relief are six abstract, distorted patterns. Long deep transitions that lead into euphoric parts of sonic greatness. Heidel's sense for sound design and the soft tone of his saxophone phrases, add a personal note that is somehow alone in the current music scenario. Sampling his saxophone (reeds, keys etc.) to create very organic beats is one of the many techniques to create that special „Heidel“ sound. Also his calm and wide harmonies over disquiet, rough drums are part of his unique ambivalent, disrupted moods.

Most of this EP has been played by Heidel alone. For a few parts he was joined by musicians from the local scene. In fact besides his albums on Kryptox Ralph Heidel is very connected in Berlin’s current cultural playground: He creates music for underground performance art happenings in Neukölln as well as for new German theater (Volksbühne, Berliner Ensemble). Also German rapper Tarek from K.I.Z heard about Heidels string debut album, so they collaborated for an album, where Heidel reworked his record for stringquartet, piano, drums and bass.

After the heaviest of years, it should be time to take a little weight off with the playful sounds of The Person. Mapping its own Bermuda Triangle between dub-pop, sugary synthwave and Balearic boogie, ‘Tide Life’ transports Compass Point to Soggy Bottom, providing maximum fun, sun and bitmap escapism.

The eagle-eared may recognise The Person from the aspirational Italo-rockers Steaming Jeans, whose chalet-ready romp on Bordello A Parigi scored a Winter Olympic gold back in early 2020. Now left to her own devices, Minna Wight swaps the slopes for a jet ski and takes a Wave Race from Summer Bay to Monkey Island across 11 cuts of vintage oddball pop.

Whether she’s borrowing Brenda’s Beach Balls for the dubby daydream of ‘Snail Cafe’ and ‘The Place’, serving lost library cues to SNES club scenes on ‘Barry R Reef’ and ‘Elastic Shoes’ or spinning high school slow jams into synth soul ballads like ‘Nice Feeling’, Minna disguises serious musicianship behind a naive aesthetic. Disarmed by charm, we’re powerless to resist her tidal pull.
Patrick Ryder

Krijn Moons aka Alchi emerges as a new voice in instrumental electronic music with his debut 'Full of It' released with Mylja.
Inspired by artists such as Nicolás Jaar, Boards of Canada, Sigur Rós and James Holden, Alchi produces and performs music that is rooted in experiment rather than a single genre, flowing between and weaving through alternative dance, instrumental electronic postrock and neoclassical influences. Playing with imperfections and disarray, Alchi’s work honours emotional ambiguity, cultivating a sound that can be equally euphoric as it can be melancholic, a feeling that words cannot - and do not have to - articulate.
This is also the approach to composition and production for ‘Full of It’, Alchi explains. “More than the sum of its parts, the sound of a song creates a space that it starts to exist in, an intangible context shaped by the details that come from zoomed-in sound design and
production or even working with old or broken instruments. At a certain point, in this space that feels somewhat unknown and familiar at the same time, everything comes to life.”
Within this ambiguity, Alchi finds a place to liberate himself from instrumental boundaries, creating landscapes that value coincidence, playful sound choices and a little bit of chaos.
'Full of It' portrays an uncommon kind of music that, in its abstraction, layers and linear structures, will balance both the familiar and the surreal.

140 gram black vinyl, Double sided record sleeve, Double sided photo insert

In 2013, a 16-year-old LORDE quietly, yet confidently asserted herself as the voice of a generation with her full-length debut, Pure Heroine. The album would go triple-platinum, selling over 4 Million worldwide, win two GRAMMY® Awards, a BRIT and spawned the seven-times platinum record-breaking international juggernaut single, Royals,' and quadruple-platinum follow up Team.'

She also curated the official soundtrack for The Hunger Games: Mockingjay - Part 1 and recorded Yellow Flicker Beat' as the lead single. Her last trip to the UK was when she was personally asked by David Bowie's family to perform her spellbinding tribute to the late artist at 2016 BRIT AWARDS. Having once been described by David Bowie himself as "the future of music', Lorde is proving to be that and much more.

Following LORDE's triumphant return with comeback single Green Light,' the singer released her second full-length album Melodrama on June 16.

