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Question everything. Consider your sources. Be wary of ulterior motives, insidious media narratives and even your own unconscious bias. Trust sparingly and try to make smart, informed choices. As the world slides further into ruin, it’s more important than ever to be vigilant and fight back. Luckily, Hacktivist are back to help cut through the noise and bullshit, tooled-up and ready to attack with renewed vigour and reinforced ranks. With Jot Maxi and J. Hurley now sharing the vocal and lyrical load, drummer Rich Hawking and bassist Josh Gurner bringing the beats and rhythms, and guitarist and production don James Hewitt fleshing out the group’s genre-fluid muscle, new album Hyperdialect arrives less like a mission statement and more as a flaming musical Molotov, declaring all-out war. “Hyperdialect isn’t an album for people to just casually listen to,” J insists, “we’ve taken things to the next level, which I didn’t even think was possible. We spit the truth. *We are the truth.*” In 2016, when Hacktivist initially set sights on their enemies with debut album Outside The Box, the world wasn’t fully equipped to heed their warnings and pay attention to its timely rallying cries. They return into a very different one, however – a world that’s sadly now all-too-finely-attuned to the horrors they first forecasted four years ago. “It’s becoming clear that we are on the brink of some type of revolution,” says Jot, with no small dose of conviction or optimism. “Hacktivist are here to bring truth and positivity – the silver lining of a society clouded in poisonous fear. Hacktivist also represents a voice that isn’t afraid of saying what needs to be said. We’re already living in the future. We have the choice to either be shaped by it or to stand up and shape it ourselves. Which path will you take?” It was with those battle lines clearly drawn and ambitions duly set that Hacktivist entered into the creation of Hyperdialect. Starting almost two years ago and developing on the acerbic sonic filth introduced by 2019 singles Reprogram and Dogs Of War, the five-piece felt fired up by their new working dynamic and the collective process involved, with each member actively encouraged to contribute ideas until the best outcome was reached. Unusually, for such a group of bloody-minded insurrectionists, this democratic approach worked wonders – a testament to how much they were all on the same page on these 12 tracks.

Svart Records reissue of Morbus Chron’s game-changing atmospheric Death Metal album “Sweven”, together with the remastered ltd ed. EP “Saunter Through The Shroud”. Gatefold sleeve with original Sweven booklet included. Pressed on black vinyl and limited dark green vinyl (400 copies). On “Sweven”, Morbus Chron carved out their very own territory of unorthodox death metal, far beyond their raw and simple initial style, adding many uncanny acoustic parts to create a nightmare world of utter horror. Together with producer Fred Estby (ex- Dismember), the band found a warm, yet haunting sound to go with their vision. The resulting soundscapes spread out like a wasteland of death and terror, sending chills down the hardest of spines. Guitar and drum patterns flow in various directions, building cathedrals of darkness in which tormented vocals echo in agony. The EP ‘A Saunter through the Shroud’, was a revelation upon its release in July 2012, displaying tremendous progression from previous efforts. Instead of playing it safe, sticking to traditional death metal patterns, Morbus Chron had started to transcend the genre to incorporate elements of progressive rock as well as black metal. With patterns oozing of Voivod, Atheist and Darkthrone, as well as Death and Autopsy, Morbus Chron was on their way to something majestic. Possessing unrelenting integrity, the band shunned all trends to go further into the unknown with “Sweven”. Smell the coffin with these two pioneering recordings, available in one lush package for the first time! Morbus Chron’s idiosyncratic legacy has never sounded or looked finer.

Svart Records reissue of Morbus Chron’s game-changing atmospheric Death Metal album “Sweven”, together with the remastered ltd ed. EP “Saunter Through The Shroud”. Gatefold sleeve with original Sweven booklet included. Pressed on black vinyl and limited dark green vinyl (400 copies). On “Sweven”, Morbus Chron carved out their very own territory of unorthodox death metal, far beyond their raw and simple initial style, adding many uncanny acoustic parts to create a nightmare world of utter horror. Together with producer Fred Estby (ex- Dismember), the band found a warm, yet haunting sound to go with their vision. The resulting soundscapes spread out like a wasteland of death and terror, sending chills down the hardest of spines. Guitar and drum patterns flow in various directions, building cathedrals of darkness in which tormented vocals echo in agony. The EP ‘A Saunter through the Shroud’, was a revelation upon its release in July 2012, displaying tremendous progression from previous efforts. Instead of playing it safe, sticking to traditional death metal patterns, Morbus Chron had started to transcend the genre to incorporate elements of progressive rock as well as black metal. With patterns oozing of Voivod, Atheist and Darkthrone, as well as Death and Autopsy, Morbus Chron was on their way to something majestic. Possessing unrelenting integrity, the band shunned all trends to go further into the unknown with “Sweven”. Smell the coffin with these two pioneering recordings, available in one lush package for the first time! Morbus Chron’s idiosyncratic legacy has never sounded or looked finer.

Released on RCA Records - debut studio album by US singer/songwriter (was released in the US by Access Records/Epic Records on February 26th 2021). Created in the midst of Beer's major depressive episode and diagnosis with borderline personality disorder, the album deals with themes such as mental health, grief and heartbreak, as of Beer's experiences with public scrutiny inside the music industry and building resilience during the making of the record. Musically the album is a pop record with elements of R&B and alternative. Includes four singles "Good In Goodbye"(released as the album's lead single), "Selfish", "Baby" and "Boyshit". The album debuted at number 65 on the Billboard 200 and reached the top 40 digitally in the UK, Canada, and other countries around the globe. This is a 17 song vinyl format.

Zapp & Roger’s ‘All the Greatest Hits’ is the band's first Greatest Hits compilation, a collection covering their first four albums performed as a band. The album was originally released on Reprise in 1993 and is now available to pre-order on two-colour per LP Violet and Magenta / Orange and Pink 140g coloured vinyl.

