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First-ever official re-issue of the Ecuadorian composer's stunning electroacoustic composition "Oeldorf 8" on vinyl and CD. Remastered by KASSIAN TROYER at D&M, Berlin.

MESÍAS MAIGUASHCA (b. December 24th, 1938 in Quito / Ecuador) is a composer of Neue Musik, especially electroacoustic music, who studied at the Conservatorio Nacional de Quito, at the Eastman School of Music in Rochester, NY (1958–65), with ALBERTO GINASTERA at the Instituto di Tella in Buenos Aires, at the Hochschule für Musik in Cologne and, after a short return to Ecuador, attended the Internationale Ferienkurse für Neue Musik in Darmstadt and the Fourth Cologne Courses for New Music in 1966–67 where he studied with KARLHEINZ STOCKHAUSEN. From 1968 to 1972, MAIGUASHCA worked closely with STOCKHAUSEN in the Electronic Music Studio of the Westdeutscher Rundfunk in Cologne and joined STOCKHAUSEN's ensemble for performances at the German Pavilion at the Expo '70 in Osaka. In 1971 he became a founding member of the OELDORF GROUP of composers and performers, and began work at the Centre Européen pour la Recherche Musicale in Metz, at IRCAM in Paris, and at the ZKM in Karlsruhe. From 1990 – 2004 MAIGUASHCA was Professor of Electronic Music at the Musikhochschule of Freiburg im Breisgau where he still lives today.

The OELDORF GROUP, named after the small village 40 km away from Cologne where they lived and worked in a rented farmhouse where they set up their own studio for electronic music and studio productions, was a musicians' collective active during the 1970s. In the adjacent barn, the group held concerts for audiences up to 300 people with an emphasis on live-electronic music and other kinds of new and avant-garde music. Thanks to a long-standing contact with the Westdeutscher Rundfund, the core members of the OELDORF GROUP (PETER EÖTVÖS - electronics and keyboards, the violinist/violist and composer JOACHIM KRIST, electronics specialist and composer MESÍAS MAIGUASHCA, who also played keyboards, and his wife GABY SCHUMACHER – cello) received commissions for compositions, invitations to perform in the Musik der Zeit concert series, as well as having many of their summer concerts recorded for the late-night broadcasts of WDR3.

One of these commissioned compositions is "Oeldorf 8": a retrospective portrait of the OELDORF GROUP consisting of a series of ten short pieces for four instrumentalists (clarinet, violin, cello, electric organ/synthesizer) and tape which may be played either simultaneously or continuously without a break. It premiered in 1974 at the Darmstädter Ferienkurse and was released on LP two years later and turned into a sought-after, but not very well-known rarity achieving collector's prices., and was later unofficially reissued on KEITH FULLERTON-WHITMAN's Creep Pone CDr label.

Conceived as a sonic diary with an edge to encompass radical electronic synthesis, the 48 minute composition proves " … a thing of wonder; from the outset, MAIGUASHCA's spoken introduction of the players & concept gets slowly eroded by errant, pointillist electronic sound … which then lets loose for a good 10 minutes before a swarm of slowly rising held tones c/o the players acoustic arsenal slowly comes to the fore. On the second side, the acoustic sounds - patiently, elegantly state their cases across a good half of the segment until a rising pulse-wave drone essentially annihilates the more nuanced phrasing & slowly builds to an almost ROLAND KAYN-esque climax of raw oscillator gristle" (Soundohm).

44 years after its original release, MAIGUASHCA's stunning album finally sees its deserved and overdue re-release on CD and LP, carefully remastered by KASSIAN TROYER at D&M, Berlin.


"Maiguashca … is part of the first generation of South American maverick sound explorers that in the 1960s paved the way for a tradition of innovation that persists in the present noise and psychedelic scenes of the continent. Along with Edgar Valcárcel, César Bolaños, Beatriz Ferreyra, Mauricio Kagel or José Vicente Asuar, he contributed to expand the possibilities of musical language beyond the dominant Western canon …"

David Jarrin / Kraak Festival

Controversial glam act New York Dolls were the epitome of rock ‘n’ roll excess, prefacing
the rough edges of punk. Formed in late 1971 and initially known as Actress, the earliest
incarnation featured bassist Arthur Kane, guitarist Rick Rivets and the guitarist that would
become Johnny Thunders, with drummer Billy Murcia and singer David Johansen; soon,
Rivets was replaced by Egyptian-born Sylvain Sylvain. Decked out in androgynous clothing,
including platform boots, lipstick and body stockings, The Dolls toured England in 1972,
which was ruptured by Murcia’s tragic alcohol-and-drugs-related death, bringing Jerry Nolan
into the group. Signing to Mercury, they issued a self-titled debut, followed by Too Much Too
Soon, but disappointing sales saw Mercury drop them. Live At Radio Luxembourg was
recorded in December 1973 and features hot live versions of songs from these two seminal
studio albums; with plenty of banter delivered in cod-French accents between the tracks, the
set reveals the group in their prime, their no-limits attitude taking the form of raucous guitar
riffs, shouted vocals, crashing drums and driving bass, and in addition to classic Dolls like
“Puss N Boots” and “Jet Boy,” there are some blues references too.

