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t’s September 1981 and it’s matter of weeks away from the release of ‘I’M A RAINBOW’, the second album
Donna Summer had recorded for Geffen Records, which had also been produced by Giorgio Moroder and
Pete Bellotte.
• At the time that the album was being recorded, the musical landscape had changed and production
techniques were developing further. Geffen also wanted a more R&B-influenced album, despite the album
having a more R&B feel than ‘The Wanderer’ had done. The songs and their lyrical content were very strong
and Donna’s voice had never sounded better, which was always a tough comparison against previous
albums.
• A decision was taken by the label to withdraw ‘I’M A RAINBOW’ just prior to its release. David Geffen then
brought-in Quincy Jones to produce the next new album; 1982’s ‘Donna Summer’.

a a1. I'm A Rainbow Junior’s Shiny Rainbow Edit
[b] a2. I Believe (In You) (duet with Joe “Bean” Esposito) [Figo Sound Version]
[c] a3. Back Where You Belong [Jean Tonique Remix]
[d] a4. You To Me [Oliver Nelson Remix]
[e] a5. Don't Cry For Me Argentina [Ladies On Mars ‘Buenos Aires’ Remix]
[f] b1. Sweet Emotion [Le Flex Remix]
[g] b2. Brooklyn [Ladies On Mars ‘Child Of Rhythm’ Remix]
[h] b3. Romeo [Ladies On Mars ‘Luv-NRG’ Remix]
[i] b4. Highway Runner [Ladies On Mars ‘Street Race’ Remix]
[Ladies On Mars ‘Independence’ Remix]

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

A landmark in Eric Dolphy's discography. "Conversations" is the result of a historical studio session held in New York in 1963 with Dolphy at the core of various line up configurations featuring a bunch of young innovators like Prince Lasha, Sonny Simmons, Woody Shaw, Bobby Hutcherson, Clifford Jordan, Richard Davis... Each of the four tracks is a fine example of Dolphy's highly eclectic language including an alto sax solo of rare beauty (Love me), a landmark duet with Richard Davis (Alone Together) and two magnificent quintet pieces (Jitterbug Waltz and Music Matador). A real piece of Art from a true Jazz Genius in the early "New Thing" era.

After a trilogy of spectacular explorations of relentlessly driving rhythms – Sagittarian Domain (2012), Quixotism (2014) and Hubris (2016) – Simian Angel finds Oren Ambarchi renewing his focus on his singular approach to the electric guitar, returning in part to the spacious canvases of classic releases like Grapes from the Estate while also following his muse down previously unexplored byways. Reflecting Ambarchi's profound love of Brazilian music – an aspect of his omnivorous musical appetite not immediately apparent in his own work until now – Simian Angel features the remarkable percussive talents of the legendary Cyro Baptista, a key part of the Downtown scene who has collaborated with everyone from John Zorn and Derek Bailey to Robert Palmer and Herbie Hancock. Like the music of Nana Vasconcelos and Airto Moreira, Simian Angel places Baptista's dexterous and rhythmically nuanced handling of traditional Brazilian percussion instruments into an unexpected musical context. On the first side, 'Palm Sugar Candy', Baptista's spare and halting rhythms wind their way through a landscape of gliding electronic tones, gently rising up and momentarily subsiding until the piece's final minutes leave Ambarchi's guitar unaccompanied. While the rich, swirling harmonics of Ambarchi's guitar performance are familiar to listeners from his previous recordings, the subtly wavering, synthetic guitar tone we hear is quite new, coming across at times like an abstracted, splayed-out take on the 80s guitar-synth work of Pat Metheny or Bill Frisell. Equally new is the harmonic complexity of Ambarchi's playing, which leaves behind the minimalist simplicity of much of his previous work for a constantly-shifting play between lush consonance and uneasy dissonance. Beginning with a beautiful passage of unaccompanied percussion dominated by the berimbau, the side-long title piece carries on the first side's exploration of subtle, non-linear dynamic arcs, taking the form of a gently episodic suite, in which distinctive moments, like a lyrical passage of guitar-triggered piano, unexpectedly arise from intervals of drifting tones like dream images suddenly cohering. In the piece's second half, the piano tones becomes increasingly more clipped and synthetic, scattering themselves into aleatoric melodies that call to mind an imaginary collaboration between Albert Marcoeur and David Behrman, grounded all the while by the pulse of Baptista's percussion. Subtle yet complex, fleeting yet emotionally affecting, Simian Angel is an essential chapter in Ambarchi's restlessly exploratory oeuvre. --- Oren Ambarchi - guitars & whatnot Cyro Baptista - percussion & voice Recorded by Randall Dunn, Joerg Hiller, Iuri Oriente and Oren Ambarchi. Edited by Joerg Hiller and Oren Ambarchi at Choose Studios, Berlin. Mixed by Joe Talia and Oren Ambarchi at Good Mixture, Tokyo. Cut by Rashad Becker at D&M, Berlin. Executive Producers: Konrad Sprenger & Dick Wolf. Photography by Traianos Pakioufakis. Design by Lasse Marhaug.

After the demise of the Ooga Boogas in the Before Time,
the four band members went their very separate ways. Being
in that band was such an intense high pressure experience,
some chillax time was well-deserved.
Leon Stackpole aka Stacky recorded under the name
Leon, Per Byström joined Voice Imitator, Mikey Young
recorded with The Green Child and Richard Stanley
played in Drug Sweat. All quite deserving projects, but it
was Stackpole’s solo outing that garnered the most interest
from public and industry alike. The demand for live shows
led him to recruit Byström from Ooga Boogas and a guy
named Brad into his touring lineup.
The trio was red hot, but inevitably the venues they
filled required a fuller sound so Stackpole recruited Young
as well on second guitar. The gruelling touring schedule
became too much for family-man Brad, so Stanley jumped
in to fill his size 11s and off they went for another lap of
regional Victoria.
Eventually the question presented itself to this freshlyminted
foursome: should they continue as Stackpole’s
backing band or strike out anew with a fresh identity? The
answer came in a moniker too electrifying to resist; a name
as clever, enigmatic and indeed, as powerful as the band
itself: Power Supply.
Back in the shed, jams became songs, jokes became
lyrics and long afternoons spent together became this record—
listen though, and one will hear life through the lens
of Stackpole and the tactile tentacles of his pals. In The
Time Of The Sabre-toothed Tiger contains ten songs that
listen so easy, one will barely notice when they’re gone.

Following critically acclaimed releases with Dance Regular and Rhythm Section (releasing under SAUL with Jack Stephenson-Oliver), London-based producer/DJ Footshooter lands on Astral Black with his full-length debut, the 'Southside Hymns' LP.

'Southside Hymns' is a decadent tribute to the community, club nights and culture of London that Barney Whittaker (Footshooter) is intrinsically a part of. This ethos is embodied in the skippy, broken-beat of the MA.MOYO featuring 'Passing Clouds' (a tribute to the community-ran venue of the same name), whilst the piercing synth stabs and horn laden grooves of 'Juno Café' is a nod to the South East London club space it's named after.

Following the Albertina-featuring single 'Twilight', the EP transitions from a dusk drive through the city - taking in the sights and sounds of Whittaker's favourite foliage-flaunting haunts, to parking the listener firmly on the dance floor with the trunk rattling bass of 'Untether' and the Natty Wylah featuring 'Bloom'.

Through enlisting a guest cast including the likes of vocalists MA.MOYO, Natty Wylah & Albertina, guest instrumentalists and long-term collaborators Wilf Petherbridge, Isobel Risk, Ebyan Rezguli & James Mollison, as well as artwork by Illustrator & NTS resident Anu Ambasna - Footshooter has ensured that 'Southside Hymns' at once embodies the contemporary London music community that it is also a dedication to.

'Southside Hymns' drops October 1st on 12" vinyl & digital DL via Astral Black Records.

Part of the Optic Sevens 3.0 Reissue Series.
“Take the Skinheads Bowling” The signature song of Camper Van Beethoven. Taken from their 1985 album Telephone Free Landslide Victory.
Their classic debut single became an indie top 10 hit and featured in John Peel's festive 50. On it’s release it picked up substantial airplay and is still played frequently on radio shows across the globe.
Later covered by Teenage Fanclub & Manic Street Preachers and featured in the Michael Moore film ‘Bowling For Columbine’

If a tree falls in Sweden, do you hear it in Brooklyn? If I find my keys, can I leave my house? …and what is the difference between raging Lust and vengeful Wrath? On my second EP for Studio Barnhus, I make my case for a shared space for both. Sandwiched between two love notes to Vangelis are three cuts of choice deli meats procured from the finest bodegas of the land. For headphones, cars, hi-fi systems and even clubs too.
- FaltyDL

Clive Nolan is a British musician, composer and producer who has played a prominent role in the recent development of progressive and symphonic rock. He has been a regular keyboard player in bands such as Pendragon, Arena, Shadowland, Strangers on a Train and Caamora. He is the lyricist and composer of numerous rock albums and musicals, including the Arena catalogue, a monumental rock opera "She" and two Victorian inspired Steampunk musicals, "Alchemy" and "King's Ransom". 'Song of the Wildlands' by Clive Nolan's is a secular oratorio with elements of rock, progressive rock, folk and classical music. The story is based on one of the oldest English poems "Beowulf", which is an account of life and heroic deeds by the mighty warrior protecting the land from the vicious monsters. The album was recorded during the 2020 pandemic and features vocalists and instrumentalists from the UK and Norway playing a variety of rock and Nordic folk instruments, as well as a 200-voice choir recorded distantly by singers from all over the world singing in Old English (Anglo-Saxon). 'Song of the Wildlands' is the biggest music venture from Clive Nolan so far.

Following on from the success of their last single ‘Always Happy’ Bristol punk trio Grandmas House return this October with the release of a debut self-titled EP. Leading with the single ‘Golden’ the band are back on furious form and excite us with the prospect of what they can deliver live. The band have an astounding 40 UK shows in 2020 including a tour supporting The Blinders, dates with Katy J Pearson and a headline tour in October to accompany the EP release. The band have also recently been announced to support IDLES at The Downs festival in September.

Grandmas House have had extensive radio play including Steve Lamacq and Jack Saunders both championing at BBC 6 Music and BBC Radio 1 respectively. The single also landed them in the Radio X Evening Playlist as well as Amazing Radio. Press accolades have come from DIY, Dork, Get In Her Ears, Punk News, BandCamp Daily, Hard of Hearing and many more.

Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

The ICP Tentet's Tetterettet is made up of recordings from 14-17 of September, 1977, cut and spliced together by pianist/composer Misha Mengelberg in a style similar to Teo Macero's work with Miles Davis. The first side is taken up entirely by Mengelberg's multi-part title track that breaks in and out of different tempos, with a loose arrangement style owing more than a bit to Charles Mingus' finest work on Black Saint or Ah Um.

Traversing across decades and styles from free-jazz funereal marches, to carnivalesque excursions, broken piano rolls, and ear-splitting skronk, ICP Tentet show remarkable skill and chops in both their compositional craft and improvisational symbiosis. There's a playful undercurrent here that finds its home in some previously uncharted land between Mingus and Spike Jones.

Featuring numerous ICP regulars along with the brilliant Alan Silva on bass, and a return to the fold of the amazing saxophonist John Tchicai, Tetterettet is one of the best of ICP's larger group recordings; humorous, unnerving, and ultimately, quite beautiful. This limited-edition reissue marks the first time this album has been in print on vinyl since its initial release.