‘All the Greatest Hits’ includes signature hits ‘More Bounce To The Ounce’ sampled by The Notorious BIG, and ‘Computer Love’ sampled by ‘2Pac’ as well as ‘Doo Wa Ditty (Blow That Thing),’ ‘So Ruff, so Tuff’ and ‘Be Alright.’







[f] b2. Zapp - Dance Floor (Pt. I) [Single Version]




[k] c2. Roger - Midnight Hour (Pt. I) [Single Version]

African, funky, sarcastic, bewitching, green, ecstatic: these words collide to describe Vaudou Game and all of them are true.

Noussin is the fourth album of the french Afro Funk band. Forced into lockdown, like much of the planet, Peter Solo and his Vaudou Game had no choice but to retreat into the studio. A reunion to once again invoke the spiritual forces of the Voodoo Deities. A reunion that was Initially imagined for an EP…yet these spiritual forces behind that imagination yearned for something more, and as we all know, these forces are impossible to push away once they have decided to stay.

Under the strain enforced by the current socioeconomic climate, as much as by the environmental peril that faces us all today - they diverted the course of the groove towards daring new vibrations. Without extinguishing or diminishing its highly communicative power, they released Vaudou Game from its origins of pure Afro-Funk to gradually engage into compositions which crystallized themselves into tones resembling more rock than funk.

On this fourth album, with an entirely revisited line-up, Peter Solo separates for the first time in his career from his brassy guard, leaving saxophone, trumpet and trombone outside to invite an arsenal of keyboards to define, with him, this new voodoo sound. A sound, as usual, built on vintage and precise analogical material - grime even on the white side of the tape, a blunt instrument used to blanket anything that strived to shine too much in the mix.

Graced with tapered guitars stringing out rhythmic bumps or withdrawing a few beats to indulge in infectious solos, this album is boisterously alive with vintage 70's Funk, infused with a few digressions into other ethers of the funk timeline, nicking different sounds and frequencies to render the black and white keys of an inspired keyboard to reach new euphoric levels of melodic acidity.

Tearing off the enigmatic mask to reveal his true face: on a few titles, Peter Solo ventures outside of his sacred voodoo range to reconnect with his London years, these titles feature small nods to the time he spent in “The Smoke” where the incantations of British music culture were written within him.

Noussin which means “Stay strong” in Mina, a dialect spoken in the south-west of Togo. Noussin, a message of hope as much as a call to come together to weather the turmoil and to come out better on the other side. Don’t let them grind you down…Noussin!

Fourth release for the young label Slow Bistro Records, created by Slow-L in 2019.
Great EP from the established house producer Laroze (D.KO records / Let's Play House / RTCT). Between classic 90’s house, Balearic and more raw Detroit-influenced tracks.

Weird.ltd presents its second reference in the hands of the AREA 51 duo made up of Camilo Gil & Rodrigo Valdivia.

Four fresh house cuts in their deep nuances, and hypnotic cuts of minimalism with a South American flavor.

Plus two remixes, like ASTRAL, by UK legend TOMMY VICARI JNR.
And the Venezuelan based in Berlin, ARGENIS BRITO.

Undoubtedly a must for lovers of dance worship.

Here I leave you the support, and the feedback from the djs, so you can listen, and hopefully these days contact Jordan, to make that possible.
support of Djs such as:

Rick Wade - Dj Aakmael - Dorian Paic - Maher Daniel - Sascha Dive - Jef K - Norm Talley - XDB - Delano Smith - Politics of Dancing - Djebali among others ..

Feedback:
Jorge Caiado: Remix for Argenis its for me.
Dorian Paic: Remix for Vicari Jnr Killer!
Gari Romalis: All the stuff its for me, thanks
Amir Javasoul: A2 and B1 for me, strong stuff.
Mariano: All tracks for me !!!
XDB: argenis brito did a killer remix --- from first listen seems to be a dancefloor weapon,
Norm Talley: World of deep, yeah!
Peter Grummich: Solid Ep, Remix Argenis Brito its for me
Djebali: "Love the Ep, great music with superb remixes! Will play"

MADVILLA steps out on FUSE’s LOCUS imprint for the first time as he reveals his four-track ‘Old Flame’ EP.

London-based, American-born DJ and producer MADVILLA is a name making serious waves within house music at present, with his driving and slick take on the genre via the likes of ANOTR’s No Art, Seb Zito’s Seven Dials and his own Hot Wings imprint welcoming supporters in Jamie Jones, Stacey Pullen and FUSE head-honcho Enzo Siragusa to name just a few. Up next, the surging talent steps out on FUSE sister imprint LOCUS for the very first time, following his recent appearance at their London home of 93 Feet East, as he delivers his four-track ‘Old Flame’ EP this May.

Lead cut ‘So Bad’ kicks things off as crisp drums meet resonant stabs, sweeping melodies and infectious vocal coos, before introducing the spacey soundscapes and hypnotic pads of title track ‘Old Flame’, accented by Shyam P’s tripped-out vocals throughout. Next, ‘Orbit’ takes things up a gear as skipping percussion arrangements go to work beneath spiralling lasers and jacking hats, whilst closing track ‘Takeout’ dives into the afters as rubbery bass licks, hazy synths and rumbling low-ends take listeners on a warping UK-tinged journey through entrancing sounds.

Lee 'Scratch' Perry's Black Ark Studio opened its doors in 1974. Situated in his backyard at 5 Washington Gardens, Kingston, Jamaica. Using only basic
equipment, a Teac Four-Track Recorder, a Sound craft mixing desk, an Echoplex delay unit and later adding a Phaser effects unit that he used in conjunction with his Roland RE201 Space Echo. He managed mixing down the tracks from Four track to Two track to make his distinctive whirling sound that sets apart the Black Ark Sound from the other Jamaican Studios.