Melodrama will now be released on standard & deluxe vinyl this April

‘Giants of All Sizes’ was recorded at Hamburg’s Clouds Hill Studio, The Dairy in Brixton, 604 Studios in Vancouver and Blueprint Studios in Salford with additional recording taking place at various band member’s home studios spread across Manchester. As with their previous four studio albums, ‘Giants’ was produced and mixed by Craig Potter. Guests across the album include Jesca Hoop, The Plumedores and South London newcomer Chilli Chilton.

Given such bleak, if ultimately redeemed, subject matter, it is also, perversely, the most relaxed record which elbow have made in some time. On ‘Giants of All Sizes’, each band member extended their usual process of working on demos alone and followed their vision to its conclusion rather than, as Craig Potter puts it, ‘taking the edges off things to find compromise’. In tandem with this, they returned to playing live in the studio, encouraged to experiment with the banks of analogue equipment at Clouds Hill in Northern Germany, giving songs a looser, more live feel. The result is the most starkly dynamic record from the band in recent times, “Sonically unabashed”, as Guy would have it. Whilst album closer ‘Weightless’ has the gossamer melodies and communal harmonies for which the band have latterly been known, this album echoes earlier elbow work at times whilst also breaking new ground.

‘White Noise White Heat’ is motorik, metal machine soul driven by a vocal that is rage incarnate, ‘Doldrums’ mixes John Carpenter with The Plastic Ono Band to brilliantly disturbing effect and ‘On Deronda Road’ hitches stark bass beats and glitches to an ad-hoc choir. ‘Empires’ delivers dark resignation via an insidious melody and ‘Seven Veils’ continues the subversion by inverting the perception of elbow as a band for lovers into a band for haters, a double-barrelled fuck-you song par excellence. ‘The Delayed 3:15’ marries mariarchi guitars to jazz dynamics, Morricone via Buddy Rich, and ‘My Trouble’ is a clockwork, analogue shuffle housing a delicate melody that builds over the course of the song into a fragile monolith to the power of love.

Lead track, ‘Dexter & Sinister’, released on 10” ahead of the album, encapsulates the whole. A seven-minute musical journey that blends deep bass grooves, sudden keyboard stabs, dislocated piano and guitar runs and soul stylings then abruptly shifts gear, parts the storm clouds and takes wing, flying towards the heat of the sun. It is the soundtrack for these ‘hope free, faith free, charity free days’, a denial of the divine and a reconciliation, two songs in one song, two emotions for one emotion, human, fragile and brilliant like the album which it opens.

10th Anniversary reissue of Cloud Nothings acclaimed and beloved debut album.
Clear w/ Opaque Light Blue Marble LP - Uncoated Jacket with Spot UV Gloss on Cover Photo, w/ download card.

It’s been 10 years since the release of Turning On, Cloud Nothings’ debut album. Singer-songwriter Dylan Baldi was just 18 years old when he began recording the album, creating each track in his parents’ basement in Cleveland, Ohio. Over one winter, Baldi produced an album of taut, lo-fi guitar-pop songs, playing each instrument himself. His music gained traction in the increasingly popular music blog circuit, allowing Baldi to book his first shows in new places, like New York City. He gathered a band together to play live, and Cloud Nothings were on their way.

The band has accomplished a great deal since Turning On, signing to Carpark Records, releasing seven albums, and headlining numerous international tours. Yet, their debut isn’t dusted over in the band’s history. Turning On still remains the stripped-back core of Cloud Nothings style: raw and grungy, filled with catchy earworms that are surprisingly pop. The album carries all the stored potential of someone ready to venture off into the world, a feeling that bursts with energy even 10 years later.

All the tracks on Turning On are eruptive and restless, its lo-fi quality embodying the desperate need to record an idea by any means necessary. Songs like “Hey Cool Kid” encapsulate Baldi’s talent for churning, hook-filled guitar. The vocals on songs like “Can’t Stay Awake” are distorted, with scattered lyrics that echo the angst of a teenage diary. As a whole, the album delivers dissonance and edge, without sacrificing the authentic romanticism of someone who is on the verge of something big and doesn’t know it yet.

