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Folk-minimalists announce vinyl issue for breakthrough album, Animalia.

"The semi-classical drums/sax/piano trio Mammal Hands mutate into a high-volume rave act" The Guardian

Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from adisparatearray of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own.

Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contribute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their recordsare entrancing and beautiful affairs,while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

Over the course of three albums, Animalia, Floa and Shadow Work they have built a committed following and established themselves as one of the finest live bands in Europe. But while Floa and Shadow Work were both issued on vinyl this is the first time that Animalia has been committed to wax.

Produced by Matthew Halsall and recorded at 80 Hertz Studio, in Manchester, and engineered by George Atkins, Animalia features the band breakthrough hits Mansions of Million Years, a slow building tune that takes it's name from Egyptian mythology and draws the listener into the band's distinctive sound world. And the gorgeous hooky Kandaiki which makes stunning use of looped melodies in different time signatures, creating a wonderful interplay between the parts.

Other highlights include Snow Bough a short, melancholic, but moving, ambient composition, the Irish folk music inspired Spinning the Wheel, which also features drum beats inspired by chopped up electronic drum patterns and hip hop instrumentals. The jaunty Bustle and delightful Inuit Party and Street Sweeper. Finally the album closes with Tiny Crumb, which explores melodic ideas inspired by Alice Coltrane and Joe Henderson and builds in intensity from a quiet start to a powerful collective improvisation and heavily features Jesse's Tabla.

Sinéad O’Connor marks a long-awaited return with a stunning version
of ‘Trouble Of The World’, a traditional song made famous by exalted gospel singer Mahalia Jackson, available as a 7” single backed with an a cappella version on Heavenly Recordings.

It follows somewhat belatedly the-ever-more pertinent ‘Trouble Soon Be Over’, her contribution to 2015’s ‘Tribute To Blind Willie Johnson’ compilation and once more exudes the heart and soul of this extraordinary performer.

Sympathetic to its origins, the heartfelt, evocative tones propel this impassioned rendition to the present its poignancy highlighted by a remarkable artist who leaves her own indelible mark on this topical realisation whilst realigning with a positive viewpoint.

In her own words, she explains; “for me the song isn’t about death or dying. More akin, a message of certainty that the human race is on a journey toward making this world paradise and that we will get there.”

The inspirational lyrical narrative that underpins ‘Trouble Of The World’ bears more relevance than ever today in the context of the death of George Floyd and the highlighting of the persistent racist undercurrents that trouble mixed societies across the globe.

The song sees Sinead joining forces with renowned producer David Holmes and, recorded in Belfast, Northern Ireland at the easing of the lockdown, it shares an uncanny albeit eerie symmetry with our new trouble of the world backdrop and once again Sinéad awakes our souls to the ironies and similarities of our collective past and present. The pair have created a sonic tonic and shout out to the powers that be as a voice of the people still questioning all-toofrequent events such as witnessed over the past few months that ensue decades since the nascent birth of the civil rights movement in the United States.

Embodying a voice with beauty and innocence, a spirit part punk, part mystic with a combined fearlessness and gentle authenticity - unique, uncompromising, a pioneer, a visionary, just some of the descriptions that perhaps merely touch the surface of Sinéad O’Connor.

For our 7th release we are delighted to be reissuing a single that has brought us a lot of joy in recent times. We first came to hear Delores Fuller’s beautiful single One More Chance Lord in the same way we have heard a lot of new music over the last year and a half – through a friend’s lockdown recommendation. Ever since, the single has been a staple in our collection and permanently on our turntable.Perfectly transcending the genres of gospel, modern soul and disco. One More Chance Lord kicks it off with a piano riff that’ll be stuck in your head for days, building to a soaring chorus with lyrics that would fit any uplifting category. My Greatest Desire on the flip, is a ballad reflecting Delores’ vocal talents. Stripped back with only the piano for accompaniment. Delores singing about values of life - “not searching for riches, not hungry for fame”. Perhaps inadvertently explaining why this single has never had the prominence it so deserves.