Three years on from their last EP, Kristallpalatset, Sweden’s Blodet have
announced their return with a new EP, titled VISION, due for release on
24th September via Church Road Records.
VISION sees the sextet build upon their sonic palette of atmospheric doom and
post-metal with brooding folk and European post-hardcore sensibilites in the
vein of Swans, Breach and early Amenra.
Marking their first recorded output since vocalist Hilda Heller joined in 2019,
Blodet’s esoteric musical landscape is buoyed by quietly assured ruminations
on the human condition and self across VISION ‘s three songs. No better is this
dichotomy showcased than the title-track, with the vocal refrain of “What do
you see? Do you see me?”, as the song erupts in the latter half of it’s 15 plus
minute slowburn - giving way to jarring post-hardcore akin to Unwound at their
headiest.
On VISION, Blodet possess a familiarity for those who have long been enamoured by post-metal and post-hardcore’s more recherch leanings, whilst carving out their own nich and expanding on their native country’s rich history
of colouring outside of genre lines. For this alone, VISION, is a short but vital
addition to Blodet’s growing discography.
VISION is out on 24th September via Church Road Records

Listening to the story of Canadian duo cleopatrick is a bit like hearing the plot of the best, most righteously validating coming-of-age film never made. Two friends meet aged four in Hicksville, Nowheretown (real name: Cobourg, Ontario, population 19,000), grow up completely inseparable, form a band and, against numerous obstacles, blossom into a genuine, global underground sensation. There are heroes and villains, highs and lows and, crucially, some of the most poetic plot twists that could seem almost too perfect, were they not completely true. Take the story of 2017 breakthrough track ‘hometown’ for example. “It’s one of the craziest, most ironic things that’s ever happened,” begins vocalist and guitarist Luke Gruntz. “I was going to college because I was too scared to put all my chips in the band pile, and that’s what ‘hometown’ is about: it’s a song about feeling like we’re doing all this stuff and we’re working so hard and we’re just never going to be heard. It’s literally a song about people probably never hearing our songs. And then by some act of the universe, that song ended up unlocking all the doors for us.” Today, cleopatrick has logged 77 million streams and counting - all from an increasingly dedicated fanbase who’ve found the duo, completed by drummer Ian Fraser, their own way: no major label, no big budget, just two best pals knuckling down, cementing a unique sonic alchemy and filling a space of honest, empathetic yet undeniably heavy-hitting rock music that they’d been searching for themselves for years. Between multiple sold out tours in Canada, the US and the UK/EU and appearances at Lollapalooza, Austin City Limits and Reading/Leeds, the pair have been crafting BUMMER: a debut album that sees cleopatrick harness all the magic they’ve been brewing over their two-decade friendship and funnel it into a record that aims to reinvigorate the rock landscape from the ground up. Taking the ethos of their New Rock Mafia collective - a group of friends and fellow bands, united in making a more inclusive, equality-driven space in rock music - and imbuing it with the sonic ambition and ferocity of a record designed to be played hard and loud, it’s an album about two friends, who’ve been with each other since the formative first steps that adorn ‘BUMMER’’s heartwarming cover image and made something that’s a testament to the power of sticking to your guns.

It was the mid 80s. A musical revolution was already steamrolling throughout the French West Indies when the band Kassav' produced what was to become the sound of the decade. With a now wider use of synthetic and digital tones, the "zouk" wave literally swept away to sea the biguine and cadence from the West Indian musical landscape. While this took place, some musicians chose to make an alternative use of the new techniques brought on by the advent of synthesizers. Musicians like Serge Fabriano.

It was back in 1980 that Serge, a talented young musician from Guadeloupe, while studying for a degree in 'Arts & Informatique' (Computers & Arts Cycle) at the Université De Vincennes near Paris, discovered early computer-generated digital music (MAO in French) thanks to his roommates, who both taught computer-generated graphic arts. In 1982 Fabriano and his Fabriano Unité Zion project recorded, with the help of Alain-Jean Marie, Mario Canonge and Pierre Labor, Cosmik Syndika*, which to this day remains a masterpiece of made-in-Guadeloupe Caribbean jazz.

The following years saw him tour the US and Canada as well as several other countries. By 1986 he was back in Guadeloupe, teaching music in the secondary schools of Point-à -Pître and Sainte-Rose. While doing this, his ongoing passion for the budding MAO led him to kit himself out: the Yamaha CX5M (MSX Music Computer), the Macintosh Plus, the legendary synthesizers DX7 and DX11 and several other early rhythm machines became his new toys.

Him and his partner at the time, Marie-Reine Lamoureux, who was also both a teacher and a musician, as well as a member of the Fabriano Fuzion project, decided to involve their pupils in his electronic musical experimentations. They recorded an album, composed of five tracks deliberately titled Demain, under the name 'Digital Caresse' (the idea behind this was that instead of hitting the percussions to make music, one stroked the computer keyboard to coax a sound). The combination of the children's choir, enchanting wonky flutes, saturated electronic beat and cosmic atmosphere perfectly outline the purity of this rough diamond.

Transversales is very glad to announce the release of Mémoire Magnétique Vol. 2 spanning 1966-1993, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani.
Since the late 50's, Bernard Parmegiani, a major figure of electroacoustic music and a founding member of GRM has created some eighty two concerts music. From the start,
Parmegiani’s work was closely linked to the screen, with dozens of documentaries, films, long features, animation films but also musical pieces for dance, stage or television. If many of his pieces are landmarks in the history of electroacoustic music (De Natura Sonorum, La Roue Ferris…), his application music compositions are strongly embedded in the subconscious landscape of the French public (Stade 2, Roissy Paris Airport…).
The second volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts.

Inner City’s sojourn at Network resulted in a series of classic recordings.

As well as perfectly crafted vocal tracks including “Your Love”, “Share My Life” and “Do Me RIght” it meant that Kevin Saunderson could also return to his Techno roots with underground Inner City tracks.

None more so than the wonderful “Ahnonghay” which perfectly joined the dots between electronica and the brutal urgency of Kevin’s Reese persona which helped shape the early Detroit Techno landscape.

This 12 contains the Saunderson original plus wonderfully contrasting remixes from Detroit’s Carl Craig and the UK’s Dave Clarke which were equally acclaimed when released on Network’s six6 label.

Another reissued gem from Network.

Over the course of five records to date, JUNO Award-winning Toronto rapper Shad has used an array of old-school tools to tackle modern problems, addressing the indignities and absurdities of our world through a shapeshfiting melange of boom-bap breaks, dusty soul samples, jazzy improvisation, and 10 dollar words rolled into thousand-dollar rhymes. But after weaving his myriad musical and philosophical interests into a narrative socio-political song cycle—2018’s A Short Story About a War—Shad began building his sixth record, TAO, from a much simpler concept: an image of a circle. Though, in true Shad fashion, he saw something much more profound within its basic round boundaries.

“The thing that inspired this record was this image in my mind of a circle, but it’s getting fragmented, and then the pieces start floating away from each other,” he explains. “And that felt to me like a picture of ourselves as individuals. If you think of our humanity as one whole, there’s all these different aspects of that, whether that’s work, or our relationship to the land, or our relationship to the transcendent, or our relationship to our bodies, or to our inner child?”

‘The Pulse of Iron’ an apt reflection of modern progression into the unknown industrial world. It comes from Narrm based artist, Consulate who has found a home on Pure Space Records for our 10th label release. On this EP, Consulate delivers four tracks of dance music for the dystopian with a slick DnB sheen.

On the A-side ‘Postrach’ the centres the record squarely within the realm of its influences, its intricate percussive patterns offset by industrial ambience. Here a half-time snare cuts through the abyss of ambience, while a floating topline carys you through dreary territories. Completing the A-side is ‘Spec 4’, a subtly staunch percussive track that is fueled by acute vocal sampling, weighty breaks and a hypnotic dub infused bassline.

The flip side heads back into half-time territory with ‘The Fear’. Delayed vocal samples paired with dub-style stabs pulse in a heady but immersive rhythm. Rounding out the record is ‘Warlock’, a percussive track that proves the restraint Consulate has in his craft. Moody, sliced vocals skitter through delayed percussion creating a sense of tension. When it feels as though the storm is just about to hit, you are enveloped by fast-paced jungle breaks drawing you deeper into the eye of the storm.

‘Here beyond man’s judgements all covenants were brittle.’
~
Tracks written, produced and mixed by Consulate on Wurundjeri Land. Pure Space and Consulate both acknowledge the traditional custodians of this land and pay our respects to their elders past, present and emerging. Sovereignty was never ceded.

~
Pure Space Recordings is the label venture from the beloved radio show hosted by Andy Garvey, and produced by Mija Healey which has broadcast weekly on Eora Nation (Sydney) radio station FBi Radio for over four years. The label focuses on Australian music both for home listening and that made for the club.

Nantais by adoption, the Australian Will Guthrie is a discreet star of the international scene of free, experimental and improvised music; over the past fteen years, he has developed an open and personal approach to drums and percussion, skillfully blurring the lines between his brilliant jazz upbringing, his passion for traditional musics, and his inexhaustible interest in experimental and noise creation, with a pronounced taste for a physical and raw approach to sound. With thousands of performances and some fty albums to his credit, the Australian regularly dispenses his vibratory art solo or alongside the best of improvisation; From Oren Ambarchi to Roscoe Mitchell via Jérôme Noetinger, Anthony Pateras, David Maranha, Ava Mendoza, Jean-Luc Guionnet, Keith Rowe or even Mark Fell. In recent months Guthrie has performed with Tunisian singer Ghassen Chiba, toured as part of “All Around”, a performance with Danish dancer choreographer Mette Ingvarsten and founded the Ensemble Nist-Nah, a gamelan orchestra, in the company of eight other percussionists, out of which Black Truf e published an album, with a second on the way. He also found the time to put in shape a second volume of “People Pleaser”, a discographic act between an autographical assessment, the parenthesis and the musical UFO. A singular exercise in Guthrie's discography, “People Pleaser”, a series initiated in 2017, sees the Australian partially put down his drumsticks and wear a producer cap for a result offering a resolutely singular perspective of / on his work with a very personal dimension. On the rst volume, with a cover signed Stephen O'Malley sets the tone by diverting the chamaré Warhol infulenced visual of the album “Unit Structures” by Cecil Taylor. The portrait of the free jazz pianist has been replaced by passport photos of Guthrie. The result is a diversion into a fairly “Pop” aesthetic whose musical content works in a fairly similar way. Four years later, the cover art's undertones are slightly darker and Guthrie hasn't aged a bit on his new passport photo. The twelve tracks of this second “People Pleaser” combine and arrange eld recordings, heady loops, twists, musical quotes stuck on bedside records, recorded moments captured during travels, ghosty voices from low- lands, a police interview tape and imagined exotic sounds ... Guthrie could walk us for hours on his hard drive like looking at a photo album but he chose to build pieces based on this very personal sound material, much like a mixtape, with special care given to how sounds articulate, overlap and collide. He thus invites his heroes and his friends to join him in skilfully chiseled and nely edited imaginary jams. The rst to take pleasure in this “People Pleaser” is undoubtedly its author as some of his nds are enjoyably playful; we are there embarked in an addictive sound patchwork at high speed where a Balinese Squarepusher is propelled via a defective cathode ray tube in a temple where the happy marriage of the saxophone and the gong is celebrated before this too short respite is interrupted by a sustained hip hop rhythm. The multiplicity and variety of sources give the whole a very pop format and the way in which Guthrie combines sounds, textures, rhythms and vocal elements quickly takes on a narrative dimension and poses this exercise between hip hop and a very personal plunderphonic, evoking as much J Dilla or RZA as the irreverent inventiveness of People Like Us or Wobbly. Will Guthrie has never been in as good company as on a solo album, he also lists on the cover the list of friends, heroes, members of his family and countries who inspired him and to whom he pays homage / collage on this new disc; An aesthetic exercise apart in his discography, both in nitely personal and self-centered and resolutely turned towards what animates him, the aptly named “People Pleaser” reveals the music DNA of the Australian and can be listened to on repeat.

Here’s a definitive compilation of their first period career, Glaxo Babies was one of the most exciting british post-punk band of the era. Raised in Bristol – altogether with such local influential acts like Maximum Joy, The Transmitters and obviously The Pop Group – Glaxo Babies formed in late 1977. The band signed to local label Heartbeat Records (marketed by Cherry Red), with their first release being the This Is Your Life EP in February 1979; in the same year they released the single “Christine Keeler” . This led to them recording their first session for BBC radio’s John Peel the following April, and the track “It’s Irrational”, from this session, opened the seminal 1979 Bristol Compilation album “Avon Calling”. Their aggro mix of in your face lyrics and groovy bassline led to a unique formula, with both their feet in the post-punk scene and the uprising black jazz crossover. The so-called white funk was the plat du jour, even if the band soon achieved a straight and original personality. Fully remastered and licensed, ltd to 500 copies.

2021 sees the release of the long-awaited third album from Pola & Bryson - ‘Beneath the Surface’. Since their debut release in 2015, Pola & Bryson have transitioned from the exciting ones to watch to the unquestionable leaders of new school liquid drum and bass, grabbing the attention of the scene's greats in the process.