From his 'FAT' Studio near the central Swedish town of Örebro, Sjunne Ferger crafted a small but radical legacy of genre bending music. With an open minded 'anything goes' attitude born from his jazz roots, compiled here are songs charting a transition from fusion beginnings via his debut 7" with group 'Exit' through to a more blissful synthetic sound palette. Across the album's 7 songs Sjunne's heady musical optimism aspired to an aesthetic that moved freely between drum machines & synths to more organic instrumentation with rich arrangements never losing sight of a light ethereal feel.

Hypnotic ambient pieces written for short film swirl amongst the electronic & electrified- unreleased versions of 'Destiny' and 'Candlelight' hint at his sound to come, while the album culminates in the highlights 'Night Rituale' and 'Childrens Mind' -Intoxicating mixes of Sjunne's influences & inspiration, they unknowingly hint at Mkwaju Ensemble and other key Japanese contemporaries, and bear witness to the Swede's deep Eastern philosophical outlook. Retaining his own unique sound throughout, 'Childrens Mind' is a primer for Sjunne Ferger's 'Mindgames' LP reissued on Strangelove later in 2021.

SWINGROWERS are an Italian quartet from Sicily. They have been at the forefront of the electro swing scene for many years but have evolved beyond it more recently. Their constant touring and festival appearances from Boomtown to Glastonbury's Avalon stage, from Tokyo's Blue Note club to tours in India and more have secured them a large international following while their YouTube videos regularly reach multi-million views. Starting as a DJ/Vocal duo with the debut album in 2012, via the 5 piece band on Remote (2014) to the current line-up on Outsidein (2018) they are now poised to release their best album yet and take things up another level.

HYBRID is a lyrically ambitious project held together by ecological themes but what really sets this apart is the brilliant melodic work of a tightly-knit group working perfectly together, plus exemplary musicianship in the gypsy guitar work and alto sax department, coupled with a gorgeous voice and brilliant, original production work. This album is their masterpiece. Usual support expected from previous supporters like Craig Charles and BBC 6 Music, but this album is also likely to reach out to a much wider audience than before. SWINGROWERS have also been lucky to have many significant syncs and this album is expected to generate many more. In particular future single and video WANNABE has the standout qualities of an anthem, concerning itself with female empowerment and individuality that will have wide appeal.

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 a disparate array 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 contibute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their records are 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.

Shadow Work is their third album and the first they have self-produced. Recorded at 80 Hertz Studios, Gondwana Records home from home in Manchester, it is the result of 18 months of intensive touring and mammoth writing sessions. The energy from their exhilarating live performances has fed into the writing process and yet there is a quiet reflective side to this album, giving it an expanded emotional range that draws the listener deep into Mammal Hand's sound world. One that builds on the sound of their previous recordings, Animalia and the beautiful Floa, but is wider than ever, with the use of prepared piano strings, more prominent effects and field recordings all adding to the band's most ambitious and accomplished album to date. The striking artwork is by Daniel Halsall and reflects the organic, natural influences underpinning the band's music alongside a darker, modern minimalism.

2LP Set With 19 Classic Tracks From One Of The Most Beloved Singers Of All Time In One Of The Greatest Soul Acts.
Gladys Knight & the Pips remain, without doubt, one of the greatest acts of the soul era. With powerful lead vocals supported by ultra-smooth harmonies delivering a catalogue of hits, their mark on the charts alone is impressive enough. Add in their remarkable fashions, memorable choreography & collaborations with some of the greatest songwriters of all time, and you have the
definition of iconic artist right there.
Breaking through in the late 50’s on Jackie Wilson’s Brunswick label, first serious chart success came soon after signing to Buddah in 1973 and the release of a Jim Weatherly number, ‘Where Peaceful Waters Flow’. Their second release for Buddah took them into the pop stratosphere. ‘Midnight Train to Georgia’ - another Weatherly composition - landed them a US No.1 and UK No.10 hit.
And then classic hit after classic hit flowed. ‘Best Thing That Ever Happened To Me’ (Weatherly), ‘Baby Don’t change Your Mind’ (Van McCoy), ‘Make Yours a Happy Home’ (Curtis Mayfield), ‘Baby, Baby Don’t Waste My Time’ and ‘Bourgie’ Bourgie’’ (both Ashford & Simpson) all feature here among many others as a slice of the group’s huge repertoire.
After the group amicably disbanded in 1989 Gladys continued to record and
perform, including her joining the select band of superstars to have performed
a James Bond theme, with her unmistakable ‘Licence to Kill’. Still performing
solo to this day, “The Georgia-born ‘Empress of Soul’ reigns supreme,” wrote
The Times of Gladys as recently as 2019. But it will be group’s golden era from
the early-70’s to the mid-80s catalogued here that Gladys Knight & the Pips will
always be most fondly, and recognisably remembered.

