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New Zealand juggernaut Fat Freddy’s Drop return with a new studio album, ‘Special Edition Part 1’, due for digital release on 15th November, with 2LP Vinyl and CD following up on 10th January. The 45rpm vinyl edition is produced with
a different track order across four sides and promises to deliver super fat loud audio.

Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and
‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other
tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.
Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect
Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live
shows.

‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next
journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2. The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in
2005.
The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the its first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’. Fat Freddy’s Drop have been performing and recording together for more than 15 years, establishing themselves as one of New Zealand's most internationally successful acts. Considered one of the best live experiences in the world, they will embark on their biggest European and UK tour since they sold out a double hitter at London’s 02 Academy Brixton in 2018. Including an already sold out show in Dublin, the band will headline Cardiff’s Motorpoint Arena on 29th April 2020, Liverpool’s Invisible Wind Factory on 30th April, returning back to London’s Alexandra Palace on 1st May – the palace was the scene of two triumphant sold out headline concerts in 2014 and 2017 - before heading north to Glasgow’s Barrowland on 3rd May.

PETE MOLINARI is a singer-songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.
He’s often described as a songwriter’s songwriter. Bruce Springsteen once publicly proffered: “Pete Molinari – if you don’t know anything about him, he’s great!”
Rome has a secret heartbeat, an underground and urgent pulsation whose memory is preserved within the walls of old recording studios, in the tales of veterans, and most of all in the grooves of the soundtracks of Cinecittà. Music that has always flirted with poetry.
Pete Molinari is a poet, and that's why his words perfectly blend with this pulsation.
That's why producer Luca Sapio chose to record "Wondrous Afternoon" among his Blind Faith Recordings and Maestro Piero Umiliani's Sound Workshop. The result is an album with a strong cinematic impact. The lesson of Motown applied to the sound of Rome.
Backed by Luca’s crack band better known as the Italian Royal Family, Pete Molinari sings with great expressiveness and soul, embedding his words like precious stones, exposing them in all their fragility and strength to the listener.

Repress!

10 years since the consumerist musings of Tesco, Matthew Herbert reanimates his Wishmountain project and heads deep underground to find the source material for Stonework: 1000 metres down.

Like many of Herbert’s projects, Wishmountain releases revolve around specific, material sound palettes, and for this latest album he’s drawn from a sample library created as a commission for the Stone Techno festival, which took place at the UNESCO World Heritage Zollverein mine in Essen, Germany. Working with sound recordist Lorenzo Dal Ri, Herbert and Dan Pollard captured a varied and wide variety of hits, tones, textures and one-shots from the frozen-in-time remnants of the Ruhr region’s coal-mining industry and from specific materials in the nearby Ruhr Museum and Mineralien-Museum. A sample library created by Matthew and Dan of the recordings was also used for the Stone Techno series, from which tracks have been commissioned by the likes of Luke Slater, Megan Leber, Ben Sims and KiNK drawing from the same sounds heard on this album.

These stone-cast sounds lend themselves to the Wishmountain framework – skeletal, quasi-industrial techno with an angular impulse and a subtle swing. Much like the breakthrough hit, 1996’s ‘Radio’ (made using samples of a broken radio), the limitations on the source material sharpen the focus of the music. What started out as a practical hardware restriction in the early 90s became a purposeful way of working for Herbert – one which carried through the 1999 album Wishmountainisdead to 2012’s Tesco with its sampling of the British supermarket chain’s 10 most popular products.

Musically, Stonework is consistent terrain for Wishmountain – austere and forbidding in one sense, playful and irreverent in another. But from a club music perspective, which Wishmountain absolutely is, it offers DJs a variety of rhythmic formations within the tool-like minimalism of the arrangements, opening up intriguing possibilities for mixing into, out of, or somewhere in between. For every 4/4 thrust and jerk there is a fractured, snaking meditation pivoting around other time signatures.

Crystal clear in its creative intention and simultaneously successful as surface-level club music, Stonework: 1000 Metres Down is a natural continuation for one of Herbert’s most celebrated, albeit intermittent, aliases.

London-based producer Otik releases his first album 'Cosmosis' on Martyn's label 3024. The 11-track LP signifies the fourth album on the imprint across its ten-year tenure, showcasing a more introspective side to Otik's musical output.

The album leans into delicate melodies, hazy atmospheres and lush analogue sounds, often evoking blissed-out feels and ripples of brilliant colour. Produced three years ago during lockdown, 'Cosmosis' comes after a period of spiritual struggles, where Otik questioned his faith, religious beliefs, and the concepts of right and wrong. While the pandemic allowed ample time for reflection, Otik translated these thoughts into music from his Peckham-based studio, later finding a home on 3024's evolving discography.

Following Otik's EP 'Soulo' in 2021, 'Cosmosis' marks the second release from the Bristol-born DJ and producer on 3024. This time, his sound stems from a broader palette, touching on slower, aerated ambient notes through to rugged D'n'B, displaying the far-reaching breadth, vision and maturity of Otik's aesthetic.