“Masterful production and musicality throughout, I love that the album has been made just as much for the home listener as for the clubs. For me, these guys are leading the new wave of liquid drum & bass.” Sub Focus

As digital streaming services continue to dominate as the primary source of music consumption, the wildly contested ‘death of the album’ debate continues to burn throughout the industry. To counteract the current trend of single tracks and playlist placements, Pola & Bryson wanted to experiment with a concept album.

“We envisioned a landscape to act as inspiration to us whilst writing this album. The landscape is made up of 4 distinct sections, each representing a different emotional state. The first being Shinrinyoku (a Japanese term for forest bathing), represented by a dense, peaceful forest environment. Mangata (loosely translates to moon river) takes you to the edges of a cold, misty lake which eventually leads you to Toska, representing a dark and endless cave. All transpiring with Yuugen, a vast and epic mountain range. The album, paired with bespoke animated visuals, paints the perfect reflection of the journey.” - Pola & Bryson

‘Beneath the Surface’ features collaborations with the drum and bass scene's hottest vocal talents, with each being selected to effortlessly meld with the respective soundscapes. After previously working with both Lauren Archer and Ruth Royall with beguiling success, Pola & Bryson knew that they wanted to send some ideas to both artists. This resulted in the creation of two beautifully blissful tracks ‘Under’ and ‘Friend’, which became the first two singles to be released from the album. While Solah and Kojo were specifically picked with their tracks in mind, Manchester favourite Strategy’s appearance on the release was an altogether more organic stroke of serendipity. The duo were unsure whether 'Anaesthetist' was going to make the cut as an instrumental, and were floating the idea of working with a vocalist when Strategy messaged them seemingly out of the blue. They knew in an instant that his sound was the perfect fit for the track.

Over the last five years, Pola & Bryson have steadily ascended from promising newcomers to well-respected leaders of the next liquid generation. The London based pair’s production credentials are now so well-respected that they have recently been commissioned for huge remix projects for Sub Focus x Wilkinson and Camo & Krooked and released a collaborative EP with Brazil’s legendary DJ Marky. Since their debut album ‘This Time Last Year’ on Soulvent Records and then 2018’s award-nominated Shogun Audio LP “Lost in Thought'', punters and peers have been on tenterhooks, anticipating what the duo would bring to the plate next. Effortlessly living up to its hype, anyone who journeys through the ever-changing soundscapes of ‘Beneath the Surface’ will be immersed into a new world of sonic expression.

* Kamana is a multiformat release inspired by and channeling the cultu- re and traditions of the Aeta, an indigenous group from the Zambales region in the Philippines. One of the oldest inhabitants of the region the Aetas are also some of the most fascinating and ancient nomadic and hunter gathering cultures. The release goes from the realms of the
real to the imaginary, from transcription to syncretism, from concrete to abstract. An (un)real Sonic Exorcism filled with

*Ancestral Frequencies, Haunted Ghosts and other animistic spirits roaming the Pinatubo forests.
The release features a series of materials released in different formats from the Field recording digital only release, an LP and CD release to a special 7inch vinyl featuring an Interview with a bat hunter.

* Kamana is a long due homage to the Aeta community that hosted me a few years back, fascinated by the endurance of these people and their connection to their land, devastated by the eruption of the Pinatubo volcano in 1991, they continued to go back to their ancestral lands surviving on basic agriculture and hunting bats and wild pigs. Living with them for weeks, I managed to capture some essential field recordings and sounds that form and com- pose the basis for this release, from the more reprocessed and interpreted LP release to the pure field recording documentation of the digital release. It is meant to be accessible to all and provide a window to the livelihoods of these unique communities. For this reason, this release serves as both an archival document and a syncretic one, trying to channel memories and feelings of living in these jungles whilst listening to their stories as well as witnessing their lifestyles.”
Carlos Casas, 2021

2 shots from Melly & David Green, back from hell !!!

“40 years ago my international career started for real when I got
a call from the musical mastermind Thad Jones, asking me to
join his new big band project Ball of Fire in Milan, Italy.
“Guess if I said yes!
“Since then I have walked winding musical paths and I still do.
“As the pandemic started to spread, I got stranded at home in
Skillinge Sweden from 13 March 2020.
“Many many months later, I can present something I’ve never
done before, a solo performance. Only me, myself and my
trombone in a beautiful-sounding church not far away from
where I live with my wife Beatrice, Ingelstorp Kyrka.
“I do not really know exactly when the idea got stuck in my head
but I guess around Christmas 2020. Having spent a strange but
personally wonderful year being at home, I suggested a solo
recording to my wife, and she thought it was a great idea.
“I called the priest in the church, named Maria, and she
immediately said ‘Yes, go for it. I will see to it that the church is
heated and ready for you.’
“The first time was almost a shock. Such a beautiful sound,
making the tone of my trombone just fly through time and
space. Beatrice and I looked at each other in silence, knowing
that this can become something special.
“I picked a wide range of songs and hymns for these occasions
and it felt very special to be able to record it in a wonderful room
with only one person in the audience, the one I love the most.
“All the songs have a special meaning to me, whether they are
songs I sang in church as a child or just picked them up on the
way. One is even written by one of my ancestors, Israel
Kolmodin.
“They present a side of me that is always there, but not always
to be seen. I hope you like it.
“Love, Nils.” - Nils Landgren

"Future indie classics that reek of modern New York City Charm” – DIY Magazine
"Captures honest-to-god truths in a new light’ – The Line of Best Fit
“A nostalgia-tinged hit, filled with jangly guitars and contagious melodies” – Wonderland
‘WANDERKID’ is the sophomore album from New York’s next lo-fi legend, JW Francis, and will be released whilst its creator is in the middle of trekking 2000 miles along the Appalachian Trail in the US. The follow up to JW’s critically acclaimed debut album ‘We Share A Similar Joy’, ‘WANDERKID’ will be released on 3rd September by Sunday Best Recordings. “WANDERKID is an album about escape. It’s supposed to be a gut punch of a record about an anti-hero named WANDERKID who wants to get OUT: out of his living situation, out of his head, out of his life. This album is like looking out the car window with an urgent desire to be on the other side. It was finished during the most recent global pandemic, so hopefully folks find it relatable.”
JW is fast making a name for himself as one of the most exciting new artists around. Born in Oklahoma, JW landed in New York City at 19 to study Economics at Columbia University, but not before making stops, stays and stints in Vermont, aged 12 and Paris, aged 13. Whilst at Columbia, the troubadour started music blog Rare Candy and founded student-run recording studio CU Records. Musically, JW takes his lead from the greats of the Downtown scene - Patti Smith, The Velvet Underground, Television, Talking Heads, The Strokes, Yeah Yeah Yeahs - and is fast emerging at the forefront of the next generation.

DEATH's legendary 1987 debut Scream Bloody Gore is more than just an untouchable album - upon its release, it was positively genre-creating. Scream Bloody Gore founded the quintessential death metal sound, with more tormented riffs, screams, and leads than the world had ever imagined, and established Chuck Schuldiner's inimitable phrasing and songwriting style as the most singular voice in the burgeoning genre. Today, the album is viewed unanimously as one of the all-time most important cornerstones of death metal. As the final chapter in Relapse's comprehensive DEATH reissue series, Scream Bloody Gore will now receive the deluxe reissue treatment on a wide variety of formats including 2CD, Limited Edition 3CD, LP, Deluxe 2xLP Boxset, and cassette versions. Like the preceding DEATH reissues, the deluxe reissue of Scream Bloody Gore has been meticulously remastered from the original tapes by Alan Douches (Death, Mastodon, Nile) and includes a plethora of bonus content, including previously unreleased recordings and rehearsal demos, super-expanded packaging, and brand-new extensive liner notes from former DEATH drummer / Autopsy founder Chris Reifert, Sepultura's Max Cavalera, and original Scream Bloody Gore producer Randy Burns.

After retracing the path of Lou Reed, with her tribute show
and album ‘Run Run Run’, Emily Loizeau returns in full
force, influenced by growing concerns for the challenges
of climate change and migration, and everything we’ve
been through these past years.

Writing in the thick of lockdown and recording during
quarantine in England with John Parish (producer and
musician for PJ Harvey), Loizeau had dreamt of
collaborating and creating an album in the land of her
roots long before it came to pass.

Both guitarist Csaba Palotaï, by Loizeau’s side these last
ten years, and pianist / bassist Boris Boublil, a new
addition to the team, had worked with Parish before on a
variety of musical projects. Sacha Toorop, on the drums,
also had experience recording with Parish for Dominique
A’s ‘Auguri’ album.

“Our work on the demos with Boris, Csaba and Sacha; the
songwriting for this album; the sound I was trying to
render: everything seemed to point to a return to the
United Kingdom and to Parish’s creative force, which is
raw, sensitive and powerful all at once," Loizeau says.
"The time was right!"

The album is a diary - personal fieldnotes from a
lockdown, with an eye turned towards the outer world. A
call, a deep and powerful desire to seek out the core of our
fears and anger and find there what binds each soul to the
other.

‘Icare’ is the story of the infinite within us, our desires and
our shortcomings, how we reach for beauty, for harmony,
our creative frustrations and the Promethean madness
that may precipitate our fall.

DEATH's landmark ‘Spiritual Healing’ record is nothing short of genre-defining. Originally released in 1990, Spiritual Healing marked a new turn in the DEATH discography, one which ushered in cleaner production, a new level of boundary pushing musicianship and songwriting skills that were previously unimaginable from a metal band. Spiritual Healing sets the standard for riffs, insane time changes and of course mainman Chuck Schuldiner's masterful guitar solos. Includes Digital Download

“Spiritual Healing hacked and exploited gaps in the boundaries of death metal. It was brutal and toxic, yet replete with unorthodox, cleaner shadings. On this reissue, it sounds as visceral and vital as the day it was originally released, affirming the fact that its narrative and musical sophistication laid the groundwork for countless metal bands to explore frenetic musical pathways with unabashed artistic honesty.” - PopMatters

We proudly present: A journey through different dimensions, space and time: Future of Lofi is our attempt to create a new Lofi sound with our favorite artists.

Lofi sound as you have never experienced it before: 30 artists accompany you on this journey and show you their vision of how Lofi will sound in the future.

Check out the story behind this new compilation:

A sound engineer from Silicon Valley inherits a plot of land near L.A. due to the death of his in-laws. On the property, in addition to a spacious estate and pool, there is also an old barn in which he discovers a DeLorean DMC under a dusty tarp. Upon closer inspection, he notices that there is still an old cassette in the tape deck of the car radio. Curious, he uses his profession to digitize the tape and discovers completely new music that seems very futuristic to him - as if it had traveled 20 years through time. Join this beautiful journey through space and time! On this journey you will be accompanied by 30 artists including Mujo, Flughand, pettersson, Saltyyy V, Burrito Brown, Sátyr, Harry Hawaii, Thelonious Coltrane and many more.

The Allergies are back with a new album – Rejoice! And the feel-good funk, hip-hop swagger, and dusty vintage loops, is everything you need right now.

Across the 13 tracks, producers Rackabeat and DJ Moneyshot dig deep into their souls, as well as their record collections, serving up a day-glo blast of super positive sampledelia that'll have you smiling from ear to ear.

Built from scratch during lockdown, each song offers up a world to lose yourself in, free from any and all dark clouds. It's their Promised Land, and everyone is welcome to bask in the sunshine.

Along for the ride is LA rap legend, Andy Cooper Ugly Duckling, soul sensation Marietta Smith, dance music heavyweight, Dynamite MC, and the unmistakable voice of hip-hop royalty, Lyrics Born.

Everyone got the memo, as career-best performances roll one after the other. And each singer, rapper, scratcher, and sampler, unites through the power of good good music.

Highlights on the LP include the swamp blues meets half-time hip-hop monster, 'Lean On You'. The Latin funk bomb, 'Move On Baby'. Soul rollers 'New Thing' and 'Are You Ready', and the show-stopping and stirring Moby-ish beat banger, 'Promised Land'.

Almost a concept album, the idea of fresh starts, strange new worlds, loss, solidarity, freedom, and the communities we find in clubs, festivals, and making and sharing music, began to come out, organically, through the song-writing process.

"In a weird way the album wrote itself," says DJ Moneyshot. "We'd be lost in our own little world of hypnotic loops as days passed, and samples jumped out of the shelves, and just started to make sense as they got chopped and layered into these tracks."