Born Rainford Hugh Perry, 28 March 1936, Hanover, Jamaica. He began his career at the grand age of 16, working for Clement ‘Coxsone’ Dodd’s sound
system, rising quickly to the position of record scout and organising recording sessions during his 3-year period 1963-1966. Restlessness and unsatisfied with credit he felt due to him he moved on to work with Producers J.J. Johnson and Clancy Eccles, the latter of which would help him set up his ‘Upsetter’ label in 1968, which would see his first of many recordings telling the injustices done to him by previous employers. ‘The Upsetter’ track itself pointed at Mr Dodd but reflected to Perry when he inherited it as a nick name alongside many others during the course of his career, including ‘Scratch’, again taken from one of his recordings ‘Chicken Scratch’ recorded in 1965/1966. Perrys work in 1968 with producer Joe Gibbs was fruitful and resulted in many successful releases, but again feeling a lack of credit and itchy feet, it was time to move on. Still not having a studio of his own, Perry recorded at the various Kingston establishments at the time, Randy’s Studio 17 on North Parade, Dynamics on Bell Road and Harry J’s on Roosevelt Avenue where the bulk of the aforementioned recordings with The Wailers were carried out. His dream was always to build his own studio and not to have to work to the constraints of the other studios and producers.

On opening the Black Ark studios, the hits seemed to come immediately. Firstly with Junior Byles' 'Curly Locks' and in 1975 the massive crossover hit Susan Cadogans' 'Hurt So Good' that reached No 4 in the UK charts.1976 saw Island Records releasing Perrys vast output, timeless material like the Heptones 'Party Time', Max Romeo's 'War Inna Babylon' Bob Marley and the Wailers 'Jah Live', 'Punky Reggae Party' and Junior Murvins 'Police and Thieves' to name but a few.But sometimes missing out on a few classics like Perrys own 'Roast Fish, Collie Weed & Corn Bread' and possibly one of the best reggae albums of all time The Congos 'Heart of the Congos'. Dub releases like 'Revolution Dub' (1975) showed a way forward for his production skills in this formidable arena. Having his own studio allowed him to build up a vast catalogue of tracks to work on. We have culled together some lost productions that Lee Perry carried out with singer Mike Brookes, a fine singer, arranger from that special time in the Black Arks history. Sounding like Junior Marvin in parts and Max Romeo in others but still carrying a distinctive Falsetto voice. Some classic tracks as you can see recorded with the cream of musicians at Lee Perrys disposal. Mr Perry works his magic that gives these songs that distinctive feel that his output.
carried around the mid 1970's.

So we hope you enjoy some more lost treasures from the Black Ark that we feel should be added to that mighty cannon of material that still sound so fresh and strong today.

Repress
Vinyl Only

Leeds label Syntaxx Records bring you their debut vinyl only release with four tracks from from hot prospects within the scene. Music from Mehlor, AWSI, Parsec and Nate S.U encapsulates the sound and vision of Syntaxx Records; groovy and tripped-out sounds that are fit for dance floor situations.

The battle against the plague has raged hard for over a year. Around the globe, dancefloors are empty, layers of dust and broken bottles strewn across them…the glowsticks have long faded to black. But the Cologne mothership KOMPAKT has managed to prevail, bringing inspiration and hope through the message of music to a decaying humanity.

The Reawakening is finally in sight. It is only fitting that New York’s Steve Moore (of Zombi, Gianni Rossi and Lovelock fame) makes his return to KOMPAKT now with this foursome. Especially as his last release for us, “Frame Digging” (KOM 415) directly preceded the start of the pandemic.

AUTO SEQUENCE START – the time arrived for us to press the reset button. The cycle has completed.

Der Kampf gegen die Seuche tobt nun bereits seit über einem Jahr. Rund um den Globus sind die Tanzflächen leer, Schichten von Staub haben sich darüber gelegt, zerbrochenen Flaschen liegen herum ... auch die Leuchtstäbe sind längst erloschen. Doch das Kölner Mutterschiff KOMPAKT hört nicht auf, der darbenden Menschheit Inspiration und Hoffnung durch die Botschaft der Musik zu bringen.

Das Wiedererwachen ist in Sichtweite. Umso passender, dass der New Yorker Steve Moore (bekannt durch Zombi, Gianni Rossi und Lovelock) nun mit dieser 4 Track Maxi sein KOMPAKT-Comeback feiert. Denn seine letzte Veröffentlichung für uns, "Frame Digging" (KOM 415), war direkt vor Beginn der Pandemie erschienen.

AUTO SEQUENCE START - die Zeit ist gekommen, den Reset-Knopf zu drücken. Der Kreis schließt sich.

Extended Instrumental tracks from the nocturnal studio session of director and musician Jim Jarmusch, Sonic Youth's Lee Ranaldo, Balázs Pándi (Keiji Haino, Venetian Snares, Merzbow) and producer Marc Urselli (John Zorn, Mike Patton, Laurie Anderson a.o). All was recorded live and analog, and in the moment. Mixed, mastered, recorded and produced by Marc Urselli at EastSide Sound Studios, NYC, 2019. Artwork by Italian artist Sara D'Uva.

press quotes from the debut album (TR181)

Lee Ranaldo/Jim Jarmusch/ Marc Urselli/ Balázs Pándi is an egoless collection of ideas from four musicians who sound like they've been working together for an eternity - Daniel Sylvester, Exclaim! 2019
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It’s exactly this unpredictability that makes the quartet’s evocative sounds thoroughly captivating - Poscic, The Quietus
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A magical, hypnotic and somehow frightening album – Jazzthing 2019