Keen to release a body of work that explores the journey of enlightenment and the struggles to get there, Otik drew inspiration from the luminary filmmaker Terrence Malick and how Malick portrayed ideas and philosophies in films like The Tree of Life and Voyage of Time. As a result, the record conveys a compelling narrative of rebirth, told through exquisite sound design and a push-pull pace that oscillates across the album.

The lead single 'Cosmosis' binds astral breakbeats with a star-lined melody stitched against a spacious backdrop. Sparse, celestial vocals punctuate the soundscape and add a spiritual feel, culminating in a dazzling trip at just over five minutes.

‘Threads’ was my 1st album as Om Unit and this 10-year re-mastered anniversary edition comes around at what feels like a similar time for me of experimentation and finding new ways to connect sounds. Something of a full circle of sorts but then again I am marking time with this re-issue at a time where I can look back and feel very proud of the work still sounding so convincing. Now even better thanks to Subvert Central’s Robert Macchiochi!

Reflecting on the past 10 years since this record came out, I can say it’s been an incredibly fruitful journey, with the most striking element of it all being the opportunity to travel and meet so many people from so many different backgrounds with different world views and stories. I found that ‘Threads’ for many was their first insight into my music, and for some people was something of a milestone in their journey of exploring music itself with tracks like ‘The silence’ and ‘Governor’s Bay’ having been mentioned over the years as amongst favourites alongside some of the work released on Cosmic Bridge and Civil

I want to take a moment to give my Love and gratitude to all the featured vocalists. Thanks to Simon Jinadu for his angelic voice on ‘The Silence’, to Charlie Dark MBE for his reflective words on ‘The Road’ and to Alex ‘Bogues’ Rendall aka MC Jabu (of Jabu) for his intense delivery on ‘Patients’ as well as Jneiro Jarel for his self-reflective narration on “just sayin’” All 4 are still outliers in their own field and upstanding creative forces to boot. I feel blessed to have been able to capture them on this project.

Threads was made in a bedroom of 2a Station Rise in Tulse Hill, a flat I shared with journalist and writer Laurent Fintoni, in a space that had such a great sound to it that I’ll always miss that room. I hope that you feel the warmth that I felt then whilst making it. It’s been an adventure since and whilst I’ve moved on from a lot of the tropes intrinsic to the album, it will always remain a body of work that is dear to my heart.


Enjoy!
<3

2001, Yorkshire, England. SUBDUB is in full strength shaking down Leeds' city walls with regular parties, community events & sound system sessions. Active since 1998, the devoted crew push UK Dub music forward, inviting key players of the scene to play at their events powered by the mighty Iration Steppas sound system. Session after session, the SUBDUB imprint nurtures a loyal community of skankers while building close ties top artists in the field. A solid reputation that resonates amongst dub-heads around the globe. After 3 years of existence and having already put out 3 singles on their Tandori Space Records label, the idea of putting out a SUBDUB compilation album sparks. Producers get involved and the ‘Digital Africa’ project takes shape! But when the test presses finally arrive, the difficult financial situation and bleak state of the vinyl market at the time force the project to get shelved…

22 years on, while on a pilgrimage to SUBDUB and stopover at the Tribe Records HQ, the Dubquake team see the dusty test presses emerge from the record store vaults and get a taste of the incredible music through the shop's speakers… Unreleased & exclusive tracks by Iration Steppas, Jah Warrior, D.BO General, Vibronics, The Disciples, Tena Stelin, Nucleus Roots, The Bush Chemists & Freedom Masses. 12 undiluted UK Dub cuts from the 90s pressed on to 2x12” vinyl discs, with a 13th bonus digital track. Pure sound system business, raw dubs inna vanguard style!

‘Digital Africa’ is finally coming out on Dubquake Records in time to celebrate SUBDUB’s 25th birthday. A forgotten compilation full of history, curated by Simon Scott & Mark Iration. Guaranteed to bring back sweet memories to veterans of the dance, a great piece of dub music education for the rest of us!

In February of 2022 we released 'Ina Vanguard Style', a long form documentary on Iration Steppas. The film takes us straight back to the 90s when the two founding members; Mark Iration & Dennis Rootical; met and started building tracks together, taking dub music to brand new realms…

Through the documentary, a whole new generation of young dubbers get introduced to Iration Steppas' initial project: Kitachi!
Hype quickly built around this mysterious side project and bookings stared pouring in for the duo to re-form the group alongside their 3rd musical accomplice Jack Roobles. Since then, lucky skankers have experienced 'Iration Steppas meet Kitachi' live shows at major festivals & dub events around Europe.

It's now time for Kitchi’s 1st full length album 'A Strong Unit' to be re-issued on the label; 1h20 of heavyweight year 3000 dub infused with trip-hop and rave sounds. A project first released in 1996, built at the High Rise studio in Leeds at the same time as the classic Iration Steppas' 'Original Dub D.A.T.' LP. A project which led Kitachi to tour alongside the likes of The Prodigy back in the 90s.

