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Dreams, Pains & Paper Planes will be Pixey’s first longer form project since the glittering Sunshine State EP arrived in October 2021, which had followed her hugely acclaimed early-2021 debut EP for Chess Club, Free To Live In Colour. The Sunshine State EP’s lead single and title track was crowned Tune Of The Week by Jack Saunders at BBC Radio 1, and received further airplay from Clara Amfo (who also had the EP’s second single ‘Take Me On’ on regular rotation), Mollie King in her Best New Pop playlist and Introducing’s Gemma Bradley. The EP was awarded a second consecutive 5* review from Dork Magazine who subsequently placed Pixey on the 2022 Hype List, to add to her list of accolades including The Sunday Times’ Breaking Act, Notion’s Internet Crush, The Daily Star’s Rising Star, and DIY’s Neu artist.



Commenting on the mini-album, Pixey says: “Dreams, Pains & Paper Planes is my biggest release to date. The majority of the record was written, recorded and produced by myself in my bedroom, alongside a couple of studio tracks. Genre bending was something I wanted to experiment with, tailoring to the moods of each song but still keeping to the core big beat elements. I wanted to write a record that kept a sunny sound but was more anxious lyrically. More than anything, I want the listener to feel like they can dip into an alternate world for a while, whether it’s comforting or not”

IDK says of USEE4YOURSELF, his second album and the sequel to his 2019 debut Is He Real?. The project sees Jay reflect upon how the lack of love in his home growing up has affected his views on relationships, women, and lastly, religion—tying back to the theological themes of Is He Real?.
US4Y features more ambitious production than IDK’s past releases, showcasing how he could be viewed as a producer before a rapper—which he himself has touched upon in tweets. It also boasts an impressive feature list of twelve other artists ranging from Slick Rick to Young Thug to MF DOOM to T-Pain. Furthermore, US4Y includes uncredited spoken appearances from DMX, Mike Tyson and others

Almost immediately, Daniel instigated a near legendary run of new albums, releasing 10 full-length albums in the span of nearly the same number of weeks. Genre- spanning, astoundingly distinct artist achievements of an unprecedented order, these albums were originally released exclusively in digital only formats on
Bandcamp. They were direct and immediate missives from one of the most talented, prolific, ambitious, and exciting artists of his generation. We are thrilled to be releasing these albums now in very special limited-edition vinyl pressings. At the heights of ambition, Daniel Romano's Outfit deliver a wandering spell of
melodic backbone, accompanied by percussionist extraordinaire Danny Carey (of TOOL fame). Rising in union with the first pounding hearts of dawn, up and down the arcades of devotion and on through the sunset, where the earth-life fades, Forever Love's Fool is a single hard- edged, complex, multi- part epic (an approach the band
would later develop even further on 2022's stunning La Luna release). It is intricate, precise, energetic music tied to a progressive rock inspired universal vision. Onward into the furthest reaches of love eternal.

Antipodean Anomalies 2 is Left Ear Records' most ambitious project to date, a compilation that took over 4 years to license and includes 17 artists across a double LP. AA2 picks up where the first iteration left off, with co-compilers Chris Bonato and& Bridget Small continuing to dig through the music of the geographically isolating and maverick landscapes of Australia and& New Zealand.

As with the first iteration, Left Ear continues its to excavation ofe the music from these vast micro-scenes that evolved out of a number of small community-focused domains, creating their own unique reinterpretation of musical influences from near and far, spanning the years 1980 – 1992.

The compilation scopes an overlooked epoch from Adelaide, presenting acts such as the DNA Lounge, TCH & Will Kuiper. A close-knit community of like-minded mates that made distinctive electronic music together throughout the 80’s, all of which remained unreleased until now. Holbrook Buchanan capture the ambiance of Perth’s heat prodded afternoon’s perfectly with their track Hunger, a breezy 9-minute minimal-jazz jam that includes kalimba, water samples & conga. Furthermore, artists like David Watson & Colin Offord use samplers and handmade instruments to offer a more abrasive and experimental aesthetic.

To round out the compilation, artists such as Jane Stevenson, discovered a 7” at an op-shop and found the needle stuck on the word, ‘Aloha’. Using tape loops, she chose to highlight imperfections rather than hide them and in unison managed to cross boundaries of time; the 60s (album voice) and the 80s (my voice), of location; Hawaii and Australia, and of language; “Aloha and Hi”. This ethos echoes the compilation's vision, to champion artists that implement impromptu creativity, and who have a desire to create regardless of their surroundings and resources. AA2 signs off with the Back to Back Zithers, drawing inspiration from the haiku poems of Basho. To illustrate this, Kari set a Kacapi improvisation to the backdrop of the cicada chorus of summertime in outer Melbourne.

chant#11 is the first VA compilation by David August's imprint featuring KMRU, Yu Su, Kareem Lotfy, Hadj Sameer, Sara Berts and more. Including also two new projects by August himself, Aşa (with jazz-noise vocalist Cansu Tanrikulu) and Madrā (with Carnatic vocalist Sushma Soma).

Observing how the world is continuously transforming, an idea of motion comes to mind. Inspired by Plato's concept of movement ("Nothing ever is, everything is becoming"), 99CHANTS has invited artists to create an "imaginary landscape." What does tomorrow sound like?

With creativity an increasing part of our daily lives, we must consider how we navigate the changes this contemporary environment brings. This means thinking through our responsibilities as a label, but also the role of music at this particular moment in time. We believe creativity and looking within our interior worlds can set hope and action in motion. We are curious to further explore music's ability to create gateways to such inspiration. With humility and gratitude, we hope this compilation can be a small contribution to a larger picture.

Since we started 99C in 2018, the safeguarding of the environment has been paramount to our existence. Considering the possibilities of tangible impact, we thoughtfully considered the act of compensation and decided that all proceeds will go directly to the non-profit organisation ONETREEPLANTED. Founded in 2014, OTP works with partners around the globe to plant trees in areas affected by deforestation. With 10 million trees planted as of 2020, biodiversity has been stimulated, jobs have been created, and while multinational conglomerates and energy companies produce the vast majority of global CO2 emissions, areas destroyed in the name of profit can once again flourish with life.

Some 30 years after first putting on a slab of vinyl in front of an audience Belgian DJ mainstay Red D presents his debut album called ‘Fantasize Then Realize’ under his Red Basics guise. An experienced and versatile DJ if ever there is one, it was logical that his album takes in a wealth of influences from around the house and techno block and features some of his best musical friends and inspirations. From his ‘go to’ singer Lady Linn, to his musical friend and partner in FCL San Soda via Belgian stronghold Lefto, to his Detroit buddy Reggie Dokes: these are the people Red D has been working with and learning from for years on end.

