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These limited-edition black vinyl versions have been mastered by long-time Who engineer Jon Astley and cut for vinyl by Miles Showell at Abbey Road Studios with a half-speed mastering technique which produces a superior vinyl cut and are packaged in original sleeves with obi strips and certificates of authenticity.Tommy - Regarded as one of the most important albums of all time, Tommy is a rock opera about a Deaf Dumb and Blind Boy, which, when released in 1969, reached number 2 in the UK charts and #7 in the US. The album contains songs such as “Pinball Wizard”, “The Acid Queen” & “I’m Free” and is packaged in the original sleeve artwork. Sell Out - Released in 1967 Sell Out was the third album released by the Who and is revered for being one of the first concept albums, celebrating the short-lived pirate radio stations of the late 60s with its groundbreaking use of fake adverts and jingles between songs. Highlights include such as “I Can See for Miles”, “Armenia City in the Sky” and “Tattoo”

The trance blues stylings of Otha Turner and his Rising
Star Fife And Drum Band should be a music classification
unto itself, a whole new primitive take on drum and
bass. This music is the oldest still-practiced post-colonial
American music, and Turner was one of its greatest artists
of the 20th century. Blowing the cane fife with a band
of drummers as back up, The Rising Star Fife And Drum
band was legendary in the hills of Tate County, Mississippi,
where they would perform during the yearly goat picnics
on Turner’s farm. These tracks were recorded by Luther
Dickinson during such picnics and released when Turner
was ninety years old. Everybody Hollerin’ Goat shows
first hand the hypnotic and rhythmic style of fife and drum
music at its best—raw and beautiful.
It is every bit as essential a document of America’s folkmusic
heritage as anything Harry Smith or Alan Lomax ever
offered up for posterity. Turner’s band included some of his
children and grandchildren that have gone on to continue
the fife and drum tradition since his death in 2003.
This first ever vinyl release of Everybody Hollerin’ Goat
contains a whole side of unreleased recordings from one
night of the picnic and is intended to bring the experience
of hollerin’ for goat in Senatobia, Mississippi to the living
room. Dancing around the plants is recommended (but
don’t eat the pickled eggs). The entire album is remastered
by legend Gary Hobish.

Following the precursor singles of 2021, Formality Jerne-Site’s unveiling is finally cast upon her already-growing fanbase. Trained classically as a composer and completing a masters at the Royal Danish Academy of Fine Arts, Jura introduces a highly-anticipated playground of carefully sculpted characters, plots and lessons - sometimes charming, sometimes nefarious, always absolute and sincere. A fictional land opens its doors and roof to us. A trio of trans kids run amok in rural suburbia. Various sorcerers of the wild future enter the scene on some songs; on others, the mind is cast to sun-drenched drives and journeys of yesteryear. At the heart is a pop sensibility: yearning, reflections, vanity, guesswork, hope. Jura is adamant about practice and precision. Dead seriously she offers, about making music: ‘Nothing should be half-hearted or an accident.’ There’s a maturity and elegance to her compositions, arrangements that - although at first sound seem abstract - lean away from experimental, somehow. She sing-speaks in English, and somehow not typically theatrically for such a play of a record. The theatrics are all real. It’s a fantasy land for sure, but it's based on hard facts. Like academia subdivided into poetry. It’s that weird-ass specificity she mentioned. Opener ‘Someone’s Lifework’ introduces less a choir of voices, than a choir of personalities. The art of storytelling is at the center of the musical expression. A protagonist relinquishes control of chaos that’s bigger than them on a perilous journey on some vessel: they comfort their co-passengers. There’s a sense that the hero - or anti-hero - might be more canny and cunning than the sweetness they first sell to fellow players. 'Is this our getaway chance?’ sings fellow Copenhagener Ydegirl amongst swelling synths and reverb that become so definitely Jerne-Site as the quest continues. The search? For intimacy, perhaps. ‘Same late Age (dIcK bIfFeReNcE)’ imbibes at once, some further disorientation, perhaps a little hallucinatory feeling which may come over the listener. Through a synthesizing of political themes that work across time ‘Same Late Age (dIcK bIfFeReNcE)’ bears reminiscences of the musical expressions of anti-capitalism in the 1980es, although in a new body and context. “I have a feeling that music reconjures societal morals and ideas from the time in which it was written when we press play or hear a live performance. From the moment at a concert when the symphonic orchestra starts tuning in, the time traveling begins. So I imagined how it would be to be trans sitting there playing the first violin, having the job of producing that first tone that all the other musicians around me tune in ona, ” Jura explains. The listener yearns for more; and subsequent tracks deliver. On ‘How Intimate It Gets,’ Jura meditates on the futility of closeness, begging the audience to enter the blood and guts of their own entanglements, the blueprints of focusing entering. Jura sings richly about fingers being lines, pointing or bending, and we’re reminded of their own wicked ways we can’t control. A history of singing in choirs informs the harmony of myriad inner voices heard across the album. At once prophetic and enigmatic, some of the songs rearrange historical events out of pop musical language. The enormously entertaining ‘Pinot-Botticelli Toast to European Users’ conjures scenes of Cold-War world leaders stuck on a cruise in the Transatlantic vacuum, and the protagonist watches a devastating heartbreaker careen on into the picture, led by his own hips on ‘The Lasceaux Associate’. Finally, on title track ‘Formality Jerne-Site’, American English rises to the occasion like a verdict around the narrative of three trans teenagers in rural Colorado: language turns into something sensual and haptic, playing with the snare and sizzle of syllables. The words twist and bend, while the music follows its own synaesthetic logic: “around us pop culture made a vow to a normative desire, drawing in like water color percussion”. Anyines is a site of play and documentation, with a canon so far quite nice. Their future is one that envisions supporting the galaxies their dear friends embody, be it music, performance, video games or beyond. Highlights from their discerning back catalogue include myriad formats: live and digital, plus releases binded to physical artefacts that enhance the live experience such as sculptures and scents. Their history also includes disappearing time-sensitive shadow-tracked material and cross-disciplinary opportunities that reflect deep professionalism and a totally non-schooled semblance of sound and drama. Recent releases include a dance-theatre soundtrack, a traditional shiny pop record, and the acclaimed ML Buch sophomore, Skinned.

Tape

Charlemagne Palestine (born Charles Martin ni 1947 in Brooklyn, New York) wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac.

Oren Ambarchi (born 1969 in Australia) is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. Instead, it's a laboratory for extended sonic investigation". (The Wire, UK).

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.

From the late 90's his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. On releases such as Grapes From The Estate and In The Pendulum's Embrace Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously coexist with the deep, wall-shaking bass tones derived from his guitar.

Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently unfolding compositions.

Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Otomo Yoshihide, Pimmon, Keiji Haino, John Zorn, Rizili, Voice Crack, Jim O'Rourke, Keith Rowe, Phill Niblock, Dave Grohl, Gunter Muller, Evan Parker, z'ev, Toshimaru Nakamura, Peter Rehberg, Merzbow, Kassel Jaeger, Anthony Pateras, Crys Cole, Giuseppe Ielasi, Judith Hamann, Sunn 0))), James Rushford, Stephen O'Malley and many more.

For 10 years together with Robbie Avenaim, Ambarchi was the co-organiser of the What Is Music? festival, Australia's premier annual showcase of local and international experimental music. Ambarchi now curates the Maximum Arousal series at The Toff In Town in Melbourne and has recently co-produced an Australian television series on experimental music called Subsonics. Ambarchi co-curated the sound program for the 2008 Yokohama Triennale. Ambarchi has released numerous recordings for international labels such as Touch, Southern Lord, Table Of The Elements and Tzadik.

Belgian drummer Eric Thielemans is one of the most idiosyncratic figures in Belgian music, someone who not only demonstrates that special musicians always seek out (and find) their own place, but above all that they always remain students of the art of questioning and listening. No musician better illustrates the difference between playing music and playing with music than percussionist Eric Thielemans. He gets to the heart of the matter with an at times extremely minimalist approach, but on the other hand he frequently relies on a range of objects beyond the regular drum kit: a drum placed on its side, a bicycle wheel with a bow, hands and the body.

Tape

Charlemagne Palestine (born Charles Martin ni 1947 in Brooklyn, New York) wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac.

Oren Ambarchi (born 1969 in Australia) is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. Instead, it's a laboratory for extended sonic investigation". (The Wire, UK).

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.

From the late 90's his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. On releases such as Grapes From The Estate and In The Pendulum's Embrace Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously coexist with the deep, wall-shaking bass tones derived from his guitar.

Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently unfolding compositions.

Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Otomo Yoshihide, Pimmon, Keiji Haino, John Zorn, Rizili, Voice Crack, Jim O'Rourke, Keith Rowe, Phill Niblock, Dave Grohl, Gunter Muller, Evan Parker, z'ev, Toshimaru Nakamura, Peter Rehberg, Merzbow, Kassel Jaeger, Anthony Pateras, Crys Cole, Giuseppe Ielasi, Judith Hamann, Sunn 0))), James Rushford, Stephen O'Malley and many more.

For 10 years together with Robbie Avenaim, Ambarchi was the co-organiser of the What Is Music? festival, Australia's premier annual showcase of local and international experimental music. Ambarchi now curates the Maximum Arousal series at The Toff In Town in Melbourne and has recently co-produced an Australian television series on experimental music called Subsonics. Ambarchi co-curated the sound program for the 2008 Yokohama Triennale. Ambarchi has released numerous recordings for international labels such as Touch, Southern Lord, Table Of The Elements and Tzadik.

Belgian drummer Eric Thielemans is one of the most idiosyncratic figures in Belgian music, someone who not only demonstrates that special musicians always seek out (and find) their own place, but above all that they always remain students of the art of questioning and listening. No musician better illustrates the difference between playing music and playing with music than percussionist Eric Thielemans. He gets to the heart of the matter with an at times extremely minimalist approach, but on the other hand he frequently relies on a range of objects beyond the regular drum kit: a drum placed on its side, a bicycle wheel with a bow, hands and the body.

Martens: "Matthew Sage’s (Cashed Media, Fuubutshi) »The Wind of Things« and »Catch a Blessing« are two favorites of new music in my shelter. So when a little while ago he dailed in with this idea to make a Country Western album together, i saddled up and joined the stampede. The result is a universal coming of age story."

Sage: "I have always found the idea of whatever 'Western' means in America to be very elusive. It feels like a fantasy that we keep trying to relive by retelling exaggerated stories. An echo of an echo of an echo..."

Martens: "In them, the dissatisfied, unfolds that wide open road. With television infused meditations of packing a gun on horseback, and chasing a bison herd under torrential rains."

All music, recording: Matthew Sage, Lieven Martens Except: piano on track 7 by Wietske Van Gils, field recording on track 7 by Mick Sage, and carillon on track 10 by Luc Dockx

Mixing, editing: Lieven Martens; mastering: Roman Hiele; typography: Jeroen Wille; risograph printing: Jan Matthé

Led by vocalist/multi-instrumentalist Simi Sohota, Healing Potpourri specialize in effervescent guitar pop that incorporates elements of ‘70s soft rock, chamber pop, lounge, and more, to create songs that are all but guaranteed to leave the listener in a better mood. But on the San Franciscobased band’s sophomore LP, Paradise, the group offers more than just sonic escapism. Written and recorded over the past two tumultuous years, Paradise finds Sohota and company processing the often overwhelming deluge of stress, frustration, and despair that’s become a part of modern life—but rather than be completely deflated, the band have created some of their most vibrant and instantly appealing music to date. The result is eleven hopeful songs that seek to imagine a better world and strive to make it a reality, while still taking the time to appreciate the moments of brightness that can shine through in hard times.

Highly awaited new album from longtime British Blues/
Americanastalwart Todd Sharpville
"Medication Time" explores a period of hislife 16 years ago, where the stress of a
child contact battle duringa messy breakup resulted in a total breakdown and a 2
month stayin a mental hospital in West Wales. "I wasn't emotionally prepared
forthe sudden separation from my children that came with the divorce. Upuntil
then I was somewhat of a control freak, so the realisation thatcontrol is but an
illusion never really dawned on me until I found myself floored by
reactivedepression, suicidal, & sectioned within a state- run facility. Men rarely
discuss these kindof emotions with one another, so they can often surprise the
hell out of us and prove tobe too overwhelming to cope with. Being a musician, I
was lucky that I was able to fit thepracticalities of my working life around my
predicament. I also have some amazing friends.I managed to get back on my
feet. Many people don't have these luxuries. Many fall by thewayside and never
get back up again." "Medication Time" examines & expresses many of the
emotions that led to thebreakdown, the hospital stay, and the slow climb back to
figurative normality. 12 relevant tracks (9 originals & 3 quirky covers), recorded in
West Greenwich Rhode Island,produced by 2-time Grammy nominee & multi BMA
winner Duke Robillard. Featuringtwo duets: one with Detroit artist Larry McCray,
the other with Rhode Island's own SugarRay Norcia.