Melbourne-via-Tasmanian four-piece Quivers first released
their 2018 debut We’ll Go Riding On The Hearses as hand-made
cassettes. The album dealt with singer Sam Nicholson’s loss
of his brother in a freediving accident, and “trying to not think
about that, and often coming back to ghosts, benders, water,
and pissing in the snow.” When demand for the album grew,
it received a vinyl release and led Quivers to tour the US, film
a KEXP session, and be selected by NPR Music for both the
Austin 100 SXSW preview and as a “Slingshot” artist to watch.
Their life-damaged but hopeful jangle pop has only sharpened
since then, and while 2021 follow-up Golden Doubt conjures
up REM or The Clean, there is a lyrical directness that sets this
record apart as always its own.
Golden Doubt is carried by shimmering guitars and the
harmonizing vocals of members Holly Thomas and Bella
Quinlan. Elevated by the production of Matthew Redlich
(Holy Holy, Husky, Ainslie Wills), the record explores what
comes after grief, and how one throws oneself back into love. As
Nicholson explains, the album tries to bottle “the rush of feelings
and fears when you give in to falling for someone. It’s also an
album in love with other albums, and the other bands around
us.” Before each take at Woodstock and The Aviary studios in
Melbourne, Australia, the band would imagine a scene together
(a waterhole for “Laughing Waters”, an overgrown carpark for
“Videostores”) and then dive in to capture live group takes.
Quivers need to get words on the page and sounds out to keep
moving on. Both Nicholson and Thomas lost their brothers in the
same year, and through that shared vulnerability they all have
together that runs deep. Golden Doubt is also a love letter to
playing music as a band and processing it all together rather than
just carrying it as a weight. The cancellation of a 21-date US
tour they had slated for 2020 has left them undeterred; Quivers
plans to continue being a band and get back out into the world
as soon as it’s possible.

In 2018 one of metal’s most defining and revolutionary vocalists, WARREL DANE, celebrated his highly anticipated inaugural solo effort, “Praises To The War Machine”, which saw him further honing his craft to perfection. Dane, who first shattered the boundaries of conventionality with the legendary Sanctuary and Nevermore, proved that he is one of metal’s most diverse frontmen with this solo effort as he unleashes a barrage of introspective and personal lyrics that are heartfelt and extremely powerful. All of this emotion backed with his soaring angelic and dynamic vocals provides all of the necessary elements for a savagely captivating, melodic assault that quickly hooks you in. Before beginning this new venture Dane went out and surrounded himself with some of the best musicians that he could find. This search ultimately resulted in landing the renowned Peter Wichers (ex-Soilwork) on guitars and bass, Dirk Verbeuren (Soilwork) on drums and Matt Wicklund (ex-Himsa) on guitars. The effort was also recorded and mixed by Wichers (coproducer Soilwork) and features guest musicians Jeff Loomis (Nevermore) and James Murphy (Obituary, Testament, etc.). Additionally this 2021 extended version reissues contains four live tracks from the album on side C featuring singer/songwriter Jonny Smokes which also will be available on all digital platforms. “Praises To The War Machine” is an absolute must for all Nevermore fans. Prepare yourself for the sheer beauty and elegance that awaits.

The final album in Pastor T.L. Barrett’s 1970s four-part suite of gospel funk LPs, Do Not Pass Me By finds the fiery preacher getting spaced out on God’s love. Accompanied by his Youth For Christ Choir, the eight-song record is buoyed by the seven- minute opus “Father Stretch My Hands,” later sampled by Kanye West on 2016’s The Life of Pablo.

Music on Hold deliver an LP with strictly "only the hits" in updated graphics and soundbite studio wizardry. It's the shinning neon-colour video game classic you never played in your youth in the arcades. You only dreamed about it after too many bong hits. You think you've heard these songs before? Ha! You've never heard them better brother. Gary Wilson called, and sung you a melody and the Human League stole the synth lines.. then The Spits put lead guitar in slow-motion. This is a record for all four seasons in all TV Colours and black and white nouvelle vague romance. This LP is the first baseball bat you take you A Ferrari parked outside a strip club. This is the flock of seagulls that exploded in the sky The project once a solo affair is now a power-trio featuring funky starship troopers Guillaume Mobstaire and beloved cult-hero Mathis (Police Control, Skategang) in the shuttle. And as they blast off into cyberspace, tThey toss this their first greatest hits out of the cockpit and into your hands.

“The term ‘Front Porch Singin’’ may actually be a metaphor for
many creative and conceptual musical ideas. But, for us, this title
has become more of an attitude than anything else. What if the
four of us were sitting on a porch together and someone begins to
sing a favorite old Gospel song, like ‘Swing Down Chariot’, or a
country and Western standard like ‘Red River Valley’, and
everyone else just joined in?
“That is what happened at RCA Studio A. But, as usual under
producer Dave Cobb’s leadership, this album turned into so much
more. The Front Porch Singin’ attitude remained prevalent
throughout, as songwriters, musicians, Dave and all four of us
kept coming to the table with terrific creative ideas to enhance our
Front Porch experience.
“This project is quite honestly one of the most heartfelt albums we
have ever recorded. Perhaps it is because we recorded these
songs in the middle of a raging pandemic that changed the face of
America and obviously took a huge toll on those of us in the music
business. It was a bit strange to social-distance from each other in
the studio, but we believe it drew us all closer and, in doing so, we
may have inadvertently recorded the perfect project for this time
period. These songs, whether new or old, reflect a certain
optimism and a deep-seated faith that God will work all of this out
as we move forward. ‘Life is beautiful’, as one song says. We must
embrace it and celebrate it with all of our being.
“Join us on The Front Porch and, if it is God’s will… Let’s keep on
SINGIN’.” - The Oak Ridge Boys
Produced by six-time Grammy award-winning producer Dave
Cobb (John Prine, Brandi Carlile, Chris Stapleton, Sturgill
Simpson, Jason Isbell & the 400 Unit), who also co-wrote several
of the songs on the album.
The Oak Ridge Boys are members of the Country Music Hall of
Fame and The Grand Ole Opry. They are Grammy, ACM, CMA
and Billboard Award winners. They have had 12 gold, three
platinum and one double platinum album, more than a dozen
national Number One singles and over 30 Top Ten hits.