The music ranges from the dreamy beatless title track to the sleazy spoken word ‘Just Like Hercules’ up to the Larry Heard-inspired deepness ‘Compelled’ and including the melancholy of ‘The Larkin’.

Locked down during the first months of the Covid 19 madness Red D had no more ‘I’m too busy to get into the studio’ excuses and all the inspiration gathered during the countless hours of DJ’ing and listening to records in the last 30 years simply poured out. Making track after track was daily (and nightly) business and after a while the idea of a full album simply came naturally. The next lockdowns were spent fine-tuning the tracks, coming up with lyrics and finalizing the tracklist.

The result is ‘Fantasize Then Realize’, Red D’s debut album and a testament to his sound and attitude.



DJ FEEDBACK:

Mousse T:”22 Shoulders, hell yeah!”
Laurent Garnier: “Thanks a lot for these tracks. There’s some lovelyyyyyyy deeeeeepness in there. Love it.”
Levon Vincent: “I gave the LP a listen, nice one! I thought ‘Devious Monday’ was captivating and I liked the work with Classy Lassy as well. Congrats!”
Ka§par:"When a guys knows what he's doing, it sounds like it's real. Great tracks, loving it more and more the further we go."
Roberto Rodriguez: "Classy album! Red D quality!"
Nacho Marco: "Loving it, hard to pick a favorite. Thanks!!"
Kong: "Big up Bart, well done. Belgium = house = Red D!!"
Melon: "House music represent! Love it, feel it & gonna drop it. Great stuff :)"
Simon Caldwell: "Some really special house music on this album. Many thanks!!"
OOFT!: "Yes! This sounds amazing! Authentic underground house music just the way I like it :)"
Massimiliano Pagliara: "Nice tunes!"
Tomaz: "We all knew Bart knows where it's at but this is ridiculously good. Hard to pick a fave. The collabs are great, so are the ‘solo’ tracks. I picked the single with Lien as fave because that'll hopefully draw the deserved attention to the rest of the album. Top marks !"
Juliano: "Congrats for your album Bart ! love the deepness of the tracks and the authenticity you brought. Thank you"
Harri: "Liking these a lot, will play and support."
Alex Barck: "That's a great piece of work"
Quintessentials: "All around fantastic album! Congrats!"
Lauer: "Respect, amigo!"
Darko Esser: "Beautiful album, congrats mate great work!"

Emotionally, crafted by Brainislave Zivkovic and Andre Tschaskowski in 1986 for Coloursound, is arguably the most beautiful library album ever produced. A start-to-finish masterpiece of powerfully melodic music for reflection and introspection. It is, indeed, deeply emotional.

Branislave Zivkovic handles the majority of Side A. Opener "Morning Light" evokes exactly that feeling, with a gorgeous and plaintive acoustic guitar solo combining with alto flute to stunning effect. Its immediate counterpoint, "Sundown", in no less arresting but brings with it an after-dark drama of almost Lynchian proportions, again drawing upon guitar and flute but with a slightly more melancholic, even sinister edge, also calling to mind Ry Cooder's score for Paris, Texas. It truly captivates when the strings arrive. Remarkable.

The reflective cello solo with swelling strings at the heart of "Pastoral Walk 1" ensure this track is aptly titled, with parts 2 and 3 adding more agitation - via keys and percussive elements - to great effect. "In The Garden 1" presents an elegiac cello solo whilst its second part elevates the romance. The four-part "Soft Thoughts" suite invites further introspection via reflective alto flute and guitar. Fans of The Durutti Column will need to seek this.

Andre Tschaskowski enters proceedings with three tracks at the end of the Side A. All of them aces in the pack. "Grief", whilst sorrowful, uplifts in its second half through beautiful keys. Equally hopeful are the two-part "Personal Mood" sketches, both dreamy exercises in optimistic ambience.

Tschaskowski controls the entirety of Side B. "Woodland Mood", with its pastoral flute and cor anglais and "Reminiscence", with its classical, emotional strings, both beguile. The piano and strings-heavy "Sentimental View" suite is one of the most beautiful, atmospheric things you will ever hear, particularly its second part. "Moonset 1" with it's wonderful Joe Pass-esque guitar is tense yet easy, the beauty elevated further with the introduction of strings and horns. The more restrained "Moonset 2" is pared back to its divine, sweeping essence and should surely have been sampled by now. To close out an album of almost impossible refinement, the brief 2-part "Emotional Tension" salvo brings both increased stress before resolving itself and the LP with a piano motif and atmosphere of serenity. Blessed relief.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Emotionally comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Still transmitting from Lockdown in the UK. Banoffee Pies Records 14th release in the original series comes from London based ANGEL D'LITE. A deep passion for rave and NRG with an established high-octane approach to music, heavily influenced by hardcore and early pop bangers, her debut EP further reflecting this mood. Three heavy club tracks and a broken beat dubbed remix from JAY to round things off.

The A side is laced with harmonic 90's vocals and euphoric trance synth lines with two versions of "CRYSTALZ". The original, heavily packed with punching drum patterns and UK hardcore builds, followed neatly by the "DIAMANTÈ MIX". A nostalgic UK Garage take with building pads and rolling hats, partnered by murmuring emotional vocals. Perfect late night club fodder.

The B side flips the mood with "DANCE LIKE DOLPHIN" - the original version setting the tone for early AM adventures. Junglists, sonic communications and club lazers setting in throughout the growing euphoric 90's blends, aquatic frequencies and swirling sub bass. The remix from JAY, another London based producer, follows with an energy shift to a more minimal and rough edged depth of textures and colour, with splatters of surprise elements throughout. Everyone has a crystal and dolphin side right? Love core music from BP xx

Pink Vinyl
Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's Hello World immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's Beautiful You, a downtempo salve for DJ fatigue His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Ed- monton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft _ the tone, pacing, and dynamism of new material _ arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it. The album title borrows from the "release spirit" mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go- around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds _ including the classic Casio SK-1 presets he's used since the start _ mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. "I think it's my best sounding record to date." We begin on "HV Road" or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia's Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin's most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of "Lovely," a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of "3 pz" offer a cosmic/comic interlude and also speak to reflections on his family's move to Canada two generations ago, and the audio tutorials they used to learn English. "I can only imagine my grandpar- ents repeating some of the bizarre phrases." "Fountain, Growth" finds Khotin in collaboration with Montreal's Tess Roby (Dawn to Dawn) for the project's first-ever vocal track. Roby's soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of "Life Mask" and seamlessly reaching "Unlimited <3." The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of "Techno Creep," a hyperactive REM state before the digitized ambient sprawl of "My Same Size." In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded "Sound Gathering Trip" to soundtrack a genre of YouTube videos he's taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin's project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free.

