Cerca:form

Honeyglaze are the South London-based, Haiku-loving trio comprised of vocalist and guitarist Anouska Sokolow, bassist Tim Curtis and Yuri Shibuichi on drums.

 Born out of lead songwriter Sokolow’s un-desire to be a solo act, the group met officially at their first ever rehearsal - just three days ahead of what was to become a near-residency, at their favoured Windmill in Brixton. Forming a mere eighteen-months ahead of a subsequent eighteen-months of mandatory solitude, a parallel that’s both aligned and universally un-timely, Honeyglaze, at first appearance, are a group who play with chance, time, and synergetic fate, in mannerisms few others are able to do.

 Pricking the ears of seminal producer Dan Carey and his team of merry tastemakers, the Speedy Wunderground / Honeyglaze partnership would manifest into a dynamic that, despite not having met prior, quite simply just worked.

 Much like the eponymously debuted statements of contemporary folk-singer Bedouine’s ‘Bedouine’, ‘Crosby, Stills and Nash’, or, dare we suggest Madonna’s ‘Madonna’, ‘Honeyglaze’ the album presents to the world an audibly picturesque documentation of soul-searching, in all its figment’s of reality; a proclamation of cultivated intent which in turn creates a subliminal safe-space between relatability and self-projection, and creative-comradery paired with introspective artistry.

 A self-described “opposite to a concept album” that sonically encapsulates the who, what, where and how of their individual circumstances coming together as one, Honeyglaze is a meticulously transformative feat of which, in their own eyes, is a “quite accurate” sonic encapsulation of who the trio believe to be.

 This is storytelling at its most soulful, and ‘Honeyglaze’ presents human instinct in a manner that accepts all of the insecurities that come from their present adolescence, whilst acknowledging the formative maturity that’s earned when we allow ourselves to embrace the unknown, of our futures ahead.

 “If someone is going to find you special - then you want to show what’s most special about yourself,” notes Curtis. “Then you can do what you want from there.”

 Mixing the personal with romanticised ideals in ways that are simultaneously heart-wrenching, and humorous to a dead pan effect, there is no one trajectory for Honeyglaze, whose greatest ability is finding ways to present what’s written in-between the lines, in moments of beautifully well-versed clarity.

 In their own words: “Hi we are Honeyglaze, and there’s no time to explain.”

20 years ago, US heavy and hard rock titans Mos
Generator took the heavy (stoner) rock music scene by
storm with the release of their first self-titled album. To
celebrate this special anniversary in style, the band’s
charismatic frontman Tony Reed himself has revised and
remastered this vinyl reissue of their pathbreaking debut
album.
 Mos Generator - who formed in 2000 in Port Orchard,
Washington from the ashes of a ten year off and on
collaboration between its three members, all of which
are long time veterans of road and studio - have inspired
the heavy music scene since decades. The band have
released nine full length studio albums, two live albums
as well as several singles and split albums over their
impressive career by labels as Stickman, Ripple, Heavy
Psych Sounds, Roadburn, Small Stone and Listenable.
 Touring has been just as important to the profile of the
band as making records has. Over the years Mos
Generator has shared the stage with many big heavy
rock names across Europe and North America including
extensive tours with Saint Vitus, Fu Manchu, Melvins,
Pentagram, Elder, Spirit Caravan and Atomic Bitchwax.
They have also played prestigious festivals throughout
the world, fusing soul with doom metal into a great loud,
funky and psychedelic concoction of heavy rock.
 Their 2002 debut album was the starting point, and this
hand-numbered clear vinyl 20th Anniversary edition of
‘The Mos Generator’ release is a must have for fans old
and new.
 For fans of Orange Goblin, Fu Manchu, Sheavy, Mind
Funk, Kyuss, Mountain, Nebula, Black Sabbath and
Monster Magnet.

Following 2019’s critically-acclaimed sophomore album, I Spent the Winter Writing Songs About Getting Better, Proper. is making their return with The Great American Novel. “The Great American Novel is a concept album about how Black genius, specifically my own, goes ignored, relentlessly contested, or just gets completely snuffed out before it can flourish,” vocalist Erik Garlington said. “This record is a concept album that’s meant to read like a book; every song is a chapter following the protagonist through their 20s. Imagine a queer, Black Holden Caufield-type coming up in the 2010s.” The result is an album that is both lyrically and musically heavy, the former something fans have come to expect from Garlington’s unflinchingly honest lyrical content, but the latter something that’ll be refreshingly new. Channeling the heavier music he listened to during his adolescence — from post-hardcore outfit At the Drive-In to progressive metal band System of a Down — Garlington and the rest of Proper. — bassist Natasha Johnson and drummer Elijah Watson — push themselves in ways they haven’t before, culminating in an ambitious project that showcases the new sonic territory the band is heading in. Recorded by Bartees Strange in early 2021 and mixed/mastered by Brian DiMeglio, TGAN is made up of 14 songs, with three of them to be singles dropped throughout the course of the album’s release

“Slave Driver” pushes the boundaries of Thrash Metal once again, intense and aggressive in its purest form available! Dead Head have been around since the late 80`s which was a golden and extremely fertile period for Thrash Metal, and it shows. Their style is just about as aggressive as Thrash can logically get before having to refer to them as death metal whilst thankfully managing to retaining a slight 80`s vibe. Everything about “Slave Driver” just ooozes unadulterated seething hatred, and aural violence. The raging, savage, heavy yet scything hyperfast guitar riffs are so crammed with maliciousness that you instantly realise that Slayer have in all reality been effectively dead for years. The vocals which easily rival any Thrash band in history for delivering snarling savage hatred, should show Kreator what they have been incapable of producing since Pleasure to Kill. The fast cannon like drumming is unrepentant, and forms a perfect malevolent percussive backing for this brutal aural bashing. The mix is just as professional as you could want from a Thrash album, the guitar tone is crunchy and vocals are just right: spitting hatred and virtue in the same breath. If the band’s previous albums haven’t cemented them into the annals of Thrashistory just yet, “Slave Driver” will seal the deal. It’s an impressive statement from an overlooked band. Dead Head have remained very consistant with their releasing of very high quality Thrash/Death music for over thirty years. Hail the best Thrash band around today, they have been criminally overlooked for far too long.

GA-20 ist ein Trio aus 2 Gitarren, Gesang und Schlagzeug. Eine rohe, leidenschaftliche und ehrliche Performance, sowohl auf der Bühne als auch im Studio, ist das einzige Ziel. GA-20 wurde von den Freunden Pat Faherty und Matthew Stubbs in Boston, Massachusetts im Jahr 2018 gegründet und nach dem Verstärker benannt, den die Firma Gibson zwischen 1950 und 1961 herstellte. Das Projekt entstand aus Liebe zum traditionellen Blues, R&B und Rock & Roll der späten 50er und frühen 60er Jahre. Ihre nicht nachlassende Begeisterung für legendäre Künstler wie Lazy Lester, J.B. Lenoir, Earl Hooker, Buddy Guy, Otis Rush und Junior Wells gibt Faherty und Stubbs den nötigen Schub eine moderne Version dieser beliebten Kunstform aufzunehmen und aufzuführen. Das Album ,Lonely Soul" wurde in den Q Division Studios in Somerville, Massachusetts aufgenommen und von Stubbs produziert. Die vorab veröffentlichte Single "Naggin On My Mind", mit Grammy-Preisträger Charlie Musselwhite an der Mundharmonika und Luther Dickinson an der Slide-Gitarre, eröffnet das Album. ENG GA-20 was formed by friends Pat Faherty and Matthew Stubbs in Boston, MA in 2018. The project was born out of their mutual love of heavy traditional Blues, R&B, and Rock & Roll of the late 50s and early 60s. Faherty and Stubbs bonded over legendary artists like Lazy Lester, J.B. Lenoir, Earl Hooker, Buddy Guy, Otis Rush and Junior Wells. Feeling a void in current music, the duo have set out to write, record and perform a modern version of this beloved art form. Live, GA-20 is a trio of 2 guitars, vocals and drums. Raw, passionate and honest performance, both on stage and in the studio, is the only goal. "Lonely Soul", the title track to their debut album embodies their sound: raw, cutting, and authentic.

"For a whole decade, spanning between the second half of the ‘50s and the second half of the ‘60s, jazz took over the Italian screens. The Californian be-bop rhythms, filtered and reinterpreted in a typical Mediterranean key, became the perfect soundtrack to the Italy of the economic boom; the quintessential music for a country that was sailing through a moment of profound and exciting industrial, social and cultural renovation. A nation that was rapidly shedding its skin, changing its style, look and identity, but also its landscape, letting itself go to the inebriation of the economic miracle. The compilation was conceived like a sonic stream, a journey of discovery carefully sequenced from hundreds of soundtracks from the golden age of Italian jazz contained in the CAM Sugar archive.
33 tracks that go beyond music, telling the story of Italian cinema, society and of its unmistakable style and charm. A genre that even when nodding to Californian be-bop, to crime jazz or bossa nova still sounds surprisingly original and Mediterranean, elegant, and seductive, either with joyous peaks (the scat of I Cantori Moderni di Alessandroni or of I 4+4 di Nora Orlandi) or with enigmatic and nearly dramatic nuances (La strega in amore by Luis Bacalov, Il batticuore by Marcello Gigante). The compilation also offers a precious insight into the Italian jazz scene of the times, with its string of formidable soloists like Gianni Basso (sax) and Oscar Valdambrini (trumpet), two Piedmontese men on duty for the RAI television orchestra conducted by Armando Trovajoli; like Nunzio Rotondo (trumpet) a legendary and elusive figure who had a special bond with Piero Piccioni; or like Enrico Rava (trumpet), Franco D'Andrea (piano) and Gegé Munari (drums) who often recorded with Piero Umiliani. Not to forget international stars like Chet Baker and Gato Barbieri, who were often fortuitously dragged into the recording sessions also thanks to Umiliani’s never-ending curiosity."

Last Night From Glasgow is proud to be re-releasing theaudience's first and only album, theaudience

First released in 1998, theaudience features Sophie Ellis- Bextor's debut as a vocalist before her successful solo career, and were founded by Billy Reeves; formerly of indie group Congregation. Hotly tipped by the music press, the band released four fine singles--the latter two reaching the Top 40--before bringing out their self titled debut album in the summer of 1998.The record will feature the original LP split over 3 sides with the side 4 including the bonus tracks :"Mr. Doasyouwouldbedoneby" (original version)"I Know Enough (I Don't Get Enough)" (original version)"A Pessimist Is Never Disappointed" (Blah St acoustic version)"You Get What You Deserve" (piano version)"Keep in Touch" (piano version)"I Can See Clearly"

Marta Sanchez's creative voice is strikingly original - circling rhythms,
elaborate forms and criss-crossing counterpoint distinguishes her sonic signature on the crowded New York contemporary music scene

Following three critically acclaimed quintet releases, the Madrid- born pianistcomposer presents 'SAAM (Spanish American Art Museum)' on Whirlwind Recordings, an album driven by emotional candour and boundary- pushing compositions. A talented cast realises her knotty, technical writing - frontline partners Alex Lore and Roman Filiu meet Sanchez, Rashaan Carter and Allan Mednard on backline duties.'SAAM' riffs on the Smithsonian American Art Museum, on an album that's an exhibition of Sanchez's life in musical form: "It's made up of all the elements of society from both countries Spain and America that impact my life and make me who I am." Matters internal and external are realised in musical expositions of complex feelings. The pieces took shape in lockdown, as Sanchez exchanged fortnightly composition tasks with a pen- pal.

"Those compositions express all the phases I was going through at that time. I was reflecting super deeply on what's important, and how we might give some sense to life."

This classic piano/ guitar duo album between Bill Evans and Jim Hall has had several label reincarnations, firstly on United Artists and Solid State, and then finally on Blue Note.

"Other than four piano solos from April 4, 1962, this set was pianist Bill Evans' first recordings after a hiatus caused by bassist Scott LaFaro's tragic death. The first of two meetings on record in a duo format with guitarist Jim Hall, the collaborations are often exquisite. Both Evans and Hall had introspective and harmonically advanced styles along with roots in hard-swinging bebop. There is more variety than expected on this fine set with some cookers, ballads, waltzes,
and even hints at classical music." Scott Yanow, AllMusic

Released in 1959, The Amazing Nina Simone was Nina Simone's first album for Colpix Records. In contrast to her debut album 'Little Girl Blue' (Bethlehem Records), which highlighted her piano playing as well as her singing, this production downplayed the piano in favour of string arrangements. The production also featured a variety of material, including jazz, gospel, and folk
songs.

"There is a remarkable amount of variety on this disc, Nina Simone's second recording. She does not play much piano (just cameos on two songs) and is backed by a subtle orchestra arranged by Bob Mersey that is effective accompanying her vocals. This session finds Nina Simone's voice in top form and with a few exceptions is generally jazz-oriented." - Scott Yanow, AllMusic

Caroline No’s 3rd album was built around a set of songs I was writing in the summer of 2019. I built the songs around real events, but looped these narratives into stories from song histories. The result is like an intersection of Brill building characters such as Carole King and Neil Sedaka with the bedroom fanaticism of historical music projects like Virgin Insanity.