Bliss is undoubtley the heaviest and darkest album to date by Tungsten
The typical ingredients that define the music of Tungsten are still there while new
grounds and territories are being explored musically. The hooklines are stronger
and more dynamic than on previous albums. The lyrics are darker but they still
ocus on things common man might relate to in one way or another.
Mike Andersson says; "It all came naturally. Creating and recording this album
ruly put us in a feel of bliss. Nick & Karl who wrote the music have really showed
heir skills and musical talents on Bliss with new musical ideas but still based in
he genre that we established in the band in from the beginning".
All songs were recorded the same way as the previous albums at Harm Studios,
Trelleborg (Sweden). Nick Johansson once again took care of the mixing,
mastering and production duties. Karl Johansson says: "We really hope that Bliss
will reach out to an even broader fanbase than before. So much pain, sweat and
ove have been put into this album. We are truly excited to introduce Bliss to the
world". Anders Johansson agrees; "Yes, this album might be one of the hardest
or me to record. Nick is close to a perfectionist at the production helm so if I can
find something that has been good about the pandemic it might be the fact I
could spend so many more hours in the drum studio just to practise and develop
my technique".

Songs My Friends Wrote is an album I've been threatening to make for
years - It's a bunch of tracks that are my versions of a bunch of'songs my
friends wrote
I'm fortunate to count a lot of world class songwriters as good pals and I wanted
to shine a little light on some of my favorite examples of their work. In most
cases I've picked relatively obscure songs that have always spoken to me, even
though many of them won't be so familiar to people. The best part about
recording all these tunes was that they reminded me of all the people who I
haven't been able to hang out with for the past two years because of the plague
we've all been dealing with. All of these tunes bring a smile to my face and I hope
they do the same for you. - Corb Lund

'Hallival' is the long awaited debut album from Leeds based folk singer
and songwriter Iona Lane, Having found herself fascinated by folklore
and folk stories from across the UK 'Hallival' is inspired by natural
landscapes, scientific discoveries, equality, human relationships and the
supernatural, all tied together by a strong sense of place and a love for
being in wild places - creating something truly special.The name 'Hallival'
is taken after one of the mountains on the Isle of Rum, which inspired the
writing for the opening track 'Western Tidal Swell'
Karine Polwart and Julie Fowlis, amongst others, selected 'Western Tidal Swell' to
win Feis Rois'/NatureScots' In Tune With Nature competition in 2020.With Andy
Bell on production, Iona and her band ventured to Watercolour Music (Ardgour,
Highlands) for a week of recording in April 2020. The studio was chosen due to
it's stunning location - every day the team woke up to herds of deers guarding the
studio, ever changing weather and phenomenal views over to Ben Nevis 'Hallival'.
The lead single from the album 'Humankind', featuring Jenny Sturgeon on
backing vocals, was written from the depths of the Lake District in Wasdale just
before the first lockdown. Being the closing track on the album, it reflects on how
important humans are to each other and the kindness that we can bring
particularly whilst feeling isolated, a feeling that we all know too well after the
past couple of years.
'Schiehallion' was written after discovering the Schiehallion Experiment that was
carried out in 1774. During the experiment scientists from the Royal Society used
the shape and location of Schiehallion to calculate the mass of the Earth for the
first time. After a summer of calculations on the hill, the scientists and locals had
a party in a nearby bothy. The fiddler got so drunk that they burnt their violin and
the bothy to the ground. 'Schiehallion' features Lauren MacColl on fiddle and
Rachel Newton on harp.
Stemmed from being read 'Stone Girl Bone Girl, The Life of Mary Anning' by
Laurence Ann Holt as a child, Iona's song 'Mary Anning' focuses on the life of the
groundbreaking paleontologist who lived and worked in Lyme Regis in the 1800s.
Mary made vast contributions to the scientific world, however, due to her being a
woman she was unable to present her findings and would often end up selling
them to her male colleagues. Up until very recently Mary Anning has had little
credit for her work.
Having studied under the tuition of Nancy Kerr, Jim Moray and Stuart McCallum,
Iona has been praised throughout the scene for her delicate yet powerful vocals,
which have captivated audiences up and down the country.
Iona was chosen by Karine Polwart to receive the Taran Guitars Young Players
Bursary 2020. Since receiving the bursary luthier Rory Dowling, of Taran Guitars,
has designed and built a bespoke instrument for Iona's music.

American jazz pianist Chuck Marohnic was in Denmark in the summer of
1981 on a European tour, when he recorded this intriguing solo album in
Copenhagen
Marohnic (b. 1941) has an impressive background having played with Ira Sullivan,
Eddie Jefferson, Richie Cole, Bill Hardman, Junior Cook, Chet Baker, Buddy Rich to
mention a few.
"The eight performances here are bright and absorbing examples of what
Marohnic means when he says that awareness of the harmonic permutations of
a tune gives a musician great freedom." - Chris Sheridan

Following the success of Land of Nothing EP, Baby Strange are set to
release their second full length album – WORLD BELOW
WORLD BELOW picks up where LAND OF NOTHING left off, with the uniquely
Baby Strange sound encased within haunting melodies, syncopated guitar riffs,
four to the floor drums, huge bass lines and all blanketed under a cover of
melancholy that pulls and tears on the listeners emotions.
Written as a reaction to how the pandemic has played havoc with mental health,
the increasingly visible class divide and the meteoric rise of food banks across
the country – World Below is an album that plays to the paradox of the topics set
out within. Equally dark & beautiful with pop melodies that sync with pure grit.
The result is an album in the truest sense of the word - 10 songs that pull the
listener through a myriad of textures, sounds & emotions, completed with an
array of artwork that generates a visual accompaniment for the topics set out
ithi

Following the success of Land of Nothing EP, Baby Strange are set to
release their second full length album – WORLD BELOW
WORLD BELOW picks up where LAND OF NOTHING left off, with the uniquely
Baby Strange sound encased within haunting melodies, syncopated guitar riffs,
four to the floor drums, huge bass lines and all blanketed under a cover of
melancholy that pulls and tears on the listeners emotions.
Written as a reaction to how the pandemic has played havoc with mental health,
the increasingly visible class divide and the meteoric rise of food banks across
the country – World Below is an album that plays to the paradox of the topics set
out within. Equally dark & beautiful with pop melodies that sync with pure grit.
The result is an album in the truest sense of the word - 10 songs that pull the
listener through a myriad of textures, sounds & emotions, completed with an
array of artwork that generates a visual accompaniment for the topics set out
ithi

Following the success of Land of Nothing EP, Baby Strange are set to
release their second full length album – WORLD BELOW
WORLD BELOW picks up where LAND OF NOTHING left off, with the uniquely
Baby Strange sound encased within haunting melodies, syncopated guitar riffs,
four to the floor drums, huge bass lines and all blanketed under a cover of
melancholy that pulls and tears on the listeners emotions.
Written as a reaction to how the pandemic has played havoc with mental health,
the increasingly visible class divide and the meteoric rise of food banks across
the country – World Below is an album that plays to the paradox of the topics set
out within. Equally dark & beautiful with pop melodies that sync with pure grit.
The result is an album in the truest sense of the word - 10 songs that pull the
listener through a myriad of textures, sounds & emotions, completed with an
array of artwork that generates a visual accompaniment for the topics set out
ithi

The name says it all! “Lost in Paris Blue Band” is the unique result of a
spontaneous, 3-day studio session of exceptional musicians in Paris
Among them are Robben Ford - exceptional blues and jazz guitarist, who had for
instance accompanied Miles Davis; Ron “Bumblefoot” Thal - well- known for his
astonishing solo career as well as having replaced Slash in Guns N’ Roses as well
as Paul Personne – multi-awarded French bluesman – and many others.
This album contains 13 cover versions of blues, folk and rock masterpieces, such
as ‘One Good Man’ (Janis Joplin), ‘Trouble No More’ (Muddy Waters) and
‘Watching The River Flow’ (Bob Dylan). Following the album’s success in 2016
and the fantastic critical reception, Lost In Paris Blues Band is coming to record
players around the world as a 180g 2LP Gatefold Edition on finest black vinyl.

Kari Faux is a multi-faceted artist - rapper, singer, producer, DJ and
clothing designer - from Little Rock, AR - She is known for her bold
fashion and genre-bending music, fusing elements of southern hip-hop,
funk, and alternative soundscapes
Her unique style of rhyming, dashes of sultry vocal harmonizing and confidence
have helped garner a cult following and make her a force amongst the new
generation of hip-hop's most fearless and outspoken female voices. At the start
of her career, Kari's hit 'No Small Talk' was remixed by Childish Gambino and
featured on HBO's Insecure. Since then, she has made an imprint on the music
industry as an independent artist who has released four projects, headlined tours,
opened for acts such as Steve Lacy and Mick Jenkins, and has written or
produced on tracks for artists such as The Internet. Kari Faux's forthcoming
album, Lowkey Superstar Deluxe, drops September 24 and features fellow heavyhitters Smino, J.I.D, Yung Baby Tate, Jazz Cartier and Deante' Hitchcock. Lowkey
Superstar represents a new chapter along Kari Faux's creative journey. What
started as a phrase has turned into two independent albums, a record label,
clothing line and identity representative of Kari's innate superstar qualities mixed
with her lowkey demeanor. The Lowkey Superstar Deluxe album is a sonic
conglomeration of Kari's longtime influences, including funk, alternative, and
southern rap soundscapes and covers a range of topics from self-preservation to
dating to braggadocious raps.

Owing to a focused period of growth as a home recordist and producer,
there is a distinct, refreshing current that charges outtakes from 'bad
summer', the latest full-length album from Philly-via-Portland's cool
original (FKA cool american)
What under other circumstances might have been a string of homespun indie
rock songs is instead an energized pop- focused collection of tracks born from
what Nathan Tucker describes as 'the contrast between total formlessness and
rigid claustrophobia'. As heard almost immediately on album opener 'monad, no
windows', an electric atmosphere envelops outtakes from 'bad summer'. Pitchshifted vocal samples and previously- scrapped drum recordings fill out the
overture, setting the table for a patchwork of repurposed, resampled ideas
shaped into songs that rarely end up in the same place they started. The
unhurried and sentimental 'i just need a second' boasts the full spectrum of cool
original's songwriting prowess: foregrounded, infectious melody over subtly
chopped and screwed drums comprise the foundation for Tucker's own take on a
classic road song'a marked contrast to 'breaking my own rules', an experimental
pop number unlike any previous cool original work. Similar contrasts abound
throughout outtakes, making for a listening experience that's equal parts
rejuvenating and unpredictable.

As the daughter of a blues musician, Chastity Brown was born with an
innate ability to channel complex circumstances into beautiful, uplifting
songs
But after surviving the isolation of the early pandemic and witnessing the global
racial reckoning that manifested itself in the riots mere blocks from her South
Minneapolis home, even she is surprised to hear the way her new album 'Sing To
The Walls' turned out. "It's a love album, in a way I didn't plan on," Chastity says.
Like so many artists who endured the uncertainty of the 2020 lockdown,
Chastity's instinct was to turn inward, at first out of self- preservation, and then
because the new songs kept coming and coming. Since finishing her last album,
2017's 'Silhouette Of Sirens', she estimates she's written nearly 100 new songs,
10 of which found their way onto 'Sing To The Walls'. Produced by Brady Blades,
'Sing To The Walls' is a sonically expansive album; it mines the roots of
Americana, folk, and soul music, but Chastity's stories are delivered in a style that
feels remarkably timely, modern, and forward-thinking. "I celebrate the emotional
richness in the tradition, but in my music I've committed myself to moving
forward and reflecting the experiences of those overlooked by tradition."
Chastity Brown has been praised by NPR, CMT, American Songwriter, the London
Times, Paste Magazine, and The Independent, among many others, and appeared
on the U.K.'s Later… with Jools Holland. She tours nationally and internationally,
having shared the stage and supported artists such as the Indigo Girls, Ani Di
Franco, Andrea Gibson, Jayhawks, The National, and Micheal Kiwanuka.

Originally recorded in 1976, Sound City was thought to have been lost
and is now available on vinyl for the first time
The Hollywood Stars were originally put together by impresario and Hollywood
figure Kim Fowley in 1973 (much as he did with The Runaways) and he, always an
attention seeker and an attention grabber, crammed their gigs at the Whiskey AGo- Go full of influential people, together with the coolest and most colourful
Sunset Strip characters. He wanted to create a West Coast version of New York
Dolls, minus the cross- dressing, and they had the sound people wanted in LA's
feel-good, glitzy rock and roll landscape.
When touring, groups like Journey, The Knack, Van Halen and The Runaways all
opened for The Hollywood Stars..

“V I N C E N T” is FKJ’s second album and signals a new dawn, not just as a go-to producer and remixer for artists like PinkPantheress and Moses Sumney but as an artist in his own right, continuously selling out headline tours across the globe with his acclaimed ‘one-man-band’ live shows, and having a billion plus streams across all platforms for his music.