Suburban Base and Marvellous Cain assemble once again to bring a huge 4 track EP of Original Jungle material.
Marvellous Cain, a producer synonymous with Jungle/DnB and best known for the massive tunes 'The Hitman' and 'Dub Plate Style' has remained a staple in every Junglist DJ's box for over 25 years. His legendary guest appearances on Kool London and his live shows at Boomtown Festival and the Kingston Carnival brought him enough attention to warrant a remix of Bob Marley's 'Jammin' alongside General Levy.

Now Suburban Base is proud to present 'The Dubplate EP', which brings four of the most requested and rarest unreleased Marvellous Cain ‘dubplate only’ tracks together in a single release.

Opening with the never before released VIP remix of 'Dubplate Style' which has only appeared in certain A-List DJ's sets, the EP brings absolute heat from start to finish.

The super rare unreleased gem 'Snapper' brings more fire, with chopped Amen's and deep subs. Only ever promo’d and withdrawn means that its one of the most sought after tracks in Drum & Bass and Jungle, and where those handful of copies have resurfaced they’ve traded for up to £150 on discogs

'Killer' with its familiar ragga influences was again never given a full release only appearing as an album exclusive on the 1995 Telepathy Dub Plate Special project.
And completing the package is 'Giness Punch' which only appeared as bonus tracks of the CD version of Marvellous Cains 1994 album and never got released on the vinyl format of that album.

All of these tracks remained on dubplate and despite the huge demand for a full release remained exclusive to their project usages. None of these mythical tracks have ever had a digital release or full vinyl release… until now… from the vaults of Suburban Base we bring them all together on this killer EP from Marvellous Cain

Marvellous Cain's 'Dubplate EP' will be released on vinyl & digital formats on the 21st May 21 .

Big Ever is the new moniker of Sydney born, Berlin based music producer Thomas McAlister. Over 2016-19 Big Ever released a string of EPs and singles under the name Cop Envy; through Black Opal, Templar Sound, Cry Baby Records, Decisions and Hypercolour. Incienso is hyped to release the debut Big Ever EP “Otto” as the first in our run of very exciting records coming out in 2021.

Coming through with four distinctive and vibrant club tracks primed for all hours of the night or early morning, Big Ever lets loose on 2021 with a bold and unique take on percussion, bass, and ambiance working in unison to extraordinary effect.

Written, Produced and Mixed by Thomas McAlister
Mastered by Rashad Becker
Artwork and design by Ezra Miller

On their self-titled debut album, the German-Indian project Hotel Kali present the results of what started as a brief residency for Theresa Stroetges a.k.a. Golden Diskó Ship in Kolkata and ended in her joining forces with double bass player Debjit Mahalanobis, synth enthusiast Varun Desai and the versatile songwriter Suyasha Sengupta. "Hotel Kali" is a living, breathing entity that theoretically picks up on many different musical traditions but in practice challenges them all. Four different individuals find a common ground somewhere between and far beyond cosmic rock, experimental dance music, and adventurous post-rock.

Sir Rod Stewart was on his way to becoming one of the most successful recording artists in history in 1974 when he moved to America and signed with Warner Bros. Records (now Warner Records). Over his next 27 years with the label, Stewart released some of the most commercially successful and critically acclaimed records of his extraordinary career. This 5LP boxed set features Stewart's first four Warner albums on vinyl, plus a bonus LP of rare and unreleased studio outtakes from those albums: Atlantic Crossing (1975), A Night on the Town (1976), Footloose & Fancy Free (1977), and Blondes Have More Fun (1978).

After being out of print for decades, the studio albums look and sound better than ever as they return to vinyl, complete with replica sleeves and newly remastered sound. The albums and the bonus LP are all organised in an iridescent box with Stewart foil-stamped on the cover, his blonde shag haircut glistening in gold, and his leopard-print suit shimmering in silver.

After brilliant stints with the Jeff Beck Group and the Faces and several outstanding solo albums, Stewart moved to Los Angeles in 1974. ROD STEWART: 1975-1978 reflects the burst of creativity that followed, starting in 1975 with his label debut, Atlantic Crossing. The album was produced by the legendary Tom Dowd, who produced Stewart's next three albums. After Atlantic Crossing was certified gold, A Night On the Town went double-platinum, and Foot Loose & Fancy Free went triple-platinum, as did its follow-up Blondes Have More Fun, which became Stewart's first #1 album. That era introduced many of the singer's best-known tracks: "Sailing," "I Don't Want to Talk About It," "I Was Only Joking," "The First Cut Is the Deepest," "You're in My Heart (The Final Acclaim)," "Da Ya Think I'm Sexy?" and "Hot Legs."

The bonus LP, titled Encores 1975-1978, is a collection of 10 outtakes selected from the recording sessions for all four albums. The first side highlights five songs from the recent deluxe editions released for Atlantic Crossing and A Night on the Town. Songs include an alternate version of the B-side "Rosie" and a cover of the Bee Gees' "To Love Somebody" recorded with the influential Stax Records house band, Booker T. & The MG's. The flip side features five previously unreleased session outtakes from Foot Loose & Fancy Free and Blondes Have More Fun. Highlights include a cover of the Motown classic, "You Really Got A Hold On Me," and the unreleased tracks "Silver Tongue" and "Don't Hang Up".