After a year of playing the songs live in various formations, we aimed to record in the Australian summer. We knew Jim was going to be in Melbourne, and soon after he arrived in Australia, we met at Mick’s studio. Nick and Mick engineered, with Ian on bass, Jim on drums, Mick, Dee and me on guitars, and Dee and me singing. The sense of intuitive knowledge and performance was exhilarating as we played. We spent two days in the studio, and when we listened back later, it seemed a compelling representation of what had happened, captured live.

The band on this album are artists I grew up with. We were friends first, and engaging with the material, there was no formal structure to follow. Our interpretive approach meant the songs grew from simple structural frames and narrative poetics into full sonic landscapes, engaging across pop, folk, psychedelia and improvisation. Caroline No became - for this iteration - a shifting sonic space tied to intimacy, musical conversation and relationship, expressed in an open improvisatory way. The sound of the record is the result of trust, responsiveness and mutual knowledge.

The name Caroline No was an imaginary character through much of the work, arising from the Beach Boys’ melancholic paen to encountering a past lover who has cut her hair off. My idea was for Caroline No to become the locus for an ongoing composition project where I would write back into songs' history the perspective of patriarchal song’s subjects.

This is a recuperative project of easeful making; attempting reclamations of lost narratives, exploring love, loss and the psychedelic of the everyday.

Caroline Kennedy, January 2022, London

repressed !

Emotional Rescue reissue 'Into Dark Water', the second album from UK post-industrial ambient pioneers O Yuki Conjugate (OYC).

The willfully obscure OYC formed in Nottingham in 1982 and have had a sporadic career on the outskirts of musical culture ever since. Initially associated with the early 80s post-industrial scene - along with Soviet France and Muslimgauze - OYC quietly forged their own brand of ambient music at a time when it was distinctly unfashionable to do so.

Always reluctant to categorise their sounds, OYC have been variously described as post-industrial, ambient, darkwave, tribal ambient, chill out, electronica and Fourth World. Take your pick.

'Into Dark Water' was recorded in 1986 over four days in an eight-track garage studio in Nottingham. Produced and engineered by John Kaukis, the result was a blend of flutes, percussion, electronics and loops that focused their sound and became for many the definitive OYC album.

Originally released in 1987 on the Leeds-based Final Image label, 'Into Dark Water' quickly sold out and has been highly sought after ever since. The re-issue, featuring a lovingly recreated sleeve, makes a vinyl version of this classic available again for the first time in over 30 years.

Fresh Afro-Soul Music - Ghana’s Highlife going by the heartbeat of 70s Soul Music. Jembaa Groove is a multicultural band founded in late 2020 by bass player and composer Yannick Nolting, and singerpercussionist Eric Owusu.

Speaking the same musical language, they quickly realized the fruitful
outcome of their musical encounter and decided to spend a couple of
months composing their original music. Digging deep into both their
backgrounds and musical identities, they came up with an organic result both like to label as Afro-Soul.

After seeking for the right companions for the upcoming journey and
stumbling on a few of Berlin's finest musicians, they finally formed Jembaa Groove, a 7-piece band that combines fresh sounds from Berlin's underground music scene with traditional West-African sounds from Ghana and Mali, such as Highlife, Adowa and Wassoulou. Their aesthetic vision is inspired by soul music from the ‘60s and ‘70s and avoids overly-produced commercial arrangements while merging driving bass grooves and steady drum patterns with fresh horn lines and catchy melodies. Produced by Yannick Nolting. Composed and arranged by Yannick Nolting. Vocal
arrangements and lyrics by Eric Owusu.

‘Oh, Inverted World’, the earth-shattering, indie rock-redefining 2001 debut album by The Shins, is presented here in its finest form, dressed up all nice for its 20th birthday. The classic tunes get new life by way of a full remastering job under band leader James Mercer’s watchful eye, the art is given a little extra zest via a die-cut jacket and a classy inner sleeve and the package is rounded off with a big old booklet with vintage photos, handwritten lyrics and more.

The music, of course, is obviously essential. Aside from a friendly reminder that this is the album with the smash hit ‘New Slang’, as heard in the hit movie ‘Garden State’, the remastering job truly makes this the album James Mercer always wanted it to be. Never quite satisfied with the sonics of the original, Mercer took the 20th Anniversary of the album as his opportunity to finally set the (literal) record straight. And the results sound stellar: great for new fans and well worth the attention of those already on board.

For old times’ sake, here’s what the label had to say about this record back when it came out: “Hailing from Albuquerque, NM, The Shins sprung from the ashes of Flake/Flake Music in 1997 (though those previous incarnations date back nearly a decade) - same members, different instruments, different approach. Counterpoint guitars have given way to a single guitar pitted against calculated keyboard passages; swarming indie rock machinations led to pop-based melodic endeavours (who knew?).”

Includes the hit single ‘New Slang’ which, along with ‘Caring is Creepy’, was featured on the Grammy-winning, platinum-selling ‘Garden State’ soundtrack.

Remastered by Bob Ludwig with personal supervision from band-leader James Mercer.

“A definitive indie rock album of the 2000s” - AllMusic

Fresh new collaboration between friends Handy x Shall Not Fade, bringing together artists from each label to produce a side each for the VA.

Lining up for Shall Not Fade we have London's 9th House & Berlins Ruff Stuff and batting for Handy we have Trouble Makers Adam Curtain, Bobby Cazanova & a collab from Arthur Dudley and the ever on-form Retromigration.

As it says on the tin – “Keep it in the Family”

Repress

Founded in October 2017 and known in first place as a party series in Essen, The Third Room expands its spectrum with their debut as a label and mastering studio as well. Those three disciplines going hand in hand and forming our vision as a creative collective. Creating, crafting and sharing the passion that drives us.

After a bitter series of event cancellations caused by the corona pandemic we had to find a way to overcome this financial crisis which has put lot of people in a difficult situation who are driven by love and dedication for what they do. In first place we wanted to give all ticket buyers who waived their refunds for the cancelled The Third Room x Bassiani event at UNESCO World Heritage's Mischanlage a "thank you" gift in form as a Fundraiser Compilation. We wanted to preserve what we have built up over the years at our home base. Because we do believe that the Mischanlage is maybe the most aesthetically-techno place we've ever seen.

We, the founders Ahmet Sisman & VNNN., reached out for artists we have invited on our events, build up a strong relationship and sharing the same ambition for what we stand for. Not only regular guests such as Dax J, Ellen Allien or SHWD & Obscure Shape who have accompanied us over the years, but also new friendships have risen up with artists like Henning Baer, Hector Oaks or Markus Suckut. Or collectives such as Lebendig, R-Imprint, Brutalism, Purify and Acid Wave Records. It is safe to say that we have our own special story with each artist on this compilation and it shows once more that music unites us in these hard times. If you like what you hear, buy the music, support the artists and the local scene. Everyone who has held their T3R x Bassiani Tickets will get a download link of the compilation.

SAM Records was one of the labels at the forefront of the Disco Genre when the format was at its creative peak. This was the late 70’s and early 80’s, when the producers and artists involved were all using top notch professional recording studios with live instrumentation and their focus was on songs and rhythms that would make the dance floor move. Sam Weiss the founder of SAM was involved with various aspects of the music industry in addition to his role running the label, but the Sam Records imprint was his greatest passion, and that energy comes through in the songs that make up the catalogue. In this compilation we have engaged some of the world’s premier producers of the current disco inspired sounds that are blowing dance floors worldwide. They have used their talents and appreciation of the genre to mix, edit and master these classic jams into disco inspired productions that are fully equipped to ignite DJ sets and dancefloors worldwide.

There is a tendency within modern electronica to pigeonhole and categorise, to package music into easily digestible formulae. In direct revolt comes Dutch artist Satori and his new album Dreamin’ Colours, released globally April 22nd, 2022, on renowned imprint Crosstown Rebels. Recorded at the esteemed Sonic Vista Studios in Ibiza, the nine-track LP has been greatly anticipated off the back of its proceeding’s singles: Yellow Blue Bus ft. Laska, Lalai ft. Ariana Vafadari and most recently Gin Song.

An ethereal, swirling body of work, Dreamin’ Colours is rich in texture, colour and imagination. Satori stretches himself out through languorous, mystical explorations of both the digital and the analogue elements of music, the result a beautifully conspired collection of world music, steeped in electronic and Balkan roots, and straddling a multitude of genres from blues and indie electronic to opera, folk and beyond.

Colourful Dream begins proceedings, taking the form of a gently-building opener. From the pluck of a guitar string to hypnotic flute-like elements, we soon arrive at the enchanting world of Lalai ft. Ariana Vafadari. Recorded in a four-hundred-year-old water well, it showcases the transcendent sound with which Satori has become best known, meandering through rustling hats and tribal-like drum patterns whilst the dulcet tones of Ariana shimmer softly throughout.

Tuti ft. Kalima takes on a harder edge, with gritty drum patterns opening into melancholic chords early on. Kalima’s vocals add an emotive touch to the piece, paving the way for Moj Dilbere: a euphoric cut that feels tribal and reflective in one.

We land at a similarly ethereal soundscape on The Gin Song ft. Mybaby, as star-like synths pulse alongside punchy percussion before Yellow Blue Bus ft. Laska takes its place. It begins with real-life ambience, made up of sounds recorded live in Ibiza as a bus passes and birds chirp merrily in the background. This swiftly gives way to a guitar-flecked bassline, opening neatly into the vocal offerings of both Satori and Laska.

Troublemaker ft. El Mundo retains an inherent melodic quality, progressing through poignant strings and whispering kick-hat combos. Powerful and poignant, the mesmeric sounds of Ora Dea and Moshe meander subtly into Lonely Boy (Redux) ft. Hugo Oak. The closing saga brings things to a wonderfully subdued finish, rounding off the album on a wholeheartedly calming note.

Although raised in the Netherlands, where commercial electronic music is of course king, on Dreamin’ Colours it is undeniably Satori’s Balkan heritage that layers his production with dreamy, ethereal, Eastern European influences. The album’s overriding voice lies in his exultant celebration of Eastern European music, weaving vibrant threads of its earthy, melodic, rhythmic sounds into his thick musical tapestry. Written during the pandemic and driven by the ache of separated love, the album is, Satori says, his most personal yet.

From holding down an eighteen-month residency at Heart, Ibiza to having nearly four-hundred-thousand listeners on Spotify each month, Satori is a truly worldwide artist in today’s electronic music scene. Having been championed by Damian Lazarus early on in his career, he has emerged as a must-see live act for fans from all corners of the globe. November 2021 marked the start of his USA tour, where his Maktub concept adorned some of the country’s most iconic clubbing institutions, whilst his discography speaks for itself, with a plethora of acclaimed releases on labels including Crosstown Rebels, Sol Selectas and DGTL Records to name a few. As Dreamin’ Colours introduces him to an ever-growing audience, Satori remains one of the most exhilarating, untamed and truly authentic forces in music.

UK techno legend Mark Broom releases ‘100% Juice’ LP on Rekids.

Following the acclaimed ‘Funfzig LP’ on Rekids in 2021 as well as his ‘Mutated Battle Breaks’ series on the techno focussed Rekids Special Projects, Mark Broom returns to Radio Slave’s imprint for his latest full length, ‘100% Juice’, dropping this April.

Title track ‘100% Juice’ leads the charge, barreling forward with phased hats and trippy bleeps, before ‘Slush’ carries the rest of the A-side with dense synths and stereo trickery. ‘Rainbow’ bridge sees muted chords drifting in and out of focus alongside rattling drum programming before ‘Reverse’ mutates dub techno inspired elements with swathes of spacious FX and pitch-perfect processing.

Opening the second disc is the aptly titled ‘Wonky Workout’, which sees hard-hitting kicks meeting freaked out leads, followed by the fast-paced ‘I Want’, which brings crunchy, shuffling percussion and effected vocal samples together to devastating effect. The final side of vinyl is the one-two punch of ‘Boxed In’ and ‘Wiggle Me This’, with the former bringing sharp keys, rumbling low end and glistening pads, while the latter closes out the LP with warped acid lines and crisp drums.
Releasing on labels such as Rekids, M-Plant, and Blueprint, the wildly prolific Broom has consistently beenat the forefront of the techno scene for decades with his gritty, groove-based output while, away from the dancefloor, his The Fear Ratio project with James Ruskin continues to win critical acclaim.

For the hardcore Bob Marley collectors out there this is another essential 7" to add to your shelves. The limited edition yellow wax features an a-side that was produced by the late great Lee "Scratch" Perry. The track's lyrical refrain of "soul adventurer" became something of a lifelong motto for the former welder as he underwent his spiritual revolution. It's also one of the tunes that made him a firm favourite amongst musical mystics everywhere. The flipside 'Lively Up Yourself' is another personal ode to empowerment and enlightenment that rides a nice lazy rhythm.