Early support for the singles, and response from fans across the globe, suggests that this, their fifth album, really could be something special. Come on in…

With 10 years in the 'biz' firmly under his belt, Jiah Wells is poised to release the first full-length LP of his Galtier project, Pulchra Es Elementis. Whilst Galtier is arguably one of the originators of the percussive style that would eventually fall under the Hard Drum label, the heightened theatrics of his recent output have seen him channel Blade Runner-styled sonics and move further away from absolute club functionality. Whilst Galtier's output often seems to soundtrack hypothetical, off-planet words, Pulchra Es Elementis turns the focus inwards: towards Wells' own emotional constellation, his evolving spirituality and his attempts to tap into planes of existence beyond the tangible. The album's Latin title translates to 'Elements are Beautiful' and encapsulates the artist's belief that there is grace in all of life's aspects; pushing past what we deem as good or bad, minuscule or massive.

Pulchra Es Elementis begins with Crystalised Larva, a brooding opener of breathy pad synths and expansive kick drums which reverberate through the mix as if the hits originate from the bottom of a valley. There's an indistinct sense of tension on this track, in part due to a central melody, which never resolves but only descends lower in pitch. This tension turns to explorative wonder on Wilfull Saviour, where a mirage of musical ideas come in and out of focus. Although the sonic worlds Galtier explores are internal to him, Wilfull Saviour still possesses that sense of a cosmic journey we've come to expect from Wells; an ardent fan of dystopian films and literature.

Continuing this emotional odyssey, Bruised, But Not Broken sees the artist push deeper into the psychological undergrowth; its murky tonality juxtaposes crisp, Reggaeton-inspired drum patterns with a heavily compressed one-note synth line that modulates wildly - cutting through the mix like a nagging thought that won't leave your mind. Next up is U Were, U Are & What U Will Be, one of the more club-ready tracks of the LP, which gets us moving with a snarling bassline and layers upon layers of percussive hits and inflections.

At Pulchra Es Elementis' mid-point is the LP's title track, a drumless interlude where blissful, shimmering synths create a patchwork of intensities. Galtier's approach to songwriting shines through here; ignoring musical pragmatics, he opts to feel his way through his compositions without knowing where they might end up. Following on from that weightless breather, Phantasiai turns up the freneticism with its head-spinning mix of drum programming and a glitched-out synth line that yo-yos up and down octaves. Things get even more furious on the Superficie-featuring Cavernam, a hollow Hard Drum banger inspired by Eskibeat sensibilities and designed to create a sense of self-implosion.

The album's penultimate track, (U Are) Beautiful, is a tale of two halves: beginning with a moment of serenity as synthesizers swell like an ocean tide before evolving into a marching crescendo of raw energy. Rounding off the album, Shine Forth hurtles through pacey drum work and all manner of strange zaps and klaxons before giving way to a final dose of nebulous ambience.

A musical journey unlike any other 'club music' albums, Pulchra Es Elementis is an LP that demands to be consumed in one sitting. Reflecting on his place within the universe and the musical landscape, the album could be viewed as a musical exorcism which sees Galtier working through and shedding huge chunks of his ego that stuck to him out of fear of the unknown. Pulchra Es Elementis begins on an insecure, overwhelming or, even, existential note before rounding off with a related sense of vastness seen with new, more positive eyes. It's a voyage we hope you will join him on.

A remix album of Tolerance by Osaka-based electronic musician Junya Tokuda released from remodel, a label established by Yuzuru Agi and Studio Warp.
In addition to performing live and releasing works, Junya Tokuda runs the web label Linesound and organizes the electronic music event "Line".
His previous releases include "map not seen EP" (Linesound, 2011), "A Day In The Alley" (shrine.jp, 2016), "Unleash EP" (LongLongLabel, 2018), and "No Man's Land" (shrine.jp, 2020). jp, 2020).
remodel also released solo album, "Anemic Cinema", in April 2021, prior to this work, and his track was included in a two-disc compilation, "a sign 2", released in May 2020.
This album "VANITY RE-MAKE/RE-MODEL Vol.1" is a remix album using material from the Tokyo-based project Tolerance by Junko Tange from Vanity Records.
The production was done in parallel with "Anemic Cinema" (late August 2020 to mid-December 2020), and the basic musicality, especially the brilliant treatment of sound by dub-like spatial effects, is common to both works.
However, in this album, the material of Tolerance is sometimes vague and fragmented like a torn tape swimming on the surface of the water, and at other times like a tape reel rolling down from the ocean-like sound image created by the skillful blending of pads and moving noises through the manipulation of dub effects.
The tactile sensation of poking and stroking the ears (like ASMR), which was also felt in "Anemic Cinema," is more vividly revealed by the carefully considered incorporation of a foreign object.
In addition, the instrumental aspect of Toleranece's musicianship, especially the effective use of the electric piano sound, is also impressive. Interestingly, in other tracks, the bassline exerts a strong pull and draws out the phrasing aspect of Junya Tokuda's musicianship as if in response to the electric piano.
Junya Tokuda's music, which even creates an organic feel with its deft handling of generated sounds and samples, reveals its caliber and hidden patterns through the inclusion of Tolerance voices, noises, and instruments that seem hard, rough, and axially distorted. It is an exhilarating and magical work.

House anthem Slo Moshun “Bells Of NY” is one of the most iconic gems in the Network catalogue and gets a timely reissue.

The lovingly remastered 12” includes the epic nearly 9 minutes long “House To House Mix” which started the fuss in the first place, plus the much loved by DJs “Xen Mantra Beefy Bells Mix” which like fine wine seems to have matured with age.

It’s almost impossible to explain the hype that exploded when the first copies of this landed in 1993. Network pressed a limited run of the first copies on the Dansa label with
bogus New York producer credits in an attempt to create mystique.

The combination of that relentless uptempo house piano and the break where everythIng slows down underneath a hip hop sample hypnotic proved irresistible, and saturation radio plays from KISS in London turned the track into an instant anthem right away.

The the boss of a rival label boasted they had sourced the track and paid “a fortune” to licence it for UK release. He was making it up as a stampede by labels to locate and release the track began.

Network sensed an opportunity to create major mischief and create even more of a buzz. New York garage producer and Network ally Andrew Komis was enlisted and happily donned the bogus ID of a new kid on the block NYC producer to do phone interviews with UK dance music publications.

His pretend story that Bells Of NY was his homage to the UK House scene laced with Big Apple Hip-Hop was eagerly printed by the magazines.

They were left red faced when the truth emerged that former Nexus 21 and Altern 8 member Mark Archer and his new music making partner Danny Taurus had in fact come up with the gem in homely Staffordshire and not glamorous New York for Network.

All the PR spin in the World would not matter a not if the record didn’t live up to the hype.

Bells Of N.Y did and still does.
It gave Network a first chart hit on their six6 label and more importantly is an all time House Music Classic.

On The Corner Records are proud to reveal the second instalment of their newly forged ‘Double Drop’ series, pairing together two EP’s from two different members of the OTC family, delivering a cosmically twinned, action packed slab of wax.

Label boss Pete OtC developed this series to introduce record players around the world to new artists coming through On The Corner’s region of the solar system. With Vinyl manufacture in pandemic pandemonium and questionable environmental impacts of the efficacy of Disco 12”s it seemed like a prime time to get laying the OTC family’s sonic landscapes onto highly collectible long playing EP pairings, with no represses and no compromise on the artwork, each side sporting a 20+ minute audio journey.

On the A-Side, and hot on the heels of the ‘Dub Protection & The Sportswear Mystics’ cassette, The Diabolical Liberties present their ‘Birds Of Paradise’ EP. This EP all but sold-out and follows the dynamite success of the Duo’s debut long player “High Protection & The Sportswear Mystics” and it’s follow-up hype cassette of dubbed out versions (as well as a series of self-released and long sold-out white
labels that included collaborations with Nyasha (a moniker of Nubya Garcia) and a super limited On The Corner 10” dubplate.)

UK multi-instrumentalist and story-teller Mara Simpson's new album In This Place will be released on September 24th, 2021. A heady blend of alt-folk, analogue synth and classical composition, In This Place is a tale of quiet rebellion, and taking back control. Fittingly, the new album marks the start of another new journey for Mara. In This Place will be the first record to be released on Downfield Records, a non-profit imprint set up by Simpson, placing artists at it’s centre. “I want to try and promote transparency and equality, assist other artists to get public funding and to ‘pay’ forward the time and resources I’ve benefited from,” she says. The label’s mission is to see musicians paid fairly and release records through a creative and joyous process.

Whilst the struggles of 2020 will go down in history, for Mara it was 2019 that was the tough one. A year spent consumed by worry, whilst in and out of hospital with her one year old daughter, had left Mara feeling like she was playing a constant game of catch up with a world that wouldn’t slow down. With songs ready to be recorded for her new album, she headed into the studio. “I stepped into the studio not needing my hand held, just my voice heard” explains Mara, who quickly came to the realisation that she was working in a toxic environment. Enough was enough

It was whilst waiting for a train that she had the sudden realisation that the album she was recording would never see the light of day. Struck by an overwhelming feeling of failure, Mara began to ruminate on the time and money she had wasted but then something clicked. “Perhaps it’s something about train stations, the coming and the goings, that allows a stagnating frame of mind the grace and space to clear” she says. “The funny thing is, upon realising failure, the despair I’d been feeling was now replaced with something else...Relief”.

Feeling re-energised, Mara called her dream producer Ellie Mason, of Voka Gentle, and together the pair began working on a new record. “I’ve been more hands-on with this album than I’ve ever been, taking a much more active role in production. Throughout the whole process Ellie has heard my voice, and been open to any possibility” explains Mara. “We’ve stumbled across golden moments, recording four part harmonies in Brighton’s oldest church, using every drum there is in Brighton Electric, layering New Zealand bird song with tape delayed piano, all thanks to her nurture, playfulness and kindness” she continues.

Album opener ‘Serena’, named after the apartment building in Brighton where Mara’s daughter was born, is based on the experience of becoming a mother and the responsibility of making important healthcare decisions. “How will I know how to love you” she sings over undulating synths and sparse piano chords. Title-track ‘In This Place’ is about the confrontation between mother and new-born child. The ‘sizing-up’ of one another as they embark on a new journey together. “When I left home to travel around the world and was so worried about breaking my Mum’s heart,” says Mara. “I just remember her saying that your children are never yours to keep. This is a song about the rawest of loves, and the fact that however much we love someone, they are never ours, and the beauty in that.”

In addition to the experience of motherhood, the songs on In This Place take inspiration from a wide range of places, including Mara’s ‘second home’ New Zealand. ‘Christchurch’, written in response to the Christchurch Mosque shootings in 2019, layers New Zealand birdsong on top of swirling piano and moving choral vocals. ‘Fault Lines’ was inspired by The Waitangi treaty. Signed in 1840 in New Zealand by the British Crown and Maori chiefs. The British understood that the Maori were signing over land that the British could now govern and effectively ‘own’, however to the Maori people it is impossible to own land, in the same way that you can’t ‘own’ air. “We live and die, the land remains and we are just it’s keepers for the very short time we are here. This song is about us not owning this earth - how can we? We are only the guardians of it while we are here” says Mara.

Backed by a band of accomplished musicians (Jools Owen (Bears Den) on drums, James Smith (Anaïs Mitchell) on banjo, Alexandra Hamilton-Ayres on clarinet and strings by Poppy Ackroyd) on In This Place, Mara sounds the most confident she’s ever sounded. With her new material, Mara Simpson hopes to promote a gentle, yet radical shift toward kindness and it’s this warmth that can be both heard and felt across her new record.

Caleb Landry Jones is a continual creator. The Texan-born star found fame as an actor - you’ll recognise him from key roles in X-Men: First Class, Three Billboards Outside Ebbing, Missouri, amongst others - but music is perhaps his first love, and his source of greatest comfort. A chance encounter with famed auteur Jim Jarmusch brought him into the orbit of Sacred Bones, and the stalwart independent released Caleb’s 2020 debut album The Mother Stone. Psychedelic in a defiantly non-retro way, this indulgent, freewheeling trip won critical acclaim, but masked a secret - he’d already finished another album.

Filming alongside Tom Hanks in dystopian themed Finch, Caleb found himself writing during those long evenings after the shoot in locations across New Mexico, idling away his hours by focusing on creativity. “I need it,” he says, “I’ve tried working without it. On one acting job, I intentionally didn’t bring a guitar to try and do it without music... but that didn’t last long. I need to create

something - it could be a drawing, it could be a song - because otherwise I feel like I’m wasting time. Which is something I do plenty of on my own!”