Demon Records presents the narrated TV soundtrack of a partially ‘lost’ six-part adventure set in a
future Ice Age, starring Patrick Troughton as the Doctor.
The Doctor and his friends land on Earth in the future, and find it in the grip of a new Ice Age.
They join a team of scientists struggling to hold back the huge glaciers that threaten all human
life. A giant creature is discovered inside the ice and quickly comes to monstrous life – it’s an Ice
Warriors from Mars! It intends to find its crashed spaceship, where a whole crew of Warriors is
waiting to be revived…
Presented across a trio of 140g Molten Ice vinyl discs, this 1967 TV soundtrack – only four
episodes of which survive as film recordings - is narrated by Frazer Hines, who co-stars as the
Doctor’s companion Jamie, with Deborah Watling as Victoria. The guest cast includes Bernard
Bresslaw as the Ice Warrior Varga, Peter Barkworth as Leader Clent, and Peter Sallis as Penley.
Incidental music is by Dudley Simpson, and the familiar strains of the Doctor Who theme are
courtesy of the BBC Radiophonic Workshop.
The coloured LPs are presented in fully illustrated sleeves which, when assembled together, form
the cover image. Original episode billings, and full cast and credits, are included.
Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

James are proud to announce the release of their new album All The Colours Of You. Their 16th studio album will be released on 4th June with the title track available today (1st March) across all DSPs. All The Colours Of You follows the release of LIVE In Extraordinary Times, a live recorded version of their last studio album Living In Extraordinary Times, which peaked at #1 in the midweeks.

The album will be their first on a new record label, Virgin Music Label & Artists Services (formerly known as Caroline International), and at their new publishing home Kobalt Music, both of which they recently signed to, reinforcing the endless and restless ambition they have as they approach their fourth decade as a band.

Recorded in part before the Covid pandemic struck, the album was produced by the Grammy award-winning Jacknife Lee (Taylor Swift, U2, REM’s, Snow Patrol, The Killers). On production duties with James for the first time, he bought a fresh approach to their sound, working remotely from his studio, reimagining their early demos, and capturing the band in all their virtual glory.

The result is a record with the most arena ready tracks of their 38-year career, the sound of one of Britain’s best bands, deconstructed and reassembled by one of the world’s most renowned producers.

Following in the footsteps of the pathbreaking Minna Miteru compilation of Japanese indie music, Morr Music and Alien Transistor have again joined forces to release The Fruit Of Errata, a compilation introducing the world to the intimate DIY pop of yumbo. Led by songwriter, pianist, and occasional vocalist Koji Shibuya, the Japanese band has released four albums since forming in 1998. This compilation draws fifteen songs (eighteen on vinyl) from those albums, and some ancillary releases, to uncover a biographical narrative of yumbo, showing how Shibuya’s songwriting, and the group’s limber, sensitive playing, has developed over the decades. It also places them squarely within a tradition of home-spun but ambitious Japanese pop that takes in Maher Shalal Hash Baz, Tenniscoats, Nagisa Ni Te, Yuzo Iwata, Kazumi Nikaido and more.

yumbo is very much the vision of Shibuya, an amiable iconoclast whose songs seem informed by some of his early listening – there’s the playful seriousness of Maher Shalal Hash Baz’s Tori Kudo here, an avowed long-time hero for Shibuya, but also the flexibility of freely improvised music. You can also hear Shibuya’s fondness for Mayo Thompson and The Red Crayola in both the idiosyncracies of the writing and the egalitarian looseness of the playing. Shibuya also carries those energies into the group’s membership – there are fantastic stories of him having a conversation at a record shop, or overhearing someone speaking, and asking the person in question to join yumbo as one of their various singers. He seems open to chance as a driving force, as a way to make space for unexpected possibilities to blossom.

The great achievement of yumbo and Shibuya, though, is translating all of this into beautiful, unpredictable pop songs. There’s a gorgeous soul-inflected lilt to “A House” that makes it delightfully affecting; the swaying brass on “Storm” propels its melody to a moody, dreamlike conclusion; the nakedness of “The Sweetest Mass” is slightly reminiscent of Carla Bley’s more pop-focused writing, crossed with the classicism of the songs that spilled from the Brill Building in the ‘60s. Throughout, Shibuya renders pop a deeply personal experience; you can hear musings here on friendship, family, intimacy, the complexity of relationships, mortality, and imbalances of power. These musings are also shadowed by real-life events: the effects and impact of the Great East Japan Earthquake of 2011 are captured in songs like “Umbrella People” from Onibi.

Throughout the performances on The Fruit Of Errata, Shibuya and the group play with tenderness; they also often draw on other players to flesh out the music even further, two such guests being the aforementioned Tori Kudo (on “Umbrella People”) and Olympia, Washington’s LAKE (on “The Devil Song”). Community-minded and generous in approach, the writing of Shibuya and the music of yumbo is never less than lovely, and The Fruit Of Errata is a welcome introduction to their world. Open and gentle, confident and generous, these pop songs are filled with charm and spirit.

A tender and sweeping story about what roots us, Minari follows a Korean- American family that moves to a tiny Arkansas farm in search of their own American Dream. The family home changes completely with the arrival of their sly, foul-mouthed, but incredibly loving grandmother. Amidst the instability and challenges of this new life in the rugged Ozarks, Minari shows the undeniable resilience of family and what really makes a home.

Minari already won several awards at Sundance Film Festival, Alliance of Women Film Journalists, Boston Society of Film Critics, Denver Film Festival, Florida Film Critics Circle, Los Angeles Film Critics Association, North Carolina Film Critics Association and appeared on over 30 critics’ year-end top-ten lists, including first place on two lists and second place on four.

Emile Mosseri is an American composer, pianist, singer and producer based in Los Angeles. He has scored films and series including The Last Black Man In San Francisco, Kajillionaire, HBO’s Random Acts of Flyness and Season 2 of Amazon’s Homecoming. Emile is a member of the indie-rock band The Dig.

“In some respects, Trust is a simultaneous documentation of progression and regression. A homecoming of sorts, influenced by the interim where we developed our skills as producers and our skills as artists. Armlock, as a vehicle, seems like returning full circle to where we started.”

Trust, out June 2, 2021, is the debut release of Australian duo, Armlock. It’s a nuanced record that explores trials felt in personal growth, from resentment to submission to complacency. A quiet, thrashing gem of songcraft, the record makes as much use of the intimate, empty space as it does of its layered, heavy instrumentals. Each one of these songs conjures a summer storm of internal conflict, with the angst and uncertainty that comes with realizing that you’re finished growing, and rather than feeling a sense of ease you’re left restless and discontented.