The concept for “V I N C E N T” came about during a solo trip to Los Angeles before 2020. “I just stayed in this house totally on my own, turned my phone off and had some time away from everything to figure out what I wanted to do.” He realised he wanted to tap into the freedom of being a teenager: “back then, I was making music strictly for playfulness, without overthinking it,” he says. “V I N C E N T’s” opening and closing songs underline the sentiment of the new album: the future-jazz of ‘Way Out’ (a playful mini soundtrack in one; a dainty piano motif underscored by a skittering trap beat and serene strings) and the lullaby-styled “Stay A Child”. “I wanted to get back some of that lost innocence of making music purely for pleasure,” he says.

Back in his home studio in the Philippines, with no wifi and an impending global lockdown, FKJ was quite literally cut off from the world, able to explore music’s endless possibilities. “Sometimes I would get into it for the whole night and go to bed when the sun came up.” Out of this freedom comes an expressionistic, touching album that’s impossible to pin down. There’s no more hiding behind a branch of leaves, as he did on the cover of his 2017 debut: “V I N C E N T” marks FKJ out as a crucial new voice. He’s redefining chillout music with his bursts of late-night jazz sax and piano, coupled with his wood-cabin whispery vocals, recalling Bon Iver’s early work, and those Santana-styled guitar flourishes.

Much of “V I N C E N T” is wilfully romantic, sometimes super sexy, and often with its head in the clouds, as on tracks like “Us”, a dreamy ode to his wife June, or “IHM”, which has a 90s hip-hop flavour slowed right down to lights-out tempo. Not entirely a solo record, ((( O )))) appears on ‘Brass Necklace’ – which has the soft power of The Internet and Stevie Wonder’s keys. It’s no wonder that lead single ‘A Moment of Mystery’, featuring Toro Y Moi, has a spacey vibe: while recording in San Francisco together, FKJ, Toro and his keyboard player Tony took some of what Tony called “holy water” – “we shared this bottle and took a bit of a trip,” laughs FKJ. The result is a gentle electronic ode to long-term love that could rival Tame Impala for melodic progginess.

Little Dragon’s Yukimi Nagano vocal, meanwhile, laces its way through the stunning “Can’t Stop”, and there is a call back to FKJ’s dancier beginnings with “Let’s Live”, a galvanising techno-pop number that blends piano, handclaps and soulful vocals to dazzling effect. Each of FKJ’s songs glistens, lambently, with a myriad of ideas but it never sounds overblown or too dizzying.

“V I N C E N T” is a marvel – and testament to the magic that can happen when you dig deep. “This was a challenging record,” he says. “I’m a perfectionist and it’s hard to shake that off. But once I did, and I let the music take over, I felt totally free.”

The brand new album by rising Australian out-rock duo, Party Dozen. Features guest vocals by Nick Cave. Party Dozen are a duo from Sydney made up of Kirsty Tickle (saxophone) and Jonathan Boulet (percussion and sampler). Since forming in 2017, they have become renowned in Australia for their incendiary live shows, touring and playing with acts such as LIARS, Tropical Fuck Storm and Viagra Boys. Exactly what Party Dozen are is completely up to the listener. Doom. Jazz. Hardcore. Psychedelic. No-wave. Industrial. Although largely instrumental, their sets are punctuated by Kirsty’s unique “singing” style, screaming into the bell of her saxophone which itself goes through a bevy of effects pedals. Intensely independent in everything they do, the duo write, perform and record everything themselves. 2022 will see the return of Party Dozen, first in April with the 7” release, Fat Hans Gone Mad, for the Sub Pop Singles Club, and then in July with their third album, The Real Work, with a new label partner in New York’s Temporary Residence Ltd. The Real Work succeeds in exploring new directions but also features some familiar Party Dozen touches. Perhaps most notable is the first-ever appearance of a guest other than Kirsty or Jonathan on a Party Dozen track, with Nick Cave ad-libbing a very memorable contribution to the album’s second track, “Macca The Mutt.”

MOVEMENTS Vol.11 – A bag full of rare rhythm & blues, mod-jazz, soul, and mid 70s funk.

Side A starts with rhythm & blues and jazz from the 1960s. The first three tracks were pulled from hopelessly obscure 7" singles. Macy & Company are responsible for the first 'aha' moment. Their version of "Sixteen Tons" would have certainly astouned even Tennessee Ernie Ford. A truely fantastic version indeed! "Snatchin' It Back" completes the first side with a furious bigband jazz cut.

Side B is all about mod-jazz. "Undun" is just like "Big Boy" a sure-shot for any dancefloor. Rare Groove DJs will have a lot of fun spinning these tunes in a club. Admittedly, the next one is a strange cut. "See How You Are" was recorded on a whim when they two composers were spontaneously pulled into a studio. High time for 'aha' effect #2. Many bands have tried their hands on a cover version of the Lee Morgan jazz classic, one of them being Mr. Palumbo. Listen closely to Dianne Elliott's contribution as it is a highlight for sure despite the fact von Frau Elliott.

Side C begins with 'aha' effect #3 and a fantastic cover version of Gerald Wilson's "Viva Tirado". "Blue Jamaica", is the second track on Movements 11 were a vibraphone is the lead instrument. "Bawana Jinde" is a wild, wailing blast of percussive instrumental explosion while "The Creeper" is the perfect choice to finish this side.

Side D is reserved for proper 1970s funk. The flip side of Reunion's sole 45rpm single was included on a previous Tramp compilation album. "A Brighter Day" has not been compiled yet. "Real Life", "Syrene" and "Breezy" are all prime examples how mid 70s funk has to sound . A dream for B-Boys and B-Girls.

Those of you who have been enjoying the detective work of the people behind the label over the past 18 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.
The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.
When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.
“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.



After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

We can't think of many other performers like the singer/songwriter/dancer/actress Asha Puthli who have excelled in such a broad range of genres. From 60s psych, Classical Indian music, Free Jazz, Pop, Soul, Disco, to Rock, the list goes on. A 'best-of' or an 'essential collection' is always going to be a subjective thing, but for what is unbelievably the first official compilation covering the full breadth of Asha's illustrious career, we aimed to provide a snapshot into her ever-evolving musical journey and a tribute to the vast richness of her catalogue.

Some singers want to be famous, others are pop star icons, and some are artists; Asha is the latter. Asha is a true force of nature, regardless of the genre she explores, she fully commits, moves on, and reinvents herself, always progressing. Looking back on Asha's career, it is evident what a trail-blazer she was, opening doors for her contemporaries and those who came later to step through. Whether it was conscious or not, you can recognise Asha’s influence in aspects of Kate Bush's ethereal image and performance, in Donna Summer’s high-smooth vocal sound and disco stylings, and in the gumption and power of Grace Jones.

Kick-starting the compilation is ‘Pain’, the Indian psychedelic garage rock sounds of The Savages featuring Asha. We have to admit, we had to strongarm Asha into letting us include this track at first; also due to its rare nature (and lack of any master tapes) the recording we present here is raw and low-fi. However, we felt its inclusion was important to fully represent the journey of Asha's career, the same consideration was also applied to two of the Asha & The Surfers’ songs that we have included in this collection.

Asha saw a link between jazz and classical Indian music "the improvisation, the minor chords, the free form, the liberalness of the art" we showcase her love of jazz here with seminal works with the legendary Ornette Coleman, taken from the revered 'Science Fiction’ album. Asha's 'CBS years' are represented here, how could we not include 'Space Talk' on this collection, and how these years progressed into her amazing disco offerings such as 'I'm Gonna Dance' & 'Music Machine'. The bizarre 'We're Gonna Bury The Rock With The Roll Tonight' from 1980 has also won us over. A pseudo-50s throw-back song that sounds not un-similar to the post-modern, leftfield, pop of an MIA production to come years later. Rounding off the compilation we have Asha's interpretation of a Michael Jackson classic that sat lost on a cassette-only released in India.

Air, Nico, St Etienne, Kid Loco, Young Marble Giants, Sandy Denny, Vashti Bunyan, Andrew Weatherall, Robert Wyatt and Serge Gainsbourg. Limited edition first pressing of 500 copies on "Mock Turtle" Blue. International collaboration between artists in Glasgow, London, Paris & New York. Mastered by Shimmy-Disc founder Kramer. Accompanying visual art work by Film and art director Tim Saccenti. Inspired by the intensity of lockdown, the self-titled debut album by electro-pop project Gates of Light, is the result of a collaboration between five artists across four cities, three time zones and two continents. Hailing from Glasgow, singer-songwriter Louise Quinn and producer Bal Cooke teamed up with London-based DJ and producer Scott Fraser; Parisian musician, DJ and producer Kid Loco; and film director and photographer, New York’s Tim Saccenti - who has previously worked with Run The Jewels and Pharell- to create a sublime, electro-pop reflection on the grief, insularity and peculiar highs of lockdown. Immediately after hearing the album, revered post-punk musician and producer Kramer offered to release the vinyl edition on his iconic cult label Shimmy-Disc, which boasts an impressive back catalogue of artists including Daniel Johnson, Low and Galaxie 500. A project grounded on collaboration - born from a period of disconnect - Gates Of Light perfectly amplifies the longing, confusion, lucid dreams and appreciation of the outdoors that the pandemic ignited in so many over the last couple of years. Originally written and recorded by Louise and Bal from their bedroom studio in Glasgow whilst their one-year-old twins slept, the tracks were then sent to Scott and Kid Loco who remixed the tracks from home studios in London and Paris before Tim created the artwork and a video for the track ‘When The Leaf Falls’. Gates Of Light is the latest project from Louise and Bal who have released music in the past as A Band Called Quinn and DAWNINGS. Louise and Scott Fraser have also previously collaborated following a chance encounter at a nightclub in Glasgow. Their single ‘Together More’ was released on Andrew Weatherall’s renowned Birdscarer vinyl imprint in 2019 and featured a remix by the Guv’nor himself who described the track as “sublime magik”.

‘An Awesome Wave’ is finally back in stock on vinyl as the band celebrate the 10th anniversary of this classic debut record. Described by The Guardian in their Albums Of The Year coverage as “Remarkable and Rewarding:, ‘An Awesome Wave’ won the band the Mercury Music Prize and an Ivor Novello award, the album has since gone platinum in the UK and continues to receive critical acclaim. This album saw the start of a remarkable trajectory for the band who became one of the most successful British bands of the millennium. alt-J have now sold in excess of two million albums and their songs have been streamed over two and a half billion times. Their follow up album This Is All Yours was a UK number 1, GRAMMY and BRIT Award-nominated album. Released in 2017, album number 3 RELAXER flew straight into the top 10 of the UK album chart ahead of a summer of major international shows-including a headline show at London’s O2 Arena; and headline performances at numerous festivals and became their second album to be nominated for the Mercury Prize. 2022 saw the release of their 4th album The Dream which reached top 3 in the Uk and was one of the best reviewed records of 2022.

Propelled into the industry at just 19, Foxes was at
the forefront of the pop stratosphere with her
critically acclaimed debut album ‘Glorious’,
Grammy-winning collaboration ‘Clarity’ with EDM
giant Zedd, big name support slots and six singles
in the UK Top 40. In 2017, she decided it was time
to press pause and focus on connecting with
herself.
 ‘Friends In The Corner EP’, available on
transparent vinyl, is ultimately about facing up to
tough experiences that led her to pressing that
pause button, and the effects of having your
confidence and agency diminished.
 The EP features previously released singles ‘Love
Not Loving You’ - her bold, buoyant comeback
single that transports you to the light at the end of
her time away; ‘Friends In The Corner’ on the
fragility and hidden nature of mental health
struggles; ‘Hollywood’, revealing some of the most
challenging experiences she’s had to date,
chasing her dreams to Los Angeles as a young
songwriter; ‘Woman’ with its universal message of
standing up to the unacceptable; new single
‘Kathleen’, an ode to her grandmother and
unheard tracks ‘Courage’, ‘Dance’ and an acoustic
version of ‘Kathleen’.

Petter Eldh's explosive ensemble Koma Saxo continues their adventures with a new album "Koma West", out on We Jazz Records, 18 March 2022. The album sees Koma Saxo expand on their previous sound with the addition of vocalist Sofia Jernberg and a strong cast of featured artists, including cellist Lucy Railton, violinist Maria Reich, pianist Kit Downes and accordionist Kiki Eldh (Petter's mom!). The hard-hitting key quintet remains, including Eldh on bass and assorted instruments, Christian Lillinger on drums, plus saxophonists Otis Sandsjö (of Y-OTIS), Jonas Kullhammar and Mikko Innanen bringing the SAXO to the KOMA operation.

At 14 tracks, "Koma West" is a full menu of monumental compositional ideas that could spawn entire albums. True to his chop & go production style, Eldh relies on continuous movement while presenting another all killer no filler program taking Koma Saxo on a sonic outing not quite like anything that had previously appeared under the band's name. That being said, there's very much the Petter Eldh touch here, one which might be hard to pinpoint and verbalise, but nevertheless a recognisable style of composing, producing and arranging.

Thematically, the album is rooted in the West Coast of Sweden, where Eldh grew up – he's from a tiny town called Lysekil. There's a thread of Swedish folk song tradition that has been part of the Koma Saxo DNA from the get-go and you can hear that here as well, especially on cuts such as "Närhet", beautifully sung by Sofia Jernberg.