The single was originally released in 1983 on Intro Records, a US based label predominately active throughout the 1980s. After a little diggin’ we reached out to Dwain Jones who duly licensed us the both sides and informed us that the single features a truly amazing arrange of musicians. Stanley Banks; bassist on classics albums such as George Benson’s Breezin’, Jonathan DuBose, guitarist with renowned gospel group The Clark Sisters and not to mention Pee Wee Ellis; James Browns band leader in the late 1960s who’s sax can be found peppered throughout Delores’ album God’s Love.Remastered and now available again on the teal green label of Miles Away. Limited 500 pressing and set for release on 21st May. Get one quick!

The Deviants were an English rock group originally active in the late
1960s, and later as a project of the singer-songwriter and bandleader Mick Farren. The self-tiled third album was the beginning of the definite split between the band members. This record shows how they were still rocking in a wonderful mix between psychedelic, garage, blues, and rock. The overall vibe is amazing and it is a fascinating glimpse into the underground music of the late ‘60s. The album has aged quite well and is still a master of art.

The Deviants is available on black vinyl. The package includes a replica of the very rare & sought after booklet.

If there’s ever been a way to describe David Allan Coe, it’s got to be his ability to defy categorization. With over six decades of following his musical muse wherever it’s led, this craggy voiced outlaw has crossed the panorama of American roots music. As well as being a singer, guitarist, songwriter, David is also a magician and a ventriloquist, deep sea treasure hunter, and movie star. His movies included Stagecoach, The Last Days Of Frank and Jesse James, Lady Grey, Buckstone County Prison, Take This Job and Shove It, to mention a few. David signed with Sun Records in 1968 and recorded his first album Penitentiary Blues, all songs that David had written in prison. In 1973, Columbia Records bought David’s contract from Sun Records and he recorded his first Columbia album, titled “The Mysterious Rhinestone Cowboy”, several years before Glen Campbell had a hit with the song, “Rhinestone Cowboy.” Much has been written about David’s past and his lifestyle, but not much about his achievements over the years. From performing on Farm Aid to touring with Neil Young, Kid Rock and Willie Nelson. David’s song, “Take This Job and Shove It” has received multi-million airplays certificate from BMI. His “Greatest Hits” album is multi-platinum and his “First Ten Years” album is gold. David has had sixty three songs on the Billboard Singles Charts, including, “Mona Lisa Lost Her Smile”, “The Ride”, “Please Come To Boston”, “Willie, Waylon and Me”, “Jack Daniels If You Please” and “You Never Even Called Me By My Name” to name a few. David has written songs for Johnny Paycheck, Tanya Tucker, George Jones, Willie Nelson, Leon Russell, Charlie Louvin, Del Reeves, Tamy Wynette, Melba Montgomery, Stoney Edwards, The Oak Ridge Boys and Kid Rock. Both “Would You Lay With Me” and “Take This Job and Shove It” are multi- million seller songs penned by David. Johnny Cash has also recorded David’s songs including “Would You Lay With Me” on his chart topping album entitled, Cash. David has been through a lot in his life but has managed to put his past behind him and move forward with his life. This album was recorded in 2001 live from the Iron Horse Saloon in Daytona, Beach Florida and includes the only recorded version of, I’m An Ohio Boy.

After getting a handful a couple of weeks back, we now have a good supply of this wonderful album coming in: in for 14th May release date.
With her ambidextrous and pedidextrous, multi-instrumental
techniques of her own making and influences ranging from video
games to West African griots subverting the predominantly
white male canon of fingerstyle guitar, Yasmin Williams is truly
a guitarist for the new century. So too is her stunning sophomore
release, Urban Driftwood, an album for and of these times.
Though the record is instrumental, its songs follow a narrative
arc of 2020, illustrating both a personal journey and a national
reckoning, through Williams’ evocative, lyrical compositions.
Williams, 24, began playing electric guitar in eighth grade,
after she beat the video game Guitar Hero 2 on expert level.
Initially inspired by Jimi Hendrix and other shredders she
was familiar with through the game, she quickly moved on to
acoustic guitar, finding that it allowed her to combine fingerstyle
techniques with the lap-tapping she had developed, as well as
perform as a solo artist. Deriving no lineage from “American
primitive” and rejecting the problematic connotations of the
term, Williams’ influences include the smooth jazz and R&B
she listened to growing up, Hendrix and Nirvana, go-go and
hip-hop. On Urban Driftwood, Williams references the music
of West African griots through the inclusion of kora and hand
drumming of 150th generation djeli Amadou Kouyate, on the
title track.
Yasmin Williams is virtuosic in her mastery of the guitar and
in the techniques of her own invention, but her playing never
sacrifices lyricism, melody, and rhythm for pure demonstration
of skill. Storytelling through sound is important to her too. As
detailed in the liner notes, the songs on Urban Driftwood were
completed during the COVID-19 pandemic and subsequent
lockdown, in the midst of a national uprising of Black Lives
Matter protests in response to the killings of George Floyd and
Breonna Taylor. But while Urban Driftwood illustrates current
struggle, can’t help but open-heartedly offer a timeless solace.