Note vinyl rel date is later. 10 Year Anniversary Reissue. 2LP / 2CD featuring the album proper & demos of each song + rarities. Colored clear vinyl, includes digital download. Recommended If You Like: The original ‘151a’ release, of Montreal, Regina Spektor, Andrew Bird. They say that you spend your entire life writing your first album, piecing every formative moment, scribbled turn of phrase, and thematic epiphany into a fantastical collage. Multi-instrumentalist K. Ishibashi (aka Kishi Bashi) disproves that old adage. The title of Kishi Bashi’s 2011 debut album,‑151a, is a riff on the Japanese phrase‑“ichi-go ichi-e,” roughly translating to “one time, one place.” That’s exactly what this debut is: A singular time, an inimitable place, a launchpad for bigger and better things to come. “It’s a play on words that translates as a performance aesthetic of having a unique performance in time, with imperfections, and enjoying it while you can,” Ishibashi‑told NPR at the time of the album’s release. “The saying reminds me to embrace my mistakes and move forward.” From the deconstructed Beach Boys-esque doo-wop of “Wonder Woman” to the menacing marriage of Eastern Hues and Western operatics of “Beat the Bright out of Me,”‑151a‑is a mediation between opposing drives, offering possible reconciliation but never promising it. The album’s emotional wellspring, “I Am The Antichrist To You” was reimagined in 2021 when it was featured on the animated sci-fi sitcom‑Rick and Morty, introducing Kishi Bashi to a new generation of awestruck fans. Kishi Bashi uses‑151a‑as a vehicle to explore his cultural background. Using Japanese refrains as a compositional and textural device (the polyrhythmic grandeur of “Bright Whites”; the gleeful surrealism of “It All Began With a Burst”), Kishi Bashi celebrates his heritage with earnestness. Japanese phrases and couplets are sung as the response to Kishi Bashi’s resplendent calls, offering listeners a conversation that dovetails with the album’s themes of love, sentimentality, and self-discovery. Today, the “one time” and “one place” that­151a‑inhabited seems further than ever, almost broaching celestial realms of time and space. But, rest assured, with each listen, the world that Kishi Bashi built springs back to life. The world of‑151a‑never left—it was just waiting to be rediscovered.

After the impact of Exist in Ramallah festival back in 2019, and how relationships between the artists got established and the attendees contribution that helped to shape the identity and the vision of the project itself. Exist decided to take the next step and expand the project with a label that is runned between Amman based and festival founder Odai Masri and Amsterdam based and label co-founder Chafik Chennouf with the same ethics that the festival is standing for. Some of the main principles Exist upholds include resistance to homophobia, and the ongoing colonization of various parts of the world by state actors or multi-national oligarchs. In turn, we think that this colonization leaves no one free, and that it especially targets communities (human and non-human) that are most marginalized by capital and historical racial and ethnic structures. The first release 'Marks of Existence' is a collection of mind-melds with some of the scene's most continuously exciting and refreshing artists: Drew McDowall, Muqata'a, CASKO, Adel Poursamadi & Tegh. The Scottish, NYC-based experimental musician, Drew McDowall, has been subverting the formula for many years now, having clocked up storied work with Coil and Psychic TV back in the day. His track 'Conceal the Wound' is a stunning, exquisitely chiselled piece of synth music. It's like waking from a dream, only to return to its febrile clutches. Ramallah's Muqata'a came through flawless with his cut 'Administrative Detention', a blast of chaotic chopped breaks and lurching neo-beat tape MPC programming. The breakcore influence in combination with referencing crimes against humanity makes the tune an intense headmelter. The ideal soundtrack for unorganized resistance from a firsthand perspective. ‘The Price You Pay To Be Unattached Flesh’ sees CASKO push the hi-tech dirt of his Opal Tapes, Leyla Records and Voidance releases down darker ginnels to claustrophobic, anxiety-raising effect in a collection of brilliantly neon explosions of colour and exuberance floating on a sleazy and slow beat with bags of North-African swagger. Experimental electronic musicians from Iran have marked their prints on the face of the universal experimental music scene for some time now, though the manner in which their status went from "non-existent" to "present" and from "silent" to "noisy" might somehow seem "unpredictable" to the naked eye. Tegh, known for his work on Opal Tapes joined forces with Adel Poursamadi to come up with a beautifully bittersweet synthetic orchestration in a staggering fashion to close this EP with.

The JB's 45' seem to be a RSD occasion now, with this third instalment seeing ‘Jimbroski’ and ‘On the Run’ from the Straight Out the Jungle getting an airing together on 7" for the first time, marking the 35th anniversary of their release. DJ Red Alert and Tony D produced gems from the golden era of Hip Hop, of which the Babe Ruth and Jimmy Castor Bunch sampling ‘On the Run’ is seen to be a formative track in the dawn of the Native Tongue scene. Black Vinyl in a Picture Sleeve Limited edition for RSD.

One of the plus points of being in the reissue business, is that some records are easier to license then to try and find a copy of! Sky's The Limit's incredible "Don't Be Afraid" is a case in point.

Released on the tiny J.M.J. label in 1976, this was essentially a private pressing by the group and was more likely to have been given away at gigs rather than sold through record shops. It's incredibly rare - an original these days is around the £750-£800 mark and that's if you're lucky enough to see one. All for good reason though. "Don't Be Afraid" is a prime slice of vintage Jazz-Funk. The vocal side shows off Sky's The Limit's vocal prowess with gorgeous harmonies over an insistent groove.

However, the big attraction on this double-sider, is the incredibly hypnotic instrumental workout with a fantastic Patrick Adam's like free-form synth making the instrumental almost another song. One of the dreamiest Jazz-Funk instrumentals you'll ever hear. As per usual, this will be a very in-demand release from the word go. This can be played on progressive dancefloors everywhere and will almost certainly appeal to different crowds and audiences.

Celebrating the 25th Anniversary of the label, Play records are releasing two classic formerly digital only 2006 albums, on wax for the first time from stella electronic artist, Deadmau5.

2 x Silver vinyl limited edition.

A fresh re-press of an Italo Disco club classic: My Mine - Hypnotic Tango. My Mine were the trio of Stefano Micheli (vocals, keyboards), Carlo Malatesta (vocals, keyboards), and Danilo Rosati (drums, keyboards) formed in 1982. Utilizing new electronic instruments like the now legendary Roland TB-303, Danilo improvised a simple but effective synthesizer bass line and passed it through the Roland Echo until something magical came out.

“Hypnotic Tango” was released on Progress Record in 1983 and became an international hit across Europe and US dance clubs in New York, Detroit and Chicago, capturing the imagination of House and Techno producers. In 1987 legendary DJ Frankie Knuckles remixed “Hypnotic Tango” at Seagrape Studios in Chicago, with assistance from studio engineers Tommy White and Brett Wilcotts. Originally released on Danica Records as the “Powerhouse Mix” named after Knuckles' club the Power House, the mix has added vocals by Frankie.

This reissue also includes the “Hypnotic Mix” released in 1990 on Rams Horn Records. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original artwork and includes an insert with photos and liner notes by Stefano Micheli.

Limited to 750 copies.
Pressed on Blue Vinyl.
Includes postcard and poster.
Formed in post-Postcard Glasgow as Popgun, Kevin McDermott (vocals/ guitar), Davie McCormick (drums), and Ross Drummond (bass/vocals) were joined by Roddy Johnson (guitar/vocals). In 1983, they changed their name to The Suede Crocodiles and released ‘Stop the Rain’ on the NoStrings label.
Single of the Week in both NME and Melody Maker, this jagged-edged, spiky pop-punk single caught the ear of many. The Suede Crocodiles went on to tour the UK with Nick Heyward.
The band split before releasing their second single, ‘Paint Yourself A Rainbow’ with songwriter and lead vocalist Kevin McDermott going on to form the Kevin McDermott Orchestra and having a successful solo career.

Acclaimed saxophonist, producer and composer Yasuaki Shimizu will release Kiren, his unreleased album from 1984, on the Palto Flats record label on February 25, 2022.

Liner notes by music historian Chee Shimizu, and credits in both Japanese and English.

By the early 1980s Yasuaki Shimizu had established himself on the Japanese new wave scene, producing many important experimental pop records and releasing several albums as the bandleader of
Mariah. Following the release of his widely regarded solo classic Kakashi, from 1982, and the otherworldly Utakata No Hibi, by Mariah in 1983, he went into the studio the following year with frequent
collaborators, producer Aki Ikuta and Morio Watanabe (bassist of Mariah), to record a mystifying collection of experimental dance music. Utilizing cutting-edge technology and studio trickery, Kiren
showcases Shimizu's trademark playfulness, marrying richly layered production techniques to off-kilter, sometimes traditional sounding rhythms and melodies. Portending his work with the Saxophonettes as well as forecasting trends in techno, new wave, and futuristic rhythmic music, this formerly lost album represents an important period of Shimizu's artistic expression, an artist at his peak, while successfully exploring the intersections of fusion, synthpop, new wave, and jazz.

As Chee Shimizu (no relation) writes in the liner notes, Kiren, and his concurrent release Latin were “born out of a free environment of collaboration that existed between Yasuaki and Aki Ikuta ... (exemplifying) his most energetic works.” In listening to Kiren, we might share with Yasuaki Shimizu the joy and excitement of experimentalism and movement that went into the making of this album, now released for the first time many years later.

Double-LP on 45rpm 180gm black vinyl, housed in a gatefold jacket with printed inner sleeves. Alternate cover artwork & 20 page lyric book.

2020’s A Hero’s Death saw Fontaines D.C. land a #2 album in the UK, receive nominations at the GRAMMYs, BRITs and Ivor Novello Awards, and sell out London’s iconic Alexandra Palace.

Now the band return with their third record in as many years: Skinty Fia. Used colloquially as an expletive, the title roughly translates from the Irish language into English as “the damnation of the deer”; the spelling crassly anglicized, and its meaning diluted through generations. Part bittersweet romance, part darkly political triumph - the songs ultimately form a long-distance love letter, one that laments an increasingly privatized culture in danger of going the way of the extinct Irish giant deer.

“They were so solid. They meant what they said, they did what they did… here’s two guys, a guitar player and a harmonica player, and they could make it sound like a whole orchestra.” – Taj Mahal

“It was perfect. What else can you say?” – Ry Cooder

Nearly sixty years after they first played together, Ry Cooder and Taj Mahal, longtime friends and collaborators, reunite with an album of music from two Piedmont blues masters who have inspired them all their lives: GET ON BOARD: THE SONGS OF SONNY TERRY & BROWNIE MCGHEE, on Nonesuch Records.

With Taj Mahal on vocals, harmonica, guitar, and piano and Cooder on vocals, guitar, mandolin, and banjo – joined by Joachim Cooder on drums and bass – the duo recorded eleven songs drawn from recordings and live performances by Terry and McGhee, who they both first heard as teenagers in California.

Explaining where Terry and McGhee took him musically, Cooder says, “Down the road, away from Santa Monica. Where everything was good. ‘I have got to get out of here,’ was all I could think. What do you do, fourteen, eighteen years old? I was trapped. But that first record, Get on Board, the 10” on Folkways, was so wonderful, I could understand the guitar playing.”

Taj Mahal adds, “I started hearing them when I was about nineteen, and I wanted to go to these coffee houses, ‘cause I heard that these old guys were playing. I knew that there was a river out there somewhere that I could get into, and once I got in it, I’d be all right. They brought the whole package for me.”

Taj Mahal and Ry Cooder originally joined forces in 1965, forming The Rising Sons when Cooder was just seventeen. The band was signed to Columbia Records but an album was not released and the group disbanded a year later. The 1960s recording sessions, widely bootlegged, were finally issued officially in 1992. GET ON BOARD is Taj Mahal and Ry Cooder’s first recording together since then.

Harmonica player Sonny Terry and guitarist Brownie McGhee, both originally from the southeastern United States, had active solo careers as well as collaborating with some of the most celebrated musicians of their time. But they were best known for their forty-five-year partnership, which began in 1939 and included mesmerising live performances around the world and numerous acclaimed recordings.

Their Piedmont blues style became popular during the folk music revival of the 1940s and ’50s, centered in New York City’s flourishing club scene for jazz, boogie-woogie, blues and folk music. Terry and McGhee traveled in the same circles as Woody Guthrie, Pete Seeger, Leadbelly, and Josh White, among others in a rich mix of writers, actors and musicians. As a new generation emerging in the 1960’s drew inspiration from folk and blues, Terry and McGhee toured the world as the foremost exponents of the acoustic music of the Piedmont. They were named National Heritage Fellows in 1982 in recognition of their distinctive musical contributions and accomplishments.

“You got the south on steroids, when you got the music of the south, the culture of the south, the beauty of the south, through Brownie and Sonny,” Taj Mahal says. He describes McGhee as a “solid rhythm player. To really play behind the harp like that. He would set stuff up. He wasn’t making many notes. Sonny had all the notes, running around. But Brownie, he laid it down.” Cooder adds: “This thing of squeezing the thumb and first finger and a little bit of the second finger, which I still do. I’d forgotten where it came from. That’s what Brownie did. I saw him do that and said, ‘I think I can do that.’”