'A Strong Unit' featuring key tracks ‘Kitachi in Dubwize’, ‘Constructive’ & ‘Stalking’. A sonic experience for those who share the Vanguard of Dub spirit, for bass freaks and chronic fanatics!

"I don't like rap music at all. I don't think it's music. It's just a beat and rapping."
Nina Simone

Straight off the streets, Hip-Hop burst onto the scene, leaving no one indifferent, igniting a cultural revolution that would shape generations to come. Now, in celebration of its 50-year anniversary, Art That Kills proudly presents HHCOMP01.

HHCOMP01 aims to capture the freshness and innocence of a genre in the midst of defining itself. As the world embraced this new phenomenon, it was a time of raw creativity and unbridled expression.

With a selection of seven fantastic tracks stepped out of the underground, HHCOMP01 is a window into the origins of a genre that has resonated with countless hearts and minds.

Impulse’ was a band of Milwaukee, Wisconsin musicians whose members included Michael Reese (Rhodes Piano and background vocals), Cedrick Rupert (Lead and Rhythm guitar), Jeffrey Williamson (Drums and background vocals) and Robin Gregory (Bass and background vocals). They would become a group in their own right with the eventual addition of another local artist John Gee, who joined them as their lead singer. The Impulse musicians formed the backing/touring band for another Milwaukee outfit, a vocal quartet, The Quadraphonics who recorded the solitary 45 single “Betcha If You Check It Out/Prove My Love To You” for the Carl Davis/E. Rodney Jones owned ‘Innovation II’ Record label during 1974. This release would later be nationally distributed by the major Warner Brothers label. With import copies of “Innovation II” single finding their way into the UK the record became popular with the devotees of Blackpool Mecca’s Highland Room.

During 1976 the members of Impulse migrated to Oakland California, they had hoped that, The ‘Quadraphonics’ would join them but instead The Quadraphonics chose to remain in Milwaukee and eventually broke up. It was fellow Brewtown producer/recording artist Harvey Scales who was responsible for inviting ‘Impulse’ to the west coast. Under the auspice of Scales, Impulse recorded their self-titled debut album project at Wally Heider’s Studio in San Francisco. The album was initially offered to Casablanca Records but no firm interest was to materialise, a subsequent approach to Jerry “The Ice Man” Butlers newly formed Chicago label, Fountain Records again failed to secure a release of the album, sadly leaving the project unreleased in the can. In the ensuing years, the former group members have continued with their respective careers, the late John Gee embarked on a solo career, recording the 1980 release “Not Enough Love Makin’/ you Are That Man (Why Don’t You Be That Man)” for Leroy Smith’s Oakland C.A, Pashlo label followed by his 1985 modern favourite “So Good To Me/Just Get On” recorded under the artist name of Jon Pierre Gee on his own newly formed Kandi Inc, Record label. Later Kandi projects included the 1995 Jon Pierre Gee & Touch album and the 2005 Ah’VantSoul cd album project, which featured Jon’s business and real-life partner, Kathryn Hannemann (a.k.a the performing artist Kat Webb).Throughout all the aforementioned projects Jon continued to use and enjoy performing with his former fellow ‘Impulse’ musicians of which the two surviving members Robin Gregory and Michael Reese can still be found jamming to this day in the renowned Milwaukee Restaurant/Coffee House by the name of ‘Coffee Makes You Black’. Sadly, drummer Jeffrey Williamson passed away during 2015 with Coley Jackson coming in to pick up the sticks! Lead and Rhythm guitarist Cedrick Rupert left the group in the 1970’s moving to Lake Charles, LA, sadly, he too passed away in 2020.

The Impulse album project having lain dormant since the 1970’s was resurrected during 2018 when Jon Pierre Gee in conjunction with Stephen Chin of Nice Choice Records (USA) and Soul Junction Records (UK) breathed new life into the project. Beginning with the release of the first of two ‘Impulse’ 45 singles on Jon’s Kandi imprint. Firstly “What’s that Sound/You Changed Me” followed in 2020 by a second 45 “I Really Love You/Get The Funk Off my Back” with all four soul and funk tracks receiving worldwide acclaim. Initial plans for the release of the whole album project had been set in place but we’re unfortunately brought to an unexpected halt with the passing of Jon Pierre in November 2020.

Undetered Soul Junction have finally been able to bring this amazing ‘Impulse’ project to life as a limited vinyl press I’m sure once heard, the old adage of “Good Things Come To Those Who Wait” will certainly ring true, enjoy.

Breakout artist Gabriele Toma brings his thumping house sounds to Hot Creations with the four-track EP, ‘You See Me’.

Italian DJ/producer Gabriele Toma is shaking up the scene with releases on established labels such as Trick, CUFF, and Hellbent Records, swiftly capturing the attention of industry giants such as The Martinez Brothers, Cloonee and Hot Creations label head Jamie Jones, to name a few. Positioning himself as an exciting newcomer to watch, having previously released his bouncing ‘Lit Bit’ EP on sister label Hottrax, Toma now makes his Hot Creations debut with his knockout four-track EP, ‘You See Me’.