Multi-instrumentalists Simon Lam and Hamish Mitchell met studying jazz together at Monash University in Melbourne. While rehearsing standards for a small ensemble in 2010, the two discovered their mutual hatred of the genre, opting to explore experimental, song-based electronic music. Alongside Solitaire Recordings owner, Dan Rutman, they went on to form the group I’lls, releasing four records in five years, and, later, the two went on to form Couture. Simultaneously, Lam (along with his cousin Chloe Kaul) found success with the synthpop group Kllo, amassing over 100 million streams on Spotify and critical acclaim from Pitchfork, The Guardian, GQ, NME, NYLON, and Stereogum. Lam’s solo project Nearly Oratorio (also on Solitaire Recordings) has achieved acclaim in its own right, as has Mitchell’s work as a producer and designer for artists like Jack Grace.

With their first release as Armlock, the duo maintains the depths of I’lls’ electronic soundscapes but brings the warmth of analogue instruments with Lam’s clear, disillusioned singing up front. He sounds both heartfelt and dejected in equal measure, with a dispassionate coolness that synergizes with the vulnerability of his lyrics. Live, the duo are backed by a reel-to-reel tape, with Mitchell on guitar and Lam singing, bridging their electronic past and indie present.

This is the tenth anniversary edition of Frank Turners fourth album 'England Keep My Bones'. This is the album that saw Frank step up from underground, cult status to mainstream success. It originally entered the UK Album Chart at number 12 and has since been certified Gold by the BPI for sales of over 100K in the UK. It features the hit singles 'Peggy Sang The Blues', 'If Ever I Stray' and 'I Still Believe' and 'Wessex Boy' both of which Frank performed at the Olympic Opening Ceremony in 2012. At the end of the album campaign in April 2012 Frank headlined a sold out Wembley Arena.

'Aquatic Flowers', the fourth full-length from beloved Nashville songwriter Tristen, brims with incisive pop-folk tracks ruminating on the ways we attempt to feel in control in a chaotic world, the past that informs us, and how to let go in order to grow. Making rock and roll music in Nashville, the mononymous songwriter has established herself as a prolific and introspective musician over the past decade. With a knack for crafting “hooky arrangements that tickle the ear and won’t leave your brain alone” (NPR), she has collaborated with artists like Vanessa Carlton (she co-wrote Carlton’s latest album 'Love is an Art') and Jenny Lewis (playing in the 'Voyager' touring band), and opened to critical acclaim for artists ranging from Robyn Hitchcock to Television. Tristen and her husband Buddy Hughen recorded and produced the record in their home studio Tight Squeeze. “I had a real desire to not overcomplicate things for this record, to get really close to what I have given in the past to my demos, which for me is the most inspired time of making something, right in the beginning, feeling it the most at that moment because you just wrote it and it’s on your mind.”

Kolonel Djafaar’s ‘Cold Heat’ packs a mighty punch, combining the irresistible charm of Ethio jazz and psych rock with the power of a big band brass section, that has made them a formidable live force across Belgium. As they come into their own cinematic sound, now is the time for them to be enjoyed more widely, thanks to masters of exotic groove, Batov Records.

Kolonel Djafaar’s debut release for Batov is an all-killer-no-filler EP. On "Bactrian Camel’’ the four-man brass section picks up a thundering groove, only for the organ-led rhythm section to answer with their own snaking retort. Joris Wendelen’s electric guitar riffing adds a further Middle Eastern flavour to the stew. Written by trombonist Willem De Mol, who delivered the song after two months alone in Russia, "Lamentation" continues the Ethio vibe with a little
Latin panache. The brass-led tone here is mysterious, the melody lingers. An almost surf-esque guitar solo transports the listener before the main groove on organ and brass recalibrates us to the solid rhythm.

Comparable to, but distinct from, The Budos Band and The Comet is Coming, the low-slung sounds of "Recording 68" in particular reveal Kolonel Djafaar coming into their own. The tempo drops, emphasizing the depth of the groove. The EP is appropriately closed in cinematic style on "The Heist". The pace picks up. Drums of death, in the mode of DJ Shadow or Unkle, hold up the distorted synths and that sharpest of horn sections. A song ready for the dirtiest of chase scenes. "Cold Heat" is suitably titled. Fast or slow, killer grooves that will take no prisoners. A taste of Kolonel Djafaar’s power on stage and the clearest picture yet of their direction in sound.

Recently signed to FatCat’s 130701 imprint, Dutch
composer Rutger Hoedemaekers makes his debut
solo release with a stunning album that marks the
culmination of a decade spent in the hypercreative studio environment he co-founded in
Berlin, including four years working closely
alongside Jóhann Jóhannsson.
Sonically rich, emotionally deep, and immaculately
handled, ‘The Age Of Oddities’ showcases a
brilliant new talent, its cinematic eloquence bearing
witness to Rutger’s experiences composing for film
alongside Oscar-winner Hildur Guðnadóttir and
Jóhannsson, for whom the album is partly a
eulogy.
‘The Age Of Oddities’ is a bold and forwardthinking record, with a rich, hybrid sound seeing
vocals processed and blurred alongside brass
parts and a wall of strings shadowed by Rutger’s
understated, textural electronics.
The album features the Budapest Art Orchestra’s
23-piece string ensemble alongside vocals (Kira
Kira, Else Torp and Laura Jansen), horn (Morris
Kliphuis), trombone (Hilary Jeffery) and violin (Una
Sveinbjarnardóttir, Viktor Orri Árnason), with
Hoedemaekers contributing trumpet, piano,
keyboard and electronics.
For fans of Jóhann Jóhannsson, Hildur
Guðnadóttir, Mica Levi, Max Richter, Olafur
Arnalds.