Taj Mahal calls Terry “a wizard harmonica player”. Cooder says, “Sonny had incredible rhythm for one thing. Making sounds with his voice and the harmonica so you couldn’t tell quite which was which. He was good at that.”

“We’ve been doing this a while,” Cooder says. “Perhaps we’ve earned the right to bring it back. Taj Mahal concludes. “We’re now the guys that we aspired toward when we were starting out. Here we are now… old timers. What a great opportunity, to really come full circle.”

Clear Vinyl

Written and conceived by Stephan Crasneanscki, ‘LOVOTIC’ is a concept album by Soundwalk Collective, composed in collaboration with lauded actress and singer/songwriter Charlotte Gainsbourg. Featuring veteran techno stalwart AtomTM, rising singer/composer/performance artist Lyra Pramuk, celebrated actor Willem Dafoe, and writer/philosopher Paul B. Preciado, the album is released by the new Berlin-based Analogue Foundation.

Inspired by a relatively new field of research that seeks to explore and develop the possibilities of sexual and emotional relationships – and even love – between humans and robots, ‘LOVOTIC’ interrogates the impulses, ideas, and needs underlying this phenomenon. The project ventures into a future where sex, intimacy and desire are reformulated through the connection of humans, robotics, and artificial intelligence.

In an age of such hybrid entanglement with the machine, human identity requires the construction of new forms of intimacy, gender, and sexuality. At present, however, such technologies are primarily used to produce programs of limited sexual iterations that do not question the preformatted categories of gender and sexual orientation. In contrast, on ‘LOVOTIC’, Soundwalk Collective ask whether the future of sex and sexuality could instead be an exponentially expanding kaleidoscope. Where does the impulse of preference come from? What sets of words from our vocabulary can be communicated to the AI mind to generate a new identity for desire? Could the machine be another technology that brings us closer together?

Sonically ‘LOVOTIC’ is unidentifiable, artificial, and genuinely futuristic, occupying an amorphous androgynous netherworld at the borderlands between biotic and android. Traditional musical signposts are virtually non-existent, instead offering a mercurial, formless sound which mirrors the flourishing of gender fluidity it suggests could be on the horizon.

The production tangibly evokes the odd, rubbery textures of faux flesh, the slick virtual glide or glitchy mishaps of software, and the sleek shine of hardware. Gleaming sound design creates shard-like surfaces redolent of Alva Noto and Ryuichi Sakamoto’s ‘Glass’, the slippery stretched sonics Gabor Lazar, and the unsettling dark ambience of TOWERS and Hallmark ‘87.

At turns intimate and inviting, with whispering-in-your-ears ASMR vocals evoking blissful, heightened sexual states, within ‘LOVOTIC’ there’s optimism, but also unease; As well as the positive, it implies the negative ramifications of technology. At points a synthetic siren’s call appears to lure the listener to a darker place, with audio malfunctions suggesting dystopian science. Voices morph from gentle to distorted – a glitch in the system causing the mask to slip, like virtual lizards – ‘They Live’ or ‘V’ (?), for the metaverse age.

Here, Charlotte Gainsbourg invokes a being of unknown identity – an artificial eve, the oracle and the portal – speaking from an unspecified time in the future. The voices of AtomTM, Lyra Pramuk and Willem Dafoe weave in and out of Charlotte’s, often overlapping, merging into one another, expressing the entity of a being that’s ephemeral and in constant flux, oscillating between the natural and artificial. The record’s other bonafide singer, Lyra Pramuk’s delivery alternates between spoken word, operatics and partially- unintelligible language.

A multi-media project, ‘LOVOTIC’ also features the work of writer, philosopher and curator Paul B. Preciado – a leading thinker in the study of gender and body politics. Paul contributes a post-apocalyptic, quasi scientific and fictional text, which adds further fantasy, artistic and intellectual depth, augmenting the listener’s experience. Like all the best Sci Fi, his words seem prescient, describing what could become a likely reality in the future. Paul performs his written texts on the opening and closing tracks of the album; ‘The Age Of Mutation’ (in Spanish) and ‘Primate Love’ (in English).

Soundwalk Collective is an experimental sound collective helmed by Stephan Crasneanscki in collaboration with Simone Merli, which operates in a continuously rotating constellation of sound artists and musicians. The Collective’s approach to composition combines anthropology, ethnography, non-linear narrative, psycho- geography, the observation of nature, and explorations in recording and synthesis.

Legendary privately pressed 1979 LP from Scotland. This illusive, super rare and sublimely wonderful percussion album is like no other. Hypnotic, celestial, even cosmic and ambient in parts and totally unique in all ways, it was played by a group of 11 girls with an average age of 14. The group included Evelyn Glennie, who was destined to become one of the world’s greatest percussionists. This is her first ever record.

The Cults Percussion Ensemble was a group formed by percussion teaching legend Ron Forbes in the mid 1970s. The ensemble must have one of the best group names of all time. To many it will immediately come across as something sinister, a touch spooky and possibly a bit dramatic too. They are certainly two of those but the use of the word “Cults” here is easily misinterpreted. Cults, in this case, is the suburb of Aberdeen.

The average age of the students was just 14. They came from a few of the schools in the area, including the Cults Academy, Ellon Academy, Aboyne Academy, Inverurie Academy and Powis.

My original copy of the album came from Spitalfields market in London. I loved the music the second it started, because it reminded me of Carl Orff and peculiar library. So I started to investigate it further, and eventually, thanks to the highly tuned world of percussion, was given the address of Ron Forbes. I got in touch with him and now we have this, a formal release of something quite lovely that was only previously available very briefly in 1979 at concerts when the young girls performed.

The music here is really quite unique, with a celestial swirling hypnotic quality. The blend of glockenspiels, xylophones, vibraphones, marimba and timpani drums is quite intoxicating and can recall the shimmering warmth of the desert sun one minute (“Baia”) or freezing glacial ice caps the next (“Circles”). The Ensemble perform with an effortless tightness and deftness of touch, building textured layers with recurring percussive motives which appear simultaneously dense and yet sparse, almost sounding like modern sampling. In fact, while struggling to find a musical comparison, during the pulsating introduction to "Percussion Suite" I found myself recalling "Gamma Player", a piece of soulful Detroit techno minimalism from Jeff Mills (Millsart - “Humana” EP 1995) with its rhythmic percussion layered with complex emotion. Weirdly enough, other tracks on that EP also prominently feature xylophone and tuned percussion, although obviously synthesised and programmed, a good 20 years after the CPE first recorded.

Sleevenotes also include a letter from Ron Forbes:
“I decided to form a percussion group to provide an outlet for my percussion pupils to play music specially written for them. The group soon became well known in the region and as a result of winning the outstanding award at the National Festival of Music for youth on three occasions, they were invited to play at other festivals within Europe, one being in Erlangen in Germany - hence the Erlangen Polka - and Autun in France - hence the Autun Carillon. During these visits we were often asked if we had any recordings and so it was decided to make an LP”.

Thanks to Ron Forbes and Trunk Records, more people can now enjoy the simple hypnotic musical charms of the Cults Percussion Ensemble

Es braucht nur ein paar Sekunden, bis die verführerisch honigsüß-rauchige Stimme von Sängerin Jillian Taylor, Johnny Scarps' satte, knackige Gitarrenriffs und Sean Hurs große, beinahe nostalgische Rockorgel auf '1000 Years', dem ersten Track von RUBY THE HATCHETs neuer EP "Live at Earthquaker" ihre Hooks fest in Herzen und Ohren versenken.
Durch die Adern von "Live at Earthquaker" pulsiert eine organische, rohe Energie, da die EP im Hauptquartier der EarthQuaker Devices in Akron, Ohio während der US-Tour mit KADAVAR komplett live aufgenommen wurde. Die drei Tracks bestehen aus zwei frühen Versionen brandneuer Songs, die auf dem für 2022 angekündigten neuen Studioalbum der Riff-Rocker in überarbeiteten, voll produzierten Fassungen erneut auftauchen werden. Mit ihrer erstmals in physischer Form erscheinenden, wilden Interpretation von URIAH HEEPs 70er-Hymne 'Easy Livin'' setzen RUBY THE HATCHET der EP das Sahnehäubchen auf.
"Live at Earthquaker" ist ein köstlicher Vorgeschmack auf die mit Spannung erwartete Rückkehr der Band aus New Jersey mit einem frischen Album und Konzertreisen im Jahr 2022.

Es braucht nur ein paar Sekunden, bis die verführerisch honigsüß-rauchige Stimme von Sängerin Jillian Taylor, Johnny Scarps' satte, knackige Gitarrenriffs und Sean Hurs große, beinahe nostalgische Rockorgel auf '1000 Years', dem ersten Track von RUBY THE HATCHETs neuer EP "Live at Earthquaker" ihre Hooks fest in Herzen und Ohren versenken.
Durch die Adern von "Live at Earthquaker" pulsiert eine organische, rohe Energie, da die EP im Hauptquartier der EarthQuaker Devices in Akron, Ohio während der US-Tour mit KADAVAR komplett live aufgenommen wurde. Die drei Tracks bestehen aus zwei frühen Versionen brandneuer Songs, die auf dem für 2022 angekündigten neuen Studioalbum der Riff-Rocker in überarbeiteten, voll produzierten Fassungen erneut auftauchen werden. Mit ihrer erstmals in physischer Form erscheinenden, wilden Interpretation von URIAH HEEPs 70er-Hymne 'Easy Livin'' setzen RUBY THE HATCHET der EP das Sahnehäubchen auf.
"Live at Earthquaker" ist ein köstlicher Vorgeschmack auf die mit Spannung erwartete Rückkehr der Band aus New Jersey mit einem frischen Album und Konzertreisen im Jahr 2022.

Honey for Petzi sind zurück! Heute feiern wir, (etwas) mehr als ein Jahrzehnt nach dem letzten Album (General Thoughts and Tastes, 2011), eine neue Veröffentlichung des Trios aus der Westschweiz
'Observations + Descriptions' durch Two Gentlemen! Auf dem neuen Album finden sich zwölf Tracks voller offener, agiler und sich entwickelnder Emotionen - wie mit einem scharfen und subtilen Messer geschnitten.
Das Trio, bestehend aus Sami Benhadj Djilali (Gitarre und Gesang), Philippe Oberson (Bass und Gesang) und Christian Pahud (Schlagzeug und Gesang), entstand Ende des 20. Jahrhunderts in Lausanne. Als damals die Post-Rock-Szene aufblühte krönten Honey For Petzi diesen Prozess mit ihren packenden Rhytmen, schwachen Beats, Fallen und Synkopen. Diese Ästhetik hat im Laufe der Jahre über die herausragenden Alben der Band - insbesondere Heal All Monsters (produziert von Steve Albini) und Nicholson (2003), beide auf Two Gentlemen - mehrere Mutationen erfahren.
Ende 2021 veröffentlichten Honey for Petzi mit 'Écoute' ein neues Stück: Die ungeraden Taktarten, die das bisherige Schaffen des Trios kennzeichneten, sind zwar vorhanden, werden aber durch eine einen befreienden Impuls ergänzt, den man so noch nicht gehört hatte. Grammatikalisch gesehen könnte 'Écoute' in zwei Kategorien eingeordnet werden: als Substantiv (die Handlung des Zuhörens), aber vielleicht auch als Imperativ. Dies impliziert: alles ist möglich.
Und in der Tat: Dieser Track ist sowohl ein Vorspann als auch eine Einladung, das gesamte Album 'Observations + Descriptions' zu entdecken, das heute veröffentlicht wird. Die Band erklärt gemeinsam die Entstehung des Al bums wie folgt: 'Es war Ende 2018, als wir auf die Idee kamen, wieder zusammen zu spielen. Nach ein paar gemeinsamen Tagen wurde 'Observations + Descriptions' 2019 und 2020 geschrieben. Anfang 2021 reichten wir die neuen Songs bei unserem Label ein, welches begeistert und interessiert war, das Album zu veröffentlichen.'
Verständlich! Diese Platte enthält ein ganzes Arsenal an Waffen. Treibende Steigerungen: Apnée (welcher Ende 2021 auch als Single veröffentlicht wurde), Island oder Géométrie zeichnen sich durch eine polyrhythmische Raserei aus, die den Weg für verrückte Tänze ebnet. Echorec geht sogar noch einen Schritt weiter: ein wuchtiger Bass, eine vielschichtige Gitarre: ein reines Meisterwerk an Energie und Seltsamkeit - wie Kawasaki und sein parodistischer und trockener Humor, inspiriert
von dem Paar Bardot/Gainsbourg.
Lasst es uns noch einmal von der Band selbst hören: 'Wir haben da weitergemacht, wo wir mit 'General Thoughts and Tastes' aufgehört haben. Es war ein Album, das bereits mehr ‘Pop’-Formate enthielt, als wir zuvor gemacht hatten.' Die ätherische Subtilität anderer Tracks auf 'Observations + Descriptions' (wie Infini oder Dog even) mit ihren herzzerreissenden Akkorden zeugt von einer Wende, die zudem mit einer grösseren Risikobereitschaft einhergeht: 'Neu an diesem Album ist
die (signifikante) Präsenz von Titeln, die auf Französisch gesungen werden. Dies ist ein fruchtbarer Schritt, der uns direkt in die Poesie von Benhadj Djilali, Oberson und Pahud führt: etwas, das gleichzeitig eine Form der Detailgenauigkeit, des halbautomatischen Schreibens und der Melancholie, manchmal sogar der elegischen Ekstase ist.'
'Observations + Descriptions', und das ist seine tour de force, schafft es, diese Wege, von denen man annehmen könnte, dass sie parallel verlaufen oder sich gar kreuzen, zu einer mehr als kohärenten Einheit zu verbinden. Vielleicht ist es ganz einfach eine Definition von Identität: die Aufrechterhaltung eines starken Herzens unter der Vielfalt seiner Bewegungen.