‘You See Me’ opens the release with a low-slung bassline, bustling drum funk, and addictive rap-style vocals that propel the track as a certified bouncer. ‘Move Your Body’ delivers another groove-led house beat with bouncy bass hits and skittering female calls, while ’Muevete’ sets the dance floor ablaze with vibrant bongo beats in true Hot Creations style. To close, ‘Magic Flute’ lives up to its name, with whistling flutes at the core alongside pumping bass to craft an irresistible afterhours workout.

For their next release, Futuribile looks to the work of Salerno star Carlo Fontana, presenting a set of hard-to-find & unreleased treasures titled ‘La Musica Del Sud.’

Carefully remastered at the West Hill Studio, the collection of tracks — which features contributing arrangements from Tullio De Piscopo — forms a moody pop funk paradise, with jazz horns and soul brass layered together, and amorous vocals crooning, supported by lush harmonizations and greasy gliding bass. Disco beats and exotic drums dance, prismatic pads and soft synths seek the stars, piano and guitar sing a spaced out blues, and amidst the moving grooves and deep swinging jams, moments of beautiful balladry emerge to touch the spirit.

Carlo Fontana's work is further testimony to a courtly and sophisticated musical aesthetic in vogue in Naples (and surrounding areas) between the 70s and 80s which had as its main proponents and protagonists exceptional musicians such as Joe Amoruso, Tony Esposito, Pino Daniele, Elio D'Anna, Enzo Cervo and many others.

Serene, invoking imagery of darkness, sweeping soundscapes tear and twist at
the emotions. The latest album by THE ANSWER LIES IN THE BLACK VOID is a
work of magical beauty. The duo, a collaboration of Martina Horvath from avantgarde metal project Thy Catafalque and Jason Kohnen from Celestial Season,
The Lovecraft Sextet, Bong- Ra, ex- The Kilimanjaro Darkjazz Ensemble, have
followed up on their 2021 debut "Forlorn" with a haunting sophomore release that
is of exceptionally high quality.
The prevalent element here is doom, but there is so much more buried deep
within the dark vaults of this compelling record. The opening song "Ataraxia" is a
deep, richly layered song, with Horvath demonstrating her stunning vocals over
the complex creativity of Kohnen, the multi- instrumentalist who takes
responsibility for everything instrument- driven here. There are crushing riffs,
harrowing passages which send shivers down the spine, and all the time the
atmosphere builds. Tendrils of darkness curl around the throat on "To Kill The
Father", with Horvath's shimmering vocals duelling with the echoing lead guitar
work.

Aroop Roy’s star is deservedly in the ascendancy! As one of London’s most exciting selectors, he’s managed to position himself in the sweet spot of being the DJ’s DJ and causing wild scenes wherever he plays, with headline grabbing sets at Defected Croatia, We Out Here, Gilles Peterson’s Worldwide and many more.

As a producer, musician and label owner, he continues to excel, armed with a vast knowledge of outernational sounds, from rare African disco, jazz, funk, to house, UKG and seemingly everything in-between. His open-minded approach has led to brilliant releases and remixes for labels as diverse as Soundway, Heavenly Sweetness, Permanent Vacation, Club Bad, Delusions of Grandeur, Atjazz Recordings and his own Vive La Musique imprint.

Having played a few gigs together, it was only a matter of time before Jimpster convinced Aroop to get an EP together for Freerange and the resulting Re Bulele EP couldn’t be any more satisfying!

Leading the charge, 'Mama Mwana' captivates with entrancing thumb piano loops and a traditional African vocal all propped up by a subtle yet chunky house beat to lock the dancers in.

'Re Bulele' features the hypnotic vocals of Botswana native Fox Meropa. Aroop masterfully combines a deep, techy Afro House groove with glassy synth pads to form a stripped back instrumental with the vocals front and centre. Seemingly disparate elements shine on this wonderful alternative to the deluge of maximal Afro House tracks being released these days.

Moroccan producer FNX Omar delivers the goods with a sublime remix of Re Bulele. Creating tension with layers of looping vocals along with a rolling, percussive groove. Like the original, this remix transcends genres and will create special moments on the dancefloor, whether it be in a dark, sweaty basement or daytime festival in the sunshine.