With his creative faculties burning, Caleb knew he had to get straight back into the studio when filming stopped. Linking with the same cast who formed The Mother Stone, he resumed his partnership with producer Nic Jodoin, based out of the elegant Valentine Recording Studio in Los Angeles. A studio steeped in history - everyone from Bing Crosby to Frank Zappa worked there - he interrupted mixing sessions for his own debut album in order to focus on something different.

Gadzooks Vol. 1 is unlike anything you’ve heard before - comparisons range from Skip Spence’s fractured masterpiece Oar through to skewed troubadour Robyn Hitchcock, via John Lennon’s black moods on The White Album and Frank Zappa’s caustic surrealism. Recording to tape, Caleb would hack away at each take, re-assembling the songs like Escher diagrams. “It’s like when you’re swimming in the pool,” he smiles, “and you’re doing a bit of butterfly, and then that gets old after a while. So then you start doing breaststroke, and then that gets old after a while. I think it’s just a reaction from the place where we were before.”

Part of a flood-tide of creativity - as its title suggests, a second half to this album is already on the horizon - Gadzooks Vol. 1 is thrilling, shocking, and wonderfully entertaining. Each song starts and finishes in entirely unique places, often totally divorced from each other. “I’m trying to write something very simple,” he says, “And it gets really abstract because I don’t know any other way.”

- Follow up to the critically acclaimed debut The Mother Stone
- Actor in Finch, Get Out, Twin Peaks, Three Billboards Outside Ebbing, Missouri
- Positive press for The Mother Stone ran in Pitchfork, Billboard, Entertainment Weekly, FLOOD, Newsweek, The AV Club, Document Journal, The New Yorker, The FADER, NPR and others

Caleb Landry Jones is a continual creator. The Texan-born star found fame as an actor - you’ll recognise him from key roles in X-Men: First Class, Three Billboards Outside Ebbing, Missouri, amongst others - but music is perhaps his first love, and his source of greatest comfort. A chance encounter with famed auteur Jim Jarmusch brought him into the orbit of Sacred Bones, and the stalwart independent released Caleb’s 2020 debut album The Mother Stone. Psychedelic in a defiantly non-retro way, this indulgent, freewheeling trip won critical acclaim, but masked a secret - he’d already finished another album.

Filming alongside Tom Hanks in dystopian themed Finch, Caleb found himself writing during those long evenings after the shoot in locations across New Mexico, idling away his hours by focusing on creativity. “I need it,” he says, “I’ve tried working without it. On one acting job, I intentionally didn’t bring a guitar to try and do it without music... but that didn’t last long. I need to create

something - it could be a drawing, it could be a song - because otherwise I feel like I’m wasting time. Which is something I do plenty of on my own!”

With his creative faculties burning, Caleb knew he had to get straight back into the studio when filming stopped. Linking with the same cast who formed The Mother Stone, he resumed his partnership with producer Nic Jodoin, based out of the elegant Valentine Recording Studio in Los Angeles. A studio steeped in history - everyone from Bing Crosby to Frank Zappa worked there - he interrupted mixing sessions for his own debut album in order to focus on something different.

Gadzooks Vol. 1 is unlike anything you’ve heard before - comparisons range from Skip Spence’s fractured masterpiece Oar through to skewed troubadour Robyn Hitchcock, via John Lennon’s black moods on The White Album and Frank Zappa’s caustic surrealism. Recording to tape, Caleb would hack away at each take, re-assembling the songs like Escher diagrams. “It’s like when you’re swimming in the pool,” he smiles, “and you’re doing a bit of butterfly, and then that gets old after a while. So then you start doing breaststroke, and then that gets old after a while. I think it’s just a reaction from the place where we were before.”

Part of a flood-tide of creativity - as its title suggests, a second half to this album is already on the horizon - Gadzooks Vol. 1 is thrilling, shocking, and wonderfully entertaining. Each song starts and finishes in entirely unique places, often totally divorced from each other. “I’m trying to write something very simple,” he says, “And it gets really abstract because I don’t know any other way.”

- Follow up to the critically acclaimed debut The Mother Stone
- Actor in Finch, Get Out, Twin Peaks, Three Billboards Outside Ebbing, Missouri
- Positive press for The Mother Stone ran in Pitchfork, Billboard, Entertainment Weekly, FLOOD, Newsweek, The AV Club, Document Journal, The New Yorker, The FADER, NPR and others

The Men’s hugely influential album Leave Home came out during an exciting time in New York City. DIY lofts and shitty bars littered downtown Manhattan and North Brooklyn. The Acheron had just opened its doors. Kill Your Idols had broken up. Toxic State Records was just getting started with Crazy Spirit, Dawn of Humans, Hank Wood and Perdition EP’s. The city was alive with punk and noise and filth. And right at that time, The Men were the show to be at.

Every gig was dripping with sweat. Hallways and sidewalks were packed between sets. Chaos reigned in the pit. The Men hit like a bag of hard cement, a hardcore band with a familiar sound but with an aura of absolute chaos and intensity, like everything was on the brink of going off the rails at every moment of their set, a downhill freight train with no brakes. During these shows one’s focus could shoot back and forth between the intimidatingly angry-eyed, bald-headed Chris Hansell (who went on to front Warthog) and the long haired hippie punks Mark Perro, Nick Chiericozzi and Rich Samis, that made up the surrounding band.

Just one of the many juxtapositions the band embraced. If The Men were a chapter in Michael Azzerad’s Our Band Could Be Your Life, the early EP’s and cassettes would obviously be Minor Threat and Black Flag, while Leave Home would likely be… Sonic Youth. It was just before they made the full jump into each record being a smorgasbord of underground genres, from dream pop to folk;

before they had tracks called “Country Song,” for example. But it was a preview of what was to come. Leave Home was a pivot from pure hardcore punk (some might even call it mysterious guy hardcore), as the band got lost in the groove in a way one couldn’t on a straight up punk record. That groove was so strong on “If You Leave…,” “(),” and “Bataille,” while they spaced out on “Shitting With The Shaw,” and stayed as aggro as ever on “LADOCH.” But of course, Leave Home had a re-recording of their hardest track to date, “Think,” making it clear that they were still the moshers we all had come to know and love. If The Men raised their flag as an important New York punk band with Immaculada, they started waving it in the freakiest way with Leave Home.There is no doubt that Leave Home was one of the most influential records of the last decade.

You can hear their mark everywhere from Ty Segal and The Oh Sees to Milk Music and Hank Wood. Few bands have traversed as many genres as The Men and even fewer have done it so well. It is a testament to the band’s undying authenticity and adventurism that the record sounds as timeless and urgent now as it did when it blew the doors of New York punk off its hinges ten years ago, leaving a giant hole for bands of all kinds to come racing through.

Ancient Africa represents Nat Birchall’s official follow-up to last year’s universally acclaimed Mysticism of Sound.

Nat once again plays all the instruments here, tenor and soprano saxophone, bass clarinet, bass, drums and percussion. But this time around the Korg synth is replaced by piano as

Nat wanted to utilise a more “classic” Jazz sound to express his musical visions. He has also arranged the songs for multiple horns, with melodies and harmonies played by up to five different instruments to achieve a fuller and often glorious sound.

An exception to this is Mirror Mind, a ‘duet’ featuring tenor saxophone and piano, hence the title.

With most of his compositions Nat tends to come up with titles depending on the thoughts or images the music manifests within him as he listens back to the recording.

The title track conjures up images of an African sunrise, the horns perhaps invoking the sun as it begins to illuminate the land which was the origin of the human story on Earth.

“Africa is the root of everything, and is the source of civilization, art, music, you name it.”

Paladins is so titled for the African heroes of the past and the present, in all walks of life, social, political, the arts etc.

“Anyone who fights against oppression, whether it be through activism or art, not only in Africa but throughout the whole diaspora, is a Paladin in my book.”



Song for John Blanke is named for the African trumpeter who played in the court of Henry VIII. The horn line sounding

a little like a fanfare, but in a lower register than the Tudor trumpets might have played for the court of the king!

Malidoma is named in honour of the African writer Malidoma Patrice Some. His excellent book ‘Of Water and The Spirit’ is a deeply

moving and illuminating narrative of his life’s journey. From his abduction by Jesuit priests at an early age from his village in Burkina Faso to

his being reunited with his people and subsequent assignment to spread his people’s ancient knowledge to the Western world.

The final song, Ancestral Dance, is a musical reminder to both celebrate life as and when the occasion demands, but also to not forget where we came from, as individuals and as a species.

Welcome aboard! We're about to slide into the wide musical landscapes of True Flavas Band. Please take place on your seat, enjoy the smell of a cup of Douchka black tea , close your eyes, the train's door is shutting then the locomotive pulls the heavyweight transSiberian slowly.
The Journey starts to reach the "Polar Circle" and its deep soaring atmosphere, snowy forest and the steppes' flatness. Now You recognize, that it's all about immersive laidback
funk. The band breaks with the white screen view blowing up at the wagon's window, crosses some more urban ensembles with the uptempo "Take It Straight", the intriguing "Estonia" and "Ghlmly". The expression touches climax offering a view from the mountain's
top in "4Hero" and "Double Trouble" with transversal dynamic and flight sensations. The four musicians offer nights full of stars and aurora borealis moments in tracks like "Gamekeeper" and "Jazz'N'Bass". At the end "Countryside" brings us into a gradual rise of leftfield ambience sustained by Krautrock guitars and Gregorian like chants, hypnotic.
With this first LP on Stereophonk, True Flavas Band show ten beautiful, fine and wellmatured pieces. Strong of a rich musical experience and influences, the quartet from SaintPetersburg composed by Roma (drums), Danik (keyboards and electronics), Dima (bass) and Alexey (guitar) have evolved since 2005 to achieve a perfect combination. TrueFlavas performed with artists such as Tricky, Dj Vadim, Dj Krush, Theo Parrish, Badbadnotgood, Gaslampkiller, Fatima, Themselves, Jimi Tenor... and toured all over Russia.

Trompe Le Monde bookended a golden run of landmark records - a mini-album followed by four albums, released in quick succession - that cemented Pixies as one of the best for a generation. Translated from French to mean "fool the world", Trompe Le Monde showed the band still restless to push their sound forward. Recorded between Burbank, Paris and London, with producer Gil Norton again at the controls, their fourth album is arguably their most playful with Black Francis's lyrics on UFOs and conspiracy theories keeping things weird while power pop creeps in to amplify the space rock established on predecessor Bossanova. Featuring singles 'Planet of Sound', 'Alec Eiff el', 'Letter to Memphis' and a fl awless cover of The Jesus and Mary Chain's 'Head On', Trompe Le Monde goes full throttle with 15 tracks coming in a quickfi re 40-minute salvo. Receiving critical praise at the time and being supported by a huge tour that included playing stadiums with U2, it also proved to be the end of act one for the band with them taking over a decade before returning to stage together. A brilliant record, Trompe Le Monde sounds just as fresh 30 years on with outlets such as Pitchfork concurring, retrospectively scoring it 9.3, they called it "more aggressive than anything in their catalog but also more confi dent. They can handle this now, and they do."

A Fable is Tigran Hamasyan’s first solo album after having recorded three previous albums as a leader. Released in 2011 it was hailed for the rare maturity of an all young musician to deliver such a landmark recording. At that time the pianist has been identified as one of the most important jazz revelations by critics impressed by his artistry. Well known for the way he fuses potent jazz improvisation with the rich folkloric music of his native Armenia, Tigran once again borrowed from the rich tradition he inherited and made a giant step with A Fable. Hamasyan gives a stunning one-man show with definite nods to Monk and Miles Davis, to Liszt and Debussy, while creating a space that is distinctly his.

The Toolroom Family is happy to announce the release of KC Lights' brand new single 'Cold Light' that lands as the highly anticipated follow up to his global hit 'Girl’ which, in spite of the global shutdowns of clubs and festivals last year went on to be the ‘stay at home’ summer anthem for 2020.

‘Girl’ dominated the airwaves with BBC Radio 1 daytime playlist inclusions, KISS FM, Capital Dance, Sirius XM in the US and specialist playlists all over the world. It has now amassed over 5m streams on Spotify alone and still going strong.

As we move further into 2021, timed right on the back of some of his most recent stellar remixes for James Hype, Topic, Blinkie, Lost Kings and Nightlapse, KC Lights returns to lift our bleak spirits with the aptly named ‘Cold Light’.