Zwerm is a Belgian-Dutch electric guitar quartet (with a backyard rehearsal shed located in Antwerp) that operates along the borders between styles and traverses traditions that are typically not convergent. Zwerm rhymes Larry Polansky with Nadah El Shazly and are galvanized by the likes of guitars pioneers like The Velvet Underground and Sonic Youth, the microtonal DYI-er Harry Partch, Middle Eastern sonorities and the prog-madness of Kind Gizzard & the Lizard Wizard. ‘Musical adventure’ is not just a hollow cliché for this quartet, but a genuine commitment. Zwerm calls itself a ‘guitar quartet’, but that can be interpreted broadly as well as with a pinch of salt: “If we want to do something on instruments we don’t really master, we’ll just figure out a way to make it work.”
Toon Callier, Johannes Westendorp, Kobe van Cauwenberghe and Bruno Nelissen all met in 2007 while working on a project with Glenn Branca. A new guitar quartet was born and it became clear rather quickly that staying in the strictly contemporary compositions lane was not for this quartet-with-five-to-six-members (an organizational chart is available upon request).
An appetite for new and lasting collaborations has been a constant theme throughout their artistic parcours. The group has shared stages with theatrical producers like Walpurgis and Post uit Hessdalen, dancers such as Ecce and with the musicians Fred Frith, Stephen O’Malley, Shiva Feshareki, Rudy Trouvé, Mauro Pawlowski, Larry Polansky, Eric Thielemans, Yannis Kyriakides, François Sarhan, Serge Verstockt and Stefan Prins. These projects have not always translated into records, but they have been decisive in creating a unique musical approach. In 2015, when Zwerm was asked by De Handelsbeurs to collaborate with Fred Frith, they proceeded to pen a few new musical sketches over which Firth sublimely improvised. In 2018 ‘Badminton in Tehran’ was released, their first record that was made up completely of only the group’s compositions.
“a basket full of buttons here
and if you push the wrong one: fear
and if you push the right one: love
or maybe none of the above”
The route that Zwerm has taken is often defined by the question “What if... ?” - like a dart thrown at a musical map, not quite blindly, but naive enough to lead to unexpected endings.
“What if we play Renaissance pieces written by John Dowland, but instead of playing lutes we play these tunes with a Telecaster – and then jam it through effect pedals and an amplifier?”
“What if we connect one hundred guitar pedals and just leave our guitars at home?”
“What if we record a record with ten different one-page-pieces that we found on the Internet?”
In 2020 our metaphorical dart landed on “What if we tried microtonality?”.
‘Microtonality’ sounds a bit creepy, but actually there is nothing to be afraid of: there are no out-of- tune notes, just alternate notes. On the continents where Western musical theory is less stringently applied, microtonality is the rule, and has become the subject of many deep and thoughtfully written theories. However for Zwerm, this phenomenon occurs in many, often surprisingly lighthearted forms. A dilapidated piano that has settled into a beautiful microtonal tuning of its own accord, enthusiastic choral singing, a guitar whose three strings are tuned a quarter-tone higher, a saz (Turkishquarter-tone lute), a maddening guitar pedal, ...
"the dreams they were convicted for telling only lies reality came after for claiming to be wise what you don’t see is what you get just never light a spark I’m a crow in the dark”
“And… what if we work with a drummer?” Enter Karen Willems - dummer, extraordinaire, and ardent player in groups, projects and collaborations galore. One chance meeting and the deal was done. It was obvious before the start that Willems was the versatile and creative percussionist-in-a-toy-store necessary for this project. And in the studio, to our delight, she demonstrated an easy dexterity when switching quickly from one idea to the next.
At the reins behind the scenes was producer Rudy Trouvé, who – during previous sessions for ‘Badminton in Terhran’, when the classically trained guitarists went completely off the rails, staring deeply and forlornly into their scores, looking for answers – was able to pinpoint the problem and get the wagons rolling in the right direction again. Completing the team were Mark Dedecker (recording)and Joris Calluwaerts (mixing).
The results are in and it’s called ‘ Great Expectations’ – a title that, in several ways, fits perfectly with these strange times.‘Great Expectations’ goes wide! Zwerm is at its best when it can run along the borders between style and across traditions that otherwise would not necessarily intersect. The most straightforward rockers have a proggy tinge while the dreamy psychedelic songs lean more toward Richard Youngs. And if a nice melody dared come to close to becoming a ‘Kit-Katjingle’, then barbs-a-la-Pere-Ubu were trailed, tracked, found and promptly embedded. ‘Heavy Machinery’ sits neatly somewhere between Captain Beefheart and Richard Wagner, and ‘On My Way To Aguno’, set to an Iranian folk song chord progression, grew into a hyper-personal lullaby. Zwerm used the saz (Turkish lute) and the sinter (Moroccan gnawa bass instrument) without falling into pastiche psychedelia, but you can still sense the orient.