* Lou Reed's final solo album finally available again * First time on vinyl * Produced in partnership with Laurie Anderson and the Lou Reed Archive * Booklet features unseen photography by Lou, Q&A with Laurie Anderson & Jonathan Cott, essay by Eddie Stern, and archival interviews with Lou and Hal Willner * Remastered by GRAMMYr-nominated engineer John Baldwin * Package designed by multi-GRAMMYr-winning artist Masaki Koike // "I first composed this music for myself as an adjunct to meditation, Tai Chi, and bodywork, and as music to play in the background of life, to replace the everyday cacophony with new and ordered sounds of an unpredictable nature. New sounds freed from preconception. ...over time, friends who heard the music asked if I could make them copies. I then wrote two more pieces with the same intent: to relax the body, mind, and spirit and facilitate meditation." - Lou Reed Light in the Attic Records in cooperation with Laurie Anderson and the Lou Reed Archive, proudly announces a definitive re-release of Hudson River Wind Meditations, the pioneering artist's final solo album. Originally released in 2007, the deeply personal project combines Reed's love of creating drone music with his passion for Tai Chi, yoga and meditation. The album's ambient soundscapes have been described as a counterpoint to his intense Metal Machine Music album-but they are similar outliers in Reed's 40+ year exploration of drone music and feedback harmonics. The album has been remastered by the GRAMMYr-nominated engineer John Baldwin with vinyl pressed at Record Technology Inc. (RTI). The Double LP set is presented in a gatefold jacket designed by GRAMMYr-winning artist, Masaki Koike and features new liner notes by renowned Yoga instructor and author, Eddie Stern, who guided Reed's practice for years. Also included in the physical editions is a fascinating conversation conducted earlier this year between author/journalist Jonathan Cott (Rolling Stone, The New Yorker) and Reed's wife, artist Laurie Anderson, who discusses the album, as well as her husband's devotion to Tai Chi - one of the album's primary inspirations. Hudson River Wind Meditations marks the latest release in LITA's Lou Reed Archival Series. Launched in 2022 in tandem with the late artist's 80th birthday, the ongoing series has celebrated one of America's most influential songwriters through such acclaimed collections as Words & Music, May 1965 featuring many of Reed's earliest (and previously-unreleased) recordings, including the earliest-known versions of "I'm Waiting for the Man" and "Pale Blue Eyes."

In a stellar career that continues to showcase his remarkable talents as a
consummate musician, bassist Christian McBride reached another milestone
with 'The Good Feeling', his first big band recording as a leader. The band
includes well know jazz musicians saxophonist Steve Wilson, multi-reedman Ron
Blake, trumpeter Nicholas Payton, trombonists Michael Dease and Steve Davis
and vocalist Melissa Walker. McBride arranges and conducts the project which
has been a life-long dream of his.2LP set on classic black vinyl.

Gianni Brezzo (213k Monthly Listeners on Spotify), the jazz affiliated band / studio project led by Cologne-based producer maestro Marvin Horsch, has a diverse musical profile that is reflected both in his genre-hopping as well as his creative output. Along with producing for Cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, including 2021’s “The Awakening” which featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s 2022 LP “Tutto Passa,” released on Jakarta Records, was a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani and Armando Trovajoli to more recent work by Sven Wunder. This was quicklya followed up with EP “Amoria,” an extension of the themes grown from “Tutto Passa,” along with the groovy baroque-jazz of LP “Soundscapes Vol. 1 – Music for Harlequins.” Gianni’s tracks have consistently placed on Editorial Playlists including Spotify’s “State Of Jazz” (908k Likes), “Lounge Jazz” (75k Likes) “Jazz-Funk” (316k Likes) and more, and most recently was synced in an episode of Gossip Girl for HBO US. Gianni Brezzo’s new project, “Filigrani” is a testament to the continued sonic growth and experimentation that pushes the music to new heights. The tracks, meticulously crafted, were born live in the studio, capturing the raw energy and creativity of Brezzo's jazz-driven genius. "Filigrani" introduces a unique fusion, seamlessly blending jazz progressions with touches of ambient electronics. Brezzo weaves a tapestry of sound, inviting listeners into a world where guitar melodies intertwine with subtle drum beats, dreamy harps, and the enchanting whispers of saxophones and flutes. The result? A groovedriven masterpiece that expands the boundaries of sonic artistry. The single and LP artworks by the esteemed Jason Jagel (MF DOOM, Madlib, JJ Whitefield) provide the perfect accompaniment to Gianni’s ever shifting grooves. The albums lead single is eponymous “Filigrani” due out Wednesday, November 22nd with LP pre-order announcement the following Friday, December 1st. This is to capitalize both on Gianni’s upcoming festival appearance at Linecheck in Milan on November 22nd and Bandcamp Friday on December 1st. With a guitar + drum progression that will have you swaying along, the track ebbs and flows as if your ears are gently skiing down fresh sonic powder. Recorded live in studio, the tracks lush horns and tranquil synth pads slide to and fro, combining the best of Khruangbin-style acoustics w/ Gianni’s unparalleled creativity. 2nd single is the lush, late-night vibes of “Milan Nights” out December 13th. Perfect for cozy evenings around the fire and slow dances with that special someone, the tracks harp, guitar, saxophone and slow, yet light and driving drums are a perfect groove to fall into the holiday vibe with. All you need is snow. Focus track is the effortlessly smooth, soulful jazz-funk piece, “Dreams of Sudden Clarity.” Certified 100% fresh, it’s a perfect way to kick off the year. The progression gives you a euphoric, elated feeling, like you’re finally arrived at that special place you never knew existed, but were always meant to find. Promotion will be handled via the label and artist profiles, along with further promotion by external agencies within Italy where Gianni has upcoming live events.