BLACK vinyl with deluxe origami fold out sleeve & obi strip & DL Card. CD Wallet. The third album from Dutch punk-laced noiseniks adds new maturity and a conceptual feel that pulls the extremes of their sound together. A psyche-fuelled journey into the id punctuated with rhythmic kabuki modal mood swings, thunderstorms, digital beeps, traffic noise, and just plain old beautiful cacophonous reverb-drenched sound when needed. The 'third chapter' refers to the last five years that the Dutch band have spent creating their "difficult" third album. Each song spins a yarn; there are plagues, dreams, wind and fire, 'mythical' characters, and the search for the secret government warehouse. Lead single, Tokyo Music Experience, resonates with a conveyor belt-propelled modal guitar, reflecting the halcyon days of Japanese super-productivity; a mesmerising mantra, infected with news bulletin on-the-hour bleeps underlining its time-sensitive nature; a pristine super-commercial anthem to drive loyalty and reinforce solidarity with the party! Having been described as creating "underground noise with a bracing, warped pop appeal" (Mojo), their new album is a coming-of-age post-classic with a unique worldview - inspired by Van Dyke Parks (Song Cycle) Scott Walker (3 & 4), Moondog (Elpmas), White Noise (An Electric Storm) and Beach Boys (Smile). If their previous effort (Tape Hiss) was their very own sketch of a sketch for an incomplete concept album, a noisy reaction to their previous life, then 'Excerpts From Chapter 3..', with all its interlaced intricacies, is the realisation of their transition from punk-spiked-pop to psyche-pop protagonists. Evolving, testing, infectious...

What hides in the fog that keeps people apart, and what does it take to cut through it? These questions hang heavily over
Sarah Beth Tomberlin's music, whose hushed and intimate tones orbit answers as much as they savor the unanswerable.
To be in relation to another human being is to engage with a deep mystery: We are all fundamentally alone, siloed into
confusing bodies, and yet occasionally we ¬nd someone who lets us feel as if we weren't. Tomberlin, the Louisville native
who recently relocated to Los Angeles, delights in articulating and amplifying that mystery, picking out its details and
marveling at its scale. In singing her aloneness she soothes it, and extends a hand to others reckoning with their own
solitude--a paradox that warms her spectral songs.

Tomberlin's new Projections EP continues the arc of her critically acclaimed 2018 debut At Weddings, weaving new collaborators and new techniques into her signature dusky milieu. Since the LP's release, Tomberlin has toured with Pedro the
Lion, Andy Shauf, American Football, and Alex G, played a Tiny Desk concert for NPR, and given a riveting performance on
Jimmy Kimmel Live! The ¬ve-song EP, capped with a cover of Casiotone for the Painfully Alone's stunning "Natural Light,"
re ects this period of intensive growth and self-discovery. "I wrote these songs while getting to know myself outside of
people's perceived notions of who I was," says Tomberlin. "I just started being like, What am I interested in? What do I want
out of relationships and friendships? What am I looking for that I don't have in myself already?"

The recording debut of Elia y Elizabeth (or Elisabeth, as it appears originally credited in the first edition of this single) took place in Spain in 1971 with Juan Carlos Calderón, one of the most prestigious producers and arrangers in the country.

These first versions of "Fue Una Lágrima" and "Cae la Lluvia" appear full of rich and intrincated orchestral arrangements, a very different approach to both songs from the tropical feel that producer Jimmy Salcedo added when they were later re-recorded for Codiscos in his native Colombia. The duo would record there a handful of songs between 1972 and 1973 (compiled in our past release "La Onda de Elia y Elizabeth" VAMPI 160), mixing soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and psychedelia, which remain among us as part of the most wonderful pop legacy of all time.

These early versions of two of the most celebrated songs by Elia y Elizabeth are reissued here for the first time, with remastered sound and housed in a picture sleeve with the original artwork.