The three players in Chicago’s Moontype orbited each other for years before they came in phase. Bodies of Water, their debut album for local label Born Yesterday, documents travel, insecurity, friendship, and the titular element—all of which are representative of the band members’ strong connection to place and to one another. “Being rooted in the landscape became important to me while studying geology, which completely changed how I think about the world,” offers songwriter, vocalist and bassist Margaret McCarthy of the album’s central themes. The arrangements themselves feel like open-hearted negotiations; sparse fingerpicking gives way to saturated tube-screaming as naturally as the changing of tides. Over twelve tracks, Moontype revels in the woozy concoction of its many influences, but always lands on punchy hooks, shifting between arrangements both spacious and mystifying without abandoning their conversational warmth.

Conservatory students at Oberlin College’s prestigious music program, each member focused on exploring different sounds. Guitarist Ben Cruz, who came up on classic rock shredding and migrated into jazz performance, admired the indie pop of Fountains of Wayne, the groundbreaking composition work of pianist Vijay Iyer, and the genre-morphing folk of heavy hitters like Neil Young and Joni Mitchell. He played in several projects alongside Emerson Hunton, who’d drummed from age six and entrenched himself in the Twin Cities improvised music scene before even heading to college. Margaret—who grew up outside of Boston playing piano, singing in choirs and writing on guitar—spent her time creating knotty, riot grrrl-and-hyperpop inspired songs for bass and voice, as well as noise soundtracks for art installations. Inspired by artists like Adrianne Lenker and Gillian Welch, she recorded the EP bass tunes at home in an apartment over the town’s optician, releasing it upon graduation. A week later she migrated even farther west to Chicago, where Ben and Emerson had already enmeshed themselves in several projects, from avant garde ensembles to a country group.

Ben was instantly impressed by Margaret’s songs, at once “challenging and unlike anything I had played before.” The duo decided to try performing together, but knew this special music would be even better fortified with drums. Emerson was the obvious choice—as Ben puts it, “He’s our great friend and also the best drummer we know. Who else do you call?” Moontype-as-trio gigged around town, eventually embarking on a first fall tour in Emerson’s Prius. On that trip, they felt the music morph into something living, and the care and trust between them intensified. They decided to put together songs for a record, recorded at the end of 2019 with Jamdek Recording Studio’s Doug Malone, a dependable collaborator whose patient process perfectly captured the magic of their newfound familiarity. While Margaret’s skeletal demos still informed the bulk of Moontype’s full-band debut (some of which are re-recordings of bass tunes cuts), the resulting arrangements are songs reborn and strengthened by the three musicians’ absorption of one another’s ideas.

On Bodies of Water, Margaret’s soothing, unadorned alto is often peppered by the gliding, eerie harmonies of her bandmates. “We love the act of singing together,” explains Ben, who describes it as “connecting and grounding and wholesome.” The push-pull search for common ground characterizes the instrumentals as well. Round basslines occupy higher octaves, trading space with guitars chugging in lower registers, and all the while drums break apart and glue back together in idiosyncratic grooves that never lose the pocket. Of the complicated rhythms that sometimes result: “Any mathy moments are based on how the lyrics fall naturally, which feels like it frees us up from having to stay in one time signature,” says Emerson. “Rhythmic elements never feel like they’re being added in, more like they’re already there and we just float on through.”