The legendary British artist’s first full-length collection in over five years, SHUFFLEMANIA!
has already been hailed on both sides of the Atlantic as one of the finest releases in his
inimitable canon. The album includes such new Hitchcockian favorites as “The Shuffle Man”
and “The Raging Muse,” both joined by official animated videos streaming now at YouTube.
Recorded in locations around the world over the pandemic era, SHUFFLEMANIA! offers up
ten gloriously ingenious new Robyn Hitchcock songs in just under 40 minutes - a “proper
pop album” as nature intended.
“Robyn Hitchcock’s first album since 2017 is thronged with actual humans - among them
Johnny Marr, Soft Boys compadres Kimberley Rew and Morris Windsor, Sean Ono Lennon
and Brendan Benson. None of them crowd out Hitchcock’s distinctive songwriting though,
nor his undimmed ability to reach through the existential murk and grasp a revelation or
two.” – MOJO

Repress!

NX Records is a collaboration between Matthew Herbert's Accidental Records and the Department of Music at Goldsmiths, University of London.

In May 2013, the label launched with an introductory mixtape and live performances as part of the Puregold Festival launch at the Southbank Centre. NX Records has continued to release new, critically acclaimed music, host numerous events and run an annual pop up record shop.

The label's mission statement is to create a new model for the music industry, connecting exciting talent from the renowned creative hub of Goldsmiths - and the wider community of South East London - with the ever-experimental Accidental Records.

Our aim is to build connections between emerging artists, education, the industry and audiences. NX is a professional label that works alongside, not in opposition with, DIY artists.

The first in our series of experimental split 12"s focuses on instrumental electronic music.

Goldsmiths student and modular wizard Sam Hostettler evokes a daydream meeting between Vangelis and Burial, with his impossibly lush synthscapes shot through with dubbed out percussion. Meanwhile, La Leif's blend of crunchy, electroacoustic techno and outernational field recordings should hit the spot for fans of Karen Gwyer or Shelley Prior.

NX12X is out on Feb 1, with a launch party at The Glove That Fits on Feb 14. Come grab a copy of the vinyl, and have a dance...

Shed Seven will return with their first album in more than six years. For "A Matter of Time", Shed Seven"s core members - vocalist Rick Witter, guitarist Paul Banks and bassist Tom Gladwin - reconnected with the classic albums that first inspired them to form a band. The resulting record sparkles with the liberated exuberance and full-throttle rock "n" roll attitude of a group who are making music for the sheer joy of expressing themselves and performing together. While the album broadens the Shed Seven sonic palette a touch, it"s full of the towering, arms-in-the-air anthems and yearning melancholia that fans have come to love them for. The trio enlisted a new line-up for the album, calling upon drummer Rob "Maxi" Maxfield (Audioweb) and keyboardist Tim Willis (Ian Brown). The album was produced by the Grammy Award-winning Youth (The Verve, Pink Floyd) at El Mirador Studios in Andalucia, Spain, before being completed by leading mixer Cenzo Townshend (Florence + The Machine, Inhaler). "A Matter of Time" flows from adrenalised punky power-pop right through to epic slow-burners, complete with some special guests: Happy Mondays" legend Rowetta contributing fervent gospel vocals to "In Ecstasy", Laura McClure of Reverend & The Makers on the folky-pop of "Tripping With You" and Peter Doherty, who duets with Witter on the dramatic closer "Throwaways". Shed Seven emerged as one of the big hitters during the heyday of Britpop, their catalogue of classic singles leading to seven Top 20 hits including "Going For Gold", "Chasing Rainbows", "Disco Down" and "On Standby" as well as four Top 10 albums. Their popularity has continued since reforming in 2007, with 2017"s "Instant Pleasures" album debuting at #8 - their highest-charting record in eighteen years. 2024 will mark 30 years since Shed Seven"s debut, Change Giver, and A Matter Of Time demonstrates that the band are at the very top of their game and the journey is far from nearing its end.

MASA 006 delves deep into the sound of Leipzig resident HAL and includes two additional collaborations with his long-time friend & studio partner Perm. It's an elegant selection of tracks produced between 2018 and 2023, some of them recovered from long-lost hard drives and carefully remixed with the help of T I N's keen ears.

An always-present groove, magnetic synth-scapes, and saturated ambiance set the pace throughout the EP while the warm and fuzzy sound makes for timeless joy, blending throbbing techno with deep house and dubby nuances, giving every beat a distinct texture.