Petter Eldh says:

"In a way, it's a concept album and a celebration of the Swedish West Coast. The first single is called 'Koma Kaprifol', and kaprifol is the landscape flower of Bohuslän on the West coast, where I grew up. I'm not too wild about attaching strong narratives to my music but there's no way around it this time. The oysters, a common snack around the coast, are a strong conceptual presence here. Anyway, they seem to pop up here and there quite often already thus far in the Koma Saxo narrative, even though it's not always so obvious. Koma Vocals! Koma Strings! I love the presence of Sofia Jernberg here and I love writing string arrangements, too, although I never thought I would do it for Koma, but of course, Koma should have some strings, why not?. Koma Saxo should and can become anything."

The Remix Machine has been pumping through Nickodemus’ studio since the late 90’s with over 100 remixes as far & wide. In this special vinyl selection of 8 remixes, Nickodemus chose some rare unreleased on vinyl remixes including Preservation Hall Jazz Band uptempo driving Jazz stomper, to the funky afro-latin dance-floor main stays of Gabriele Poso, Pernett & Vieux Farka Toure afro-latin mid tempo sure-shots, to the Colombian dubbed out Empresarios, Quantic & Atropolis.

Here we have 4 songs on each side, a very limited edition for the DJ’s & vinyl collectors.

Uncompromised Speedcore banger. Absolute shaker from Naoto Suzuki aka Smily Slayers...
A must have of a kind : A side brings 2 sweet 240 BPM tunes... The flip comes serious at 300... Fasten your seatbelt !

Time Cow & Ossia take 2 tracks from Jabu’s 2020 album ‘Sweet Company’ into unfamiliar (and dance floor friendly) territory. Side A sees ‘Us Alone’ gets transformed by Time Cow from slo-mo tearjerker into syrupy disco wrecker, managing to somehow touch on reference points everywhere from east LA lowrider anthems through 00s garage and all propelled fwd by an eyeball shaking low end pressure. On the flip Ossia takes snatches of the original ‘Slow Down’ and flashes them in around a 4/4 and a synth melody, fragments of Daniela’s vocal floating like a half remembered conversation. Later Rakhi’s strings come in but in a more unsettling way than the original, eventually dissolving to a kind of Majora’s Mask (in dub) conclusion. All terrain / all weathers - club / bbq / afterparty / late night introspection sessions.

"Insane and heavy beats by the og don Pixelord featuring great remixes by an all-star line-up comprising Dj Ride, Dj Pound, Starkey and Dranq!

Like a lightning bolt in the middle of a dark sea, PIXELORD has returned once again from the frozen lands to shock and disquiet the tides of Futuristic Bass Music. Perhaps the best thing about Russian electronic music godfather Alexey Devyanin's PIXELORD project returning to SATURATE! for this "Demonslayer" release is not simply the exciting and hard-hitting beats contained within, but the simple fact that it shall be offered on delicious, glorious VINYL. An artifact for all time, perhaps to be found in future wastelands by those who would consider this "Demonslayer" to be the VanHelsing (or perhaps Trevor Belmont) of the 21st century bass music scene.

The last decade has seen PIXELORD riding the wave of forward-thinking bass music, and always staying at the crest, and 2020 is no different. "Doomguy" comes tearing straight in with menacing, distorted synth weaponry, assaulting with ballistic beats (even some nods to Junglism) until finally bestowing some glittering melody atop the fray, showing that not only is Alexey an elder-statesman of the genre, he's still the eager bass monster that explores his own depths. The depths are again evident in "Pain Elemental" where the vibe is established immediately, and only delves deeper into the slightly-detuned bass signals and ominous creeping atmosphere. The melodic elements are no longer here to sooth, they are newly charged laser beams that sear the flesh, scorching the eardrums.

This foreboding, demon-dispatching vibe is indeed present throughout this entire release, as you enter the "Bonus Stage" of this deadly game, where the aggression does not abate, and the bass plays backseat to the synth bell sonic geometry on display. The drums especially feel the wrath of PIXELORD on this track, where some impossibly tortured tambourines take a beating, and the chopping and relentless reorganization of the rhythm keeps you churning with intensity. The title track brings the "wild style", even though the drums are less frantic, the bass frequencies and laser blasts from our protagonist, the ever-ready "Demonslayer", are sure to dismantle any submissive subwoofer in range.

"BFG" rounds out this collection in a disheveled fashion, dishing out low frequency divebombs and squelches, whilst otherworldly transmissions from synth realms afar come leaping in trying to assert their dominance, only to be eaten alive by daemonic bass and telluric currents of seismic drum activity. An utterly destructive end to this tale… BUT WAIT, IT GETS WORSE! We have here on hand SATURATE! stalwarts DJ Ride, DJ Pound, DRANQ and big daddy STARKEY on remix duty, who all take the tracks down their own rabbit holes to parts unknown, with equal aplomb. The result is equal in intensity and aggression, but the textures by which this is conveyed are wholly transformed and re-imagined skillfully.

All this on one slab of gorgeous VINYL. No demon shall stand a chance against PIXELORD's battalion of beats and bass."

CLASSIC ALBUM REMASTERED BY ED WYNNE & RE-ISSUED ON CLASSIC BLACK VINYL.

One of the most influential bands to emerge from the UK's festival scene, the Ozrics layer ambient & ethereal landscapes with freeform dub trips, incredible rave grooves & psychedelic progressive rock

It's an open exploration of music & the soul. One of the most influential bands to emerge from the UK's festival scene, the Ozrics layer ambient & ethereal landscapes with freeform dub trips, incredible rave grooves & psychedelic progressive rock. It's an open exploration of music & the soul.

For over 30 years, the Ozrics have experienced the vicissitudes of the rock & roll life. The band has flourished through several line- up changes, spawned several side projects, created their own record label, put out close to 25 albums, scored a hit record & sold over a million albums world-wide. And yet, the basic motivation behind the band's existence has never wavered. Their signature blend of hippy aesthetics & raver electronics with spiraling guitars, textured waves of keyboard & midi samplers & supergroovy bass & drum rhythms continues to delight fans across the world to this day.

'Strangeitude' was released in 1991 & featured the band's first single, 'Sploosh!' which reached number 1 in the UK independent chart. Presented for the first time since its original release on classic black vinyl by Kscope.

Opening with a nice Electro dancefloor tune, the EP then brings a superb Techno acid base, that rare style melting soft but solid kick to non-extrem acid loops...
The flip open on a superb Techno tune turning Acid... A real Trisomie 21 feeling there... BIG !
Last tune is a discret basslined enchanting tune.

Finally all this is very sober, perfect for vinyl DJS, it sounds like an evidence and still never existed before.

A MUST HAVE reviewing the Paris Techno producers !... & pressed at excellent Vinyl De Paris !

Printed Sleeve & Inner sleeve Sealed.

Tiptoe between the toadstools of Liverpool’s city parks, and amongst the foliage you might find a Strawberry Guy, contemplating his next chord-progression. Composing hi-fi symphonies from within his humble abode, the Welsh-born songwriter is ready to share the fruits of his labour with debut album Sun Outside My Window. A timeless vista of ethereal balladry looking towards 19th Century musical maestros and works of art, it brings new meaning to the term ‘Modern Classic’ and is the most optimistic of lockdown records yet.
“It’s about seeing the simple things in life and them making you happy,” tells Alex Stephens, the Guy behind the Strawberry. “I remember this day when I was really down… looking out the window, the sun beaming in was beautiful, it made me want to go outside – it was simple but made me so happy in that instance.”
A one-man impressionist, painting majestic soundscapes, Strawberry Guy blends truthful lyrics with lush arrangements to conjure new emotive worlds. Inspired by composers of the Romantic period, or Debussy, Ravel, and other classical artists of the 1800s, his wonderland moves like a Monet painting where arpeggios dance between meadows of dazzling dynamics and dramatic key changes. As former keyboard player of The Orielles and Trudy and The Romance, the light through his floor to ceiling windows has caused a dramatic Greenhouse Effect and now ripening on solo terms, his innocent uploads of ‘Without You’ and ‘F-Song’ comfort 2 million Spotify listeners a month. ‘Mrs Magic’ has received 40 million streams, landing at #13 in its chart and countless fan-created videos have appeared on YouTube. “Throughout history composers have tried to capture emotion, painting their own impressionist pictures with musical brush strokes… I guess I’m just trying to do the same and people enjoy that,” he suggests modestly.
Named by musical friends Her’s after his impeccable taste in milkshakes, Strawberry Guy upturns ‘bedroom artist’ perception, as each idea is crafted into a widescreen wonder where vocals tag-team instrumentals and countermelodies flourish within the Georgian walls of his Liverpool flat’s small space. “I want it to sound like I’ve squeezed an 80-piece orchestra into my room, and for listeners to wonder how all those strings got there,” he says. “Working on the 4-part harmonies, the orchestra became real; I began believing in myself.”
Imitating nature’s effect on emotion, like 70s songwriters, or the fantastical soundtracks accompanying vibrant scenes in the Japanese animated Studio Ghibli films and video games, landscape is brought to the fore. Monet’s picturesque Meadow at Giverny features as the album’s accompanying artwork – perhaps a reminder of the rural Welsh countryside views through his childhood home’s window; “I was inspired by how calm and peaceful the image felt. Its painted lines show real-life scenes in a magical way, which to me reflects my music.”
Just as the first Strawberry Guy EP Taking My Time To Be offered a slowing down for the soul, Sun Outside My Window is musically unhurried, written and recorded over 2 years. “Recording as a lone berry meant I could run with my emotions in the moment and deliver something true; it would have been an entirely different album had it been recorded in a studio,” he says.
Modern Classic? Only time will tell. For now this Guy’s happy-sad world is here to get the juices flowing and with, pandemic permitting, a US tour in 2022, life looks a whole lot sweeter. Until then, take it slow, be at one with the wilderness and remember, when life gives you lemons, swap them for Strawberries.

"Astro's death came as such a shock, and I'm still reeling from it,” comments Ali. “This album is now more poignant and special than either of us could have imagined when we were recording it. Astro heartbreakingly passed just two weeks after we'd finished the final mixes, so this is a way of keeping his memory alive.”The follow-up to 2018’s A Real Labour Of Love – which debuted at No.2, the highest charting album by any incarnation of UB40 since 1993's Promises And Lies, and spent a month in the Top 10 – Unprecedented is fueled by the roots rocking spirit that powered UB40's original incarnation, and is an album to inject a little reggae sunshine into even the darkest days.Recorded in studios in London and Jamaica in between lockdowns, the album is a collection of songs that Ali and Astro have loved for many years by artists they admire such as Steve Wonder and Kris Kristofferson alongside self penned tracks that were inspired by the pandemic and the state of the UK at the moment.

Repress incoming...

Far Out Recordings proudly presents Milton Nascimento's Maria Maria. Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, Maria Maria reveals one of Brazil's greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including 'Os Escravos De Jó' and 'Maria Maria'.

Originally released in 2003 as a double CD package, with Milton Nascimento's 1984 follow up ballet soundtrack Ultimo Trem, Maria Maria will be available on vinyl for the very first time from December 2019, with Ultimo Trem set for vinyl release early 2020.

Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song 'Canção do Sal (Sultry Song)' at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. He began his musical career as a young teenager, singing in a crooner style he learnt from listening to Brazilian singers and US groups such as The Platters on the radio. Hungry for more opportunities to perform, Milton moved to Belo Horizonte, the capital of Minas Gerais, at the age of twenty. By the beginning of the 60s Milton had made a name for himself both as an accomplished singer and guitarist.

Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Together these four wrote and produced what would become Milton's milestone album, 'Clube da Esquina (Club on the Corner)'. The originality of 'Club da Esquina' shaped the local scene, and it reflects the essence of 'the Nascimento Sound'. Milton's religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz and rock.

In 1976, Milton and Fernando Brant teamed up with a new contemporary dance company called Grupo Corpo, whose Argentinian choreographer Oscar Araiz, would become a collaborator with the two musicians. Together, they conceived a show based on the composite life story of the daughter of a black slave called Maria. Nascimento wrote music to Brant's lyrics and "Maria Maria" was premiered in the main theatre of the Belo Horizonte Palacio das Artes that year. "Fernando wrote the lyrics for the ballet, but there were originally no lyrics for the theme song, "Maria Maria'". Milton and Fernando worked on the lyrics together, basing them on folk stories about black women of the countryside. Adds Milton "These memories are mostly things that we witnessed – Fernando and I – rather than what we experienced ourselves.

Milton's music is impressionistic, emotional and romantic. Relying on songs without lyrics as well as evocative vocalizing and choruses, Milton experimented heavily with Afro-Brazilian percussion and taped jungle sounds. His composing method for these recordings was highly unconventional: "I wrote the music for 'Maria Maria' in a tiny Rio apartment with friends and their kids running around and having fun! I love to be in noisy places, surrounded by people", he says.
The music on 'Maria Maria' was performed by an impressive group of young musicians who are today household names in Brazilian music, including Naná Vasconcelos (percussion and effects), Toninho Horta (guitars) and Paulo Moura (sax). Several vocalist including Naná Caymmi, Fafá de Belém, Beto Guedes, and Milton himself, had hits in years to come with reworkings of these songs.