Touring’s restlessness informed these songs, but so did the DIY scene that welcomed Moontype to Chicago—including, according to Margaret, the “wild harmonies” of Ohmme, the “deadpan explanatory rock” of Ratboys, and the “luxe math rock pattern music” of The Knees. Working at beloved venue Sleeping Village inspired Margaret’s observational vignettes; “We are sitting at the desk and you are mixing all the bands,” she reports in the middle of the dextrous folk hammer-ons of “3 Weeks,” gently admitting, “I am trying to have fun and I am trying to get paid” in a world of bikes, trucks, and velvet. “About You,” a robust power-popper written about a post-gig romp around Richmond with artist Bebé Machete, opens with a Phair-ian quip: “Looking at you with my fuck me eyes / Do you wanna get inside of mine?” Meanwhile, the spectre of lost camaraderie looms over “Ferry,” an atmospheric and anthemic standout that questions, “If I’m not your best friend / then who am I to anyone?” Alongside water, this preoccupation with friendship is a focal concern lyrically, but the palpable love between Moontype’s players is essential in communicating that desire for connection, and all three members are dedicated to exploring sound and meaning organically and together. Care and generosity are at the core of Moontype, and Bodies of Water is a clever album full of insightful music, as cosily enveloping as it is incisively honest.

With 'BREAKOUT', Echoes of Zoo push their adrenaline fueled jazz sounds to thrilling new levels. Rarely did one single word capture an entire musical atmosphere this accurately: the gates of the cages fell open and won't ever be shut again. 'BREAKOUT' celebrates breaking loose and is constantly

seeking for unexpected and exciting encounters - both culturally and musically. Infused with an eclectic range of western, oriental and African influences, Echoes of Zoo let their psychedelic and energetic jazz roam the streets in all freedom - much like an animal that has just stepped out of his cage and looks you straight in the eye. Meeting is direct, barriers are gone, the adrenaline and energy are rushing high. The band takes a deep dive into the musical melting pots which the world's biggest cities are today:

Balkan ornaments meet Brazilian rhythms

Gipsy scales meet fuzz guitars

Beninese grooves meet Turkish makam

Bass guitars meet Sufi rhythms

Rage riffs meet Kurdish trance

Indian raga meets western guitars

Romanian drums meet swing riffs

Tallava meets drum 'n bass

...

Echoes of Zoo are profoundly inspired by the endless variety of animals and musical genres. Join them on their trip through the city in all diversity, victory and freedom. BREAKOUT.

Echoes of Zoo is a band with a unique sound, under the high tension of Middle Eastern rock music with the striking complexity of West African percussion and a few Dub flavors, all in the service of psychedelic jazz played with a punk attitude. For this project, Nathan Daems (sax) is accompanied by Bart Vervaeck (electric guitar), Lieven Van Pee (electric bass) & Falk Schrauwen (drums), musicians you probably know from other projects they are part of such as Black Flower, De Beren Gieren, Sylvie Kreusch or Compro Oro.

After releasing a first self-produced EP - 'First Provocations' - in January 2019, the group was well received by both the audience and professionals in the sector. Supported and followed by some pioneering organisations and festivals, Echoes of Zoo has already been invited to Brussels Jazz Festival, BRDCST Festival (AB), Brosella Festival (carte blanche guesting Pantelis Stoikos), Leuven Jazz Festival, Amok Festival (KAAP), Recyclart, ...

After an almost 6 year hiatus, and the break up of the audio-visual trio it had evolved into, Origamibiro returns with Miscellany, a body of work amassed during the years since the release of 2014’s Odham’s Standard.

Though the group never officially disbanded, a number of life-changing events meant it simply became impossible to continue together. As such, the project organically reverted back to the solo pursuits of composer Tom Hill. Fellow multi-instrumentalist Andy Tytherleigh, however, remains a strong collaborator.

Miscellany comprises a varied mixture of work, ranging from electroacoustic to orchestral chamber music. Drawing upon much of the found-sound style for which Origamibiro became known, the DIY approach to sampling and composing continues to play a central role in the process.

Exploration into the tangible nature of everyday objects and textures - both in and outside of the home - is a theme relished in much of Origamibiro’s work. Forest brambles and plastic toy Easter eggs are examined in surgical detail alongside the debris of demolished piano parts, to be repurposed into whatever sonic potential they offer up.

However, new additions to the instrumental palette - viola da gamba, piano, zither, singing bowl, glockenspiel, drum machines and gongs - contribute to an even broader timbre.

From St Lucia to Jamaica to Ghana to Colombia, London born duo The Busy Twist have travelled the globe to create their dance floor killing productions.