Mit ihrem neuen Heavy Rock Album "2024" legen RAVENSTINE noch eine Schippe drauf und präsentieren sich musikalisch noch reifer und geschlossener als auf ihrem selbstbetitelten Debüt. Diesmal übernahm John die Hauptaufgaben als Komponist, aber alle Bandmitglieder trugen zum großen Ganzen bei. RAVENSTINE sind ihrem eigenen Stil treu geblieben, die Texte handeln von Themen, die sie in ihrem Alltag beschäftigen, wie z.B. Depressionen ("Black Is The Brightest Color"); über eine verlorene Heimat sowie das Gefühl, dass Heimat gar nicht mehr existiert ("A Long Way Home"); die Aussicht auf den eigenen Untergang ("When I'm Dead And Gone") oder die mögliche Verbindung zwischen Social Media und Amokläufen ("Killing Spree"). Die Band hat mit ihrem Song "Fly Eagle Fly" auch ein lupenreines Juwel komponiert, das alles bietet, was ein Hit braucht: Ein gutes Riff, einen Groove, der einen packt und einen Killer-Refrain! Auch Fans von Balladen werden sich freuen: Während "Signs By The Roadside" von seiner Atmosphäre lebt, kommt "When I'm Dead And Gone" mit einem Refrain daher, der den Hörer dazu bringt, ein Feuerzeug hochzuhalten und es von links nach rechts zu bewegen.

Mit ihrem neuen Heavy Rock Album "2024" legen RAVENSTINE noch eine Schippe drauf und präsentieren sich musikalisch noch reifer und geschlossener als auf ihrem selbstbetitelten Debüt. Diesmal übernahm John die Hauptaufgaben als Komponist, aber alle Bandmitglieder trugen zum großen Ganzen bei. RAVENSTINE sind ihrem eigenen Stil treu geblieben, die Texte handeln von Themen, die sie in ihrem Alltag beschäftigen, wie z.B. Depressionen ("Black Is The Brightest Color"); über eine verlorene Heimat sowie das Gefühl, dass Heimat gar nicht mehr existiert ("A Long Way Home"); die Aussicht auf den eigenen Untergang ("When I'm Dead And Gone") oder die mögliche Verbindung zwischen Social Media und Amokläufen ("Killing Spree"). Die Band hat mit ihrem Song "Fly Eagle Fly" auch ein lupenreines Juwel komponiert, das alles bietet, was ein Hit braucht: Ein gutes Riff, einen Groove, der einen packt und einen Killer-Refrain! Auch Fans von Balladen werden sich freuen: Während "Signs By The Roadside" von seiner Atmosphäre lebt, kommt "When I'm Dead And Gone" mit einem Refrain daher, der den Hörer dazu bringt, ein Feuerzeug hochzuhalten und es von links nach rechts zu bewegen.

The follow up to last years initial release, The Key To Our Love Vol.2 continues to highlight the rarer side of Sweet Soul by recording artists from the late 60s onwards.

The album comprises of musicians who shared their hope & dreams through independent vinyl releases. The obscurity of these privately pressed singles limited their audience; originally released in small quantities and sold locally, the artists remained largely unknown but created some of the most poignant & timeless tracks.

Bill Ryder-Jones veröffentlicht sein 5. Studioalbum "Iechy Da" am 12. Januar 2024!

Iechyd Da ist das fünfte Studioalbum von Bill Ryder Jones. Es wurde über die letzten Jahren in Bills West Kirby Yawn Studio aufgenommen. Bill setzt sich auf Iechyd Da mit verlorener Liebe, Trauer und seinen persönlichen Dämonen auseinander. Die 13 Tracks reichen von dem zarten Gal Costa-Sampling "I Know That It's Like This (Baby)" über die ausgedehnte Downbeat-Soundlandschaft von "...And The Sea..." bis hin zu der gewaltigen orchestralen Explosion von "This Can't Go On". Umhüllt von Streicherarrangements und überschwänglichen Gesangseinlagen des Chors der Bidston Avenue Primary School ist dies ein Album, das ein überwältigendes Gefühl der Hoffnung ausstrahlt, aber auch die Entschlossenheit, dass die Dinge besser werden können und werden.
Durch seine Liebe zur walisischen Musik (u.a. Gorky's Zygotic Mynci & Super Furry Animals) und die Nähe der Halbinsel The Wirral zur walisischen Grenze war Bill bereits ein Cambrophile (A lover of Wales or Welsh culture). Doch seine Leidenschaft für Cymru vertiefte sich, als er die verlorenen walisischen Wurzeln seiner Familie entdeckte, was ihn dazu veranlasste, Walisischunterricht zu nehmen und schließlich auch zum Albumtitel führte. Wörtlich übersetzt bedeutet "iechyd da" so viel wie "gute Gesundheit" und ist der walisische Ausdruck, mit dem man auf etwas anstößt.

Bill Ryder-Jones veröffentlicht sein 5. Studioalbum "Iechy Da" am 12. Januar 2024!