Freestyle drops another 12" rarity from the annals of UK funk & boogie history - this time giving the sounds of VeiraKrew's "Sexy Lady" from 1985 a fresh new cut.

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Elvis Veira was born on the Carribean island of Nevis and moved to England alongside his pianist and music teacher mother at the age of 2, quickly becoming profficient on piano, guitar & bass by the time he was in his early teens. His love for playing music and singing in choirs propelled him on this musical journey, and his late teens to 20s saw him supporting top acts such Heatwave, Wham, Second Image, Katrina and the Waves, Mezzo Forte, Chris Rea, Shakatak and many others.

In 1983 he started working under the alias VeiraKrew, and a couple of years later in 1985 laid down this 12" at Bedford's Thatch Cottage Studio on a shoe-string budget. Backed up with the title-track's killer instrumental version and the b-side "Welcome to a Dream" it was self-released by Elvis on a x1000 run (since becoming quite the collectors item, with clean copies changing hands for up to £150 a piece).

Following the release of Sexy Lady, Elvis continued playing and working as a session musician and vocalist, going on to release a further 12" in 1988 signing to Stevie V's Beatbox International label for the house-inflected track "Good Stuff". Fast forwarding to present day, Elvis has had some time away from music but is now back actively playing and producing, alongside working with the OMG (Outreach Music Group) - helping to provide support and music therapy within the NHS.

AMP WALL MONUMENT CONFRONTATION critically engages with the imperialist history of the Otto von Bismarck Monument at the Deutsches Museum in Munich by re-contextualising it through sound and performance. For one day in June 2021, a sculpture made of 21 guitar amplifiers was installed in front of the monument, with seven electric guitars connected to it. Seven guitarists performed a four-hour drone composition.

Sides A and B comprise arrangements of the sound material recorded on site, taking up the structure of the score. Sides C and D feature interpretations of the same material by Lamin Fofana, Sarah Badr aka FRKTL, Elsa M'bala, Cedrik Fermont and Jay Glass Dubs. The LP is accompanied by a booklet with the original score and an essay by the Australian art historian Damian Lentini (curator, Haus der Kunst, Munich), which proposes further perspectives to a critical engagement with German colonial history and current polyphonic postcolonial discourses.

Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's Hello World immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's Beautiful You, a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Ed- monton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft _ the tone, pacing, and dynamism of new material _ arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it. The album title borrows from the "release spirit" mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go- around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds _ including the classic Casio SK-1 presets he's used since the start _ mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. "I think it's my best sounding record to date." We begin on "HV Road" or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia's Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin's most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of "Lovely," a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of "3 pz" offer a cosmic/comic interlude and also speak to reflections on his family's move to Canada two generations ago, and the audio tutorials they used to learn English. "I can only imagine my grandpar- ents repeating some of the bizarre phrases." "Fountain, Growth" finds Khotin in collaboration with Montreal's Tess Roby (Dawn to Dawn) for the project's first-ever vocal track. Roby's soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of "Life Mask" and seamlessly reaching "Unlimited <3." The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of "Techno Creep," a hyperactive REM state before the digitized ambient sprawl of "My Same Size." In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded "Sound Gathering Trip" to soundtrack a genre of YouTube videos he's taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin's project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free.

Renaldo Domino
Chicago Soul Legend
Born March 27th 1950) from “The Valley” around 49th & Forestville.
He was nicknamed Domino because his voice was sweet as sugar, Domino being an American sugar brand name.
Renaldo Domino blasted onto the fertile Chicago soul scene of the late 60's with a voice as sweet as sugar and deep grooves that sound just as fresh five decades later. Releasing singles on Mercury subsidiaries Smash and Blue Rock, and later Twinight records, Renaldo’s all-too-brief career has still managed to leave an impact to all those lucky enough to hear it.
He had a relatively short recording career releasing only 7 singles between 1967-1971. His first 45 was recorded whilst he was still attending high school on a tiny label Arnell on a low budget.
The Arnell 45 did well enough for him to get signed to Smash (a Mercury subsidiary) where he released two 45s, re-recording 'I'm Hip To Your Game' for his second Smash single, as it's a different version to the one released on Arnell. His third 45 was released on another Mercury subsidiary, the now revived Blue Rock which had been 'suspended' since 1966 and reacivated in 1968. The records sold reasonably well locally but Dominio left to join Twinight, feeling that his material wasn't being promoted by Mercury, where he released a further three singles between 1969-71. Twinight released him in 1971 and despite trying to get another recording contract he was unsuccessful and left the music business to pursue another career.
He was managed by William Sandy Johnson who also managed LaShawn Collins and Wendy Woods who recorded on Johnson's Sincere label, the only 2 releases on the label. He also wrote Renaldo Domino's first 4 A sides: 'I'm Getting Nearer To Your Love', 'Just Say The Word', 'Not Too Cool To Cry', 'Let Me Come Within'. In addition he wrote 'Do It Now' for Wendy Woods and the flip to LaShawn Collin's classic 'What You Gonna Do Now', 'Girl Chooses The Boy'.
Renaldo returned to the spotlight in 2007 when the Chicago reissue powerhouse Numero Group put him on the cover of their deluxe box set Eccentric Soul: Twinight's Lunar Rotation (which included other greats Syl Johnson, The Notations, and many more). Renaldo’s performing career began to flourish once again with shows around country.
In early 2019 Renaldo teamed up with producer Jeremy Kay and arranger JB Flatt and set out to record new tracks that would live up to Renaldo’s great early records. Assembling a crack team of Brooklyn’s best they pulled out all the stops, creating a mix between the lush arrangements of Chicago’s early soul style and the hard-hitting beat of current Brooklyn soul. The new single “No Laggin’ & Draggin’” / “Give Up The Love”, released Feb 2020, is now available on Colemine Records.
Backed by The Heavy Sounds, Renaldo’s live performances continue to deliver with passion and precision, making new fans young and old.