Their debut EP 'Friday Night' combines these cultures, respectfully crossing sound boundaries and joining the dots between Afro House, Kuduro, Latin and Uk Bass.

The London Luanda Remix Series is the result of digging into 1970's popular music in Angola. Acclaimed by BBC radio host Annie Mac, and supported by the likes of Jillionaire, Buraka Som Sistema or Toddla T, some of these remixes are already being played throughout clubs and parties all over the world, but were never officially released.

Courtesy of Analog Africa, all original tracks were taken from the “Angola Soundtrack” compilation series. Includes 2 that have never been aired and one is a vinyl exclusive.

The release of these classic tribal reworks was eventually made possible thanks to the group’s recent trips to Colombia, where they worked alongside Systema Solar, Ghetto Kumbé, Nidia Gongora and Palenque Records, for an impressive variety of original productions, collaborations and remixes.

In alliance with Colombia-based label Galletas Calientes Records, one of these fruitful encounters, the London Luanda Remix Series was finally materialised.

• Progressive rock act THE ENID captured live in 1980 at Loughborough Town Hall!!
• British group THE ENID were formed around the founder/keyboardist Robert John GODFREY (BARCLAY JAMES HARVEST) and his fellow founder members, guitarists Stephen STEWART and Francis LICKERISH in 1973.
• Almost like a combination of classical and rock, the band combined vast orchestral movements, exclusively classical instrumentation, rigorous construction completely well-written and romantic rock music.
• FANTASTIC 140 GRAM VINYL.
• LIMITED EDITION
• Full servicing to all relevant media
• Extensive print & internet advertising

• Stunning Counting Crows broadcast recording from 2000!
• Recorded in Switzerland’s largest city, Zurich, at the prestigious Volkshaus Concert hall.
• Playing a remarkable 80-minute set featuring cuts from the new record "This Desert Life" alongside songs from their previous two releases.
• Providing fans everywhere a chance to sample one of the group’s finest ever live events.
• FANTASTIC 140 GRAM VINYL.
• LIMITED EDITION
• Full servicing to all relevant media
• Extensive print & internet advertising

Dojo Cuts were one of the first groups to release a 45 on Colemine Records back in 2009 and eleven years later, they represent the 89th 45 in the label's history. As perhaps the most soulful outfit to come out of Australia the last few decades Dojo Cuts with the help of leader singer Roxie Ray and producer Nathan Aust are back to cranking out new tunes like they haven't since 2012. "Rome" and "Falling In Love Again" are from the most recent LP Tomorrow's Gonna Come.

HIGHLIGHTS "A Buenaventura" is surely one of Julian y su Combo's best albums, a sought-after collector's record that is also popular with tropical DJs. We have added two bonus tracks from 1976, 'Salsa y bembé' and 'Colorin colorao' that were originally a 45 single, resulting a winning combination of familiar and obscure tunes of rich sonic variety. Presented in its original artwork and pressed on 180g vinyl. Recommended by DJ Bongohead of Peace & Rhythm DESCRIPTION During a 20-year period Julián Y Su Combo released 8 LPs on almost as many different companies and "A Buenaventura" was their only record with Medellín-based label Indústria Fonográfica Metrópoli (later reissued by INS on their Fabuloso imprint as "Descarga Salsa Y Boogaloo"). Julián Angulo described the combo's sound as afroantillano, combining Cuban, New Y ork Latin, and Puerto Rican elements with Colombia's own tropical costeño traditions. The group's swinging, jazzy arrangements were distinguished by Angulo's prominent rhythm guitar, a hot rhythm section, and the potent brass lineup of two saxophones and a trumpet (much like Cortijo Y Su Combo) but with the occasional addition of a clarinet or flute (for extra Cuban flavor). Singer José Arboleda lends an earthy, joyful Afro-Colombian sound to the vocals and the entire unit is held together by a combination of his fantastic voice and super-tight, swinging ensemble playing with the occasional expert instrumental solo at just the right interval. "A Buenaventura" is a sought-after collector's record that is popular with DJs not only for the power ('salsa brava' all the way) and diversity of its sound (with hot dance genres that range from guaracha, son montuno and guaguancó to boogaloo and descarga, as well as cumbia and currulao) but also for how well it was arranged, engineered and recorded, making it both a pleasurable listening experience and a dance floor killer. Though the credits do not list a year, most likely it was released in the late 1960s or early 1970s and then pick up again with INS in 1975. In addition to several tasty originals by Julián and other Colombian composers, there are also covers of Cuban classics as well as the funky boogaloo anthem 'Palo de mango' by New York's Eddie Palmieri (with lyrics by the Puerto Rican sonero Cheo Feliciano).