Past Inside The Present is pleased to announce Repetition Hymns, a double album from the enigmatic Black Swan. Comprised of 19 vignettes, the relatively short tracks impart a strong forward momentum despite the 80-minute runtime. Repetition Hymns is thus particularly well-suited to the temporal distortion of quarantine, in which each day feels like an endless repeating loop. Our bleeding hearts are in need of drone like never before. In the decade since the release of In 8 Movements, Black Swan's 2010 debut, the anonymous producer has built a reputation for his unique brand of tape-based symphonic drones. While the author behind the moniker remains hidden, Black Swan is still able to surprise and captivate. The dark symphonic deconstructions of those early works have slowly evolved, making space for lighter textures and tranquil meditations on sound, expanding the palette of tones while staying true to an identity in flux.

Goat Girl’s new album ‘On All Fours’ was produced by Dan Carey (Kae Tempest, Black Midi, Franz Ferdinand) in South London in early 2020. This new record sees the band veer away from the confrontational lyricism of their debut and indicates Goat Girl’s maturing perspectives in discussing the world’s injustices and social prejudices, using the music to explore global, humanitarian, environmental and mindful wellbeing.
Throughout ‘On All Fours’, Goat Girl’s frequent use of sci-fi synthesisers, off-beat chord progressions, analogue drum machines, diverse vocal styles and distinct, gritty guitars fuses a musical language that expresses both former characteristics and newer developments of the band’s sound and vision.

Recorded in 2011 in a dusty, beloved barn, ‘Even Your Drums Will Die’ is a time machine, a real one, to a moment packed thick with Richard Swift’s singular, crackling liveliness. Where Swift’s studio recordings are marked by texture, tone and mood, ‘Even Your Drums Will Die’ puts a spotlight on Swift’s voice, his lyrics and his songwriting.
Running through all of Swift’s tunes is a certain agitation - a fidgetiness, a restlessness. It’s clearer than ever now, over two years after Swift’s passing, that he used his music to let a little pressure out of his tire. ‘A Song for Milton Feher’ nods to all this, its namesake coming from the professional dancer and director who taught his students to release their “habits of tension.” The song feels like a skeleton key to Swift’s oeuvre, a clear look into the wild wheels spinning inside his big old artist noggin.
On the flipside is ‘Lady Luck’. The classic. The revived ghost of a lost 45 that never existed, or maybe always did, but that only Richard Swift could make real.
If you know these songs, you will find them set alight here. If you don’t, ‘Even Your Drums Will Die’ is an incomparable snapshot of both art and artist. It is a genie, a real one, let loose from the lamp with Richard Swift’s explosive energy, imagination and mischief.
Recorded Live at Pickathon, 2011.
Swift was a celebrated recording artist, collaborator (The Black Keys, The Shins, the Arcs) and producer (Nathaniel Rateliff, Kevin Morby, Guster, Pretenders).

2015. Two boys with guitars on their chests, stretching songwriting muscles and finding, to their delight, new possibilities at every run up the neck. This means trading vocal parts mid-song, then trading back again, modulating madly through rhythm changes, looking for a note in the harmony they’d never played or sung before. All in the service of locating the feelgood pop alchemy in a song in which no parts are repeated. Laying it all down with a sweet solid state vibe.
“Whatever happened to ‘She’s a Beam’!?!” has been a question/passive-aggressive demand from Ty and Cory aficionados over the past few years. This is what happened. It went to Heaven and lived a beautiful life there. This is the sound of it. Guitars and harmonies. Helium-coated keyboards. A celestial, Steve Millerish synth transformation. Positivity. Lightness. Rock. Epic. Energetic. Happy, headbanging days.
‘Milk Bird Flyer’ is a perfect other ‘A’ to pair with ‘She’s a Beam’, hovering on a fade-in fanfare of gleaming guitar godness before shifting into a countryish tripper with cheerful Psilo-sci-fi-bin lyrics to bend and stretch the ecstatic shuffle of the beat. As with ‘She’s a Beam’, Ty and Cory are floating so tight in the harmony that we’re like “Who’s who?”
The pure sounds of yesterday are bright like a moment in time just waiting for its chance to exist, a nugget of potency landing right between the eyes in any era. Turn it up and smile, smile, smile.

The now legendary show that started the teuchter rock trio’s sold out UK tour at the beginning of 2020 at Glasgow’s favourite venue, The Barrowland Ballroom. Features live versions of all their favourites from their first two albums “Uptown Fank” and “Light my Byre”. Having recently won album of the year and live at of the year at the Na Trads awards and recently showcased their music on BBC2’s show “the misadventures of romesh ranganathan”.