He has collaborated with UK singer, songwriter Leo Stannard, who is being hailed as one of the most talented and exciting songwriter / vocalists to emerge in recent years, which is quite impressive during these times of quarantines and lockdowns. Most recently, Leo featured on CamelPhat’s track ‘Blackbirds’ which is featured on the Camels album, ‘Dark Matter.” He may also be recognized for his work with Maverick Sabre, Tom Odell, Rae Morris, Lewis Mokler and many more.

‘Cold Light’ is signature KC Lights with a stripped back groove and tribal drums complimented by Leo’s sublime vocal which takes the track to a whole new level! It’s feels like another anthem in making from this emerging star and with a club mix and a 6am remix, it really is the perfect tune to take us into the promise of lighter and warmer months ahead.

Bristol experimental jazz collective Ishmael Ensemble reveal their expansive new album Visions of Light. The follow-up to their critically acclaimed 2019 debut A State of Flow, praised by the likes of The Guardian, Mojo, The Wire and tastemakers across BBC 6Music, this sophomore record sees the group reimagine what an ‘ensemble’ can do; expanding into a shifting collective, where human relationships between artists underpin far-ranging, stunningly ambitious and emotionally heavyweight compositions.

Helmed by producer and saxophonist Pete Cunningham, Ishmael Ensemble’s richly inventive 2019 debut A State Of Flow marked them out as an explosive new force in UK jazz, imbuing lush cinematic compositions with left-field dub and electronic sensibilities

redolent of Bristol’s vital musical landscape. NamedThe Guardian’s ‘Contemporary Album Of The Month’ and Mojo’s ‘Jazz Album of The Month’, it saw the group perform Maida Valesessions for both Gilles Peterson and Tom Ravenscroft, as well as feature on compilations for Brownswood Recordings and Soul Jazz Records. Cunningham’s rise as an in-demand producer led to remixes for the likes of techno royalty Carl Craig,as well as legendary jazz label Blue Note Records alongside a plethora of the UK’s finest musical talent on Blue Note Re:Imagined.

Ishmael Ensemble has since become a platform for Cunningham to subvert the conventional notions of producer/artist relationships, unsettling genre tags, and transcending the familiar landscape of UK jazz itself. Across the album’s 10 tracks, Cunningham practices a holistic approach with a long list of collaborators. Together, they explore vast new sonic terrain with an honesty, intimacy and emotional heft impossible for a conventional band.

Visions Of Light tells the story of Ishmael Ensemble’s development across its two sides. The first draws from the energy Cunningham and his bandmates discovered whilst extensively touring A State Of Flow.

Take One is the cinematic debut release from the minds of Hampshire born emcee Deeflux and seminal producer Kraze. Created through a chaotic and turbulent life journey, the project was born out of the collective need to change direction musically by both artists.
The results are an accomplished and often brutally honest prose, overlaid across a wide range of soundscapes sca-ling the spectrum of alternative rap music. Themed around cinema, each track tells a story like a window into the ar-tists lives covering a range of topics and emotions with Deeflux’s trademark labyrinthine wordplay weaving effortlessly over Kraze’s diverse production.
The LP, originally intended as a mixtape and picked up and pressed by Broke Records was fraught with tragedy. From faulty metal work, lost livelihoods and the eventual loss of all stock it sadly never saw the proposed release until now. Certain Sound received a phone call out of the blue after the stock was
re discovered and have re packaged with the full intended “Directors Cut” as downloadable content in a limited run of coloured and heavy weight black vinyl.
Take your seats and enjoy the show! Artist Bio - Deeflux
Deeflux comes from a diverse musical background. After falling in love with heavy metal at 6 years old he spent his early years as a song writer and guitarist in ska, punk and metal bands before re discovering hip-hop in college where he used the college computers to start his journey beat making.
Finding his voice at 18 he began to craft his style. Influenced by his home town stable of graffiti writers, MCs and beatmakers. he went from working with Reklews (BLAH) to collaborating worldwide on projects such as Oddio Kin.
He has a number of physical releases with his group C O R N E R S (Deeflux, Beit Nun and Benny Diction), live group Natural Selection and last year released 52 singles with his long running DJ Miracle (Boot Records).

Kraze is somewhat of a musical prodigy. In his early teens he was at the epicentre of the first wave of grime and Began DJing on pirate radio & producing music. He eventually landed an artist development deal with EMI & later Sony/ATV.
He was responsible for Devlin’s standout London City and earned two cuts on
his Bud, Sweat and Beers album. During his time with EMI & Sony, he worked with producers such as Naughty-boy, Mojam & Stargate and a variety of artists before eventually leaving the industry to pursue other opportuni-ties. Take One will be his first solo release.

Tape

Limited Edition cassette …. 100 copies ‘Your Job Is To Make Art’ is built for the floor, four slamming techno takes, plus remixes from labelmate Swarm Intelligence and Manchester’s Kander. Drawing influence from the Manchester scene, but written in the isolation of rural, north-west England, Kontain’s debut EP is rhythmically relentless, buoyed by trippy vocals and distorted percussion, each track lands hard. From the artist: “Training and competing in BJJ, this EP is almost a soundtrack to the constant mental & physical assault. High energy, constant tension.” “It’s better to be stomped by the bull than up in the stands” Mastering by Joe Farr

Burning Injustice’, the second album by Torn Relics, forthcoming on the Berlin based label Instruments of Discipline, weaves mythical and futuristic elements of an unknown world. Haunting, visceral and diverse in production styles, the duo continues to pave their own musical territory. This album was written between 2017 – 2021, in which the music produced reflects the decay of the political and social landscape in the UK, from the Brexit divide to covid isolation. This music serves as antidote in these turbulent times. Torn Relics are an experimental electronic duo based in London, composed of Romek Boyer (AKA Rommek) & Aimée Mullen. The body of their work is a mixture of cyber-punk electronics with tribalistic violin, rhythms and tones. Their debut EP, The Poisoned Chalice, was released on Sacred Court in 2019 and included a remix from SNTS. Abolish The Dogma, the duos debut 8-track album was released in 2020 on Leyla records, which showcases the diversity of their production styles.

"To mark the 50th anniversary of the 1970 concept double album, Jesus Christ Superstar, it has today been announced that a variety of special anniversary edition albums will be released on September 17th. This landmark release, which includes full cooperation from the creators Tim Rice and Andrew Lloyd Webber, features an array of exclusive demos, commentaries, interviews and much more.
The special anniversary editions are a celebration of the original 1970 concept double album and its continued success spanning 50 years. With the new editions all having been re-mastered at Abbey Road, fans have a great selection to choose from.

Penny Records presents the vinyl version of the soundtrack from the TV Series "Anna" written and directed by Niccolò Ammaniti. Fueled by Niccolò Ammaniti's passionate and immersive creative style, the score for 'Anna' was approached almost as a character study. 'Anna' exposes a world of extreme conditions where the essentials of human existence flourish in a wide range of emotions and sentiments tainted through the eyes of children. Striking brutality and primal savagery go hand in hand with the beauty of innocence and hope. Rauelsson's musical language for 'Anna' includes tense and spare textures that blend seamlessly with intimate ambient minimalism; classical elements that coexist with electronic drone experimentation and tribal rhythms, candid piano melodies buried in tape loops and otherworldly rituals of wordless voices. To arrive at this music landscape, Rauelsson enlisted an international cast of collaborators including Finnish percussionist Tatu Rönkkö, German cellist Anne Müller, American multi-instrumentalist Peter Broderick and Oslo-based vocalist Simin Tander. With this ensemble, Rauelsson's music documents a journey of survival that highlights the power of imagination and love.

Credits:

Music by Raúl Pastor Medall except A3 (Salvatore Cardillo, lyrics by Riccardo Cordiferro), A5 (Raúl Pastor Medall, Peter Broderick and Anne Müller), B3 (Raúl Pastor Medall and Anne Müller) and A2, B1, B2 (Raúl Pastor Medall and Tatu Rönkkö)

Played by Peter Broderick (Violin), Anne Müller (Cello), Raúl Pastor Medall (Piano, Electric Piano, Synthesizers, Electronics), Tatu Rönkkö (Drums, Percussion) and Simin Tander (Voice) with additional contributions from Christoph Berg (Violin), Aisha Burns (Violin) and Giulia Dragotto (Voice)

Recorded in 2020 at Rockaway Studios (Castelló, Spain; engineered by Raúl Artana), Niu (Benicàssim, Spain; engineered by Raúl Pastor Medall), Old House at Galgeberg (Oslo, Norway; engineered by Olav Torget), Tanum Church (Bærum, Norway; engineered by Olav Torget) and Indigo Studios (Palermo, Italy; engineered by Fabio Rizzo)

Additional recordings by Peter Broderick (Co. Galway, Ireland), Anne Müller (Berlin, Germany) and Tatu Rönkkö (Helsinki, Finland)

Produced by Raúl Pastor Medall and Niccolò Ammaniti. Mixed by Raúl Pastor Medall and Adam Selzer at Niu and Type Foundry (Portland, OR). Mastered by Adam Gonsalves and Adam Selzer at Telegraph Audio Mastering (Portland, OR). Lacquer mastercut by Andreas LUPO Lubich at Loop-O (Berlin, Germany). Artwork by Emiliano "Stand" Cataldo.

4LP & 2CD Genesis Hits package to coincide with the bands UK tour in September 2021 with 3 sold out shows at London’s 02 Arena. This will be Genesis’s first tour in over 13 years with the classic line up of Mike Rutherford, Tony Banks & Phil Collins. They have sold around 100 million albums worldwide with over 20 top 40 UK hits with songs such as Follow You Follow Me, Turn It On Again, Mama, I Can’t Dance and many more. Genesis have won awards over the years at the American Music Awards, Grammy Awards, Ivor Novello Awards and a Lifetime Achievement at the Progressive Music Awards. The track list is made up of the songs the band have been performing in rehearsals and will make up the majority of the setlist during the gigs, the title of the release is the same as the tour. 4LP set is to be housed in a hardback gatefold book-style package, this will include classic images of the band, rare and unseen images from their archive & images of the rehearsal and the stage used for the gigs.

Kamarads Records is finally back
and presents its second release made with four European producers from France & Italy,
Jef K, icon of the Parisian house has collaborated on a track with Ilyes from the new generation of electronic producers based in France and you will also find Reda Dare who you already know, an important component of the new landscape of French house.
For Italians: Nicola Brusegan, ambassador and prolific producer of a fresh and romantic vintage deep house, made of analog synths and Mpc grooves and textures from Venice, and Laurent Ci who produced more of a minimalist house tinted with Romanian atmosphere and atmospheres.
The second Kamarads reference will be a Vinyl Only.

A Mountain Of One are set to return to the musical landscape with their brand new track “Custard’s Last Stand”, released 30th July through new label AMORE via Above Board distribution. It is the first new piece of music the band have released in over a decade.

”Custard’s Last Stand” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, it is a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own.

“Custard’s Last Stand” EP is out 27th August, and will come with an incredible Denis Bovell Dub Remix, as well as another new track “Stars, Planets, Dust, Me”. The full EP package will come with a dub remix from musical pioneer Dennis Bovell.

The forthcoming album will be released this autumn. The whole project has been mastered then remixed for a forthcoming album by the legendary Ricardo Villalobos.

When they first started performing, they quickly became one of the most-acclaimed bands out there, with the likes of i-D, Sunday Times Culture, Pitchfork, NME and more raving about them and their inspired and original approach, led by Mo and Zeben’s almost telepathic understanding.

Sold-out shows and awesome reviews followed with “Collected Works” and “Institute of Joy”, two phenomenal records that have stood the test of time, criss-crossing folk, jazz, dance, rock and psychedelia.

A Mountain Of One have collaborated to create a coming together of music and virtual reality. With NYX VX, the band have developed a virtual world, one that will help provide inspired opportunities for artists looking to identify, connect and engage with audiences on multiple levels. This is the first stage of a new world that people will be building out and inhabiting, as venue for performances, home for musical and visual archives, space for play and exploration. Welcome to 'Stars, Planets, Dust, Me'.