Former member of Rodolfo Alchourrón and Gato Barbieri's bands, Cevasco's first solo effort is a combination of fusion jazz with a pinch of unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, still evoke a refreshing feel of modernity in the same vein as many other experimental Argentine and Uruguayan artists from the same era. Includes guest appearances from artists such as Litto Nebbia or Ruben Rada. Reissued on vinyl for the first time, including insert with liner notes and previously unseen photos. Details: Few musicians can boast of having played with "the greatest" without some eyebrows to be raised. The bass of Adalberto Cevasco has been heard in multiple concerts and recording sessions of artists as diverse as the Spanish divas Rocío Jurado and Isabel Pantoja, tango genius Astor Piazzolla or the cream of the Argentine jazz scene -from Pocho Lapouble, Gustavo Kerestezachi, Rubén López Furst or Andrés Boiarsky to the great Gato Barbieri- With the latter, as part of a dream band that included artists like Nana Vasconcelos as well as other Argentines such as Lapouble or Domingo Cura, he recorded two fundamental pieces in the Impulse! label catalogue in sessions held in Argentina and Los Angeles and also toured across various countries. The daily sold-out shows at the Regina Theater in Buenos Aires and their overwhelming performance at Montreux Festival are still well remembered. It is therefore out of question that Adalberto Cevasco belongs to that top-level league of musicians whose talent has also contributed to enhance those who accompany them. The history of this album begins with an encounter. Adalberto Cevasco joins Rodolfo Alchurrón's jazz-funk project Sanata y Clarificación as bassist and meets Litto Nebbia, who is invited to sing along. Some years on, when Nebbia's Melopea record company was developing, he would receive a cassette with a collection of demos recorded by Cevasco over the years. Some of the songs dated back to 1981 while others were made well into the decade and included such outstanding collaborations as that of the Uruguayan Rubén Rada, whom Adalberto Cevasco had met playing in a group of fusion candombe called Candonga. In addition to producing the complete album, Nebbia would also collaborate in a special way in one of the most outstanding tracks (Reencuentros Nº2) by adding to Cevasco's fusion jazz some unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, they still evoke a refreshing feel of modernity. As the Argentine press of the moment highlighted, it'd seem as if the influences received and developed by the bassist during his career as a freelance musician - from post-Piazzolla tango to proyección folclórica (a movement of revision and modernization of the Argentinian musical roots) - had been added to their superb rhythmic work in this album. "Pájaros Eléctricos" was never presented live and has remained as the only published work by Cevasco as a soloist since the date of its release.

Autumns Meets Post-Punkers Uptown. A couple of years after the Dyslexia Tracks EP, and following a volley of killer releases on labels such as iDEAL, Death & Leisure and Opal Tapes, Autumns returns to Touch Sensitive with perhaps his most complete set to date. Pitching down the BPM but maintaining the intensity of his recent recorded output and incendiary live shows, Dyslexia Sound System sees Christian Donaghey turn the edit on himself with a grip of eight dub-wave zingers. Pulling from his love of On-U Sound, The Pop Group, and Public Image Limited, Dyslexia Sound System perfectly fuses dubbed-out dynamics with the tough and unrelenting electronics that has become Autumns' signature sound. Guitars squall, clarinets skronk, vocals echo, roto-toms repeat and - as always with Autumns - rhythm is king. Dyslexia Sound System is the sickest handbrake turn in Autumns' relentless and wired journey to date. Ltd. 250 vinyl. Mastered by The Bastard. Cut by Kitaro at Schnittstelle. Artwork by Rinky. Forthcoming Press: Ransom Note Premiere The Thin Air Premiere The Quietus Review Previous Highlights Radio/Mix/DJ play: Trevor Jackson, Ruf Dug, Regis, Broken English Club Gig / Tour Highlights: Playing with Wire, Beak>, Silent Servant, Veronica Vasicka 2016 performance at Paris Fashion Week for Downwards Records w/ Samuel Kerridge Recent online performance as part of Ireland's Celtronic Festival w/ Gerd Janson, Move D, David Holmes, Space Dimension Controller Previous Releases: Downwards Records, iDeal, Opal Tapes, Death & Leisure (Broken English Club)