Milton says his compositions follow his visions "like a movie", and he believes that reflects his long love affair with cinema. "I only began composing because of enjoying the movies so much," he says. "I wrote my first song "Peace for the Coming Love" after seeing 'Jules et Jim' (the cult 60s French film directed by François Truffaut), with my friend Marcio Borges. We went early in the morning and watched it four or five times in a row, then went to Márcio's home and wrote the song."

The songs also include solo spoken passages set to music, clearly influenced by this style of French art cinema. On the title track, Maria's story is narrated and translated to music through the use of African Percussion, drums and metal signifying the field slave tools of the day. 'Trabalhos (Works)' runs to work rhythms and whipcracks: no words, just pain. 'Lília' documents the beating of the slave woman. After 'A Chamada (The call)' and the triumphant 'Era Rei e Sou Escravo (I was a king now I am a slave' things begin to turn and Milton employs tropical jungle cries to symbolize freedom. 'Santos Catholicos x Candomble (Catholic Saints vs Candomble)' represents the battle between African and European religions through the music of both sides. Milton's heavenly falsetto pours into 'Francisco' and 'Pai Grande (Great Father)' and the outstanding 'Eu Sou Uma Preta Velha Aqui Sentada no Sol (I'm an old black lady, sitting under the sun)' conjures images of an old woman sitting deep in the forest, her memories painted in drums, piano and voices.

Long-time audiophile favorite returns as a 45 RPM on four 200-gram LPs! Plated and pressed at Quality Record Pressings! Every cricket chirp and dog bark in stellar detail! An essential upgrade to the listening experience; improved sonic intensity Roger Waters' take on America's entertainment-obsessed society

This audiophile favourite — and a brisk seller since its Analogue Productions 33 1/3 reissue in 2015 — is back with an upgrade. Now a 45 RPM 4LP 200-gram set, the remastered audio completed by long-time Roger Waters / Pink Floyd collaborator and co-producer James Guthrie is chillingly detailed — every cricket chirp and dog bark on this distinctive album has even more sonic intensity and dimension.

An unblinking look at an entertainment-obsessed society, Amused to Death addresses issues that have only grown in complexity and urgency over the past two decades. With Amused to Death, Roger Waters sounded the alarm about a society increasingly - and unthinkingly — in thrall to its television screens. Twenty-three years later, Amused to Death speaks to our present moment in ways that could scarcely have been anticipated two decades ago. In 2022, television is just one option in an endless array of distractions available to us anytime, anywhere, courtesy of our laptops, tablets and smartphones. With eyes glued to our screens, the dilemmas and injustices of the real world can easily recede from view.

The 2022 4LP 45 RPM 200-gram vinyl edition of Amused to Death features remastered audio completed by long-time Roger Waters / Pink Floyd collaborator and co-producer, James Guthrie, and has been pressed at Quality Record Pressings. The updated cover and gatefold art is by Sean Evans, the creative director of Waters' 2010-2013 "The Wall Live" tour and movie.

Minru is the project of Caroline Blomqvist, a Swedish musician based in Berlin. Woven from light and shadow, the interplay of her folk and indie-rock blend appears from a personal space of finding life after death. On her debut LP »Liminality« she paints melody in soft tones, whispering secrets to navigate feelings of loss.

Built around winding layers of acoustic guitar, piano, and strings, Minru is a surprisingly uplifting and stirring testament to Blomqvist’s own suffering from the passing of someone close to her. Returning to Berlin from Sweden feelings of grief, confusion, and pain travelled with her, and these emotions prompted the journey both of and within the album, heard as a dreamlike actualisation of wandering lost between them. "I read that Carl Jung used the word "»Liminality«” to describe the psychological process of transitioning. I instantly felt seen; it reflected my own experience and the feelings I carried whilst making the album – a sense of the old certainties being gone, but the new not being quite there yet,” she says.

Defined as "the threshold separating one space from another" »Liminality« moves between feeling the ground beneath your feet fall away, fighting through the darkness and the doubt, and the emerging shades of hope and light as you painstakingly make peace with mortality and find yourself as a person again. "I am happy to have encapsulated this moment of time in sound," Blomqvist says, "it will always be there as a memory."

Flourishing from a preferred position of solitude, »Liminality« sees Blomqvist’s vision radiate with intensity from her home-based studio in Neukölln - a small, 2-room apartment with squeaky old wooden floors. Capturing the intimacy of the space, she recorded vocals and synth on gear partly borrowed from friends (to swiftly reunite it with its owners), and the songs flow with a stream of consciousness as feelings become entwined with melody. Time-restraint drew the process to a natural close, preventing Blomqvist from losing herself to experimentation. “Maybe I would have been stuck in »Liminality«, trying out sounds forever,” she suggests of the way ‘Into the well’s instrumental swims into a warm stream of synth pads. "It’s the cosiest moment on the album,” she says, “Cosy is a feeling I always strive for in life."

Finished and self-produced at a Berlin-Lichtenberg recording studio alongside musical friends (Povel Widestrand, Tobias Blessing, Sunniva Lilian Shaw Of-Tordarroch, Marlene Becher and Liv Solveig Wagner), the result is beautifully detailed and rich like the folk of her Swedish roots. First picking up a guitar as a kid and becoming obsessed with it, she would skip school to spend extra hours mastering the instrument, grappling to perfect the ‘Stairway to Heaven’ intro. “As a child I was fascinated by my dad’s acoustic guitars around the house and would hit the strings to make them sound,” she recalls. After attending music high school in Gothenburg and playing in bands during her teens, Blomqvist later moved to Germany. As well as enjoying walks at Tempelhofer Feld and coffee at Leuchtstoff café, she performed with Tuvaband, Adna, and Tara Nome Doyle and played in Berlin venues Loophole and Schokoladen, where music became her world. With the passing of time she felt a growing urge to find an outlet for her own songs; Minru was the answer along with her first »Yearnings« EP.

Now writing whenever she returns to Sweden, within the calm and stillness of her family’s mountainside cabin, her skilfully constructed arrangements summon the comforting atmosphere of home. “I hope listeners will feel inspired to slow down a bit, create, draw, cook something. Just be in the moment that is now.” »Liminality« is the kind of record that rewards attention. Give this album your time, it will give you its soul.

Can it really be just be over a year since Yard Act
exploded into the national consciousness with their
debut EP ‘Dark Days’, released via their own Zen
FC imprint? Yard Act have gone on to be one of
2022’s defining artists with the release of their
debut album ‘The Overload’, and their rise has
been as entertaining as it has been meteoric. And
as well as touring the world and smashing sales
records, they’ve still found time to continue Zen
FC, releasing acclaimed 7”s from Baba Ali and
Benefits.
 Being the budding record industry moguls that they
are, they couldn’t bear to see the ‘Dark Days’ EP
languishing out of print. So they commandeered a
Danish pressing plant and rudely shoved their way
to the front of the queue, picked a new colour
(silver in honour of ‘The Overload’ finishing second
in the Album Charts) and rushed through a repress
in time for the summer. And while they were at it,
they sorted out a run on the format of the future –
the noble cassette.
 So there you have it: while you’re thinking about
putting ‘The Overload’ at the top of your albums of
2022, you can enjoy the EP of 2021 all over again.

“Oberst and company have eectively crafted a searing punk fueled half-hour funeral march for both small-town life and the days when you were more likely to hear the words mom and pop than multinational corporation. At the record's core, there is a sense of great disillusionment with watching the cold, calculated displacement of human interaction and community while the world tries to fill the void with money and chain stores.” - Tiny Mix Tapes

“Desaparecidos is like nding gold when you're looking for silver.” - Exclaim!

2022 nds us releasing the 20th Anniversary Edition of Desaparecidos' Read Music/Speak Spanish into a world in which the dread and disenfranchisement detailed throughout the album feel as pertinent today as they did then. The characters and settings may have changed, but the startling narrative has not.

In late 2001, Conor Oberst, Denver Dalley, Landon Hedges, Ian McElroy, and Matt Baum spent a week at Presto! Recording Studio in Lincoln, NE recording a punk album. That debut album, released in the post-9/11 fog of early 2002, screamed out observational commentary on urban development, the sacrice of human value for the dollar bill, and the new American Dream in a way that felt distinctly out of sync with the hyper-patriotic atmosphere of peak G.W. Bush-era America.

What if music had no beginning, no end Can music exist 'for itself' or 'of itself,' without structure constraining it, defining it Can music be non-linear, non-narrative, simply experiential, existential The second full-length album on Mysteries of the Deep, Musica Enterrada from Portland's William Selman, neither answers these questions nor supposes them. But in listening, one can't help but wonder: What if I disappeared into this record forever In another time and place, William Selman was known as Warmdesk, an alias through which he issued a series of sharply precise minimal techno records. In recent past, Selman shifted gears, shedding the dynamics of tension and release that characterized his previous alias' output. Under his own name, Selman began releasing process-oriented, freeform experimental music on cassette-focused outlets like Digitalis and Hausu Mountain. Now comes Musica Enterrada, a diaphanous, weightless musical vision not unlike the theoretical square root of GRM and Popol Vuh's early electronic forays. Split into six tracks across two sides of vinyl, Musica Enterrada bubbles, churns, drifts, and dozes. Dulcet tones pile up gently like waves on shore. Patterns repeat and reconfigure, as if heard from different angles. Rhythms appear, shift the frame, then disappear, into the ether whence they came. Play Musica Enterrada on repeat. And if you disappear into it, fret not — you have drifted into solace.

“Still Lives” is the third solo full length by the Finnish composer Marja Ahti, following a pair of releases on the Hallow Ground imprint. As a collection, it may be seen as a series of studies on the liminality of the listening act and an investigation into the physicality of sound. Ahti forges vivid electroacoustic environments from field recordings, analog synthesizers, acoustic feedback, magnetic tape and digital processing, resulting in a set of articulate, prickly, and surprising compositions. In the artist’s words, “These pieces could be conceived of as vanitas paintings of a kind – selections of mundane or archetypal objects, sounds that have their own distinct qualities, but exist only by virtue of being temporary events. From another angle, one could think of them as shrines – objects assembled and set in a particular relationship to each other, charging each other in their given constellations.” Marja Ahti (b. 1981) is a musician and composer based in Turku, Finland. Originally from Sweden, Ahti has been a part of the Finnish experimental music scene for more than ten years in different constellations. She is currently active in the duo Ahti & Ahti with her partner and as a member of the Himera artist/organizer collective.

"The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“

Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.

Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career. “Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in places like Texas, it’s simultaneously angry and full of love.

Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it, this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a method of upending the power structures who need things to be perfect.

They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith, or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of jewels, it might be the shining star.

Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love.

White Vinyl

Remastered reissue of Het Zweet's 1987 self-titled LP + a bonus LP, consisting of previously unreleased material.

Marien Van Oers work under the name Het Zweet (“The Sweat” in English) originally came out in the 1980s (specifically 1983-1988), but listening to the new reissue of this self-titled album from 1987 can feel like one is listening to something that’s both much more current and also much, much older than that. Van Oers, who passed away in 2013, made music that tended to get classed as “industrial”, and tracks here like the steady, clanging churn of “From the Lowland” or “On Earth” show why, but he was as or more inspired by tribal music intended to produce trance-like effects via rhythm and (percussive and vocal) repetition. Using instruments made by himself out of anything from shopping carts to cardboard tubes, the music of Het Zweet locks into grooves that somehow feel more elemental and physical than many of his contemporaries. It never quite feels like Van Oers is emulating or echoing the music of any particular region or tradition so much as trying to synthesize all the ones he’s heard into some sort of ur-pulse, an overtone so powerful as to compel the “Massive Trance” the title of the last song on the record evokes.

While the 1987 Het Zweet has four track titles per side, and on listening you can discern some segues and places where it feels like new movements do shift into place, it’s fitting to have this record on vinyl where the listener is encouraged to experience each side as one uninterrupted piece. The bonus material included on this reissue expands Het Zweet from one LP to two, the second LP consisting entirely of previously unreleased material. This bonus LP is sequenced similarly, with three untitled tracks and two live excerpts presented as side-long experiences that belie their disparate origins with a unity of sound and purpose. Van Oers’ percussive nous and distantly yelled chants certainly sound capable of working up a sweat in both the performer and any movement- minded listeners, but maybe the most striking thing about Het Zweet is how vital it still sounds, despite its age and relative obscurity.

LIMITED TO 500 COPIES // HIGH-QUALITY TIP-ON COVER // INCL. DOWNLOAD CODE

OFFICIAL RE-ISSUE OF GÖTZ TANGERDING'S BHAKTI JAZZ DEBUT ALBUM !!!

Born in Donauwörth, a small town in Bavaria in 1951, Götz Tangerding studied piano to concert level at the Leopold Mozart Conservatory in Augsburg. In the 1970s he started to make a name for himself on the local Munich jazz scene and traveled through East Europe with drummer Rudi Roth. In 1976 he came to New England Conservatory of Music in Boston to study compositions with George Russell and Jaki Byard with whom he played in the New York Big Band in 1978.