From the band:

Peat and Diesel – Live at the Barrowlands
The year 2020 started out fine but as the year went on it has changed the way we live dramatically.

Remember when thousands of strangers would all pile into a gig, jammed in like sheep at the fank, not a care in the world, just there to feel the buzz and magic of live music. It was crazy. Are these days gone forever??

Let’s go back to January 2020, the first time Peat & Diesel arrived in Glasgow, to play the famous Barrowlands Ballroom (aka The Barras). There were an army of 2000 true P&D fans waiting to have the craziest night both the band and the crowd had ever seen and if you don’t believe it… this album will prove it!!!

“Peat & Diesel - Live at the Barrowlands 2020” is an album which was recorded to capture the
incredible sound of the crowd (not the band!) and the atmosphere they brought with them that special night. It is not in any way recorded with any fancy tools to sort any mistakes or nonsense, its 100% raw, just the way Peat & Diesel wanted it.

Hannah Williams hat weltweit Aufsehen erregt, als der Hip-Hop-Superstar Jay-Z auf "Late Nights & Heartbreak" ihre herzergreifende Stimme für den Titeltrack "4.44" auf seinem Album 2017 sampelte. Mit dem letzten Album 50 FOOT WOMAN, das auf dem Mailänder Imprint Record Kicks veröffentlicht wurde, gaben Hannah und ihre vorbildliche, in Bristol ansässige Band The Affirmations ein definitives Karrierestatement ab. Die limitierte Auflage der klaren LP ist weltweit auf 500 Exemplare limitiert!

St Leonard’s premier manipulator of drones, loops and echoes delivers his most buzzed out, kosmische and beat driven work to date in a deluxe white vinyl album release for Castles in Space.

Here, Kieran explains the genesis and production of his masterwork:

“Eternal Return was unusual for me in that I actually set out to make an album, rather than find myself with a set of tunes that evolved into a project.

The “Eternal Return” is a concept I have been inspired by before. However it clicked with me in a more profound way recently. Far from seeing the prospect of living life over, unknowingly, on an endless loop as depressing, I suddenly felt amazing comfort in the theory. The Stoic emperor Marcus Aurelius said, “Waste no more time arguing about what a good man should be. Be one.” Far from being trapped in the loop I am elated to feel that it's simply about living the best life you can. One that you wouldn't fear having to live again.

To place the album in context against this newly realised perception, I think of the Side One as the battle to get to that realisation and enlightenment and Side Two represents the acceptance and the decision on how to proceed. The turning point is from thinking about the things I love most and what I would want to experience over and over again. I hope it is an uplifting listening experience. As it happens, the album originally had a darker ending. I think I actually learned a bit about my point of view during the process. There are drums, which wouldn’t often feature in my music (there are in fact more drums on this LP than in my combined output over the last 8 years) and the pieces are noticeably shorter, more focussed and concise than my usual longer form work.

Musically this album is probably the least clearly influenced by anything I regularly listened to. The main outcome was wanting to challenge myself and to add whatever the pieces needed and go with that. I think I was also probably pushed on by the wealth of amazing music being made by my peers across Bandcamp and social media. 2020 was an incredible year in this particular sphere of electronic music. The album was made as I started to transition from a semi-modular to a modular synth set up. I think that this was a key driving force, since a lot of the time I didn’t know exactly what I was doing. It is nice to be surprised by what you’re creating.

Finally, whilst this is in no way a “lockdown album”, the period of time in which much of it was recorded definitely had a bearing on how it sounds. For one thing I spent a lot more time around my studio space when working from home. In keeping with the album's theme, the lockdown also helped consolidate my feelings on what is important in life and what isn’t. One piece was in fact sketched out as a first draft while I sat on mute during a Zoom meeting.