Summertime: Willie Nelson Sings Gershwin includes pop standards penned by
America’s legendary songwriting duo George and Ira Gershwin.

As Willie tells it: “Ira and George Gershwin were just fantastic writers. They wrote some of the greatest songs ever. The Gershwin songs have been here for many, many years. When I was just a small guy, I remember hearing all these great Gershwin songs and they’ll be around forever because great music like that just does not go away.”

Among the 11 Gershwin classics recorded by Willie Nelson for the album are two duets: “Let’s Call The Whole Thing Off” with Cyndi Lauper and “Embraceable You” with Sheryl Crow.

Summertime: Willie Nelson Sings Gershwin debuted at number one on the Traditional Jazz and Top Jazz Albums Billboard charts, becoming Nelson’s third album to top the latter. Meanwhile, it reached number fourteen in Top Album Sales and reached number forty in the Billboard 200.

Now available as a limited edition of 1000 numbered copies on transparent red vinyl, including an insert + Willie Nelson on Music On Vinyl catalogue insert.

Orange and black. Fire and ebony. Fury and pride. Wearing its signature colors proudly and raising its exclamation point high, Impulse! Records was the go-to label for music that harnessed the searching and political stand-taking of the Sixties. Launched in 1961, Impulse grew to become an inherent part of the era’s velocity as well as its volume, pulling jazz into the age of Black Power, Afrocentricity, and Spiritual Expansion. In its balance of tradition and transition, it bridged the golden age of jazz, that brief window from the late Fifties to the Seventies when players representing every jazz era were alive and active—from Louis Armstrong to Albert Ayler, from the legends of lore to a new generation of energy players. Impulse treated all its musicians as innovators, revolutionaries even—from swing and bebop, to free and Afrofuturist. The performances on Impulse Records: Music, Message and the Moment draw their staying power from a wide embrace of styles and sounds, as well as a tight focus on a historic moment when the promise of change was in the air and the message of racial harmony was in the music. Today that music has lost none of its relevance: the promise still deferred, the message still on time.

This first volume of Wagram's Wanted: Jazz series is a high quality mix of the great Jazz artists. Including Charles Mingus, Dizzy Gilespie, Art Blakey and more!

50 years since their first LP “Brian Jones presents the Pipes of Pan at Joujouka” was released, The Master Musicians of Joujouka are releasing a stunning double LP recorded live at Centre Georges Pompidou, Paris in 2016.

The recordings are a full immersion into the Joujouka sound with disc one featuring hypnotic flutes and drum and a side of songs with mountain violin played by virtuoso Ahmed Talha with lead vocals by the late Abdeslam Boukhzar. Disc two features the truly hypnotic rhiat suite of Boujeloud, recorded in its entirety for the very first time

The American Negro is an unapologetic critique, detailing the systemic & malevolent psychology that afflicts people of color. It should be evident that any examination of black music is an examination of the relationship between black & white America. This relationship has shaped the cultural evolution of the world and its negative roots run deep into our psyche. With an elaborate orchestral and soulful display, The American Negro re-invents the black native tongue: a politically conscious LP with a prescription to eradicate hate in America. "The American Negro is the most important creative accomplishment of my life. This project dissects the chemistry behind blind racism, using music as the medium to restore dignity and self-worth to my people": Adrian Younge is a multi-instrumentalist, film composer and producer with an analog studio and record store in Los Angeles. He is a member of The Midnight Hour and has produced for entertainment greats ranging from Jay Z, Kendrick Lamar and Wu Tang Clan. He's composed for television shows such as Marvel's Luke Cage (with Ali Shaheed Muhammad), and films including Black Dynamite. He owns the boutique record label, Linear Labs, and is co-owner of Jazz Is Dead. When he's not working on scores for major studios or networks, he's making albums that speak to his own artistry. For The American Negro, Younge not only wrote, but played every instrument of the album's rhythm section; he also orchestrated a 30-piece orchestra and recorded them in his analog studio.