In 1980 he returned to Munich, Germany and founded his formation Bhakti Jazz as well his own record label Bhakti Records. "First Step", recorded at the Loft in Munich on May 1st and 2nd that same year, was the debut album and showcases the huge talent of the young and gifted band leader.

The two best known tracks are probably "Glimpses of Truth" and "Eastern Moods" which have been re-released back to back on 45RPM single by another german reissue label in the late 2000s. However, these are just two out of nine outstanding compositions from the prolific pianist to be found on this album. Tangerding's tasty style of playing, combined with the psychedelic maze created by his fellow band members on flute (Alan Ett), sax (Alan Ett again!), drums (Rudi Roth), and bass (Urs Hämmerli) plus Lisa Dawson's exotic vocal harmonies are sure grab your ear for a mind-blowing experience.

Götz Tangerding, who died much too young early in 1991, left us with dozens of wonderful compositons. "First Step" does not contain a single weak track. It's a true masterpiece and definitely one of the finest independent german jazz albums from the 1980s.

This is the first OFFICIAL RE-ISSUE - limited to 500 (HAND-STAMPED!) COPIES. The record is housed in a HIGH QUALITY TIP-ON record jacket and comes with a FULL ALBUM DOWNLOAD CODE.

When words trail off at the beginning of claire rousay’s »everything perfect is already here«, ornate instrumentation is waiting to fill a void left by the breakdown of language. Yet it becomes clear as we trace rousay’s collaged sonic pathway that breakdown, of meaning and also of melody, is also a place to rest. everything perfect… is made up of two extended compositions that cycle between familiarity and unknowing. There are seemingly infinite ways to feel in response to these pieces of music, which shift tone across their languid duration, earnest like a familiar song but unbound from the emotional didacticisms of lyrical voice and pop form.

rousay builds a fluid landscape around the acoustic contributions of Alex Cunningham (violin), Mari Maurice (electronics and violin), Marilu Donovan (harp), and Theodore Cale Schafer (piano), whose respective melodies weave gently in and out, sometimes steady, sometimes aching, sometimes receding altogether in deference to less overtly musical sounds. That is, percussive texture in the form of unvarnished samples and field recordings: the rattle and rustle and the stops and starts of life unfurling, voices sharing memories nearly out of reach, doors closing, wind against a microphone. Everything comes from somewhere in particular, possessing the veneer of the diaristic, but sound’s provenance is secondary here and so these details become tangled and fused. On this release I hear such details not as individual ornaments or stories but the collective architecture of the greater composition. It’s an architecture that is not quite formed and thus full of openings out to the world unfolding.

“The world unfolding,” that’s a kind way of saying change, movement, loss, transformation. Things rousay here indexes, not without shards of desire or pain, still somehow what I hear is coarse peace in the in-between. These two pieces sweep you away and then bring you to earth, but which is which, anyway? Where am I now? What is different outside of me? What is different inside of me? Um. I think. everything is perfect is already here, like the answers to these questions, is loose and beautiful in surprising ways.

The music guides a certain experience of the world around. In claire’s music there is this marriage—not just a pairing or juxtaposition but an interrelationship, an eventual confusion—of song/texture, narrative/abstraction, figure/ground. Everything comes from somewhere in particular but not just the voices, the field recordings, the what is being said or meant, what matters is the where you are now. There are so many ways of anchoring oneself in the present, some have to do with fantasy or storytelling and some with accepting what is.

These two compositions find peace between these modes. They sweep you away and then bring you to earth, but which is which, anyway? Their mode of feeling is inquisitive. Where am I now? What has changed outside of me? What has changed inside of me? The music, like the answers to these questions, is loose and beautiful in surprising ways.

Black Vinyl Repress

For the third release on De:tuned we proudly present The Kosmik Kommando AKA Mike Dred. Mike hardly needs an introduction; considered as one of the masters of the Roland TB-303 Mike has been releasing records under various aliases since the early 90s. He has recorded for high profile labels such as R&S and Rephlex as well as his own Machine Codes label. Together, with Aphex Twin, Mike was behind the Universal Indicator releases which are among the most collectible and sought after records in techno history.

De:tuned has worked closely with Mike to develop an 8 track project that gives props to the American Psychologist Timothy Leary and his proposed theory of 'The Eight-Circuit Model of Consciousness'. This model describes 8 circuits of information that operate within the human nervous system. Each circuit refers to a different sphere of activity, enhanced by experimentation with a particular substance. Each circuit also represents a higher stage of evolution than the one before it and the higher the circuit, the fewer the people have activated it as the higher four circuits exist for those who migrate to outer space and live extraterrestrially.

The 8 Models are applied to the track titles that present a varied collection integrating acid house, techno, electro and rave culture.

3 of the tracks on offer here were written exclusively for Mike's live performance at the De:tuned 'Meeting of Minds' event in June 2012, which was Mike's first full live show in 3 years.

This 8 track project will be available on limited 180 gr white double vinyl with label and sleeve artwork by Mike himself. Stay Tuned!

2022 Silver Vinyl Repress

For the third release on De:tuned we proudly present The Kosmik Kommando AKA Mike Dred. Mike hardly needs an introduction; considered as one of the masters of the Roland TB-303 Mike has been releasing records under various aliases since the early 90s. He has recorded for high profile labels such as R&S and Rephlex as well as his own Machine Codes label. Together, with Aphex Twin, Mike was behind the Universal Indicator releases which are among the most collectible and sought after records in techno history.

De:tuned has worked closely with Mike to develop an 8 track project that gives props to the American Psychologist Timothy Leary and his proposed theory of 'The Eight-Circuit Model of Consciousness'. This model describes 8 circuits of information that operate within the human nervous system. Each circuit refers to a different sphere of activity, enhanced by experimentation with a particular substance. Each circuit also represents a higher stage of evolution than the one before it and the higher the circuit, the fewer the people have activated it as the higher four circuits exist for those who migrate to outer space and live extraterrestrially.

The 8 Models are applied to the track titles that present a varied collection integrating acid house, techno, electro and rave culture.

3 of the tracks on offer here were written exclusively for Mike's live performance at the De:tuned 'Meeting of Minds' event in June 2012, which was Mike's first full live show in 3 years.

This 8 track project will be available on limited 180 gr white double vinyl with label and sleeve artwork by Mike himself. Stay Tuned!

(Incl. Nick Holder & AceMo Remixes)

BURNING HEAT is a potent tincture, a focused distillation now years in the making. Carefully chosen from over 20 new productions and extensively play-tested at parties across New Orleans and beyond, BURNING HEAT is the latest collaborative effort by locals Quickweave (Jalen Dilosa) and Redance (David Yaconi); a split EP forthcoming on Hiatt dB’s New Orleans-based Mystery Zone Records July 1st 2022.

The 180-gram 12 inch features 2 tracks from each artist along with a pair of remixes split evenly between the “WHITE HOT” and “RED HOT” sides courtesy of Toronto’s Nick Holder and NYC’s AceMo, respectively. Its sound draws inspiration from the lessor-dug House stylings of the early 00s. With BURNING HEAT, Quickweave and Redance have repositioned the era’s lush textures and sensual atmosphere against heavier rhythms and more circular, hypnotic arrangements. The result? Deep club workouts focused on fostering connection, joy and romance on the dancefloor.

These hard-hitting, DJ-friendly productions were made in part to power the duo’s post-lockdown come-back party venture, Mercy. Early demos and updated edits became part of the sound of our collective reconnection as lockdowns relaxed and infection numbers fell in Summer 2021. On BURNING HEAT you’ll hear late-night New Orleans in the dead of Summer – warm and inviting club cuts to soundtrack a low-lit, neighborhood backroom disco-dive. Polished from a trove of DJ tools made for the artists’ personal sets, this selection features nothing but guaranteed party-starters, vetted both in the studio and behind the booth.

Kaiju is the floor-shaking, speaker-knocking new album from Canibus, one of hip-hop’s greatest lyricists who continues to push himself as an artist. It also serves as his first solo release since 2015’s excellent Time Flys, Life Dies... Phoenix Rise, which was produced entirely by Bronze Nazareth. It’s only fitting, then, that ‘Bus would once again work with only one producer for this project, which finds him spitting mind-melting bars over beats from Oxnard, CA beatsmith/rapper Body Bag Ben.

The 11 tracks on Kaiju strike a balance between personal experiences and striking grandiosity that ‘Bus expertly crafts with his pen. They also all boast the rewind-worthy lyrics you’d want from one of the genre’s most creative and truly timeless talents. You can hear this immediately on the opening track, “Curmudgeon,” where he spits raw bars with his signature growl over BBB’s monstrous production. That vibe carries on throughout the record, from the snarling, DMX-assisted “Entameta (Remix)” through to the hip-hop epic of “Verzuz.”

This is truly Canibus at his best, blending surrealist wordplay and turns-of-phrase with sharp, witty commentary about the state of the world today. Even better, he’s backed by some of BBB’s best production to date, which rumbles and stomps as much as it sounds like it’s covered in a thick layer of grime. It’s much like the inspiration for the album’s title—a giant monster (kaiju, in Japanese) like Godzilla rising from a slumber, ready to wreak havoc on his opponents.

Black Screen Records and Kaizen Game Works have once again teamed up to release Barry "Epoch" Topping's new album About That... Paradise Killer B-Sides - featuring three new songs, vocal tracks, instrumental versions, remixes and piano arrangements, and a lot of amazing guests (Fiona Lynch, Kyle Murray-Dickson, Fabian Hernandez, Ged Cartwright, Thomas Temple, MEEBEE and Okumura) - on limited edition translucent violet 180g vinyl with gorgeous cover art by José Salot. Paradise is blinking out of existence but we must not cry. The day has not yet finished. There is still music to be played. Listen to it. Let the warm embrace of luxurious sounds caress you as you stand on the precipice of an abyss too dreadful to imagine. Hold my hand again. Repeat that album. Paradise can last forever if we believe hard enough.

“I’ve been playing since I was 11 years old,” says Charlie Gabriel, the most
senior member of the legendary Preservation Hall Band. “I never did anything in
my life but play music. I’ve been blessed with that gift that God gave me, and I’ve
tried to nurse it the best way I knew how.”
 While he’s faced plenty of challenges nursing that gift for more than 78 years,
none likely rank with last winter’s passing of his brother and last living sibling,
Leonard, lost to COVID-19. For the first time ever, Gabriel put down his horn,
filling his days and weeks instead with dark reflection, a stubborn despondency
broken now and then by regular chess matches in the studio kitchen of Hall
leader Ben Jaffe, working overtime to bring his friend some light.
 One such afternoon also included Joshua Starkman, sitting off in a corner
playing his guitar and half-watching the chess from a distance. When Charlie
returned the next day, he brought his saxophone. “I was just inspired to try it, to
play again. It had been a long time, and a guitar makes me feel free. I do love the
sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in.”
That day was to be the first session for ‘Eighty Nine’, almost entirely the work of
Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt
Aguiluz.
 Charlie Gabriel’s first professional gig dates to 1943, sitting in for his father in
New Orleans’ Eureka Brass Band. As a teenager living in Detroit, Charlie played
with Lionel Hampton, whose band then included a young Charles Mingus, later
spending nine years with a group led by Cab Calloway drummer J.C. Heard.
While he’s also fronted a bebop quintet, played and/or toured with Ella
Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his
name appears on the front of a record, as a bandleader.
 Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band,
featuring prominently on ‘That’s It, So It Is’, and ‘Tuba to Cuba’. ‘Eighty Nine’ was
different, and not simply due to a smaller ensemble. “We had no particular plan,
or any particular insight on what we were gonna do. But we were enjoying what
we were doing, jamming, having a musical conversation,” Charlie says, further
musing, “Musical conversations cancel out complications.”
 The album includes six standards and three newer pieces on which Gabriel is a
writer: ‘Yellow Moon’, ‘The Darker It Gets’ and ‘I Get Jealous’. The record also
marks Charlie’s return to his first instrument, clarinet, on many of the tracks. “The
clarinet is the mother of the saxophone,” he says. “I started playing clarinet early
in life, and this taught me the saxophone.”
 Finally, ‘Eighty Nine’ includes three tracks of Charlie singing. “I always sung, but
it wasn’t my forte to become a singer,” he says. “The truth is, people often
develop a real relationship with a song once they hear the words. Sometimes I
enjoy singing them.”
 First pressing on translucent gold Loser Edition coloured vinyl

Recorded for Benin’s Communist revolution,
‘Rhythm Revolution’ is a rare and truly unique
Afrobeat record - it’s rumoured only 200 copies of
the original release survived.

 Ferry Djimmy was a schoolteacher, former boxer,
and a personal friend of Muhammad Ali and Fela
Kuti. He was later Jacques Chirac’s personal
bodyguard.

 Recorded at the Satel Studio in Cotonou, the
album is one of the toughest, wildest and deepest
slices of Afro-Funk cut - with raw African rhythms,
distortion, energy and wit.

 Alongside nods to Hendrix, Kuti and James Brown,
there is something truly unique about Ferry
Djimmy’s musical legacy.