Today Margot share new single Walk With Me via Full Time Hobby. The Peckham band ended 2019 supporting Swimming Tapes on their U.K. as well as releasing their debut EP earlier this year. New single Walk With Me is a song about empathy, depression and the power of talking. All channelled by frontman Alex Hannaway's pastel vocal hues and searingly honest delivery. Walk With Me works as a conversation between someone experiencing a depressive episode and another trying to understand. "It’s about listening, friendship, understanding, I’ve had experiences where friends, family members have been patient, they’ve been persistent and caring, and it’s this that has really helped me in my life" explains Hannaway. In addition to the official video, the band have also shared a 'Karaoke Video' for the single. "We've been using home karaoke sessions to blow off steam during the lockdown period. Often feeling confined, bored, angry, frustrated; the elation and release of belting out familiar songs in our living room felt cathartic. So it felt perfect for the video, capturing not only the isolation of lockdown but also the communal, spirited moments too" explain Margot. Margot comprises of five friends who moved from the suburbs of south London to Peckham after finishing University. In two separate bands at the time, drunken nights out discussing the merits of a merger evolved into the first few rehearsals. It went well - Margot formed in 2018 and released a steady stream of singles across the year. The band employ a DIY ethic, self-producing their recordings in their home studio. After ending 2019 supporting Swimming Tapes on their UK tour, the band released their debut EP in February 2020 and are set to support Dana Gavanski on her upcoming tour in March 2021. Margot's nuanced blend of dream-pop, neo-psychedelia and jangle-guitar create a propulsive, cruising feel reminiscent of Real Estate or War on Drugs. Expect to hear more from them in 2020.

To step out from trival sounds.
Jo IND strikes here again !

A side brinsg a quiet sweet tune, strings is the thema... With a veryu nice Josh Winks acid style for the start, meeting the cello effect... Sweet musical crazyness... with tonality variations and harmony richness... Acid as a musical instrument.


take your time and enter the universe of these 2 superb tunes : we splitted the listening of B side in two so you can hear this superb intro... Defenitly feeling the space in full with a 1m30 intro... before kicking in a mystical way...
The label visual of B side is an fatastic vision of someone falling ? flying ? in front of a soundwall ???
totally in the state of mind of this crazey tune...

Ein einzigartiger Künstler an einem legendären Ort: Tripping with Nils Frahm dokumentiert seine transzendentalen Liveshows in der geschichtsträchtigen Kulisse des Funkhaus Berlin. Gleich vier Shows im Funkhaus Berlin gaben den Auftakt zu Nils Frahms ambitionierter All Melody Tournee Anfang 2018, die sein gleichnamiges und allseits gepriesenes Studioalbum in den nächsten zwei Jahren auf die Bühnen dieser Welt brachte. In den folgenden über 180 ausverkauften Shows war der Ausnahmekünstler unter anderem im Sydney Opera House, in der Disney Hall in Los Angeles, im Barbican in London, in der Elbphilharmonie sowie auf zahlreichen großen Festivalbühnen zu Gast. Dennoch blieben Frahm die Konzerte im ehrwürdigen und für seine großartige Akustik gerühmten Saal 1 im Funkhaus Berlin in,mm besonderer Erinnerung.

Als Frahm ein knappes Jahr später zu vier weiteren Konzerten im Funkhaus einlud, waren die Tickets binnen Stunden vergriffen. Frahms langjähriger Freund und Filmemacher Benoit Toulemonde, der unter bereits für die Film-Konzertserie La Blogothèque mit zahlreichen weltbekannten Künstler-innen und Bands zusammenarbeitete, hielt die Abende an diesem geschichtsträchtigen Ort mit einem siebenköpfigen Kamera-Team fest.

Tripping with Nils Frahm ist ein Dokument Frahms vielfach gepriesener Fähigkeiten als Komponist und passionierter Live- Musiker sowie der besonderen Stimmung und Atmosphäre seiner legendären Funkhaus-Shows. Ein außergewöhnlicher musikalischer Trip — exklusiv und intim, roh und direkt.

"It was about time to document my concerts in picture and sound, trying to freeze a moment of this period where my team and I were nomads, using any method of travel to play yet another show the next day. Maybe tonight is the night where everything works out perfectly and things fall into place? Normally things go wrong with concerts, but by combining our favorite moments of four performances, we were able to achieve what I was trying to do in

these two years of touring: getting it right! When you hear the applause on the end of the film you should know that I was smiling happily, being a tad proud and feeling blessed to share these moments with you.

Much love, Nils"