For its 30th Anniversary, Pixies’ 1991 album ‘Trompe
Le Monde’ is reissued on marbled green vinyl.
 ‘Trompe Le Monde’ bookended a golden run of
landmark records - a mini-album followed by four
albums, released in quick succession - that cemented
Pixies as one of the best for a generation.
 Translated from French to mean ‘fool the world’,
‘Trompe Le Monde’ showed the band still restless to
push their sound forward. Recorded between Burbank,
Paris and London, with producer Gil Norton again at
the controls, their fourth album is arguably their most
playful, with Black Francis’s lyrics on UFOs and
conspiracy theories keeping things weird while power
pop creeps in to amplify the space rock established on
predecessor ‘Bossanova’.
 Featuring singles ‘Planet of Sound’, ‘Alec Eiffel’, ‘Letter
to Memphis’ and a flawless cover of The Jesus and
Mary Chain’s ‘Head On’, ‘Trompe Le Monde’ goes full
throttle with 15 tracks coming in a quickfire 40-minute
salvo. Receiving critical praise at the time and being
supported by a huge tour that included playing
stadiums with U2, it also proved to be the end of Act
One for the band, with them taking over a decade
before returning to the stage together.

Kamana is a multiformat release inspired by and channeling the culture and traditions of the Aeta, an indigenous group from the Zambales region in the Philippines. One of the oldest inhabitants of the region the Aetas are also some of the most fascinating and ancient nomadic and hunter gathering cultures. The release goes from the realms of the
real to the imaginary, from transcription to syncretism, from concrete to abstract. An (un)real Sonic Exorcism filled with Ancestral Frequencies, Haunted Ghosts and other animistic spirits roaming the Pinatubo forests.
The release features a series of materials released in different formats from the Field recording digital only release, an LP and CD release to a special 7inch vinyl featuring an Interview with a bat hunter.
“Kamana is a long due homage to the Aeta community that hosted me a few years back, fascinated by the endurance of these people and their connection to their land, devastated by the eruption of the Pinatubo volcano in 1991, they continued to go back to their ancestral lands surviving on basic agriculture and hunting bats and wild pigs. Living with them for weeks, I managed to capture some essential field recordings and sounds that form and com- pose the basis for this release, from the more reprocessed and interpreted LP release to the pure field recording documentation of the digital release. It is meant to be accessible to all and provide a window to the livelihoods of these unique communities. For this reason, this release serves as both an archival document and a syncretic one, trying to channel memories and feelings of living in these jungles whilst listening to their stories as well as witnessing their lifestyles.”
Carlos Casas, 2021

Assemble Music returns in 2021 with its 25th release: a 5-track heavyweight compilation featuring a handful of the finest electronic acts in Portugal and two well sought after internationals.
Population One a.k.a. Terrence Dixon, having released in iconic labels such as Metroplex, Tresor, Rush Hour and Jeff Mills’ imprint Axis in the last decades, kicks off this record with ‘Unfolding’ some Detroit Techno cargo (A1), followed by a hypnotizing, spiraling acidic Techno bomb - ‘Acid Grind’ (A2) - courtesy of the Algarve duo Roundhouse Kick. Prolific Portuguese DJ and producer, formerly based in The Netherlands, Lake Haze finishes off this first side with the Electro infused, twisted ‘Acid Warfare’ (A3).
Over to the B side, Roma Zuckerman, originally from Siberia and also releasing a double LP on Nina Kraviz’s трип this year, pulls off a classic fast-paced Acid groove on ‘We Call Its Acidomine’ (B1), while the Lisbon duo 2Jack4U takes us to a dream party land with the anthem ‘Acid 00010’ (B2)
Surely a must-have tool for an upcoming post-pandemic rave!

Hold onto your hats! The Allergies are back in the building. Yes, the UK beatmakers have got an absolute one-two punch with this new 7" single, as both sides are fire-in-the-hole, future classics in the making, ready to soothe your soul and ignite the party.

Leading the way is the vintage funk and beefed-up breaks bomb, 'Love Somebody'. A mix of crazy up-tempo grooves and loops, snatches of reworked soul samples, deft scratching, and dancefloor energy up the wazoo. It's that unique Allergies signature sound, with a whole new splash of club-rocking polish smothered on top.

Oh, my… And holding its own on the B-side of this release is the title track from that feverishly anticipated full length album, 'Promised Land'. This beaty, meaty, Moby meets Fatboy Slim-style anthem, will have your loins stirred, and feet tapping with its next-level sampling skills, and hugs-all-around, end-of-a-festival wonderment.

David Morales’ legendary track ‘Needin U’ is a landmark in house music culture all the way from its release in 1998 and remains a seminal classic in dance music history. In celebration of the tracks 23rd Anniversary, French artist/producer Dimitri From Paris has created yet another thrilling remix of The Face vs. Mark Brown's previous version of ‘Needin U’, released in 2009 via Cr2, via this limited red vinyl pressing and picture sleeve release.

With plenty of calibre under his belt, including disco remixes of Chic and Sister Sledge, Dimitri From Paris’ take on this all-time house classic is not only marked by his acclaimed signature sound - live instrumentation, booming four to floor beat, dynamic rhythms and energising bass lines, but the fabric of David Morales’ legendary track is evident throughout. Whether for the casual dance music fan, household DJ or an enthusiast for the all-time classics, this remix is a must listen.

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom
and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike
some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-godsforbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan
favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative
versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love’s Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the
intoxicating single “Windowpane”, original versions of the later Coil live staple “Teenage Lightning” and the majestically warped
classicisms of “Chaostrophy”. Marc Almond guests on the typhonian “Titan Arch” and This Heat’s Charles Hayward provides
some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton
cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and
new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far
ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the
early 90s.

Composer and saxophonist Brian Brown produced some of the most refined Australian jazz recordings during the 1970s. A versatile musician whose distinct impressionist music melded modern jazz with the outer limits of free experimentation. Considered to be his greatest work was the 1975 concept album Carlton Streets, an ambitious recording that romanticised the sights, sounds and the nostalgia of this once-bohemian Melbourne neighbourhood. Differing from his eco-jazz composition Wildflowers heard on the recent Roundtable compilation Pyramid Pieces, Carlton Streets explores the polar opposite, offering jazz impressions of the urban environment. Comparable to other pioneering jazz-rock groups such as Ian Carr's Nucleus and mid-period Soft Machine, the album is a mosaic of ecstatic jazz-rock groove, spirited free improvisation and expanded experimental textures. A potent fusion that owes as much to Australian 20th-century avant-garde composers as it does to the influence of the electric jazz innovators, specifically early Weather Report and Herbie Hancock's Mwandishi. The Roundtable are pleased to showcase this important artist and offer a new edition of this landmark Australian jazz recording. Restored from the original master tapes and presented in a gatefold sleeve including liner notes and rare photos. Released for Record Store Day 2021.

‘Concordance’ is Susan Howe’s and David Grubbs’s fifth album in the
fifteen years of their unexpected and richly satisfying collaboration. Here
they’ve pared down their materials to voice and piano, aspiring to the
hushed intensity of their live performances. What had previously resulted
from Grubbs’s recomposition of recorded materials now arrives as
unadorned duo performance.
“Howe is a poet who has spent her career reminding us that our
experiences of meaning and sound are synchronous.” - Tess Taylor, The
New York Times
‘Concordance’ is Susan Howe’s and David Grubbs’s fifth album in the
unexpected and richly satisfying collaboration that began with ‘Thiefth’
and includes ‘Souls of the Labadie Tract’, ‘Frolic Architecture’ and
‘WOODSLIPPERCOUNTERCLATTER’. Where these works feature the
fragmentation and multiplication of Howe’s recorded voice - in a style
akin to her celebrated text collages - with ‘Concordance’ they’ve pared
down their materials to voice and piano, aspiring to the hushed intensity
of their live performances. After fifteen years of working together, the
subtleties of inflection and interaction that previously resulted from
Howe’s nuanced delivery and Grubbs’s composition using recorded
materials now arrives as unadorned duo performance.
One of America's greatest living artists, Bollingen Prize-winning poet
Susan Howe’s text for ‘Concordance’ originates in a collage poem of the
same name published by Grenfell Press, which then became the title
work in her most recent book, published to acclaim by New Directions in
2020. She has continued to rework the text for this performed version,
incorporating material from her 2015 book of essays, ‘The Quarry’. Her
source material is scissored from print concordances of the poetry of
Milton, Herbert, Arnold, Browning, Dickinson and Coleridge, as well as
old field guides to birds, rocks, trees, moths and mushrooms; Howe’s
fiery commitment to placing these echoes of the past in dialogue with the
present speaks to her position as one of America’s essential artists.
David Grubbs is Professor Of Music at Brooklyn College and The
Graduate Center, CUNY. He is the author of ‘The Voice in the
Headphones’, ‘Now that the audience is assembled’ and ‘Records Ruin
the Landscape: John Cage, the Sixties, and Sound Recording’ (all
published by Duke University Press) and, with Anthony McCall,
Simultaneous Soloists (Pioneer Works Press). Grubbs has played in
Gastr del Sol, The Red Krayola and Squirrel Bait and performed with
Tony Conrad, Pauline Oliveros and Will Oldham, among many others.

Charlie Parr’s album, ‘Last of the Better Days Ahead’, is a collection of
powerful new songs about how one looks back on a life lived, as well as
forward on what’s still to come.
Its spare production foregrounds Parr’s poetic lyricism, his expressive, gritty
voice ringing clear over deft acoustic guitar playing that references folk and
blues motifs in Parr’s own exploratory, idiosyncratic style.
When it comes to what it all means, Parr says it best: “Last of the Better Days
Ahead is a way for me to refer to the times I’m living in. I’m getting on in years,
experiencing a shift in perspective that was once described by my mom as ‘a
time when we turn from gazing into the future to gazing back at the past, as
if we’re adrift in the current, slowly turning around.’ Some songs came from
meditations on the fact that the portion of our brain devoted to memory is also
the portion responsible for imagination, and what that entails for the collected
experiences that we refer to as our lives.
Other songs are cultivated primarily from the imagination, but also contain
memories of what may be a real landscape, or at least one inspired by vivid dreaming. The album represents one full rotation of the boat in which we
are adrift looking ahead for a last look at the better days to come, then being
turned around to see the leading edge of the past as it fades into the foggy
dreamscape of our real and imagined histories.”
“Like John Hartford jamming with St Francis of Assisi, Parr strikes a fine balance between immense generosity toward humanity and barely contained
outrage towards humanity’s tendency towards coldness and conformity.” 8/10
Uncut
“Hypnotic stories of low-key endurance and universal questions, like Raymond
Carver’s fiction set to a louch, crystal-clear soundtrack” **** Mojo

The second release in the Slavonic Trilogy reissue series. Sventevith (Storming Near the Baltic) is the debut studio album by Polish extreme metal band Behemoth; originally released in April 1995. The 2021 reissue is beautifully packaged and is available on the following formats: Digital, 2 CD media book, and a gatefold 2 LP. Physical formats include bonus audio material and booklets containing exclusive archival content.

The second release in the Slavonic Trilogy reissue series. Sventevith (Storming Near the Baltic) is the debut studio album by Polish extreme metal band Behemoth; originally released in April 1995. The 2021 reissue is beautifully packaged and is available on the following formats: Digital, 2 CD media book, and a gatefold 2 LP. Physical formats include bonus audio material and booklets containing exclusive archival content.

The Wicker Man soundtrack has achieved huge cult status over the years, it has certainly proved to be a major influence on neofolk and psychedelic folk artists ever since the film first appeared in cinemas in 1973.

The soundtrack’s songs were performed by the band Magnet. The band was assembled by musician Gary Carpenter (the film's associate musical director) to perform songs composed by

New York songwriter Paul Giovanni. Giovanni had always planned to release the songs recorded for his soundtrack, firmly believing them to be worthy of existing as an album in their own right.

Of course, this never happened, mostly due to the film’s troubled past, and consequently all of the existing soundtrack albums that have been previously released have included extra incidental music from the film.

So, this edition is the final word in the long history of this influential soundtrack, the songs recorded with Paul Giovanni by Magnet are presented here as an album,

just as Giovanni himself intended. This definitive version of The Wicker Man has only previously been available as a special edition released in 2013 to celebrate the

40th Anniversary of the release of the film. For that release Silva Screen commissioned artist Richey Beckett to create a brand new image for the cover of a one-off pressing on vinyl,

and that edition is long sold out and has become sought after.

This newly put together Silva Screen release features new artwork, extended notes, a gatefold sleeve and is pressed on yellow vinyl.

‘The Ultra Vivid Lament’ is the 14th studio album from Manic Street Preachers. It is both reflection and reaction - a record that gazes in isolation across a cluttered room, fogged by often painful memories, to focus on an open window framing a gleaming vista of land melting into sea and endless sky.