You might know Bert Dockx from the inimitable alternative jazz-rock-trio Dans Dans; or from his moody, psychedelic rock formation Flying Horseman; or from his more intimate but equally special solo records. In 2019, the ever productive guitarist released an album with Ottla, a jazzy sextet blending different genres, textures and moods in wholly original ways, resulting in long, evocative pieces, brooding with tension and atmosphere. Recently, the band has transformed into a quartet, a tighter unit with a sparser and slightly more electric sound. This new Ottla is playing a mixture of reimagined tracks from the aforementioned album, and several brand new pieces. Ottla's music - like all music for which Dockx is responsible - is imaginative, intense and deeply felt.

In the spring of 2021, actor and writer Josse De Pauw contacted Bert with a question. He wanted to perform work of the Uruguayan writer Eduardo Galeano on stage, texts about the madness of colonialism and slavery, and about the beauty and mystery of the jungle, and asked Dockx to come up with a live soundtrack. Dockx invited two friends from his jazz band Ottla (Thomas Jillings and Louis Evrard) and a fourth musician (bass player Axel Gilain). He composed new material, adapted some existing Ottla pieces and could count on the improvisational talent of his fellow musicians for the rest of the soundtrack. In a handful of rehearsals, an impressive concert was put together that captivated the audience during a short run in August. This live EP contains two pieces recorded on one of these blistering evenings. Side A opens with the authoritarian voice of De Pauw, who recites the Song of the Fire, before making way for a scorching, almost apocalyptic version of 'Stofwolk'. On side B we hear Thomas Jillings perform an impressionist clarinet improvisation while De Pauw conjures up images of the unlimited sea and the winds, ships and slaves, heaven and hell.

To avoid the “Quésaco?” on the sleeve of Piano Dazibao, François Tusques explains everything: A wall mural on which the Red Guard expressed their opinions during the Chinese proletarian cultural revolution. So much for the “Dazibao”, very good; but the piano in all that?

The piano, François Tusques was self-taught and his work was influenced by Jelly Roll Morton and Earl Hines before discovering Thelonious Monk, Bud Powell and then... free jazz. In Paris in 1965, Tusques mixed with Michel Portal, François Jeanneau, Jean-François Jenny-Clark, Aldo Romano or Jacques Thollot. He also met Don Cherry and above all recorded, with other like-minded Frenchmen (Portal and Jeanneau alongside Bernard Vitet, Beb Guérin and Charles Saudrais), the first album of free jazz in France, named... Free Jazz.

In 1967, Tusques again served up Le Nouveau Jazz, this time in the company of Barney Wilen (and Guérin, Jenny-Clark, Romano). Three years later his thirst for freedom led him to isolation; between May and September 1970, the pianist recorded, at his home, the first of two albums that he would release on Futura Records: Piano Dazibao and Dazibao N°2.

Under the influence of Mao and Lewis Carroll, the free spirit roamed and composed seven tracks which are not so much free as libertarian. As an homage to some friends (Don Cherry, Sunny Murray, Archie Shepp, Clifford Thornton but also Colette Magny, Michel Le Bris or the Théâtre du Chêne Noir), the pianist played cascading bouquets of notes, free-form wanderings, blues-ambushed dances, growls, discords, a fatal requiem... A cherished freedom, songs of hope and demands, François Tusques offers the most unrelenting of independent records.

Between May and September 1970, pianist François Tusques recorded »Piano Dazibao«, an album on which he multiplied joyful escapades as a critical iconoclast. The following year Tusques recorded »Dazibao N°2«, which shows him as an incisive commentator of his times. Following in the footsteps of Don Cherry, who he had met a few years earlier in Paris, Tusques made a plea for “friendship between all the peoples of the world” to the sound of Universalist hymns which transported us from Africa to Asia. But it is really a song to America, evoking the assassination of the activist George Jackson and the mutiny in Attica prison, before covering “Seize the Time” by Elaine Brown – three years after the release of Dazibao N°2, she became the first (and only) woman to lead the Black Panther Party.

The turmoil of Piano Dazibao, was opposed, on Dazibao N°2, by long, labyrinthine tracks with alternating discords and repetitions. Often using prepared piano, Tusques was more percussive (even heady) than ever, exposing a melody with solid hammer strikes or painting an image which radiated peace in spite of the storms. Piano Dazibao and Dazibao N°2 thus form the two sides of one coin, which displays the effigy of François Tusques, an international national monument.

Blue Vinyl

After getting glimpses of Denyl Brook's production prowess in recent collaborations with the likes of Shall Not Fade family members THEOS and Romeo Louisa, we welcome him to the groove-focused, dancefloor-oriented Killer Cuts series to which he delivers 6 feel-good house bangers in his signature funk-infused style.

If groove is the word, then Denyl Brook is your man. An incredibly prolific producer, in the space of his relatively short career the Marseille-born Silver Steps Records boss has been responsible for an impressive output, released via his own imprint as well as labels such as Basement Discos and House Cookin' Records.

Leaping Tenacity EP into action is the sunshine-dipped, serotonin-saturated "Baby It's You" which comes complete with a skippy house beat and syrup-smooth vocal licks before "Take Me Higher" takes things deeper, cool oozing from its funk-infused bassline. "His Name" takes us right back to the dance floor, where we will remain firmly-footed for the next two up. Arpeggiating synth tickles and luscious pads illuminate the aptly-titled "Bliss" before "Hear Me" awakens us from our reverie with a hard-hitting pulse and low-frequency acid melody. Finally, "My Friend Barry" sees the EP at its most stripped-back - deep house in its purest form: meditative yet steeped in sex appeal.

Kate Bollinger's songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don't feel likeher own, more like shapes that form in the mind's sky. Bollinger's musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter's knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. Her new EP, Look at it in the Light, her first project on Ghostly International, is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. The title Look at it in the Light is a reference to the aspects of Bollinger's life that she knows need examining. For one, there's her persistent resistance to change _ she chooses to ignore it on the title track ("I try not to notice / I deny my fate"), as wiry strums sync with crisp drums. She surrenders to comfort on "Who Am I But Someone," a light and softly psychedelic number. "Yards / Gardens" finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. The string-backed "Lady in the Darkest Hour" is the set's most luxuriant statement, recorded during a session at Matthew E. White's Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. From the hushed abstractions of "I Found Out" to the biting suspicions of closer "Connecting Dots," Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life.

Kate Bollinger's songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don't feel likeher own, more like shapes that form in the mind's sky. Bollinger's musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter's knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. Her new EP, Look at it in the Light, her first project on Ghostly International, is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. The title Look at it in the Light is a reference to the aspects of Bollinger's life that she knows need examining. For one, there's her persistent resistance to change _ she chooses to ignore it on the title track ("I try not to notice / I deny my fate"), as wiry strums sync with crisp drums. She surrenders to comfort on "Who Am I But Someone," a light and softly psychedelic number. "Yards / Gardens" finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. The string-backed "Lady in the Darkest Hour" is the set's most luxuriant statement, recorded during a session at Matthew E. White's Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. From the hushed abstractions of "I Found Out" to the biting suspicions of closer "Connecting Dots," Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life.

Formed in Oxford where they lived, hung out and rehearsed
together on campus, eclectic group Mandrake Handshake
were christened after a song by The Brian Jonestown
Massacre, incorporating their influences of Krautrock, funk,
Japanese animation and Latin pastoral poetry to create a
unique brand of ‘Flowerkraut’ that vividly defines their sound.
 Having initially teamed up with the cult indie label for their
‘Nice Swan Introduces…’ series (in partnership with RIP
Records) late last year, the creative outfit have since found
labelmates in the likes of Courting, SPRINTS and Anorak
Patch, and fast established themselves as one of the most
enticing new acts in the UK psychedelic scene.
 With widespread acclaim arriving via multiple key indie press
titans (NME, NPR, DIY, The Line of Best Fit, Dork, So Young,
Clash, Loud & Quiet, Gigwise), the newcomers certainly
seem to be attracting the right kind of attention following the
release of mesmeric debut effort ‘Mandragora’ and
exhilarating follow-up ‘Gonkulator’, with their first few plays
on BBC Radio 1 (Jack Saunders) already opening them up
to a vast new audience.
 Detailing their EP, the band explained: “‘Shake the Hand
That Feeds You’ represents the culmination of many strands
of thought over the process of several months. It is designed
to announce the coming of the Mandrake in all her forms and
the ascent into her realm; as it soundtracks the listener
coming to know what will be expected of them for all future
sonic explorations.
 “No expense has been spared to bring the listener to the
zenith of psychedelic high-fidelity and have them fully
understand what they otherwise might only hint at knowing.
This is ‘Flowerkraut’. This is the beginning. This is the
Mandrake.”
 Recorded at Press Play Studios in Bermondsey with one of
their heroes - Stereolab’s Andy Ramsay.

VARIOUS - TERRITORIO DEL ECO:EXPERIMENTALISMOS...PER· ( HIGHLIGHTS
First compilation brings together the Peruvian experimental scene from 1975 to 1988, a period was the most prolific for a generation of Peruvian artists who, based on musical conceptions derived from modern jazz and techniques inherited from avant-garde music. Collect unpublished and loss pieces from artists such as Omar Aramayo, Manongo Mujica, Arturo Ruiz del Pozo, Miguel Flores (Ave Acústica), Douglas Tarnawiecki (Espíritus), Luis David Aguilar, Chocolate Algendones and Corina Bartra. Rescued from private archives and limited editions on cassette. DESCRIPTION First compilation brings together the Peruvian experimental scene from 1975 to 1988, a period was the most prolific for a generation of Peruvian artists who, based on musical conceptions derived from modern jazz and techniques inherited from avant-garde music, sought to integrate the sounds of Andean, Afro-Peruvian and Amazonian cultures in search of a new musical universe. Native instruments and folk melodies were used in compositions that demanded modern recording techniques and electronic sounds. This generation was articulated in Lima and was made up of musicians such as Omar Aramayo, Manongo Mujica, Arturo Ruiz del Pozo, Miguel Flores (Ave Acústica), Douglas Tarnawiecki (Espíritus), Luis David Aguilar, Chocolate Algendones and Corina Bartra. But more than a movement, it was a set of individuals from dissimilar origins, who came from rock, jazz, contemporary classical and popular music, but also from the visual arts and poetry, and who had in common the cultural climate of the late seventies and early eighties in a country marked by a series of social and economic transformations, as well as the emergence of new visions and insertions of Andean culture and folklore in the city. The appearance of a mythical substrate connected the work of these musicians and defined an aesthetic, based on the deconstruction of folklore and the exploration of the possibilities that indigenous instruments offered. From there, these musicians immersed themselves in abstract, but also symbolic and conceptual forms. In many cases, they were strongly influenced by jazz and were keen to explore the possibilities of the recording studio. Territorio del eco: experimentalismos y visiones de lo ancestral en el Perú (1975-1989) - The Land of Echo: Experimentalisms and Visions of the Ancestral in Peru (1975-1989) - is a compilation that offers an overview of what was one of the moments of greatest creative intensity for experimental music in Peru in its encounter with indigenous sounds. Collect unpublished and loss pieces, rescued from private archives and limited editions on cassette, these pieces are reissued for the first time in vinyl LP format. The album includes 8 pages booklet with extensive notes written by Luis Alvarado, author of the compilation, as well as much visual documentation. Cover art by Paloma Pizarro. Limited to 300 copies. Beneficiary project of the Economic Stimuli for Culture of the Ministry of Culture of Peru.

Canadian rock band Sum 41 formed in 1996 in Ajax, Ontario. In
2000 they released their debut extended play Half Hour Of Power on Big Rig Records, a subsidiary of Island Records. Officially it’s an EP, but many consider it to be their first studio album. It was produced by lead singer and frontman Deryck Whibley (also known as Bizzy D) in collaboration with Greig Nori. The release was well received and peaked at #36 on Billboard’s Heatseekers charts. Its cover features drummer Steve Jocz aiming a Nerf gun up in the air.

The English synthpop, new wave group formed in 1977 in London and was led by Tony Mansfield, who later worked as a producer for furthermore Naked Eyes, a-ha and the B-52’s. Their success already kicked off with the first single, “Straight Lines” entered the UK Singles Chart within no-time.