Tortoise's third full-length release, TNT, was written and recorded during a 10-month interval in 1997. This longer-than-usual writing/production schedule was purposefully undertaken by the group in the hopes of crafting an expansive, diverse, yet thematically coherent offering. Clocking in at 65 minutes, TNT builds upon the spare, instrumental framework of the group's first, self-titled album, and the extended edits, melodic adventures, and klangfarben of the subsequent full-length release, Millions Now Living Will Never Die. Further to this, Tortoise's interest in the possibilities offered by the remixing of tracks was realized within the actual production of TNT; individual elements, sections, or sometimes whole compositions mutate within the album's shifting framework. These techniques were suitably realized thanks in part to the use of non-linear digital recording and editing methods, the first example of such work for the group. In addition, many of the arrangements push the group's standard instrumentation into new territories with the inclusion of strings, woodwinds, and brass. The permanent addition of guitarist Jeff Parker (New Horizons ensemble, Chicago Underground Orchestra, Isotope 217) to the group's lineup should be noted; his unique contributions can be felt throughout the album. Tortoise's long-standing interest in electronic and computer music is revealed during the unbroken suite of tracks beginning with "In Sarah, Mencken, Christ, and Beethoven There Were Women And Men," and ending with "Jetty." Yet TNT remains very much a record produced by a group of musicians who enjoy presenting their material in a live context. To this end, the axis of drums-basses-guitars-keyb oards-mallets-percussion continues to provide both the backdrop and the inspiration for points of departure in style and sound.

• In 1970 Miles Davis released “Bitches Brew”, which crystalised the trumpeter and bandleader’s experiments in rhythm, electronics and musical structure which he had been building on over the previous three years. The album has since become one of the most influential in musical history and was joined over the next couple of years by “Jack Johnson” and “On The Corner” in defining the future of music.

• Miles was the master bandleader and his LPs at the time declared that these were his ‘Directions In Music’, but he forged them with the help of a hand-picked group of musicians who proved themselves good enough to share his space on stage and in the studio. These players would all become central to jazz’s continued relevance and many would go on the record best-selling jazz records of their own. This compilation looks at the records that they made around the time they played with Miles and how they fed into or were fed by their time in his group.

• So we have Wayne Shorter and Joe Zawinul with versions of tracks they cut with Miles. Herbie Hancock’s journey into the electronic instruments that Miles convinced him to play, and Keith Jarrett’s firm rejection of them. Lonnie Liston Smith borrows the Indian percussion from “On The Corner” for his take on electronic funk. Chick Corea, John McLaughlin and Gary Bartz all show their distinctive talents that were allowed to shine in Miles’ band. As a bonus, we have Miles’ musicians alongside Betty Davis (his wife at the time) on a take of Cream’s ‘Politician Man’ and Miles’ 1970 group live at The Cellar Door on Joe Zawinul’s ‘Directions’.

• Available on CD and double vinyl with in-depth sleeve notes. The Miles Davis track is available on vinyl for the first time.

“It was my wish to cool things down a bit,” says David Helbock. The
Austrian-born pianist has formed a new trio with guitarist Arne
Jansen and trumpeter Sebastian Studnitzky and it is clear when he
talks about it how far he has already moved on since his previous
group: “In the Random Control Trio we had a lot of instruments on
the stage, there was a lot of changing from one instrument to
another… and a lot of notes.” And the new group? “It is more about
emotions. And emotions are the most important thing in music.”
There are other differences too. Whereas Helbock’s previous groups
have consisted of musicians from his native Austria, he has now lived
in Berlin for five years, and ‘The New Cool’ presents his first group
formed with players who have also adopted Berlin as their home city.
With Arne Jansen, originally from Kiel, what appeals to Helbock is
that “he is such an unselfish player, very centred and very calm - and
subtle too. With him it’s all about the music.” Studnitzky is originally
from the Black Forest and Helbock liked “his style of playing with that
very airy sound” and the fact the range of timbres and moods he
creates with just one effects device. And how does it work in the
trio? “All three of us are melody players, but we are all capable of
holding back and giving space to the others.”
It would be wrong, however, to see the elegiac feel of much of this
album as a response to the pandemic. Helbock and producer Siggi
Loch were having “a productive and fruitful discussion” about these
ideas a full year before the recording sessions took place at the Emil
Berliner studios in August 2020. Loch has a fascination for the way
cool jazz “turned the wheel around” to connect with a wide audience
and references and connections with the cool jazz movement are
scattered throughout this album. It is also the very first time that
Helbock has included a tune by his teacher for over a decade,
American pianist Peter Madsen, who toured extensively with Stan
Getz and also taught Maria Schneider.
Helbock has been inspired by the innovations and concepts of Lennie
Tristano and his sense of affinity with the Chicago-born genius runs
deep. Tristano once decreed that “the jazz musician’s function is to
feel.” Helbock, Jansen and Studnitzky have taken that maxim to their
hearts.
LP pressed on 180g vinyl with digital download included.