​

Dublin-based producer Moving Still further blends both his Saudi Arabian and Irish heritage on 'Kalam Hub', a triumphant new EP that marks the fifth release on CWPT/Cooking With Palms Trax. Following a series of 12” edits and original productions that have put his sounds in the record bags of DJs including Hunee, Nabihah Iqbal and Esa Williams, 'Kalam Hub' presents an ambitious expansion of the Moving Still sound, delving into his identity and background to open up imaginative, universal new corners for club culture.

This potent musicality is immediately evident from the first notes of 'Kunafa King'. Taking its title from a traditional Arabic dessert, analogue midi sounds deliver a skewed take on the traditional Saudi rhythms of the artist's youth, before expanding into a wistful diversion for any self-respecting dance floor. It's a trick Moving Still pulls off again on the pulsing 'Hayati 89', which transforms from a traditional aesthetic into a blistering, neon-tinted Italo banger, the kind of track designed to compliment an accelerated spin in the car gracing the eye-catching cover of ‘Kalam Hub’, a collaboration with the artist alongside Manchester-based graphic design studio, Dr. Me.

Concluding the record's A-side, the rhythms take a trippier turn for the duration of 'La Titasil Feeya'. Translating to “don't call me!” and making sonic reference to teenage years immersed in rock, metal and general angst, it unfolds as something akin to Middle East-tinted techno with a formidable kick drum, before exploding in colourful, organic breakbeats. Immediately on the flip, the sense of wonder returns in a sonic mirage for 'My Bosa Is For You', weightless rhythms blending with an electric organ and charming, lightly psychedelic breakdowns.

Further sonic tricks fall from Moving Still's delicately-tailored sleeves on 'Haram Odyssey', where an almost impossibly tight bass line provides the function for contrasting synthesis and unpredictable percussion, drawing parallels between the sometimes confusing aspects of the artist's dual-cultural life as a child, through to the music he makes as an adult. Fittingly, the record concludes with ‘Kalam Hub', a triumph of minimalist percussion and traditional instrumentation that pays tender tribute to the Moving Still's grandmother, translating simply to “Love Talk”.

Raised in Queens, New York, rapper, actor, and media personality Noreaga (N.O.R.E) has spent the better part of the last 3 decades topping charts, pushing buttons and capturing the world's attention. While he may be known these days as the host of one of the most popular podcasts in the world, "Drink Champs, " it was his earlier work as an unapologetic, energetic MC that helped to catapult the multi-talented artist into the spotlight. First making waves with his work as one half of duo Capone-N-Noreaga alongside fellow Queens rapper Capone, N.O.R.E.'s career has been unrelenting since first hitting the charts in 1997. Shortly after the release of their massively successful debut album, "The War Report", Capone landed himself back in prison and N.O.R.E. moved ahead as a solo act, finding further success with his first, self-titled album, "N.O.R.E.". Released in 1998, the album catapulted up the charts, peaking at #3 on the Billboard 200 and went on to be certified platinum by the Riaa. With features from fellow NYC MC's Nas, Kool G Rap, Big Pun and Busta Rhymes and featuring production from then-up-and-coming producers, The Neptunes and Swizz Beatz, "N.O.R.E.", was praised by critics for it's modern, futuristic sound and helped to further cement N.O.R.E.'s spot as one of the most successful and memorable artists in Hip Hop. Thanks to the massive success of singles like, "Superthug", "N.O.R.E.", and legendary posse cut, "Banned from T.V.", N.O.R.E.'s debut album has continued to find success around the world and is without a doubt an undisputed classic amongst Hip Hop heads. As part of their 40th Anniversary celebration, Tommy Boy will be reissuing this game-changing album in limited, colored vinyl which is sure to be a must have for records collectors far and wide.

repressed !

Firmly entrenched in techno's haziest alcoves, every new record from Denise Rabe is as punishingly hypnotic an experience as it aims to penetrate the deepest laid of your cerebral zones. Having plied her trade on Arts' sub-division Arts Collective before moving on to establish her own dedicated label, Rabe, in 2017, the Berlin-based DJ and producer steps up with her much anticipated debut platter for Stroboscopic Artefacts, as she takes the helm for the fifth sortie of the Totem series. True to her love for all things droney and psychoactive, this time Rabe has us descending into rugged, hostile sonic terrains with just a headlamp and the thick mantle of darkness for closest companions. Ahead’s a demented safari across nightmare-prone visions and thunderstruck vistas.

Hosing off the loud, churning 909 kicks and passive-aggressive machine talk straightaway, 'Manifesto' sets the tone for the warehouse-sized hammering to come. Evil-minded swashes of hyper-delayed percs and criss-crossing chimes lash out in successive waves, further subjugating the dancers as bars fly by. A more spacious and atmospheric number, B-side opener 'Clouds' heads for quieter high-altitude spheres as the dubbed-out drums beat an off-kilter, leftfield friendly pulse and ominous synth stabs and pads envelop the listener in entrancing textural folds and interplays. Back to floor-ready dynamics, the adrenaline booster 'Don't Leave' caps it off on a truly mind-bending tip. Primed for unrelenting peak time action with its angry buzzard-like drones, pacey 4/4 swing and refined palette of eerie circuit noises and click-y minimalism, this one's a high-impact steamroller, sure to get maximum response when things start getting muscular.

A Notwist concert is a Notwist concert is a Notwist concert. The band around the core trio of Cico Beck and the Acher brothers Markus and Micha usually takes its studio recordings as a mere starting point for their live performances, considering them to be possibilities that need to be explored further. This is especially true for »Vertigo Days - Live from Alien Research Center,« a live record made under unusual circumstances. The band members rearranged songs from their ambitious 2021 album »Vertigo Days« in their studio in Weilheim to record and film a special performance. The songs took on a new life, becoming more psychedelic and intense when rearranged into a spontaneous, Krautrock-esque collage.

»Vertigo Days« was meant to transcend the conventional notion of a band as well as the creative and geographic boundaries inscribed into that concept. And even though life had other plans, this is precisely what the album did when it was released to both commercial success and critical acclaim in early 2021. Contributions by Tenniscoats singer Saya, Angel Bat Dawid, Ben LaMar Gay, Juana Molina, among others, as well as new member Theresa Loibl on bass clarinet, harmonium, and keyboard, expanded the band’s sonic palette, stylistic range, and even lyrical focus through the addition of different instruments, artistic approaches, and languages.