Their second studio album Anywhere was originally released in
1981 and contained 12 tracks. The expanded edition contains 4
bonus tracks; “The Office”, “From The Village”, “Guitars” and the
12” version of “While You Wait”.

This expanded edition of Anywhere includes the corrected D-side and is available as a limited edition of 1500 individually numbered copies on blue marbled vinyl.

Repress

ASC work is consistent and inspiring, the artist is back in full form on our Transparent section with a full masterpiece served on yellow marbled vinyl.

A collaboration oozing with class and consideration, 'Crackdown' is a piece of music that celebrates and remembers the absolute legacy of two of the finest minds to ever grace this genre and beyond, Marcus Intalex and Spirit.

Described by Goldie as one of the purest drum and bass tracks he's ever heard, 'Crackdown' was an instant hit with crowds and swiftly emerged as one of the most sought-after Metalheadz tracks in recent times. Coming as a 1 sided record with the Soul:r and Inneractive logos delicately etched onto the other, this is what we hope will be a fitting release to form part of the ongoing 25 Years of Metalheadz series.

Lance Ferguson is back for a killer follow-up 7" to his second volume of classic re-works and re-imaginings, Rare Groove Spectrum Vol. 2 - released on Freestyle in late January on LP, CD and digital formats.

We just couldn't resist putting this take on Pucho & His Latin Soul Brothers cover of Gladys Knight's Got Myself a Good Man on a 45. Keeping true to the source, yet somehow simultaneously sounding like no-one else, this version is 100% guaranteed to put a spring in the step of any crowd as the sun starts gradually to come out from hiding. Aside from the faithfully executed and expertly recorded drum-track, which sits pretty higher up in the mix than it's precursor, the star of this particular show comes midway through when Lance's lilting and sun-kissed guitar solo comes gliding in. If you can't move to this, even just a little bit, then you might actually be lacking a pulse. Backing things up is the undeniable latin-funk strut of Mandrill's Mango Meat. Given an instrumental work-out here with Remco Keijer's Flute and Daniel Mougerman's keys putting in work over a heavy-as-lead rhythm section, those delectable salsa-inflicted horns upping the spice levels.

Lance's work across the Rare Groove Spectrum series can often be looked on as something akin to a "live re-edit" on the originals, at times switching up sections or extending the groove. These two choice cuts however are a masterclass in subtly teasing out some of the original elements on the tracks that really make them work on a dance-floor, and bringing those to the fore while retaining 100% respect for the OG arrangements.

LP, 150 copies with screen printed artwork Behind Teahouse Radio is Pär Boström… a Swedish ambient musician, visual artist, label/publishing house owner. Together with his sister (also musical partner in crime) he runs the label/publishing house Hypnagoga Press. Most of his music projects are released on this label. But his work has also already found its way to well known labels such as Cyclic Law and Cryo Chamber. Teahouse Radio is one of the many projects by Pär Boström and most lo-fi and to my ears the most melancholy… and thus fitting Vrystaete very well… In 2018 the debut album (and only album so far) “Her Quiet Garden” was released on CD in an edition of 100 copies on Hypnagoga Press. Here (and below) you have a really nice video on the process of the music and artwork being created… The songs themselves were composed from 2004 onwards with intervals and recorded in a few days during late summer 2016. This 2LP vinyl edition of “Her Quiet Garden” captures the delicate, fragile and minimalist soundscapes very well… and features three additional pieces from the same sessions which were never released before… Expect acoustic instruments that are blended with electronic equipment, forming a sombre ambient music of tinkling tape loops and humming pedal drones… like Gurdjieff meets Eno in some sort of way… And… it is also a very personal album and any listener who sits back and pays true attention will witness and experience this. This is what the musician himself says about the album: An album about summer houses and winter towers, about the changing of weather. How one feeling changes to another. The loss of a loved cat. A real garden becoming an imaginary garden. Depression as a pond. Years of therapy and music as the main counterpoint. About escapism. Psychoses. A giant who walked in and out of the world, decorating it nicely. An aural tale. Half in water, another half in the northern woods. Childhood through nostalgic binoculars. A wardrobe to another place, a gentle knock on the door in the oak tree.

Limited to 1000 copies.
Pressed on Blue Vinyl.
Includes postcard and poster.
The Bluebells have dug deep into their archive to give us the earliest recordings of these tracks, which have never been released before and are exclusive to this 7”
‘Everybody’s Somebody’s Fool’ is longer and more vibrant containing an extra verse and guitar solo which are not on previous versions. This is the closest recording to the one that was originally intended to be released on Postcard in 1981. The sleeve, designed by Bobby Bluebell features 2 of the earliest photos of the band.
THE BLUEBELLS were formed by songwriter / guitarist Robert Hodgens aka Bobby Bluebell in 1980. When deciding to form a group to start performing his songs, Hodgens remembered two punk musicians from Bothwell (brothers Ken and David McCluskey) he had interviewed for his fanzine, 10 Commandments. David (drums/ backing vocals) and Ken (vocals / harmonica) joined Robert and The Bluebells started performing live in and around Glasgow.
The Bluebells were soon involved in the burgeoning scene coalescing around Postcard Records in Glasgow (Orange Juice, Josef K, Go Betweens, Aztec Camera, Jazzateers), and it wasn’t long before The Bluebells were sharing stages throughout the UK with some of the Postcard groups. A single (Everybody’s Somebody’s Fool) was scheduled for release on Postcard, however after appearing on the
front page on Melody Maker and in NME / Sounds etc, major record companies started making serious offers to sign the group. The Bluebells appeared on BBC music program The Old Grey Whistle Test, the first unsigned group to do so, and it wasn’t long after this television appearance that the group signed a major record contract with London Records.
The Bluebells were soon in the studio working on songs for their debut album, with Elvis Costello producing. They were invited to open on UK tours for Haircut 100 and Elvis Costello & The Attractions, and started releasing singles to critical acclaim (Forevermore, Cath, Sugar Bridge). However it was their fourth single I’m Falling (co-written by Robert and Ken) that finally resulted in commercial success, chart success, and appearances on Top of the Pops.
The Bluebells released their debut album, Sisters, in 1984 to further commercial chart success, which was continued when their next single, Young At Heart, gave the group their second big hit single. However, when Young At Heart was reissued
in 1993, it reached number 1 in the chart for a month, making The Bluebells regular fixtures on Top Of The Pops

A Toolroom veteran of 15 years and longstanding member of the #ToolroomFamily, Dave Spoon (aka Simon Neale, or the better-known Shadow Child) made his label debut way back in 2005 with his 21st Century EP. Having released an incredible amount of music during his time with Toolroom, he is most known for his massive 2006 hit ‘At Night’ which saw a huge level of physical sales and massive radio support. Eventually being reworked with So Solid Crew’s Lisa Maffia on vocals, turning into ‘Bad Girl (At Night)’.

2012 onwards saw Simon shelve his Dave Spoon identity, creating the Shadow Child alter ego and his own Food Music record label. Having huge success with records such as 23, Climbing (Piano Weapon), Ooh Tune and his remix of AlunaGeorge – ‘Best Be Believing’.

He is a prolific artist and producer in his own right, having remixed records from high-profile artists Robyn, Paul van Dyk & Dizzee Rascal. As well as scoring multiple hit records under the Shadow Child moniker, the time is right to bring the Dave Spoon pseudonym back online. Taking form of ‘Steels’, a refreshingly new, fiery and fun party record that you won’t be able to get out of your head.

Legendary Polish Dance duo Catz ‘n Dogz are on remix duties for this one. The duo bring a refined, Disco-tinged, festival flavour to Dave Spoon’s summer hit, adding a slick groove with an emphasis on the insanely hooky records brass section. Throwing in similar elements such as the brass swells, melodic steel drum hits and the vocal cuts, Catz ‘n Dogz have created a remix that doesn’t stray too far from the original but lives completely in a world of its own.

A cut that has it all, Catz ‘n Dogz has nailed definitely nailed this remix by putting their own spin on the record whilst staying true to the originals fiery but fun feel. For sure, ‘Steels’ is a record you won’t be able to get out of your head.

3x12"

Extraordinary musical talent returns with a deeply textured third outing on Blu Mar Ten Music.

Having made serious waves with the release of his debut album "Coeur Calme" in 2014 and the incredible 2016 follow up album "Zawadi", Kimyan Law steers his sound in a darker, more introspective direction with the twelve heavily themed set-pieces of his new album, "Yonda".

The album title, "Yonda", homophonically flits between a location in Kimyan Law's native Congo and definitions of something situated at a distance but still visible, foreshadowing the artist's move away from his typical uplifting palette into less playful territory.

While previous work seemed to be a personal exploration of joy-tinged melancholy, "Yonda", feels much more sober and pensive, infected with external events. In conversation with Kimyan Law the artist described one piece ("Krieg") as his "portrait of war", with the music moving through phases of violence, silence, panic, redemption and peace. Ever the allegorist, Kimyan Law relates themes of conflict and war not just to obvious geopolitics but also to his own physical struggles, and even an obsessive battle with the music itself, ("Yonda" has been more than three years in the making). In 2017 the artist wrote, "I've reached a point where I couldn't sleep because it bothered me so much... I have found myself unable to make any music except for Krieg".

An accomplished drummer in his own right, Kimyan Law's intricate rhythmic sensibility is the lifeblood that runs throughout the album, incorporating ever more outlandish sources of percussion recorded from his natural surroundings and filtered through technology.

"Yonda's opener, "Jaardin", is deceptively gentle, with off-kilter rhythms and pianos providing fertile ground for Elyn's delicate singing before the whole piece careens off into what can only be described as orchestral proto-jungle territory. It soon becomes apparent that this placid introduction is misleading, with subsequent tracks fluctuating between pounding tribal beats ("Arboreal Epitone" / "Kin"), chilling orchestration ("Byo" / "Krieg") and rehabilitated jungle forms ("Seven Ant Foley"). A constant mix of light and dark, futuristic yet primitive atmosphere hangs over the album, with waves of luscious synths and deeply musical string arrangements lovingly cloaked over the razor-sharp drum work.

Unusual conceptual themes litter "Yonda"; "Dor Rhythm" is about a Dung Beetle's journey, "Lampion" is about paper lanterns, "Nova" is about plant growth while "Kilele" is a song about peace, featuring Kimyan Law's own vocals in a new language he created himself, conjuring memories of Cocteau Twin's Liz Fraser.

While "Yonda" contains moments of incontestable beauty it can often be a difficult listen, an illustration of an anxious mind yearning for peace. An obsessive and intricate musician, Kimyan Law's use of African percussion, finely honed polyrhythmic patterns and celestial sprinklings of keys melded with slabs of sub-bass power and sheer energy makes for an intoxicating listen. As ever, Kimyan Law has delivered a profoundly serious piece of work that expands the vocabulary of his genre. Despite the darkness saturating the work, a soft light still breaks through the window. It is the east, and Kimyan Law is the sun.

Climate - atmosphere is what we say. Soul with beautiful expression, is what they say in the modern jazz scene in the US. It's a necessary component for good jazz, as well as for swing. But to achieve an organic atmosphere which is therefore vital and alive, a relationship of intentions and views, and a congeniality of thoughts are needed. When Tommasi was in Rome for a few days and had Santucci and Scoppa listen to the latest pieces he had composed, the three musicians ideas, aspirations, and agreement in taste appeared to exist right off the bat, and the idea to do an album together was born almost instantly.

Now, with all things said and done, a certain climate seems to have been achieved, with no lack of a swing enriched with heat and energy. The two horn players, who up until now have played and recorded with a band from Rome, the Modern Jazz gang, have really and fully understood the spirit of the pieces written by Tommasi, and even if it's the first time they have met with the trio of the pianist from Trieste, they demonstrate that they have merged and combined into one, more than anyone had hoped for. The album was recorded by forging ahead and overcoming various obstacles like that of a geographical distance that they were not used to (the horn players reside in Rome, and the others in Turin, Bologna, and Lucca); but now that the project has been achieved rehashing the difficulties that they had to get past in order to finish the piece is no longer important (and nor is it well wished for).

Sublabel of Undersound Recordings devoted to electronic music on 10" format.

The tracks are inspired by the artist's childhood memories of walks on green hills many years ago. While they are produced with different approaches, both from the digital and hardware world, they paint a personal picture of the artist's personality.

Founded in 2019, Astral Flex is a band of musicians/producers born of an ascendant local culture of producer based, improvised music in Melbourne, Australia. Recorded on the 50th anniversary of humankind's first step on the moon, their debut release "I Can See My House From Here" is presented here in two forms; as a spacey nu-jazz improvisation on Side A, and as a collection of house/electronic remixes on Side B.

Felix Meredith - Trumpet

Angus Gray - Keys

Horatio Luna - Bass

Odyssey Zelno - Drums

For his twelfth studio album, Pianissimo, Matthias Vogt (re:jazz, Motorcitysoul) makes a clear political statement in symbiosis with his well-placed notes and the stylishly experimental and pronouncedly eclectic electro-jazz sound. Pianissimo does not only mean playing very softly but also playing very intensively. It is definitely not an album to skip through.