Musically ‘The Ultra Vivid Lament’ is inspired by a formative years record box (ABBA, post-Eno Roxy, the Bunnymen, Fables-era REM, Lodger) though the end result could only be the unique union of James Dean Bradfield, Nicky Wire and Sean Moore, collectively one of the UK’s most consistently brilliant rock’n’roll bands for over three decades.

Children of Silk, originally released in 2015 is the second EP by Sevdaliza, who cited textures such as skin, glass, and silk as the main inspiration behind the EP. “Marilyn Monroe” served as the lead single from the EP and gained critical acclaim. ”Men of Glass” features Atlantic rapper Rome Fortune.

In just a few years time Sevdaliza established herself as an iconic, highly creative, versatile and independent artist who has landed on many celebrity moodboards. Her stunning visual for HUMAN of her debut album ISON has collected over 25 million YouTube views to date and masterpiece Shahmaran about mental slavery, won 2 UK Music Video Awards. Sevdaliza toured 35 countries in the last 5 years and amassed thousands of fans globally (Spotify
200.000, Youtube, 300.000, IG 230.000). In 2020 Sevdaliza returned with her
follow up album Shabrang.

Children Of Silk is now available on vinyl for the first time. This is a limited
edition of 2000 individually numbered copies on gold coloured vinyl.

The Suspended Kid is Sevdaliza’s debut EP, originally released in 2015 via her own record label Twisted Elegance. When asked about the meaning behind the EP’s title, Sevdaliza responded:

“The title is how people responded to me in social situations. I realized that those things that deflect me from social situations — not getting along with your coach or your boss or whatever — it made me realize I had to choose a different path.”

In just a few years time Sevdaliza established herself as an iconic, highly creative, versatile and independent artist who has landed on many celebrity moodboards. Her stunning visual for HUMAN of her debut album ISON has collected over 25 million YouTube views to date and masterpiece Shahmaran about mental slavery, won 2 UK Music Video Awards. Sevdaliza toured 35 countries in the last 5 years and amassed thousands of fans globally (Spotify
200.000, Youtube, 300.000, IG 230.000). In 2020 Sevdaliza returned with her follow up album Shabrang.

With a music career spanning more than 40 years, David Ferguson has engineered landmark albums for Johnny Cash, opened a recording studio with John Prine, and shared a Grammy win with Sturgill Simpson. Now the Nashville native has become a compelling recording artist in his own right with Nashville No More , his debut album on Fat Possum Records. The self - produced project gathers an exceptional cast of friends from the city’s Americana and bluegrass community, while the track listing is simply a reflection of songs he likes. Ferguson has won Grammy Awards for engineering the Del McCoury Band’s The Streets of Baltimore and Sturgill Simpson’s A Sailor’ s Guide to Earth .

In 1970, Kevin and David met whilst they were working in the Labour Exchange Office on Aytoun St, Manchester. Both played guitar and had been searching for other musicians who played atmospheric music. Kevin had been playing in small clubs in Manchester and David performed in a few local bands. One evening, they jammed together at Kevin’s family home, and quickly realized that their playing blended together to form the basis of the sound they had been looking for. In the late ‘70s, the music scene in Manchester was bursting with new bands and music.

However, Kevin and David had little in common with the local acts, being disciples of a more meditative approach. They followed a path of their own, reaching for an otherworldly sound that they heard from artists like John Martyn, David Crosby, Erik Satie, Terry Riley, Eberhard Weber, Alice Coltrane, and Ralph Towner. They experimented combining their acoustic guitars and David’s bass with various effects pedals and techniques to try and achieve a warm and expansive sound that rides the line between ambient, jazz, and psychedelic folk Music.

Towards 1981, they had written eleven songs and accompanied a few with Moog synthesizer laid down by Rob Baxter. All were recorded on cassette decks in their simple home studios. They named this collection of music “Light Patterns”, after a poem Kevin had written. With Light Patterns complete, they set out to find a label to represent their music. They started playing a few gigs in Manchester; Band On The Wall, the Gallery, and other venues, such as Rotters which local promoter Alan Wise had organized. They set up with small amps along with their effects and played as though they were back at home. As Kevin remarks, “It was unusual, to say the least, to play such venues in a low volume chilled out way. However, people listened, often in shocked curiosity, and some even asked for tapes.”

Peter Jenner, of Blackhill Enterprises, eventually picked up the album for his new label, “Sheet”. Peter had managed lots of experimental bands and solo artists, including Pink Floyd in their early Syd Barrett days. He always favored outsiders! The tapes were taken to Strawberry Recording Studios in Manchester, who were surprised when Kevin and David walked in with just a couple of home-produced cassette tapes. Fortunately, they liked them and agreed to master the album. It was then sent to Portland Recording Studios in London for final mastering to vinyl. George Peckham, aka “Porky”, did the pressing with a personal message in the deadwax; “Kaftans, Candles and be Cool Man”. The artwork for the album cover was done by the late Barney Bubbles, a truly visionary artist.

After the album’s release, the pair continued to play together regularly until David moved away from the city. Kevin still resides near Manchester in the rolling hills outside of the city. He continues to experiment with dreamy music in his loft, and we are set to share a selection of his ethereal archival and current compositions in the coming months. David lives a quiet life in a small coastal town in the South, he likes to sail and is an avid cricket fan. We’re excited to make Light Patterns accessible again for the first time in nearly 40 years, remastered from the original tapes. As the original press release said, “Put the album on, lie back and enter the land of no floors”.

Dublin rising star Sputnik One lands on Facta and K-LONE’s Wisdom Teeth with his most accomplished record yet: a flawless four-tracker of mutant dancefloor gear that draws on broken UK techno, psychedelic tribal, footwork and ravey post-hardcore. Fans of his standout outing on Well Street Recordsearlier this year will have a good idea of what to expect here: uniquely voiced and refreshingly forward-thinking bass-heavy club tracks at a range of tempos, all unified by a distinct sonic palette that pits glossy digital synths against raw organic samples and found sounds. There are echoes of Shackleton and Olof Dreijer in ‘Love From Above’ and ‘Michael Cera’, whilst ‘Microbead’ and ‘Powder’ offer refreshed and refined takes on modern post-dubstep / post-hardcore club styles. Across the record the tempo creeps from 130 to 150, keeping all bases covered as late summer ravers migrate towards darker autumn dancefloors.

DEEWEE ‘s new releases now worked with Because Music. Formed in 2012, Asa Moto purvey non-standard body music from their Ghent outpost, Studio Martino. Closely affiliated with famed Soulwax imprint, DEEWEE, the Belgian duo’s recorded offerings carefully juxtapose expert synth-work with aesthetic imperfection. Charming melodies and throbbing rhythms come courtesy of archaic tone generators and acoustic instrumentation alike, landing Asa Moto in a zone of confident sonic idiosyncrasy. Their studio prowess has hardly gone unnoticed and during their breakout year of 2018, Resident Advisor, Redbull and the BBC were quick to take note of the group’s steady ascent. Via their ever-changing live performances, Asa Moto have become regular fixtures on the European touring circuit, touching down for club nights and festival appearances across the continent. As astute selectors, they operate a bi-monthly radio show in Brussels, digging into their sprawling collection, ranging from obscure jazz records to contemporary electronic cuts. Asa Moto have re-adapted their unmistakable strain of body music into a live show, which premiered on the Mainstage of the Lokerse Feesten 2019 and at the 40th anniversary of Ancienne Belgique in Brussels. In 2020, they co-produced and mixed the Turkish band, Altin Gün album 'Yol' marking the first time that the band has collaborated with outsiders.

First-ever vinyl issue of this killer comp from 94 (Cherry Red)

Side A/B oxblood, Side C/D milky clear. Comes with 18x24 folded poster. Spanning 4 sides of vinyl you'll hear one of the finest deathrock/goth/new wave bands of all time with songs from EPs/12"s/demos from 1983-1985. It's a release not to miss.

Formed in Keighley, West Yorkshire, during the Post Punk of early 1980’s out of the band ‘The Elements”, took their name from the title of the song “Chant of the Ever Circling Skeletal Family” from the 1974 David Bowie album, Diamond Dogs.
Something unique was brewing up a dark and broody storm in West Yorkshire at the time with bands like The Sisters Of Mercy, The March Violets, Red Lorry Yellow Lorry, Southern Death Cult (later became The Cult) forming the basis of what became the soundtracks to the Goth Subculture.
Skeletal Family soon gained popularity in the UK Independent Charts and furiously gigged the length and breadth of the UK and Europe, recorded tracks for the John Peels Sessions, supported The Sisters of Mercy during their 1984 Black October tour, released 2 studio albums ‘Burning Oil’ (1984) and ‘Futile Combat’ (1985) of which saw the release of Skeletal Family’s most successful single ‘Promised Land’ on Red Rhino record label.
Anne-Marie left Skeletal Family in 1985 to form Ghost Dance with Gary Marx, former guitarist of The Sisters Of Mercy.

Canadian collective The Hello Darlins, dubbed “the Broken Social Scene of
Americana”, release their first full-length LP Go By Feel on June 11, 2021.
With over 500,000 combined Spotify streams for their initial three singles, it’s
safe to say there’s a lot of anticipation for their debut album. The buzz began
building almost immediately after the Calgary, Alberta-based Americana collective debuted on the scene in early 2020, with American Songwriter calling the
group “the product of a talented pool of session musicians craving more,” while
Americana UK stated, “It’s great to see a band put together by the talented
folks who would usually be ‘behind the scenes.’”
So, who exactly are The Hello Darlins? The seeds of the band took root in 2016
when vocalist/producer Candace Lacina crossed paths again with keyboardist/
producer Mike Little after first meeting at a recording studio years earlier. Once
reconnected, they soon found themselves making music together in between
their work with other artists, an impressive list that ranges from Shania Twain
to Charlie Major, The Road Hammers to George Canyon as well as the late B.B.
King.
In short order, the couple began inviting others within their circle to participate, including Murray Pulver (Crash Test Dummies), Clay- ton Bellamy (The
Road Hammers), Matt Andersen, Dave and Joey Landreth (aka The Bros. Landreth), Russell Broom (Jann Arden), and ace fiddler Shane Guse.
On Go By Feel, this incredible collection of talent has forged a hybrid of country,
gospel and blues like no other, from the heart-wrenching ballads “Aberdeen”
and “Prayer For A Sparrow” to the classic country-rocker “Mountain Time” and
the album’s soulful title track.
Making music influenced by times of joy and sorrow is natural for Candace and
Mike, as both come from families with long musical traditions within Canada.
It all adds up to The Hello Darlins preferring to add “North” to the Americana
genre, a more than symbolic gesture that’s in line with a musical vision that will
continue to evolve as soon as the band gets a chance to play live with a lineup that could potentially consist of anywhere between five to nine players on
stage.
Until then, audiences will now be able to fully savour the tunes, musicianship
and production of Go By Feel, proof positive that teamwork ultimately leads to
exceptional results.

'A Mythology of Circles' is the new album from Brooklyn-based composer and musical artist Faten Kanaan, her first to be released on Fire Records. Cyclical patterns and 'variation through repetition' are central to Faten's music. Harmony and counterpoint are composed intuitively and treated as narrative tools- with sound, silence, and the resulting mystical relationship between notes used as gestures to tell a wordless story. The album is separated into a 'dusk to evening' side, and an 'underworld/dream-state' side; highlighting the myths of Ishtar, Inanna, Orpheus, Persephone, and others. Inspired by cinematic forms and mythological story structures: from sweeping landscapes and quiet romances, to patterned tensions and dream sequences; Faten brings an earthy, visceral touch to electronic music. In symbiosis with technology is an appreciation for the vulnerability of human limitations and nuances. All the sections are played in real time, neither looped nor sequenced- allowing for subtle changes to unfold. The use of VST sampled choral voices in this album embodies the forlorn state of technological acceleration, and the desire to return to a vulnerable human sound. The album art also explores a complicated relationship with technology: the statue comes from a series of digital replicas, returning in its last stage to a more intimate and handmade feel. Composed, produced and mixed by Faten Kanaan, the album was mastered by Heba Kadry (Bjork, Ryuichi Sakamoto, Julianna Barwick). "Strangely haunting yet beautiful bouquet of nocturnal, electronic blooms ranging from poignant ambient vignettes to chamber-like pop, from Brooklyn's Faten Kanaan- a gifted musical story-teller" Boomkat