 A must-have for Afrobeat, Afro Funk and Psych
collectors.

"2022 marks a year of celebration for Roxy Music. Throughout the year, each of their eight studio albums, all heralded as modern classics, will be reissued as special anniversary editions with a new half-speed cut, revised artwork and a deluxe gloss laminated finish. In addition, Roxy Music will tour for the first time in more than a decade to mark the 50th year since their groundbreaking debut album.

In May 1980 Flesh and Blood gave Roxy Music their second No’1 UK Album and peaked at No’35 in the US Billboard chart. The album was preceded by the single “Over You”, a No. 5 UK hit that also provided the band with a rare US chart entry at No’ 80. Two more hit singles followed: “Oh Yeah” (UK No’5) and “Same Old Scene” (UK No’12). Flesh and Blood also included two cover versions: The Byrds’ “Eight Miles High” and Wilson Pickett’s “In the Midnight Hour”. The albums artwork was envisaged and designed by iconic British artist Peter Saville. Each Roxy Music album has been Re-Issued with a fresh Half-Speed cut by Miles Showell at Abbey Road Studios. London. To reflect the audio, all eight of the Roxy Music studio albums have had their artwork revised and with a gloss laminated finish so that each album is not just a record it’s a piece of art."

Midland are an American country music trio. Having released an EP last summer en route, Midland’s Cameron Duddy, Mark Wystrach and Jess Carson are on the verge of arriving at their ultimate destination with The Last Resort: Greetings From on May 6 via Big Machine Records. The trio spent the pandemic exploring their creative depths, from progressive Country that grew out of “Urban Cowboy” through Dwight Yoakam’s post-traditionalism and arrive with their third studio album. As Midland’s “Sunrise Tells The Story” rises at Country radio, the two-time GRAMMY® nominees dial in their Laurel Canyon-cum-Bakersfield sound for a tension that also promises release. Falling harder than the singer imagined throughout the spicy hook-up song, melting harmonies lean into a more erotically charged proposition. RADIO: BBC Radio 2, BBC local stations (session on BBC Radio Ulster), CountryLine's 'Artist Of The Month', Absolute Radio Country, Downtown Country, Smooth Country PRESS: Entertainment Focus (5* review), Building Our Own Nashville (5* review), Maverick, Americana UK, RNR Magazine, SW London Magazine, country specialist outlets Socials: TW: 62.3K, FB: 307.9K, IG: 276K, TikTok: 91.5K

Samantha Togni makes her TITDM debut with five uncompromising cuts, exploring the darkest corners of techno and channeling her artistic expression in a flurry of controlled yet innovative directions. This compulsion to work without boundaries isn't new to Samantha, having always leaned toward a 'do it your own way' attitude, leading to Samantha founding Boudica in 2017; a collective aiming to give visibility to women and non binary artists through their events, conference, radio show and podcast.

'Trust The Heat' rattles through the speakers with its bone twitching bass, spilling out from its kickdrums and marching forward at an unnerving pace. The accompanying grooves give way to primal movements and an added layer of welcomed spice. There's no sing-songy samples here, just a vocal phrase with the energy of a megaphone edging through a busy club; guiding dancers to keep moving. 'No Pressure to Fit In' follows up with its spiraling basslines opening and closing, providing the movement against a backdrop of percussive power. Togni brings back the vocal snippets. this time to greater hypnotic effect.

'Sensible Social Lies' sounds like the type of techno you'd expect to hear on a planet from Dune; shapeshifting its way through sand with a heavy onslaught of newly discovered sounds. 'Cockroaches' scales back, remaining functional and still packing a serious punch, before the record comes to a pupil dilating close with 'In Vivo' a melodic, left-leaning piece honoring what makes techno so great, while remaining fiercely contemporary and unique to the artist who created it.

Arriving on Lobster Theremin's White Label on comes a fresh-sounding and typically loud release from Leeds vinyl enthusiast Peaky Beats. Never one to be pigeon-holed into a specific style of music, his recent releases have explored 2-step, speed garage and dub - bringing his wicked ear for big UK blends into the spotlight - and earmarking him as one of the UK's most exciting emerging producers.

On Paradise Falls EP, Peaky Beats unites the worlds of jungle, drum & bass and 2-step on a high velocity, future-facing project, with a little help from contemporary jungle legend Tim Reaper. 'Paradise Falls' is a melodic stepper that ventures close to 150BPM territory. Those skippy UKG elements are all there, but this time with a hefty dose of jungle influence which brings a certain weightlessness to the track. 'Soul Diesel' ventures further into the garage sphere; the velocity diminishing slightly as the vitality continues to soar. Introspective breaks for sunny days.

'Tangerine Dream' is a prime old school cut of dubbed-out nostalgia. Sitting somewhere between The Streets, El-B and Coco Bryce, its deep bass-weight inspires big 'Any Jungle In, Guy?' energy, before Tim Reaper's remix of 'Paradise Falls' blows the bloody doors off with a typically emotive and atmospheric cut of jungle fantasia.

Capoon crafts organic and eclectic soundscapes, inspired by a worldwide musical view and a penchant for emotional storytelling, having collaborated with musicians from all over the globe. Following his lauded ‘April EP’ on Human By Default in 2020, the Antwerp-based artist returns to Bedouin’s essential imprint with a pair of lush productions.

Leading the A-side is the title track ‘Mi Mem’, which sees the DJ/producer merge emotive vocal chops, shuffling percussion, and evolving synthesis for a driving and powerful opener. ‘Mano y Mano’ brings rolling drums under soft, gentle instrumentation as swirling soundscapes engulf the stereo spectrum.

After releasing on Atomnation's Unfold Vol. 2 last year, Berlin-based Italian NOCUI returns with more rich and uplifting grooves on his new 12” “Entrain”.

Leonardo Di Fiore (NOCUI's real name) is a Rome-born composer and a classically trained pianist who brings a performative approach to how he makes music. An early love of jazz also permeates his work and he now considers himself a "studio and sound design obsessive." That shows in the meticulously crafted, always fresh music he makes on his go-to drum machine, the Jomox Alpha Base. NOCUI is also adept at speaking through other key bits of gear such as the Roland SH101, Acidlab 303, DSI Prophet 6, and Haken Continuum Fingerboard - machines that lend his music its signature sound and have taken him to labels like Traum and Wildfire.

Born in a Gambian griot family, kora virtuoso and afro-fusion pioneer Jally Kebba Susso has been active in the UK music
scene for twenty years. While based in London, he has tirelessly, through both personal and collective endeavours, built a
singular musical identity by working hard on making the timeless Mandinka kora, an instrument he's been playing since
his youth, sound like never before, combining the ancient West African strings with forward-thinking aesthetics and myriad
of musicians and producers from the thriving London music scene such as Onipa, Dark Sky and Kay Suzuki.
Jally Kebba Susso has already released two albums as a solo musician ("Malaye Warr", 2012 and "Banjul - London",
2017), as well as a member of the successful afro-fusion band Afriquoi, whose latest EP has garnered a very wide
support, culminating in several million streams and performances on some of UK's biggest festival stages (Boomtown,
Glastonbury).
Freedom! A heartfelt shout expressing the newfound joy of an African musician whose working conditions, despite his
long-standing roots in the London music scene, have sometimes been precarious.
A newfound freedom to be able to look ahead and fully persue one's need of self-actualisation. Hence this new EP, written
with the help of Jally's accomplished band members (Yuval Juba Wetzler, Nim Sadot and Oli Arlotto) and produced
by Tom Excell (Onipa, Nubiyan Twist), whose 4 tracks all deal with topics (identity, homesickness, family, social justice)
which are dear to Jally's heart as a Gambian native and West African musician settled in Europe.
A pleasant atmospheric opener, "Wulu Doula" rides on a classic Afrobeat groove, while Jally reminds us how we are only
what we become, no matter where we come from and who we inherit from.
"Justice" is a stomping mandinka funk hit, in which "freedom, equal rights and justice" are claimed by Jally for all fellow
artists and musicians from the West African diaspora working in Europe.
Clearly anchored in Gambian music tropes and reminiscent of the pioneering mandinka fusion of Ifang Bondi, "Fakoly"
tells the story of Jally's family lineage, as a member of the 74th Susso generation. As Jally puts it, "being a griot is a way
of life".
Homesickness can be a bitter feeling. But you can turn it around. That is exactly what Jally achieves with "Banjul", a
cheerful, funky tribute to the Gambian capital, in which Jally grew up, learning words of wisdom from his elders.

After having released solo albums on Western Vinyl and Preservation, Domes presents the first entirely instrumental work of the California based multi-instrumentalist Heather Woods Broderick.

Domes is a collection of meditative pieces based around the cello. While not being her primary instrument, the cello holds a very special place for the artist. Throughout the past 2 years, Heather often felt the need to find moments of respite in response to the chaotic and turbulent times we all faced in that period. Her days started or ended with the cello. A single melody initiated a process in which new elements were gradually added to the initial loop until the sounds filled her up. This process and the instrumental nature of these pieces opened the path for self-reflection and enabled her to express emotions outside the world of words or lyrics:

“The cyclical nature of the loop combined with the sound feeling like it’s surrounding me feels serene and safe. My hope is that listeners experience this as well.” - Heather Woods Broderick

Domes is a documentation of that period and offers 7 pieces which to the artist feels like dense masses – strong grounding sounds that can hold weight or be used to disperse weight - in an emotional sense. The album title, Domes, reflects this idea as domes are made out of triangles – the strongest shapes in the physical world. Coincidentally, there are 7 different triangles. As such, the pieces on Domes each reflect a different triangle, a different strongest shape which offers the listener a solid basis to find rest and calmness.

Heather Woods Broderick is a composer, songwriter, and multi-instrumentalist. Growing up in a family of musicians, music took root in Heather’s life at a very young age. Evenings spent singing along to her parents folk music collection began to shape her sense of song as a child. After many years of classical piano training, she began to expand her musical toolkit by learning to play guitar, cello, and flute among others. Deeply influenced by rich tapestries of the natural world, she excels at crafting sonic landscapes that reflect both lushness and intimacy. Heather has released three solo albums to date, and over the years has recorded and toured extensively around the world with a multitude of artists including Sharon Van Etten, Efterklang, Alela Diane, Horse Feathers, Damien Jurado, Lisa Hannigan, Laura Gibson, and more.

Liv Kristine’s new compilation EP „Have Courage Dear Heart“ All compositions deal with deeply personal issues such as the beauty of nature, the universe and its laws, twin-soul connection, self-love, narcissism, healing and finding a voice.

The live tracks were chosen arbitrarily. It is the first time Liv releasing live recordings. They were played at the show in Nagold (Germany) in 2019.

Mekons + Freakwater = FREAKONS.Freakwater and the Mekons have
joined forces to sing songs about coal mining
FREAKONS, the eponymously-titled album on Fluff & Gravy Records , is the first
fruit of this visionary musical union.The Mekons and Freakwater have been
friends for decades, forged in the punk rock/ art school crucibles of late '70s
Leeds and mid '80s Louisville respectively. Both bands mined British folk and
American classic country music for three- chord songs whose lyrics fit the
nihilism or political rage or outlandish joy of the moment. Many of these songs
were about coal mining. Traditional songs about heroic union organizers, deadly
mine disasters, wailing orphans, or mining's grim history of economic and
ecological devastation fit seamlessly alongside each band's original material.
And so it is with FREAKONS.
Deep pit mines, strip mines, mountaintop removal, collapsing slag heaps. Deadly
work, poisoned water, and fantastic songs. Always fantastic songs. This is where
the FREAKONS were born, from the very bowels of the earth.
The Mekons' Jon Langford & Sally Timms and Freakwater's Janet Bean &
Catherine Irwin are joined here by the stellar string and vocal harmonies of Jean
Cook (Ida, Tara Jane O'Neil, Skull Orchard) and Anna Krippenstapel (The Other
Years, Joan Shelley, Freakwater), along with special guest, the beloved guitar
genius Jim Elkington (Jeff Tweedy, Richard Thompson, Eleventh Dream Day,
Horse's Ha, Skull Orchard, Freakwater, The Zincs).
Belgian painter Jo Clauwaert created the album's intricate gatefold cover. Images
from song lyrics and related history emerge and recede again in this gorgeously
illustrated artistic fever dream.The story of coal mining is one of ongoing pillage
and ecological devastation. It is also a story of heroic workers, struggling in
blighted circumstances to feed their families. The songs and the culture that have
risen from the mines deserve our attention. A portion of the profits from the
FREAKONS record will go to Kentuckians For The Commonwealth, a grassroots
organization dedicated to creating a better future for the Appalachian region.
Kentuckians For The Commonwealth (KFTC.ORG) works to end mountaintopremoval coal mining, and to promote political candidates who care about social,
environmental and economic justice and the transition to clean, renewable
resources