All of that was missing when the band retreated to their studio—dubbed Alien Research Center in response to, and in spite of, a nearby church called Christian Outreach Center—to further explore the possibilities of the source material. The band members considered this a challenge rather than an insurmountable problem and not only accepted, but fully embraced it. Trying to work as little as possible with the computers and samples—Saya’s voice on »Ship« being a notable exception—the band rearranged six tracks from »Vertigo Days« and a piece from the »One of Those Days« film soundtrack in order to allow themselves to improvise more freely, especially thanks to Loibl, who takes on a key role during these 45 minutes.

The intro sets the tone for what’s to come, contrasting loose jazz drumming with curious synthesizer rhythms in an abstract rendition of the first sounds that greeted the listeners on »Vertigo Days«. While the next four tracks—»Into Love / Stars«, »Exit Strategy To Myself«, »Where You Find Me« and »Ship«—follow the chronology of the album, they use the originals as a blank slate for further experimentation. The first track morphs into a feverish long-form jam that draws on the underlying groove to shift the dynamics from and leave behind the song structure of the studio version. It’s an exemplary piece in a recording that sees each individual musician leaving their mark on the overall sound, all while being perfectly attuned to what everyone else is doing around them. This continues up until the record’s triumphant finale, a whirring rendition of »Loose Ends.«

»Vertigo Days - Live from Alien Research Center« is at once a snapshot of a certain moment in the band’s history and the quintessential Notwist live record: a unique performance that both explores the untapped potential of the »Vertigo Days« studio recordings while also serving as an inspiration for upcoming live shows.

As with the studio album, the artwork for »Vertigo Days - Live from Alien Research Center« features photographs by Japanese artist Lieko Shiga, taken in the '00s.

Known for their dynamic sound and complex song structures, De Beren Gieren deliver an extravagant blend of polyrhythmic soundscapes and elitist twists, showing an ability to change mood in a way that constantly holds the listener’s attention. They effortlessly shift from more rigidly styled compositions to improvised sections and thus reveal the pulsating and ominous futuristic sound of a new world.

Produced by Dijf Sanders and Frederik Segers, ‘Less Is Endless’ is an ode to a universe teeming with life. Seen as an extension to the critically acclaimed 2017 album ‘Dug Out Skyscrapers’, it searches for vents through which life can emerge and evolve. The secret of communicating creativity can be found in the cultivation of the unfinished; the missing piece of the puzzle tickles the imagination more than the perfect end result.

From the psychotropic opener ‘A Funny Discovery’ and off-kilter piano rhythms of ‘Animalcules’ to the impressionist melodies and harmonic soundscapes of ‘Tuin’, De Beren Gieren give the music the space to breath and grow with every unexpected twist and turn. Elsewhere, ‘Guggenheim House’ is a lesson in the avant-garde, while ‘Gentse Leugentjes’ is a far cry from the traditional piano-bass-drum set-up, before the affecting ‘Moments Never a Moment’ and 18-minute ‘A Random Walk’ is an adventure in improvisation and electronics that defies any logical convention.

Forming in 2009, Fulco Ottervanger (piano, fx, synths), Lieven Van Pée (double bass, electric bass) and Simon Segers (drums, fx) quickly built a reputation across the Benelux region with their ‘must-see’ live shows and have since taken their transcendental live energy across Europe, Morocco and Japan and have performed at North Sea Jazz, Jazz Middelheim, Trondheim Jazzfestival, Ljubljana Jazz Festival, Moers Festival, Gent Jazz, Kanazawa Jazz Street and Eurosonic.

The trio’s breakthrough came with second album ‘A Raveling’ (2013) which received rave reviews, and the following year, a live recording with Portuguese trumpet player Susana Santos Silva was released as ‘The Detour Fish’ (2014) on the Clean Feed label, gaining De Beren Gieren further widespread recognition. Their 2015 release ‘One Mirrors Many’ was lauded by Dutch magazine Jazzism and signalled the beginning of their electronic quest, finding its maturity in ‘Dug Out Skyscrapers’ (2017). In 2019, they celebrated their 10th anniversary, releasing the limited edition ‘Broensgebuzze EP’.

De Beren Gieren have collaborated with renowned jazz artists including Louis Sclavis, Ernst Reijseger, Joachim Badenhorst, Marc Ribot, Jan Klare and Jean-Yves Evrard.

Hollie Kenniff's second LP for Western Vinyl, We All Have Places That We Miss, is a gallery of cloudlike synths, seraphic strings, and humming guitars, all coaxed into cohesion by Hollie's own wordless singing. The album's 2021 precursor, The Quiet Drift, landed on Bandcamp's Best Ambient list alongside the description "Drawing on the deep tones of drone, dream pop harmonies, and new age's bright tranquility, Kenniff evokes the forests, lakes and rivers of her past and present surroundings with a zen patience." Here on Places_ she strides even further into reminiscence, seeking and commemorating the fondly tragic ache of half-remembered locales lost to time: A grandparent's dim living room from an ambiguous decade; a lonely clearing beside a trail we can't remember if we walked or just dreamt; the calming light of a movie that aired years before we were born though our feelings insist we were there with the characters. We All Have Places That We Miss transmutes such glimmers into a palpable sonic kingdom that can be revisited at will, recalling the pedal-board ambience of Windy & Carl, Adam Wiltzie, and Liz Harris.

I'm in it. The music on Coast doesn't beckon, it purely compels you closer through sheer insistence on its existence. insist in sist ins ist i nsist insist 'Spiral' presents full gorgeous tones, timbres and textures. Round throbs like the lighthouse spins of light, very orbic. orbic orb ic orbi c orbic 'Later' is distilled even further. It makes you stand up, announcing itself not with some cry or bang but with a style of momentum rarely encountered: inviting yet insistent. ins orb ist ic ent

Andrew Choate

Mike Majkowski is a double bassist / music-maker from Sydney, based in Berlin. Active across a wide range of experimental music since the early 2000s, he has released music with numerous projects. Coast is his twelfth solo recording.

An official reissue, with the original gatefold jacket and the original large booklet reproduced. Pressed on 180 gram vinyl, with side D etched. Sweden's Tribulation have been one of the most innovative bands working in metal in the new millennium. Their third album The Children Of The Night (2015) saw the band leap even further from their death, black and thrash metal origins and add hints of psych rock, prog and classic rock into the mix. Pitchfork called it "a sprawling, compulsory tale that doesn't turn dull. ... There is no way to arrive at a consensus artist who will satisfy everyone, but The Children Of The Night comes close." Svart Records presents, in conspiracy with Century Media, an official reproduction of the original 2015 double LP, that has already become a rarity.