Chicago blues exponent George “Buddy” Guy released multiple albums with renowned vocalist Junior Wells. One of those albums is this live acoustic album, Last Time Around: Live at Legends. The sessions were recorded in 1993 at Buddy’s world-famous Chicago blues mecca Legends. It features acoustic renditions of songs like “She’s Alright”, “I’ve Been There”, “Hoochie Coochie Man” and “Key To The Highway”. Originally recorded in 1993, the album was released in 1998, the same year that Wells passed away. It is now available on vinyl for the very first time.

*Repress*

Robert Rental is an artist as influential as he is overlooked. An anchor of the early British DIY and post-punk scene, his name is most frequently uttered alongside illustrious collaborators such as Thomas Leer and Daniel Miller. Dark Entries and Optimo ally to illuminate some of Rental’s early solo works with an expanded reissue of his debut 7” Paralysis /A.C.C.. Both labels have previously excavated Rental’s catalog; we reissued the collaborative LP with Glenn Wallis in 2017, and Optimo released a collection of demos in 2018.

The double A-side Paralysis /A.C.C. 7” was self-released on Regular Records in 1978, around the same time as Leer’s Private Plane/International 7”. The record is a perfect document of the DIY ethos. It was recorded with the assistance of Leer in the council flat that Robert lived in, using an assortment of budget electronics: a Roland drum machine, a Stylophone, an Electroharmonix DrQ, and a TEAC A3440 4-track recorder. The record’s sleeves were surreptitiously photocopied after hours at the offices of Virgin Records by Robert's partner Hilary Farrow, and the labels were hand-stamped The initial print run was a scant 650 copies. With its prominent notes of Krautrock, prog, dub, and ambient, Paralysis /A.C.C. points to a then-emergent musical form. “Paralysis” makes its four and a half minute runtime feel like an eon, an endless morass of processed vocals and mournful melodies underpinned by the static whirrings of synthesizers. “A.C.C.” is an angular pop song that is at once both fractured and droning, like a skipping record that sounds incrementally more warped with each iteration. The original 7” material is joined here by three previously unreleased tracks. Instrumentals “G.B.D.” and “Ugly Talk” evidence Rental’s outre-prog and melodic electronic sides, respectively. Sitting between the instrumentals is “Untitled”, a sparse gem that layers Rental’s gently processed vox with guitar and drum machine, beautiful in its simplicity.

The Paralysis EP has been remastered for vinyl by George Horn at Fantasy studios. The record comes in a sleeve with the original xeroxed 7” artwork. Also included is a four page booklet with lyrics, photos, and archival press material.

Needless to remark the importance of Max Roach in the evolution of modern Jazz drumming. Let's just say that back In the mid Forties the young Roach has performed in most of Charlie Parker's recordings
including the legendary Savoy sessions, a crucial step in the history of Jazz recording. Recorded in NY between 1957 and 1958 and originally released on Emarcy label this is Roach's first official tribute to
Charlie Parker. This is also Roach's first pianoless group, a formula which will become a trademark in his later career. Here Roach displays a strong line up featuring Kenny Dorham on trumpet, George Coleman or Hank Mobley on tenor sax, and Nelson Boyd or George Marrow on bass. The tracklist includes six highly inventive versions of Parker's classic Bop tunes such as "Yardbird Suite", Confirmation", "Ko-Ko", "Billie's Bounce", "Apres-vous", and "Parker's Mood". What else?

Pixey grew up in the sleepy but picturesque village Parbold, Lancashire before moving to Liverpool for school and remaining there to this day. Now signed to Chess Club - a label famed for breaking new talent, where recent exciting signings include AlfieTempleman and Phoebe Green, and past successes include Jungle, Wolf Alice and Easy Life - Pixey is making more waves than ever before. ‘Just Move’ drew attention from BBC Radio 1 DJs Jack Saunders (who made Pixey one of his Next Wave artists) and Huw Stephens amongst many other admirers like Radio X’s John Kennedy who added the band to the X-Posure playlist at the station in October. Pixey has also featured as the cover artist of Spotify’s Indie Brandneu (GER) and Peach editorial playlists, and wasamongst the artists named in major annual tips lists, the Dork HYPE List and the NME 100.