Matthias Vogt combines great music with current socio-political attitudes and issues for this new album. He conducted interviews on topics like “climate change” with people from his circle of friends and acquaintances - creatives, artists, activists and musicians who tick similarly to himself and with whose voices he could give expression and form to his own thoughts. With this material, he created this hybrid piece of music and socio-political reflexion.

His companions are Demian Kappenstein (ÄTNA & Massa) on drums & guitarist Daniel Stelter (Sing mein Song, TV-Total Heavytones). Vinyl incl. the outer packaging will be produced on a completely recycled basis by INFRACom! which starts its 30 years celebration with this release.

Hotel Paral.lel, released in 1997, marks the full length debut release from Austrian Christian Fennesz, originally released by MEGO, following the twitching drone as found on the 1995 EP Instrument, also included in this deluxe 2LP reissue. Once launched, Hotel Paral.lel was to instigate a sublime exploration of a wide variety of forms, from formal abstraction to shimmering drone around to ground zero glitch pop.

Recorded just before mobile computing devices became omnipresent it was an investigation into the sonic possibilities residing in guitar based digital music. Sz launches the career with a constantly buzzing sound that resembles a fax machine encountering a G3 laptop for the first time, realising the game is up. Nebenraum is the first foray into the style for which one would attribute to Fennesz. A glacial drone unexpectedly morphs into a gorgeous melody and microscopic groove. Adding pulse and melody was hearsay in the radical end of experimental music up until this point and with this single gesture, everything changed, for everyone. Blok M nails this trajectory home with a straight up 4/4 beat. Such rhythm also features on Fa with a euphoric mix of a thudding beat, sharp splinters of noise and a devastating exploding melody. Repetition plays heavily through this album as the hyper metronomic beat on traxdata lays a bed for all manner of buzzing electronics. On the closing “Aus” we see a glimpse of what was to come in the future works of Fennesz, an experiment in popping, bubbling pulse pop. A far more darker and experimental work than Fennesz’ subsequent work. This is an exquisite radical field of freeform noise, sliced techno beats and subtle ambient texture all coming together to create a timeless work. There’s little out there in the world of music, still to this day, that sounds remotely like Hotel Paral.lel.

With a radical reinvention of music Hotel Paral.lel is an essential addition to collectors of pioneering music in the late 20th Century and sounds as enthralling today as it did to the shocked ears occupying 1997.

Remastered by Stephan Mathieu.

Jacob Gorensteyn is an Israeli saxophonist and producer. Born in the USSR in 1980, his family emigrated to Israel when he was a child, with Jacob picking up the saxophone soon after. A long time member and one of the creative forces behind the well-known Israeli brass band Marsh Dondurma, he co-produced all seven of the band's albums, as well as a solo effort that was released locally in 2006. Over the years Jacob became well known in the Israeli music scene both as a potent multi-genre session player and a mixing engineer and music producer, lending his sound to many recordings over the last 20 years. His main focus in his solo work is funky jazz music, being influenced by soul, R&B and funk music, mostly from the 60s and 70s.

Wooden House is one funky record. It began, as many records did at the time, with a recording session arranged to not feel as useless during the early days of the pandemic, at a time when planned gigs and sessions were falling like dominoes, and most, if not all, working musicians across the globe were in a state of mild shock watching their creative outlets, as well as their livelihoods, crumble away. Jacob assembled a group of friends – all powerhouse musicians, and all some of the most favorite people in the world for him to play with – into a recording studio. Just before the pandemic, Jacob moved away from the city into a little wooden house in a village located in the picturesque Yehuda mountains near Jerusalem. The new location prompted some creative juices in the form of a string of funky tunes, written in his new project studio on the 2nd floor of that very Wooden House. Three of those were the tunes he brought into the studio that day. None of the musicians assembled, including Jacob, knew what the music they came out with would end up sounding like. The music was worked out during the session and then swiftly recorded, all of it live, all of it energetic and groovy. Two more similar sessions followed in the following months, often being rescheduled because of lockdowns. What came out became "Wooden House", a funky, brass-heavy instrumental album, a fun, instant mood improver. Put it on and groove with us.The album was recorded in 2020.

If your inspiration is Herbie Hancock's "Head Hunter", or any of The Meters or The Apples albums – This one is for you.

Good things come to those who wait. The album 'The Children of Scorpio' by Project Gemini aka Paul Osborne is a result of his steeped 30-year musical journey that’s seen him dig deep, study his record collection and re-emerge to fine-tune his craft.

A cinematic musical journey that plays out like a long-lost soundtrack (think cult B-movies of the 60s and 70s); 'The Children of Scorpio’ was formed from Paul's love of a myriad of genres; from European library music, acid folk, psych-funk, vintage soundtracks and the contemporary breaks scene. The album draws on iconic classics such as the masterful cinematic funk of Lalo Schifrin's 'Dirty Harry', Ennio Morricone's 'Vergogna Schifosi’ and Luis Bacalov’s 'The Summertime Killer’, to name but a few. You can also hear the folk sounds of Mark Fry's iconic 'Dreaming With Alice', the Britsh folk-jazz of The Pentangle and the David Axelrod-produced 'Release Of An Oath' by The Electric Prunes, woven into the cultural tapestry of this gem. The influence of these vintage productions of the 60s and 70s is evident; however, it could be argued that there’s also echoes of the funkier psychedelic moments of bands such as The Stones Roses and The Charlatans, alongside contemporaries such as The Heliocentrics and Little Barrie, thus giving the album a broader crossover potential beyond the world of crate digging and vintage soundtracks.

A bass player and musician since the age of 16, the arrival of his first child in 2010 saw Paul move away from live performance and retreat to his home studio, recording a wealth of music that was destined to never be heard. One of the first tunes to be made was a demo entitled ‘The Children Of Scorpio’, inspired by his long-time obsession with Lalo Schifrin’s soundtrack to violent Clint Eastwood cop classic 'Dirty Harry'. Recorded for fun, the track was fated to sit in the archives untouched. However, like a phoenix rising from the ashes, connections to a wealth of inspirational musicians and labels would re-ignite Paul's musical fire and give him the impetus to develop his slept-on ideas into something more concrete. Firstly resulting in releasing two limited 7'' records on Delights Records and now the long-player for Mr Bongo.

Assisting in the recording of the record were several close friends that have helped spark Paul's musical creativity along the way, including well-renowned guitarist and Little Barrie frontman Barrie Cadogan (who contributes killer six-string guitar to four tracks), Delights Records head-honcho Markey Funk (who adds spooked out keyboards to ‘Path Through The Forest’), Kid Victrola, the chief songwriter and guitarist with French psych girl group Gloria who added wild 12-string to ‘Scorpio’s Garden’, Haifa-based multi-instrumentalist and producer Shuzin who brings the heat behind the drum kit, and Paul Isherwood, co-founder of Nottingham’s The Soundcarriers, who mixed the album on his wealth of vintage gear.

We are delighted to be releasing this slowly-brewed timeless classic that manages to achieve that rare feat of keeping one foot firmly in the past whilst still sounding totally contemporary.

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

What It Means To Fall Apart sees Mayday Parade wading in a wide range of complex emotions. The band shared the first taste of the album with the anthemic single “Kids of Summer,” which infuses nostalgic memories of their care-free formative summers at Warped Tour into song, followed by the self-confrontational and vulnerable “Bad At Love.” On the newest single “One For The Rocks And One For The Scary,” the band sings about making the most of the time we have with the people we love.

Their seventh studio album together, What It Means To Fall Apart was created with longtime collaborators Zack Odom and Kenneth Mount, and saw the band diverge from their typical path in the studio. With no final destination in mind and setting their sights on just writing the best songs they could, they started chipping away at something, letting go of any attachment to whether they left the studio with a single, an EP, or a full record. They arrived at a fully realized album, 12 contemplative tracks written through the eyes of a band moving forward with the knowledge they could only gain from looking back. Full track listing can be found below.

The band is looking forward to sharing these songs in venues around the world, noting that it’s not just about creating music for them, but how that music connects them with their fans and each other. “We all live in different states and have separate lives with different things going on,” bassist Jeremy Lenzo shares, “But just being able to get back together and play music is always a highlight.” Lead singer Derek Sanders mirrors that sentiment as well, sharing that the spark that started Mayday Parade still shines bright, “Even after all this time and plenty of other ways it could have gone or plenty of other things that we could be doing with our lives, we're lucky to be able to do this.”

Hailing from downtown Los Angeles, Nuklear Prophet, aka Erik Villalpando, is heavily influenced by West Coast Hip Hop and Electro. Winning multiple DJ awards, including 3x World Records DJ Competition under his DJ Dope-E alias, Villalpando cites his inspiration as coming from some of the most influential Los Angeles DJs of his childhood, including Tony G, DJ Joe Cooley, Julio G, and DJ Aladdin.

With releases on Urban Connections, Abseits Recordings, Diffuse Reality and Bass Agenda Recordings as Nuklear Prophet, the LA-based DJ/producer readies his full-length album 'Prophecies 11:21' for Utrecht-based U-Trax. Formed of an eclectic and energetic collection of gems mined from his overwhelming archive, the album takes in genres such as Electro, Hip Hop, Footwork, Juke, and beyond.
Leading the release is the 808 luminary Egyptian Lover's remix of 'L.A. Rockz', featured on the recently released 'L.A. Rockz' EP, kicking off the LP with his trademark 808-infused sound. A nod to Detroit-flavoured Electro is presented via the dark and brooding tracks 'Nuklear Prophet' and 'Compton', with the lighter atmospherics of the genre covered on 'Solar Winds'. The pounding electro killer '808 Plague' sounds like it came straight from the sewers of The Hague.
'Everlastin' Bass', 'Back Up Off My Tip', and 'The Train Ride To Coconino' offer Footwork inspired bangers, with the latter previously featured on the Legowelt curated U-Trax compilation 'U R Here!' earlier this year.
Moving across a spectrum of tempos, styles, and moods across the album, exemplified on the sluggish trip-hop of 'The Mars Goblin', Nuklear Prophet expertly touches on a range of bass-driven genres, displaying his widespread influences and knack for hard-hitting production throughout.

a 01: L.A. Rockz (Egyptian Lover Remix) feat. Krazy Dee & Nasim

ARTS presents an inner section of the catalog that represents a combination of different sides of records that had a great success and impact in the scene. You will finally have chance to obtain physical versions of some of the great records that previous was in single format in our catalog all in one place.

A return to form for TMSV's 2022 Perfect Records revival.

On the A-side you'll find sought after soundsystem-shaker 'Altered', with fan favourite 'Shallow Breath' and electro weapon 'Hypocrisy' on the B-side.

First physical solo release of singer/songwriter & multi instrumentalist Aiden Ayers comes in the form of a 7” showing two sides to his work. “Off My Mind” highly spiritual, almost psychedelic guitar pop & “Surface Tension” slightly more heavy downbeat instrumental vibes, both equally mesmerizing these tracks give small hints to what is still to come in 2022.

Repress!
R.A. The Rugged Man is one of the most fascinating figures in hip-hop history. His career spans decades, and defies simple narratives. The Rugged Man has been an up-and-coming star, an industry outcast banished and forgotten, an underground cult hero, an independent success story, and an influential master of the art form.

Now, R.A. The Rugged Man is back with ""All My Heroes Are Dead"", a brand new album that stands as his best work to date. “So many of the greats are gone, and the legends who made it out alive are cast aside,” R.A. explains. “Society left our heroes and their culture for dead. We have to dig that greatness out of its grave, and bring it back with an angry vengeance.” "All My Heroes Are Dead" features an all-star lineup of hip-hop heavyweights, including Atmosphere, Chuck D, Ghostface Killah, Immortal Technique, Vinnie Paz, Ice T, M.O.P., Kool G Rap, Brand Nubian, DJ Jazzy Jeff, Chris Rivers, Onyx, Inspectah Deck, A-F-R-O, Masta Killa, and more.

This album doesn't blurt it out: There is no loud "Ta-Dah!", no exclamation mark. "The ghost that carried us away" flatters in a rather unobtrusive way. However, it has encircled you after the third song at the latest. Fragile hymns of nonchalant casualness, created by the 24-year-old Sindri Már Sigfússon. Guitars, piano, his almost bashful and yet so present voice. "Nature, mortality, love", these are the topics of his debut album. Even the one who listens only briefly, is able to make them out within the sounds. "Do you remember how the things look when you were young."

Reykjavik again. Iceland, the musical heartland. On top of that, there is a violinist with her voice in the clouds: Gudbjörg Hlin Gudmundsdóttir (violine, vocals, harmonica). There further are musicians Sindri shared his hometown and his passion: Orn (guitar, lapsteel) who forms together with Sindri and Gudbjörg the inner triangle of Seabear. Or Eiki, Orvar, Gudni and Dóri. One plays the flugelhorn, the slide-guitar or upright-bass. One belong to the live line-up of Sigur Rós (Eiki). Another is part of the sensational múm (Orvar). Some are stage members of Benni Hemm Hemm's Band - the other Icelandic artist on morr music. Sindri Már Sigfusson has invited them into his small studio, placed them in front of the only microphone, let them think about his musical thoughts. He likes the notion and the feeling of LoFi, Sindri says. Only for the recording of the drums three microphones were used. The result is reminiscent of the reduced stereo recordings of the 1960ies.