An official reissue, with the original gatefold jacket and the original large booklet reproduced. Pressed on 180 gram vinyl, with side D etched. Sweden's Tribulation have been one of the most innovative bands working in metal in the new millennium. Their third album The Children Of The Night (2015) saw the band leap even further from their death, black and thrash metal origins and add hints of psych rock, prog and classic rock into the mix. Pitchfork called it "a sprawling, compulsory tale that doesn't turn dull. ... There is no way to arrive at a consensus artist who will satisfy everyone, but The Children Of The Night comes close." Svart Records presents, in conspiracy with Century Media, an official reproduction of the original 2015 double LP, that has already become a rarity.

Repress!

Just over a year after his last solo project on The North Quarter, FD returns to the label with ‘Pleasure Rooms’. For this four-track EP, the London-born producer once again shows off his bass line dexterity, along with his trademark grooved percussion and mood-building samples. Heavier, grime-reminiscent tracks ‘Shawn Kemp’ and ‘Mama Told Me’ featuring Bristol MC Hella are combined with a more melody-driven, colourful sound present on ‘Double Drizzle’ and ‘Sails’. Following the major success of his minimal, experimental project LIN000 with Satl, this EP further shows the wide-ranging progress FD has been making in recent years.

Named after the Tottenham venue where FD went to his first rave, ‘Pleasure Rooms’ pays homage to the place that spawned his love for Drum & Bass. FD: 
“Pleasure Rooms was an old rave venue in Tottenham. My main memory is seeing Brockie & Det in a small room, sweat dripping off the ceiling and columns with mirrors on, totally fogged up. And going fucking mental. Being totally immersed in the music and the vibe, super excited and just hyped.

My Pleasure Rooms EP was made with thoughts of these kind of raves and parties in mind as this is a vibe and sound I've been enjoying quite a lot again recently - and it was such an important time for my love of Drum & Bass.

Ya’ll know it is time to get ready for some bass drum pressure. So there is a number eleven on their roster from JJ Fortune. The moniker of an Irish DJ and a producer who at the moment lives in Melbourne, Australia. Now he is mostly releasing new music on his own Pachinko and Rizzwax record labels, like the serious guys do. But now it is time to take a step further from the homeland and check in with Moscow.

Classic deepest deep house-ish style grooves with some extra spices and cream but also edgy 8-bit passages on top. With all the respects to the roots this young man will show up with some new school body movements. Fresh Irish blood is definitely ready to boil up the dance music scene a bit. B-side remix duties are

LA veteran techno producer, AXKAN, lands his new full-length album on SONIC GROOVE. Inspired by a wave of torturous dreams during the pandemic, AXKAN dedicated his isolation time to curate the sound of this 12-track LP, NIGHTMARES. Dropping his signature soundtrack of angst fueled broken beat industrialized techno, AXKAN further displays his sophisticated sound architecture by delving into darker melancholic, experimental and rhythmic noise territories. Add three collaboration pieces featuring long-time friends ORPHX, UVB and AYARCANA and we have a well rounded album of monstrous proportions.

Landing on Cosmocities right on cue for the summer season ahead, Japanese producer Masumi Nishimura alias Inner Science deals out a new entry into his shimmering, shape-shifting mindset. Flying us off to a soothingly dreamy and colourful headspace, bristling with vibrant sound design minutiae to wrap your ears around, Inner Science exhibits the elevating power of his music through three original joints, complemented by two exquisite remixes from multi-faceted British genius Joe Goddard and Giegling staple, Map.ache. The acid-infused glitter of “Unfold” paves the way with understated bravura; a piece of squelchy yet dazzling nature, organically making the rounds between propulsive club music territories and exotica-laced cascades of sound. “Quiet Track 3” follows a similar course with its phantasmagoric landslides of chimey melodies and driving bass traction on stealth mode, all scudding and mingling with haiku-esque spiritual balance, while “Never Fade Away” blows the winds of poetic transcendence through a finely engineered mix of forward-racing groove and a honey-dripping, rainbow-like shower of elementally lush textures and envelopes.

Flip it over and here’s Joe Goddard taking “End of the Beginning" for a slower, slightly less sign-busy jaunt across sun-soaked clearings and pastures. Laying further focus and emphasis on the synth work and build-up here, Goddard channels Inner Science's many facets and wildland-like exuberance through a more directed, further orchestrated pathway. Tackling “Momentary Spread”, map.ache treats us to a further dynamic, floor-friendly approach, routing its listener onto proper functional, gridlocked tracks. Bleached-out pads evaporating into aether as the bass etches into your mind with durable effect, it’s a proper oneiric roller that engulfs you down its gushing throat of faded escapism and brittle, post-discoid melancholy

Back in 2010 Caribou's Dan Snaith hosted a remix competition for his track 'Sun' from his then-new album Swim. The winner was an unknown producer called altrice.

Hailing from Tucson, Arizona of Iranian/Mexican descent, altrice took the bright euphoric highs of the original and crumbled them into rumbling lows, the crystalline edges becoming rough and undefined. Along with a bursting goody-bag of prizes, Snaith also provided altrice with the stems for the rest of Swim and the offer to remix the whole album track-by-track, creating 'stem'. Aside from a further dream-come-true remix of Radiohead, this is largely the last we heard from altrice in the past 12 years.

A year and a half ago though, having kept up correspondence with Snaith over the years, altrice began sending new material. With encouragement from Snaith he eventually wound up with an EP which has since become essential DJ material for Snaith and the cohort of friends he's shared it with, as well as appearing in Leon Vynehall's Radio 1 Residency, KH (Four Tet)'s recent Essential Mix and more.

With three tracks already released from the EP receiving further DJ support from Avalon Emerson, Floating Points, Yu Su, Sofia Kourtesis, Mano Le Tough and more, today the EP is released in full officially via Snaith's own Jiaolong label. compciter is a collection of music that for the first time is entirely altrice's own sound, alluring and off-kilter, a wealth of sounds and styles that are tied together by an irresistible warmth.