New single ‘Electric Dream’ - with its accompanying video by Thomas Davies - combines cavernous drum machines and dreamy pop melodies with a signature dance stomp. Speaking about new single, Pixey explains: “‘Electric Dream’ was originally written as a piano ballad but after finishing the lyrics I felt the song worked as a dance track. I wrote it to make sense ofbeing locked in with nothing to rely on but technology. The verses are all of my anxieties that come with that - like trying to simulate humanity digitally and what kind of a future that would be - but the choruses are about the imperfections of real life that technology and AI can’t give us.”



Debut EP Free To Live In Colour was written, recorded and produced in Pixey’s bedroom in Liverpool - with additional production added by frequent Gorillaz and Jamie T collaborator James Dring - and draws inspiration from genres like hardcore breakbeat and





dream pop. Pixey says: “I wanted a collection of tracks which gave a quick snapshot into me and my brain - where I’m from, where I want to be and what I’m thinking about. I hope people can take something meaningful from it or simply have a dance.”



Pixey first discovered music as a toddler - she remembers not even being able to walk yet but desperate to sing and dance to Queen - before discovering the likes of Kate Bush, Björk, and George Harrison, whose classic songwriting struck a chord with her in her youth. The catalyst for Pixey’s musical coming of age however, was a near fatal viral illness suffered in early 2016 which hospitalised her, she says: “When I thought I was going to die I thought of all the things I wish I’d done and music was the first thing I thought of. As soon as I started recovering I started learning to record and produce.” She taught herself Ableton production software before mastering guitar and eventually drums and bass after her previous (and current) boyfriend(s) left their instruments lying around to prove she could learn it quicker and play it better.



Once able to carve out her own sound, Pixey turned to The Verve, The Prodigy and De La Soul for sonic inspiration, adding: “I particularly like the idea of using samples/making my own riffs sound like samples which was heavily inspired by the De La Soul album 3 Feet High and Rising. Starting out initially though Grimes was a huge catalyst when I realized she wrote, recorded &produced herself.” Her prolific and unusual songwriting style stems from an original riff or beat, with further layers added as she records and produces, and lyrics being added last - the process taking only a day or two.



With Free To Live In Colour and a whole arsenal of further material being readied on her new label home, Chess Club, Pixey is primed for big things in 2021 and beyond.

Pera Sta Ori is the pseudonym of greek sound artist and producer, George Kontogiannidis. Professing a futuristic style, his music blends senses from DnB, IDM and bleep. Bursting into the general consciousness back in 2017, time has only seen this promising artist grow with releases on brokntoys, Furthur Electronix and Yellow Machines. He now readies his next EP with us at MUSAR, titled 'IMMI'.
Short for 'Immigrant', 'IMMI' EP is dedicated to uprooted people. Within, Pera Sta Ori explores an imaginary world in which misery is erased from memory. Projecting into vast expanses, each track forms an echo chamber. From the urgent and frenetic vocals of 'SCATTER 0^', layered with crunching percussion and swarming bass, to the ambience of 'Bouncing/Lassitude' and downtempo quirks of 'CIN1', Pera Sta Ori provides a variance of headscapes to slip into.
Chilean celestial spark Kamila Govorcin creates her own world on the remix of 'CIN1'. Jagged percussion ripple and ricochet with near-industrial inflections. Peppered with openings of etherealism, the samples of the original glide whilst Govorcin keeps things driving with four-to-thefloor punches.

• Although no longer part of the current Band line-up, Hamish Stuart remains integral to the continuing Average
White Band catalogue reissues, a band that is widely regarded as one of the best ever soul and funk bands.
• For the last 40 years, Hamish Stuart has been an in-demand songwriter, producer and studio/live performer,
working with Paul McCartney, Chaka Khan and Aretha Franklin, being part of the Ringo Starr & His All-Starr Band,
or the occasional meet-up of the 360 Band, which also featured former band mates Steve Ferrone and the lateMalcolm ‘Molly’ Duncan.
• Hamish has also written for Smokey Robinson, George Benson, Diana Ross Jeffrey Osborne and Atlantic Starr,.
• ‘Sooner Or Later’ was his first solo album, released worldwide between 1999 and 2000, so although celebrating
it’s Coming-of-Age, 21 years later, it’s the album’s debut release on vinyl.
• ‘Sooner Or Later’ has been edited and reconfigured by Hamish to give it a tighter sound and includes the single
‘Midnight Rush’, co-writer with Incognito’s Jean-Paul ‘Bluey’ Maunick.
• Other song writing collaborations include ‘It Is What It Is’, with Richard Darbyshire and Frank Musker and ‘I Don’t
Wanna Be A Rock’, with Graham Lyle.