The second solo album on Jazzland (and fourth in total) by Tortusa, a NorwegianAmerican electronic musician and producer from Stavanger, Norway. The album has
taken three years to create, and features
contributions from some of Norway’s finest musicians, including three of his idols:
Arve Henriksen, Eivind Aarset and Erland Dahlen.
‘Bre’ is composed of ambient experimental music heavily inspired by nature, and takes
the listener on an emotional journey. Tortusa paints with sounds, and the music inspires
inner visualisation of the story he tells through his weaving and blending of abstract sonic
material.
The sampling of acoustic instruments forms the foundation of the album. Tortusa takes
essentially familiar instrumental sounds, and warps, mangles, distorts and modulates
them, defamiliarising them, repositioning them both in the context of themselves and
other sounds, creating a new sonic vocabulary that is neither exclusively organic nor synthetic, but is an aesthetically balanced combination of both.
This process is the source of the album’s originality and distinction from more conventional approaches to sampling and synthesis. Tortusa composes his music with an array
of hardware and software samplers, that are then fed into various effects or effects chains
for further manipulations. His draws inspiration from producers like Biosphere, Flying Lotus, Teebs, and Nils Frahm. Field recordings are an important part of the production and
lend additional dimensions to the music and extend the textures and moods.

Grammy nominated guitarist, composer, and producer, Chuck Loeb has had a musical career that spans over four decades. He was one of the most sought-after jazz recording artists and composer of over
250 published songs.
In 1984 Chuck Loeb joined the all-star group Steps Ahead. In 2010 he replaced Larry Carlton at Fourplay. In 1988 Chuck Loeb started his solo career and was initially under contract with the innovative label DMP. During this time the album Life Colors was recorded. Life Colors is certainly one of Chuck Loeb’s best albums. It is very reminiscent of his days with Steps Ahead. It’s packed with fusion-driven songs with incredible dynamics. The melodic riffs make this album a very special one.
Chuck Loeb passed away in 2017 at the age of 61. The album by Chuck Loeb, which is still legendary today, was no longer available in mint condition for over a decade. Now Life Colors is emerging again - as a Double-LP.

During the 70′s the Italian public television – RAI - used to broadcast disturbing and paranoid dramas, being the subject whether the bottom of the sea or the so-called “educational” movies. Obviously all these images needed a musical counterpart. Libraries more often. These ad hoc soundtracks were handled by shady characters, a number of composers on the border of classical avant-garde, electronic space age and even breezy Italian pop. Some of those names are pretty much familiar: Ennio Morricone, for example. Or even mythological too, as in the case of Piero Umiliani. But the brightest and maybe the most inspiring was Egisto Macchi. ESP was a four-part television series produced by Rai in 1973, directed by Daniele D'Anza, and aired from Sunday, May 27 1973 to Sunday, June 17, 1973.

Tibor Szemző is not only a skillful and experienced Hungarian musician but also a media artist with a vast imagination. His last LP, ARBO X – Csoma Grooves, refers to his full-length film A Guest of Life released in 2006, for which he not only directed but also composed all the music. The film is inspired by the life of Alexander Csoma de Körös, a remarkable polyglot from the 19th century who set out from his native Transylvania to central Asia on foot to look for the roots of the Hungarian language. He reached Tibet, dedicated the rest of his life to study of Tibetan manuscripts and finally became the founder of tibetology. After 14 years Tibor Szemző decided to explore the theme further and composed the cinematic performance, Silverbird and the Cyclist, where he as narrator presented the story of Csoma from a different perspective.

ARBO X is the music from this performance and it is based on the soundtrack of the original movie but the material has been restructured and enhanced by new layers. There are fourteen relatively short tracks on the album and each of them has a very specific character, sometimes mysterious as the titles of the tracks themselves. Their arrangement is ingeniously composed. Szemző’s typical bass flute and voice with percussion accompaniment on the first track Axis is a very impressive introduction to the whole album. The following tracks build up a series of colorful sound parables, which are in no way descriptive. Every element, whether it’s a double bass, viola, soprano voice, vocal trio or electronics, fits perfectly within the overall sound fabric with effective timing. Listening to ARBO X one unwittingly concentrates on interweaving details without loosing the sense of the whole. It’s certainly a great benefit, as in previous recordings, that most of the musicians participating in the recording of ARBO X are very familiar with Szemző’s music and his collaboration with some of them goes back to Group 180, a new music ensemble he founded in 1978 and soon earned international acclaim. This most recent album belongs among a long line of recordings that Tibor Szemző has released during his musical career and displays great compositional complexity and a keen sense of a perfectly balanced sound spectrum.

Alexandr Krestovský

James Kelly Duhon was a native of Beaumont, Texas, a city about 20 miles from Port Arthur, Texas. In the late 1960s, he was in a group known as The Ascots. All in all Duhon released four 45s including "In School" b/w "Heart Breaker (Child Maker)" which found a national release on Mainstream Records. When he retired from the road, he settled back in Beaumont, Texas where he died of natural causes in 1998.

Bedouin’s Human By Default recruits Upercent for the four-track ‘Inconformisme EP’ this May.

Previously recording for Watergate, Kompakt and Adana Twins’ TAU, the Valencia-based DJ/producer arrives on Bedouin’s imprint for his debut appearance on the label, delivering some of his most accomplished productions to date on vinyl.

Across the record, Upercent displays combines his wide range of musical influences into a set of engaging downtempo dancefloor cuts with impeccable attention to detail. Opener ‘Elefants’ twists various acoustic instruments and vocal samples around soft shakers and warm low end, leading into theloose percussion of ‘Fluir’, grounded by a softly thudding kick amongst fluttering and glitched out FX.

On the flip, ‘Caduco’ combines the natural and the synthetic as hand percussion meets sharp synth stabs and glowing pads. ‘Hipocresia’ twists mangled horns over a low slung backbeat.