Speaking of the EP, altrice says:

"This EP is the result of allowing my stylistic boundaries to be nudged in a new direction, putting away a self-inflicted notion that I’m only fluent in certain subgenres of electronic music. I made some production choices that, for better or worse, will make this project stand out. I’ve been overwhelmed by the reactions in clubs and at festivals, and individuals reaching out with kind words about the music. It’s surreal."
From the huddled and obscured yet comforting vocal samples - described by Pitchfork as "a beacon of light in an uncertain landscape" - of 'bda creature' to the swinging 90s eurodance drums of 'places faces' and the way the welcoming guitar melody and soulful vocals of 'eyes' gives way to a full on bass pummel, the tracks that have been released so far from the EP are already causing a stir both on and off the dancefloor. Today, the chopped up vocals and vast roomy sound of 'yoni' along with '1609km' - which would almost be straightforward house if it didn't pull the rug out to make way for delicate piano and harmonica flourishes - complete a set that fulfils a promise 12 years in the making..

Splatter Vinyl

Skins is the third studio album and first posthumous release from rapper, singer and songwriter XXXTentacion. Recognized for his raw and adventurous style of music, the album touches on themes of heartbreak and mental anguish, and draws heavy influences from lo-fi, emo, punk rock, ambient, trap and acoustic. Skins include the lead single, “Bad!”, as well as appearances from Kanye West and Travis Barker (of Blink 182). The release was met with wide acclaim, debuting at number one on the US BIllboard 200, remaining on the chart for 18 weeks, further cementing Jahseh’s legacy as an icon.

* Hypnotic and seductive, Emika crafts Earthy Melodic Techno track 'Breath Cuts' using her breathy vocals, kick and devilish sub bass.

* Pleasure and pain, the euphoria Emika knows how to create sonically in order for her to lose her mind through the music and escape reality, composed and produced during the darkest chapter in her life, she mixes in the inevitable pain of a once locked-down Berlin.

* Breath Cuts is a journey-style dance track, for song-lovers or DJs that like to tell stories on their dance-floors. Emika reveals a poem in the middle of the song, a dream about being free again; 'I like to look out the window.. I like to imagine the clouds..'

* Norman Nodge, Berghain resident by night and lawyer by day, pulls out and enhances the lush ethereal vocal elements, remixing them further into an angel-like chorus, one can imagine the dancefloor in Berghain - people rushing from the sound while spirits float above them looking down.

* The two producers decided to provide listeners and DJs with a functional kick-less mix for advanced mixing pleasure.

What is the sound of feeling?
In physics, we conceive of sound as waves. Vibrations, undulations, physical manifestations: heard but not seen. Borne by the body but interpreted in the brain.
Within ourselves, we perceive emotion as waves, too. Rolling in, rolling out: tidal, even. In moments of violet intensity, the depth of our feeling crashes upon us like surf, rip currents on a corporeal beach.
Worlds apart, but waves in kind. For musician and composer Jo Johnson, the veil between is diaphanous indeed. What you hear is what you feel. Listen and uncover.
Jo Johnson has releases on Further Records, Going In (a sub-label of The Bunker), Verdant and Apartment

3x12" 2023 Repress

To celebrate its landmark 20th release, Monnom Black invites you to enter The World of Monnom Black II - a return trip to techno's most uncompromising landscape. The triple vinyl release features 14 hand-picked contributions from the label's trusted collaborators alongside cutting-edge artists new to the roster; making this compilation one of the label's most varied and innovative collections yet.

On The World of Monnom Black II, new artists including VTSS, DIMI (AnD), Vladimir Dubyshkin, Hadone, Fractions, LDS, Aahan and Buried Secrets all throw down tracks which fuse tight machine rhythms with intricate detail. There's also a return for many established label favourites such as UVB, Dax J, Zanias and Thomas P. Heckmann as Knarz.

To round out the compilation there's a re-release of the timeless 1998 hip hop cut, "Devious Methods", from legendary drum and bass producer, Hive, and Tellurian's hardcore classic, "Big Bad City", gets a new mix from Dax J.

This release further confirms Monnom Black's reputation for representing raw analogue music and cements the label's place as the home of some of the roughest and classiest contemporary sounds in techno.

Welcome to the world of Monnom Black.

Recorded in just one day, Tripwire is the latest album from saxophonist and composer Will Vinson. Realising a long-held ambition to record a chord-less trio album, Vinson is joined here by bassist Matt Penman, one of today"s most adventurous bass players, and drummer Eric Harland, known for his impressive work with the world"s jazz luminaries. Special guest tenor saxophonist Melissa Aldana also joins for two tracks. The record captures the energy of returning to the studio and playing for the first time since the Covid-Pandemic lockdowns, and further cements Vinson"s reputation as a virtuosic risk-taking leader. Tripwire skilfully brings together Vinson"s vision of freedom and collaboration into a cohesive album that documents the highly charged reunification of musicians, masterfully captured during a one-off recording session.

Déjà vu is translated as “already seen” but for South California native Ben Schwab, his discovery in a small Ohio town 2000 miles from home led to an epiphany of creating the “already heard.” Unearthing a box of 1975 cassette tapes of his father’s old band, the recordings or “Sylvies” as Ben would affectionately call them later became the imprint for a familiar feeling he would end up chasing. The songs were timeless, effortless, and soulful.

Awakening senses to the eternal quality of hidden or lost music, Sylvie fully encompasses that very same musical lineage and spirit living in those lost yet beloved time capsules. Recorded years before by Ben’s father, John Schwab and his own band Mad Anthony in a Southern California barn, those reels spoke of a common narrative at the time; a band close to a record deal which never came, so the tapes were boxed up and stored in a closet for years to come. “Dad’s songs are straight from the heart and really shaped my taste and imagination for songwriting in a permanent way,” Ben reveals. Taking the name from one of those early recordings an obscure cover of a 70s track by Ian Matthews ‘Sylvie’ would inspire his project’s namesake and feature as the album’s only cover. “It’s an incredible song from the past but for whatever reason, is basically unknown,” Ben offers by way of an explanation.

Angel numbers: a series of recurring numerical patterns or sequences which those who believe in such things invest with cosmic significance.

Also, the name of the forthcoming album by Hamish Hawk – an apt title for an artist who bounces between scepticism and wonder, who alchemises the quotidian, who is engaged in a constant quest to outwit and outflank the ordinary. With the release of Heavy Elevator in September 2021, Edinburgh-based Hawk established himself as a writer of heartfelt, headstrong, unashamedly literate songs to stimulate both pulse and psyche. Heavy Elevator offered words to savour and tunes to relish. The songs were filmic and romantic, blending wit, wisdom, resignation and beauty with a kind of sceptical joie de vivre, delivered in a rich baritone that has drawn comparisons to everyone from Jarvis Cocker to Scott Walker. A singer of style and guile peddling accessible intelligence: what’s

not to love? Heavy Elevator established a powerful artistic imprimatur which nonetheless felt neither defining nor confining. While the album has been justly lauded, Hawk’s next steps have moved the story considerably further forward. Angel Numbers meets growing expectations head on, with panache and aplomb.