Libraries is the most direct promise that pop music is able to make. Tiny and gigantic, unobtrusive and exciting at the same time. A song like a blink into the most beautiful sunrise. A tumbling piano, swinging drums. Melodies, melancholy: "My little bird flew away from me". Or "hands remember", the singing being close to one's ear. "The voice of an old friend", a murmur, two violins. There is later "summer bird diamond", birds twitter to the accords of an old banjo, a glockenspiel. It is almost a radio play, chamber folk. And "seashell" at last, a pocket symphony, arranged around jumping drums. Sufjan Stevens would have done it in a very similar way.

"This Is What It Feels Like’ is the latest 12-track project from ethereal singer/songwriter, Gracie Abrams.
Since making her debut with “Mean It” in October 2019, Gracie Abrams has emerged as one of the most compelling songwriters of her generation, earning the admiration of such likeminded artists as Lorde, Billie Eilish, and Olivia Rodrigo. A consummate songwriter who names Joni Mitchell as her most formative influence, she penned her first song at the age of eight, then went on to amass a devoted following on the strength of her emotionally intimate lyrics and DIY sensibilities. She is praised her “painfully honest tales of heartbreak draped in delicate melodies that carry much more intrigue than the usual run-of-the-mill singer-songwriter."

Mats Gustafsson - tenor saxophone, fluteophone, flute, junk Jim O'Rourke - guitar, accordeon, junk A collection of improvised duets with guitarist Jim O'Rourke and reedist Mats Gustafsson. All of the material has been newly remastered for release on 2xLP& digital and marks the first ever vinyl pressing with previously unreleased tracks. Tracks A1, B3(excerpt), C1, C2 and D3(excerpt) were in parts or in its complete form released on Incus CD38 (1999) with a different mix and master. All other tracks are unreleased. Mastered in 2021 by Jim O'Rourke. Dedicated to Derek Bailey. CREDITS: Recording:1999 by Jeremy Lemos at ACME Studios, Chicago Production:Will & Siegmund Mix:1999 by Jeremy Lemos at ACME Studios, Chicago Re-Mastering:2021 by Jim O'Rourke at Steamroom Artwork:Hanns Schimansky

The Mission are an English gothic rock band formed in 1986, after founders Wayne Hussey and Craig Adams left their previous band The Sisters of Mercy. The band were initially known as The Sisterhood, but changed their name quite early. Aside from Hussey, the line-up has changed several times during the years but remains iconic in its genre. The Mission have released ten studio albums to date and have announced a new tour kicking off in the spring of 2022.

To coincide with their tour, Music On Vinyl proudly presents the Collected compilation album in collaboration with Universal Music. Collected is a compilation featuring The Mission’s greatest songs so far and is a career-spanning 2LP featuring all their hit singles, such as “Wasteland”, “Tower Of Strength”, “Butterfly On A Wheel” and “Deliverance”.

The Mission - Collected is available as a career-spanning 2LP, housed in a gatefold sleeve and features liner notes and personal foreword by Wayne Hussey.

A co-production of Amazon Studios and the New York Times, based on the weekly same-titled weekly column in The Times. This anthology series explores love in all of its complicated and beautiful forms, as well as its effects on the human connection. Each episode brings a different story to life that has been inspired by the newspaper’s popular Modern Love column. The second season premiered in August, 2021 and stars Kit Harington, Jack Reynor and Minnie Driver.

The score of Modern Love Season 2 features both score music and original songs heard throughout the season’s eight half-hour episodes. The music was written by Jay Wadley in cooperation with Gary Clark and feature vocal tracks featuring Rosie Carney, Nerina Pallot, John Byrne and Adermo. In addition, the score feature never-before-released songs written and performed by Andy Shauf, Chong The Nomad, Morcheeba’s Skye Edwards and Gregor Philp.

The California based Tito Jackson is supported on his debut Blues album 'Under Your Spell', now in 180 Gram, cream coloured limited quantity vinyl, by an array of superlative special guests, including George Benson, Joe Bonamassa, Marlon Jackson, Eddie Levert, Kenny Neal, Bobby Rush and Stevie Wonder, who all add their special talents to the proceedings

"Love One Another" is the perfect antidote for today's times of doubt and trepidation, as the vocals of Tito, along with Marlon Jackson, Bobby Rush and Kenny Neal soar above the musical bed of melodies that feature the sweet sound of Stevie Wonder's signature harmonica style.

Song-writing duo and Hall of Famers Kenny Gamble and Leon Huff, who penned worldwide hits for The Jacksons and the O'Jays, came out of retirement to write "All In The Family Blues" for Tito. The track features Hall Of Fame legend, Eddie Levert.

As a friend and admirer of BB King, Tito plays tribute in his cover of King's classic, "Rock Me Baby" honored with BB's daughter Claudette King joining in. Tito Jackson's innate abilities as a singer, songwriter, guitarist, producer and arranger shine through brilliantly, creating a spectacular record that is destined for airplay and rave reviews in a number of formats. Continuing on the path set for Jackson when he broke into the music business as a member of the legendary Jackson 5, Tito continues to grow as a musician and performer.

UK Independent Record Stores Only Tracks: Checkered Flag / Smash Up On Highway One / Stack My Money / Drip Drop / The Cat With 9 Wives / Turn You On, Turn Me On / Rockabilly Riot / Off Your Rocker / Who Cares? / Rockabilly Banjo

Pressed on Eco Vinyl - Jemima Thewes is a singer/songwriter who grew up in the highlands of Scotland; an atmospheric landscape which continues to help provide the bones of her music - She sings traditional songs and her own material

In February 2015 Jemima independently launched her debut EP 'Bright Shadows' with friends and collaborators Tim Lane (tongue drum), David Boyter (guitar/ mandolin) and Susan Appelbe (cello). It has been greatly received with radio plays on stations such as Travelling Folk on BBC Radio Scotland and Late Junction on BBC Radio 3.Cloud-hopping tales are told by warm, haunting vocals
and adorned with playful instrumentation. Jemima and her band charm you along a cathartic, spell- binding and life- affirming journey. The unique combination of strings and a rare wooden box in the form of a chromatic tongue drum creates an innovative sound which along with Jemima's compelling voice, magically stirs the emotions to the very heart of the soul.

In November 2020, with the entire world locked down at home, Amir
Bresler was itching to create - He'd spent years onstage, but never
released a full solo album

A friend's invitation brought him to a rural village outside Tel Aviv, and the move lit a spark: Bresler set up shop in the village's local auditorium named 'The House of Arches', and planned single-day sessions with different combinations of Tel Aviv's finest, including keyboardist/ producer Rejoicer, Yemen Blues frontman Ravid
Kahalani, bassist Gilad Abro, pianist Nomok and trumpeter Sefi Zisling. For nearly a week, crews of friends drove north and dug into psychedelic jazz and funk, all built upon Bresler's polyrhythmic beats. They captured spontaneous bursts of energy ' free-form jams in the morning reigned into tight, mesmerizing grooves in the afternoon. Those six compositions ' each recorded live in one day ' make up
House of Arches, Amir Bresler's first solo LP, out on Raw Tapes, with grooves as deep as the Mediterranean where it was conceived.

Glastonbury rockers REEF return with their new album Shoot Me Your Ace

Produced by former Duran Duran/ Power Station guitarist Andy Taylor, Shoot Me Your Ace, showcases the bands talents in one of the most thrilling rock albums of recent years. From the title track’s swaggering opening salvo to rollercoaster closer ‘Strangelove’, Shoot Me Your Ace is a thrilling blast of unadulterated rock’n’roll joy that doesn’t just match such classic Reef albums as 1995 breakout debut Replenish or 1997’s transcendent Glow, but exceeds them.

Glastonbury rockers REEF return with their new album Shoot Me Your Ace

Produced by former Duran Duran/ Power Station guitarist Andy Taylor, Shoot Me Your Ace, showcases the bands talents in one of the most thrilling rock albums of recent years. From the title track’s swaggering opening salvo to rollercoaster closer ‘Strangelove’, Shoot Me Your Ace is a thrilling blast of unadulterated rock’n’roll joy that doesn’t just match such classic Reef albums as 1995 breakout debut Replenish or 1997’s transcendent Glow, but exceeds them.

Glastonbury rockers REEF return with their new album Shoot Me Your Ace

Produced by former Duran Duran/ Power Station guitarist Andy Taylor, Shoot Me Your Ace, showcases the bands talents in one of the most thrilling rock albums of recent years. From the title track’s swaggering opening salvo to rollercoaster closer ‘Strangelove’, Shoot Me Your Ace is a thrilling blast of unadulterated rock’n’roll joy that doesn’t just match such classic Reef albums as 1995 breakout debut Replenish or 1997’s transcendent Glow, but exceeds them.

Friends Of Hell draws from the most seminal of doom sources, saluting the great works of Pentagram, Candlemass, Saint Vitus and Cathedral along the way. But something nastier and grubbier lurks within the Friends Of Hell sound: a viscous, blackened streak that owes its leathery scars to Venom, Bathory and Hellhammer. The resultant hybrid makes perfect, horrifying sense, as songs like rampaging opener Out With The Wolves and the harrowing crawl of Gateless Gate conjure devilry, disgust and riff-driven destruction in equal measure. Heavy as hell but defiantly gritty and underground in spirit, Friends Of Hell avows that the old school is the only school. Not just one of the finest and fiercest doom metal records in recent memory, but also a subtly subversive twist on that arcane formula, Friends Of Hell once again confirms the timeless nature and the unerring, infernal power of The Riff.

Nothing is explained in the mysteries around us, but some art touches their soul: last year, Justin Tripp, one half of the US-American impro electronic duo Georgia and London-based electronic artist Zaheer Gulamhusein man behind projects like Waswaas and XVARR -joined forces as STRING. Together they went on a virtual vacation and never came back. As the virtual is fully real due to its virtuality, they created a truly authentic aural hardware journey, hauntingly adventurous, calm, and surprising.

Without defining the scope, STRING tumbled through a dark musical zone that stretched to the horizon, letting the sound shape itself while falling discreet into an appealing abstract space. Hovering clockwise shortly above the ground, they formed impossible geometric musical figures - weightless, fluid clouds, made up of relations between asymmetrical elements. Like in nature, their collaborative work avoids identical characteristics. In an expression of respectful admiration, they softly celebrate the irregularities between their specific genetic musical fingerprints, creating eight light binding clouds of dawn. A meditative musical voyage that transports cosmic particles of idealistic Berlin school ambient right into the heart of their electronic machines. All tunes swing calm but constitutive, dancing around synthesized surfaces that form obsessed flaming orbs of fear and hope, of matter and antimatter.

A shared love for hardware and the ethos of improvisation guided STRING into an experimentation, in which each party aligns closely to the core ideas of co-operative, in-the-moment electronic music, tied across the eight tracks in a sequence.

Finding a home with the highly esteemed Hamburg based label V I S, STRING’s debut “Last Index Of...“ will enter the earth in double vinyl and cassette format, plus tripping on at the digital platforms.

Soul Jazz Records are releasing PUNK 45: I’m A Mess, a new collection of punk and D-I-Y rare 45s from the UK, as a one-off pressing limited-edition double album with a bonus 45 exclusive
for Record Store Day 2022.

Soul Jazz Records’ long-lasting Punk 45 series are high-quality editions of early punk 45s. While previous editions have focussed on the early days of punk in Los Angeles, Cleveland, Akron, France, and proto-punk, this new edition focusses on mainly do-it-yourself, or self-released 45s, all made in the UK in the early days of punk.
While only a handful of Punk 45s were released in 1976, the following two years produced an avalanche of them. Aside from the few punk bands who signed to major labels, many of these singles were self-released private press 45s or independent label 45s. With limited distribution and access to the media, many of these sunk without trace and were lost in history. This album features many of these independent punk 45 gems, lost nuggets of gold from the sea of time!
The bands featured here come from all across the United Kingdom. Here you will find The Drive, Scotlands’ answer to the New York Dolls, Dansette Damage from Newcastle, Stormtrooper, from the Isle of Wight and many more - a snapshot of some of the finest private-press 45s ever made.

Other bands include Cybermen, The Exile, Neon as well as the early punk incarnations Johnny and The Self-Abusers (who later became Simple Minds) and The Killjoys (with vocals by Kevin Rowland who later formed Dexy’s Midnight Runners).

These are all one-off and super rare releases from bands that you have probably never heard of! – totally hidden gems from the wastelands of the early days of punk. Totally in keeping with the
spirit of the time, this is high-octane, righteously-independent - DIY or die!

The RSD special edition comes with an exclusive 45 of Stormtrooper ‘I’m A Mess’/’It’s Not Me’.