Well known for his tight, aggressively grooving brand of rhythm playing, whether in the service of the Grammy Award-winning band Snarky Puppy, the Fearless Flyers or on his six solo albums, guitarist Mark Lettieri has found the perfect algorithm for the funk.
Merging the influences of ‘70s and ‘80s rhythm and rock guitar icons like Prince and Eddie Van Halen, along with inspiration from George Clinton and P-Funk, Chuckii Booker, Periphery, Stevie Wonder, Steely Dan, and others. This Fort Worth, Texas resident has been insinuating his razor-sharp licks into the consciousness of funkateers since joining Snarky Puppy in 2008. Created during the pandemic, ‘Deep: The Baritone Sessions Vol. 2’ is a triumph of ingenuity built upon Lettieri’s life-long love of funk and rock and showcases the breadth and depth of Lettieri’s nasty, low-end brand of funk.
The guitarist’s Fearless Flyers bandmate, drummer Nate Smith, is also onboard for this cavalcade of groove, along with Bobby Sparks, Justin Stanton and such guests as vocal sensation Jacob Collier, former Prince drummer TaRon Lockett, Rascal Flatts pedal steel guitarist Travis Toy, French harmonica ace Frédéric Yonnet, Lettuce and former John Scofield drummer Adam Deitch, Ghost-Note drummer Robert “Sput” Searight, Snarky Puppy keyboardist Shaun Martin, tenor saxophonist Keith Anderson, and special guest guitar soloist Steve Lukather.

Verisimilitude’ continues drummer/composer Tyshawn Sorey’s effort to shatter the jazz piano trio tradition by extending the form to encompass the influence of the likes of Feldman, Debussy and Xenakis.
Now available on vinyl for the first time.
One of the most in-demand drummers in improvised music - he has collaborated extensively with the likes of John Zorn, Vijay Iyer, Steve Lehman, Claire Chase, George Lewis, and Roscoe Mitchell, among myriad others - Sorey is also in the vanguard of artists working in that liminal space between spontaneous composition and notated music.
The New Yorker calls Sorey “among the most formidable denizens of that inbetween zone,” while The Wall Street Journal has called him “a composer of radical and seemingly boundless ideas.”
Featuring Cory Smythe on piano and Chris Tordini on bass, the trio’s first release, ‘Alloy’ (Pi 2014), was described as “shadowy and elegant” by The New York Times. His 2015 release, ‘The Inner Spectrum of Variables’, which also features the same group joined by a string trio, was called “devastatingly gorgeous” by The Chicago Reader and “a genuine masterwork” by Stereogum.
The new work utilizes a wide array of percussion, along with judicious use of electronics to explore a wider textural soundscape. The result is a far-reaching and intensely beautiful work that daringly blurs the boundaries between composition and improvisation.
Personnel: Tyshawn Sorey (drums, percussion), Corey Smythe (piano, toy piano, electronics), Chris Tordini (bass)

Digital Introversion is the first studio album of Aboukir, the new project of multi-instrumentalist and songwriter Ralph Maruani, also known as Flabaire for his electronic music pieces.

Throughout the 8 tracks of the LP, psychedelic guitars and dreamy vocals lie down on bluesy bass lines and subtle rhodes keys, putting great emphasis on instrumental sequences in every song.


Inspired by the sound of the 60s and 70s rock, the album conjures references to bands like Crosby, Stills & Nash, prog-rock pioneers Pink Floyd and more modern musicians such as Khruanghbin or Air. Recorded in 2018 and 2019 in his home studio, every instrument is played and arranged by Maruani himself except for the drums, performed by friends and family on several tracks. No samples here, just pure talent from an experienced producer and a lifelong vinyl collector. 


Aboukir’s Digital Introversion will be available in April 2021 on Rotary Phono Lab in limited edition vinyl and digital.