Angel numbers: a series of recurring numerical patterns or sequences which those who believe in such things invest with cosmic significance.

Also, the name of the forthcoming album by Hamish Hawk – an apt title for an artist who bounces between scepticism and wonder, who alchemises the quotidian, who is engaged in a constant quest to outwit and outflank the ordinary. With the release of Heavy Elevator in September 2021, Edinburgh-based Hawk established himself as a writer of heartfelt, headstrong, unashamedly literate songs to stimulate both pulse and psyche. Heavy Elevator offered words to savour and tunes to relish. The songs were filmic and romantic, blending wit, wisdom, resignation and beauty with a kind of sceptical joie de vivre, delivered in a rich baritone that has drawn comparisons to everyone from Jarvis Cocker to Scott Walker. A singer of style and guile peddling accessible intelligence: what’s

not to love? Heavy Elevator established a powerful artistic imprimatur which nonetheless felt neither defining nor confining. While the album has been justly lauded, Hawk’s next steps have moved the story considerably further forward. Angel Numbers meets growing expectations head on, with panache and aplomb.

Composer Valtteri Laurell Pöyhönen presents his Nonet formation on We Jazz Records. Their debut album Tigers Are Better Looking is released 3 Feb and the ensemble features internationally renowned Finnish clarinetist Antti Sarpila, plus a strong cast of Helsinki-based musicians from several of the top Finnish groups.

Based on the writings of British-Caribbean author Jean Rhys (1890–1979), the 6-track album is a melancholy, intimate chamber jazz creation. Laurell's music swings, yet he doesn't stop there, but moves further to paint an original, richly-toned sonic image with the highly potent Nonet.

Laurell states Gerry Mulligan, Miles Davis's "Water Babies" and Charles Mingus among the key musical influences of his compositions on this album. Through Rhys's text, Laurell finds a special sense of detachment and melancholy evident in his new material. Antti Sarpila's masterful clarinet provides the icing on the cake, floating high above the clouds of sound.

‘Energy MC2’ began as an energetic bunch of 10 and 11year old neighborhood kids, who initially formed a band under the name of ‘Congressional Funk’. The founding members were Vincent Bonham, Opelton Parker (the brother of Ray Parker Jr) and brothers Ufuoma and Eric Wallace, with the later addition of Fred Gordon. Later becoming the backing band for local Detroit act Mad Dog & The Pups. Featuring on some of the ‘Pups’ earliest Magic City releases “Hep Squeeze” (MC-007) and the follow up release “Funky Monkey” (MC-009). A name-change to ‘The Soulful Hounds’ followed which they are credited as on the instrumental flipside of Mad Dog & The Pups vocal version of “Why Did You Leave Me Girl” Magic City (MC-012).

After leaving Magic City, the band went through several changes in both name and personnel, upon hiring bass player Ben "Rat Bass" Adkins, they adopted the name of his former band, ‘Energy’ to which they added Albert Einstein’s formula for special relativity (E=MC2) to finally became ‘Energy MC2’. As Energy MC2” they soon began seriously recording their own original material which included the two previously unissued 70’’s tracks “If You Break It” and “Other Side Of The Mirror” first released on Soul Junction in 2016. The group’s line up on these songs included Vincent Bonham, Ufuoma Akill-Wallace, Arnell Carmichael, Ernestro Wilson, Opelton Parker, Gordon Carlton, Eric Wallace, Leon Lopez, Marvin Carlton and Marlene Rice. A further unissued song the mellifluous ballad “Juliane” also the gained release on the ‘We Got A Sweet Thing Going On’ volume 2 SJCD 5011 cd compilation album.

During 1974 several members of the group boarded a Greyhound bus for Los Angeles. During their week long stay there under the supervision of Ray Parker Jr they recorded the two featured songs the mellifluous “You And Only You” and “Love To Make Love To You” featuring Arnell Carmichael on lead vocals with the session remaining unissued Energy MC2 returned to Detroit. Vincent Bonham and Arnell Carmichael in 1977 returned to L.A. to join

Ray Parker Jr and Jerry Knight to form the band ‘Raydio” later becoming Ray Parker Jr & Raydio when Jerry Knight left to go solo. Ray Parker later too chose to persue a solo career leading to him recording the title track of the box office hit movie “Ghostbusters” a song he will forever be remember for. During 2014 Arnell Carmichael, Vincent Bonham, James Carmichael and Giovanni Rogers revived ‘Raydio’ but only as a touring band. The remaining members of Energy MC2 all enjoyed successful careers as session and backing musicians with many major artists, The Four Tops, The Temptations, Areatha and Carolyn Franklyn, Michael Henderson, Cheryl Lynn, Bettye Lavette, and Parlet’ (part of the P-Funk family) that help George Clinton Land the Mothership!

KingUnderground presents a stunning collection of 8 releases pressed onto 7” vinyl from the Cavendish Music catalogue. Paying homage to the genre of Library Music, furthering its exposure to a new generation of listeners.
Library Music experienced its heyday in the 60s and 70s, as thousands of instrumental tracks were produced by musicians and composers for the purpose of placements in Radio, Television, and Film. This rich piece of European music history would go on to inform genres to come and speak heavily to the Jazz, Funk, and Hip Hop communities of the future.
This was often a musician's first opportunity to become a composer, or what most would commonly know now as producer of music. These composers would work with a stable of musicians to record 100’s of tracks that would go into a publishing Library. The pieces of music were recorded quickly and deliberately. The composers, musicians, and engineers understood their role in the process, it was an act of discipline amongst all involved. Often the composer was given a brief on what the end goal was for the client. The specifics would include tempo to lock into, song ending time, ect.
Never before have these tracks from the Cavendish Music Library been pressed on 7” vinyl at 45RPM. In all there will be 8 individual 45s, licensed from Boosey & Hawkes & Cavendish Music Library. The collection includes compositions by Tony Kinsey, John Scott, Sam Fonteyn, Ray Davies, and more.

There’s a boldness to Library music. It's in the forward nature of where the drums sit in the mix and the percussive playing of the keys that gives you something to grab hold of, it feels grounded yet exciting. It’s music beamed in from a different galaxy!