Lush Fresh Handmade Sound and Mark Constantine are proud to unveil
'Life's What You Make It', following from the acclaimed compilation
albums 'Self Preservation Society' and 'Instant Replay'
This stunning vinyl triple album has once again been personally curated by Mark
Constantine, co founder of Lush and passionate music fan.It features 30 brand
new versions of songs originally recorded between 1981 to 1991, including some
of the finest pop, folk, rock and ballads of the time.
You'll find the familiar and the unfamiliar, unexpected collisions of styles, radical
reworkings and faithful renditions, all in celebration of a musical golden era.
Many of these tracks will have specific associations for each of us, but
collectively they formed the soundtrack to Mark's decade during Cosmetics to Go
and the pre-Lush Cosmetics years: "What I remember from that time is working
every hour God sent," he says. "We'd be waking up at 4am, switching on the
boilers and mixing up product as fast as we could. And there'd always be music
playing."
Compositions by artists as diverse as The Cure, Phil Collins, Tina Turner, Kate
Bush and Nirvana have been reinterpreted by a galaxy of established and rising
stars including Teddy Thompson, Eliza Carthy, Jackie Oates, Marry Waterson,
Stealing Sheep andHoneyfeet, many of which you'll found on Lush's bespoke Spa
Treatment soundtracks.
The result is a magnificently diverse, six-sided jewel of a record

Cardiff alternative rock duo James and the Cold Gun are pleased to announce the details of their debut EP False Start, set for release on April 29th 2022 through Gallows' label Venn Records and Seattle-based label Loosegroove Records, owned by Stone Gossard (Pearl Jam) & Regan Hagar (Malfunkshun, Brad, Satchel). False Start is available to digitally pre-order now, with a vinyl release scheduled for the summer: https://orcd.co/falsestartep Speaking of the new partnership between the band and Loosegroove Records, the influential indie label that was founded back in 1994, which has issued records from acts such as Critters Buggin, Malfunkshun, Weapon of Choice and Devilhead, and was the launching point for Queens of the Stone Age’s debut album in 1998, Stone Gossard said: “I heard James and The Cold Gun’s ‘Long Way Home’ on KEXP last year and thought this band fricken rocks! Who are these upstarts?! "This new track, ‘It's Mutual’ takes it to another level. Totally unhinged and letting it all hang out. Loosegroove Records is thrilled to be working with James and the Cold Gun on this new EP with a future full-length coming soon.” On 'It's Mutual', James Joseph said: "It's a song that embodies the feeling that you get when you hit a stalemate in a relationship, that feeling when you're both sat together but neither person is able to speak. We've all had those awkward silent car journeys where there has been an argument or something isn't right but we can't even chat about it. Next time you have an awkward car journey, grab the aux and chuck some Cold Gun on." James Biss adds, "We wrote these songs for False Start in our flat in 2020 during the pandemic and our first time playing them live as a band was to record them. It was pretty mad recording live around our drummer, hearing the songs played loud with real drums for the first time after months of being stuck inside writing them on the computer. Recording with Adrian Bushby was a dream though, he was bopping around the control room and egging us on to play louder and harder, he's technically the first person we ever played in front of." Taken from the EP, lead single 'It's Mutual' is out now: https://orcd.co/itsmutual The band have rapidly been building support from some of rock’s most respected taste-makers, including Kerrang! Magazine, Rock Sound, Punktastic, Dead Press, Running Punks, BBC Introducing Wales, Deezer’s Hot New Rock playlist, Triple J’s Short Fast Loud, Apple Music’s New In Rock, Beez at Mosh Talks on Twitch, Alex Baker at Kerrang! Radio, John Kennedy at Radio X, and Daniel P Carter on the BBC Radio One Rock Show.

Percussionist Frank Ricotti played in the National Youth Orchestra and was rated the UK’s top vibraphonist during the late 1960s. In 1971, with guitarist Mike de Albuquerque, he cut the multifaceted jazz album, First Wind, which alternated between experimental rock-
influenced jazz and thoughtful adaptations of work by James Taylor, John Sebastian and Melanie Safka, with some surprising blues diversions too, such as Albuquerque’s “Go Out And Get It.” However, Albuquerque soon joined ELO as a bassist, putting an end to the duo.

Light Touches Records is devoted to shed new lights on hot rarities, unknown grooves as well as forgotten classics.

2022 welcomes the first 7” on the label with two hot smoking tunes ready for the summer. “Cheeky” brings in some stomping latin-tinged rare groove and an incredibly infectious vocal hook. On the flipside, “Weeping Funk” is a dope gospel-like roller with a killer bassline.

All tracks have been carefully edited without overdubs, in order to bring the spirit of classic disco manipulators to today’s dancefloors!

'Symmetry Systems' is the new LP by Dennis Huddleston AKA 36. Inspired by Warp's 'Artificial Intelligence' releases from the early 90's, it's a melodic, synthesiser-driven record, with a wink to the past and a nod towards the future.

"I have a deep love for those early Warp albums, particularly the Artificial Intelligence compilations. It was a wonderful time for UK electronic music. That beautiful, warm machine sound, with an optimistic (if somewhat naive) vision for the future. I found the whole thing incredibly inspiring and wanted to revisit those memories, albeit with a 36 twist"

Like 'Wave Variations' before it, this record explores various approaches to the theme, with each track directly inspiring the next one. All tracks are sequenced in the order they were made. 'Symmetry Systems' is a collection of hypnotic machine music, made with a delicate human touch.

Oslo-based American-Norwegian trio Buster Sledge releases their first
studio album Call Home in May 2022, following up on their self-recorded
and self-released debut Spirit (2020)
Fiddle, banjo, guitar and three voices are the vehicle for lyrical storytelling against
an orchestral background anchored in the acoustic music traditions of the United
States. Hailing from northern California, lead vocalist and songwriter Michael
Barrett Donovan mixes themes from personal experience with folk and country
music archetypes to breathe new life into time-tested song structures. Banjoist
Mikael Jonassen and guitarist Jakob Folke Ossum both share a thorough
appreciation for the fundamentals of bluegrass music, clear melodies and
harmony- singing through the lens of being trained jazz musicians. In eleven
tracks, Call Home tips its hat to artists such as Norman Blake, The Punch
Brothers, Tim O'Brien and John Hartford. Buster Sledge was the first group to
record in the recently relocated Globus Studio of Sjur Lyseid (Little Hands of
Asphalt) and his influence from behind the mixing board pushed the band into a
slightly-augmented acoustic sound with more streamlined arrangements which is
a suiting duet with the album art by William Hay that realizes a scene of a rider
overlooking a large river-valley in impressionistic swaths of color.
Banjoist Mikael Jonassen, from Bodo in the far north, is Norway's first and only
higher-education certified banjo player. Despite beginning with an electric banjo
and playing exclusively fusion jazz, Jonassen currently focuses his efforts on
Scrugg's style acoustic banjo and the playing of Bela Fleck and has taken several
trips to the US to learn from the masters. Jakob Folke Ossum, jazz- guitarist
turned flat- picking aficionado, discovered the sound of acoustic flat- picking
through Tony Rice and Bryan Sutton and meticulously taught himself from
records and videos. Fiddler Michael Barrett Donovan made a living as a musician
in New York City doing a master's in classical composition while touring with a
Grateful Dead tribute band. The three met in a comment section on a bluegrass
forum after Donovan moved to Norway in 2019. The rest of the story you'll have
to ask them at a show sometime. Buster Sledge has been on stage in many small
venues in southern Norway, don't miss them the next time they come to town!

THE DEBUT ALBUM OF COLD & PRIMITIVE OLD-SCHOOL NORWEGIAN
BLACK METAL, BORN FROM THE ASHES OF CULT ACT, TULUS
PRESENTED ON THE VINYL FORMAT FOR THE FIRST TIME.Norwegian black
metal band Khold formed in Oslo in the year 2000, by Gard & Sarke (also known
from his own, self-named act, alongside Darkthrone's Nocturno Culto). Khold is
what emerged out of the ashes of the cult band, Tulus. Khold has recorded 6
albums to date & have successfully toured with bands such as Satyricon &
Behemoth in the past. Khold is also notable for their use of old Norse for songtitles & lyrics. 'Masterpiss Of Pain' was Khold's debut album, released in 2001 on
Moonfog Productions & was recorded at Panser Studios (Arcturus, Chrome
Division, Fleurety) in Oslo.
'Masterpiss Of Pain' also features a guest appearance by Galder (Old Man's Child,
Dimmu Borgir) on the track 'Rovnatt'.
This edition of 'Masterpiss Of Pain' is presented on the vinyl format for the first
time & contains inner sleeve with lyrics.

1998'S CLASSIC SECOND STUDIO ALBUM OF SYMPHONIC, OCCULT
BLACK METAL
PRESENTED ON DOUBLE GATEFOLD VINYL & ON THE VINYL FORMAT FOR THE
FIRST TIME.Opera IX are a symphonic black metal band formed in Italy by
guitarist Ossian & released their debut album 'The Call of the Wood' in 1995 &
over subsequent years have become regarded as one of the most revered &
important Italian bands of the genre. The band's sound is an eclectic concoction,
moving beyond straight-forward black metal, mixing elements of thrash, doom &
death metal with symphonic elements, even folk influences. Opera IX is known for
their strong occult themes blended with topics of paganism & are also known for
being one of the first examples of a black metal band with a female vocalist.
'Sacro Culto' was the band's second album, originally released in 1998. Lead
singer Cadaveria used more melodic vocal experimentation this time with almost
operatic passages sitting alongside the trademark black metal style whilst further
evolving the central themes of occultism & paganism.
This edition of 'Sacro Culto' is presented on double gatefold vinyl & on the vinyl
format for the first time.

'Fever Dream' is Grumpster's debut album on Pure Noise Records. The album explores going through life in a dream-like state. Disassociating constantly to escape reality and what may be going on in life. Having strange thoughts, ideas, and desires. A blurred sense of reality that makes it difficult to discern what is real and what is in your head.

The dawn of Symphonic Therion glooming at the horizon, yet still drenched in Dark Metal execution! Though it was their fourth full-length, and we had been given a sampling of their symphonic/gothic direction with “Symphony Masses: Ho Drakon Ho Megas”, “Lepaca Kliffoth” might remain the most memorable masterpiece of the band’s career along the follow-up “Theli”. A transitional phase between the band’s Death Metal roots and the hybrid of symphonic, gothic metal which they would carry forward for the rest of their career. This is an extremely dark album. The band retains their fascination with obscure occult magick and prophecies within the lyrics, and the music revolves around killer mid-paced Metal riffs drenched in the vocal libations of Christofer Johnsson. The album starts off strongly with “The Wings of the Hydra”, and from there on the serpent has snaked about your spine. An addictive piece with an obvious Celtic Frost influence, chanting vocals, simple synth tones and arabesque guitar melodies which evoke the mythical age of the song’s namesake. The album’s ‘hit single’, “The Beauty in Black” is glorious and gothic, it uses a pair of operatic vocalists (male and female), a sort of predecessor to the revolving door of guest musicians the band would use on their later albums. Other excellent tracks include the charging “Riders of Theli”, the crushing doom of “Black” which would have fit almost perfectly on “Into the Pandemonium”. The rest of the album is equally dark and enchanting, with other standouts being the title track and “Evocation of Vovin”. Synthesizers, flutes multiple vocalists, and the core of the band are all clear and precise throughout, yet it still carries a very raw and dark, ominous tone to it which trumps the later studio efforts. This may not be quite as symphonic as many Therion fans demand of their material in recent years, but it clearly marks the point where this band transformed from a innovative Death Metal band into the Gods of Gothic Metal. There are very few parallels to something like this, and it belongs in the collection of any fan of quality Occult Metal.

The legendary reggae powerhouse is back with a brand new studio album, "New Day," the follow up to their 2018 Grammy nominated effort, "As the World Turns." The album release is the focal point of celebrating "50 Years of Black Uhuru" as 2022 marks 50 years since the band's formation in 1972 in Kingston, Jamaica. Flash forward 50 years from 1972, millions of albums have been sold, 8 Grammy nominations and 1 Grammy Award, and the band finds themselves looking back on the accomplishments and forwards to a "New Day" dawning. Marketing Highlights: - Nationwide headlining tour supporting the album in major markets in May - Summer European tour anchored around a Festival play at Reggae Land Festival in Milton Keynes, UK with Shaggy, Julian Marley, Inner Circle and more - Full Press Campaign supporting the album release - Extensive multi-phase online digital marketing campaign

The legendary reggae powerhouse is back with a brand new studio album, "New Day," the follow up to their 2018 Grammy nominated effort, "As the World Turns." The album release is the focal point of celebrating "50 Years of Black Uhuru" as 2022 marks 50 years since the band's formation in 1972 in Kingston, Jamaica. Flash forward 50 years from 1972, millions of albums have been sold, 8 Grammy nominations and 1 Grammy Award, and the band finds themselves looking back on the accomplishments and forwards to a "New Day" dawning. Marketing Highlights: - Nationwide headlining tour supporting the album in major markets in May - Summer European tour anchored around a Festival play at Reggae Land Festival in Milton Keynes, UK with Shaggy, Julian Marley, Inner Circle and more - Full Press Campaign supporting the album release - Extensive multi-phase online digital marketing campaign