Iechyd Da ist das fünfte Studioalbum von Bill Ryder Jones. Es wurde über die letzten Jahren in Bills West Kirby Yawn Studio aufgenommen. Bill setzt sich auf Iechyd Da mit verlorener Liebe, Trauer und seinen persönlichen Dämonen auseinander. Die 13 Tracks reichen von dem zarten Gal Costa-Sampling "I Know That It's Like This (Baby)" über die ausgedehnte Downbeat-Soundlandschaft von "...And The Sea..." bis hin zu der gewaltigen orchestralen Explosion von "This Can't Go On". Umhüllt von Streicherarrangements und überschwänglichen Gesangseinlagen des Chors der Bidston Avenue Primary School ist dies ein Album, das ein überwältigendes Gefühl der Hoffnung ausstrahlt, aber auch die Entschlossenheit, dass die Dinge besser werden können und werden.
Durch seine Liebe zur walisischen Musik (u.a. Gorky's Zygotic Mynci & Super Furry Animals) und die Nähe der Halbinsel The Wirral zur walisischen Grenze war Bill bereits ein Cambrophile (A lover of Wales or Welsh culture). Doch seine Leidenschaft für Cymru vertiefte sich, als er die verlorenen walisischen Wurzeln seiner Familie entdeckte, was ihn dazu veranlasste, Walisischunterricht zu nehmen und schließlich auch zum Albumtitel führte. Wörtlich übersetzt bedeutet "iechyd da" so viel wie "gute Gesundheit" und ist der walisische Ausdruck, mit dem man auf etwas anstößt.

Der OST des zweifach GRAMMY-/BAFTA-nominierten Komponisten Benjamin Wallfisch zum US-SciFi-Action-Film 'The Flash' von Regisseur Andy Muschietti mit u.a. Ezra Miller, Michael Keaton, Sasha Calle, Ben Affleck und George Clooney. Die zweite Verfilmung der Comicfigur The Flash aus dem DC Extended Universe kam im Sommer 2023 auch hierzulande in die Kinos. Wallfisch adaptiert darin auch Batman-bezogene Themen wie z.B. Danny Elfmans 'The Batman Theme'. Beide Formate umfassen 42 Titel mit über 80 Minuten Musik. Die Farbe des Triple-Vinyl basiert auf dem ikonischen rot-gelben Anzug von The Flash, während das Triple-Gatefold mit The Flash, Batman und Supergirl verziert ist.

Clear Vinyl

The fourth Exposure Series release is upon us. If you have not heard, the Exposure series is our signature compilation series that features multiple artists and is pressed on vinyl for the most discerning DJs and collectors. 'Linear Radiance' gathers together 4 extremely hot artists in the scene for one special 12'.

The EP begins with 'Raizel' by the hot newcomer Grush. This early set builder is smooth in the constraint it has rolling along in the sweet spot. A beautiful jaunt that is rich and fluid.

Next, is the amazing Philipp Priebe. 'So Glad' is another Priebe heater. A very talented producer, you can always count on him for great dancefloor business. The melody sneaks up on you as it builds from deep within. A sublime and subdued corker!

'Sonic Shadows' starts out on the B-side from skillful Nicolas Barnes. His contribution is a combination of a big club techno sound and a melodic flow that is almost reminiscent of some prime late 1990's progressive house.

Finally, is 'Grey Rythem' by Cirkel Square. Riding a catchy micro dub sound that is clever, fun, and surprisingly deeper than we could have ever hoped! All four tracks make for a healthy, well-balanced piece of wax!

Linear Radiance is lovingly pressed and shared on crystal clear 180- gram vinyl. Act quick while copies are in stock. This compilation is sure to get picked up by DJs, collectors, and fans.

DJ Monchan returns with a killer two track EP.

The sound experience is similar to his previous releases and continues to explore the void between old-school 80's house and 70's disco.

'Love Me' has that 80's house backbone but loops and filters the disco samples into a real journey...proper Loft biz if you ask us.
'U&Me' is a serious boogie stepper that is as bumpy as it gets and together with the smooth vocals this will sound ace at any disco jam :)

When Leo Pesci submitted his outstanding nujazz LP, ‘Impolite’ to Jo at Ramrock Records, there was absolutely no hesitation in saying ‘yes please’ to his refreshing, contemporary collection of tracks which aim to transcend the limitations of genre and speak out on matters that are unpalatable and difficult to swallow. Leo addresses current global issues such as politics and corruption, climate change and overpopulation, capitalism and the misery it brings to society, but also toxic masculinity and relationships.

This is Leo’s first new release since his highly acclaimed EP ‘Community’ in 2021, which featured well-known artists of the London jazz scene like Jas Kayser, Ella Knight, Nicola Guida, Johnny Woodham, Simon JNR and Dani Diodato amongst others. ‘Impolite’ continues


to steer the listener through Jazz, HipHop, Soul, Alternative R&B and Rap with some exceptional collaborations featuring 15 different jazz/hip hop artists including Jackson Mathod, Moeazy, John Swana, Dylan Jones, Jay Phelps and Tendayi to name but a few.

Das letzte Musical von Rodgers & Hammerstein war ein Triumph. The Sound of Music wurde am 16. November 1959 im Lunt-Fontanne-Theater am Broadway uraufgeführt. Es wurde 1.443 Mal aufgeführt und erhielt fünf Tony Awards, darunter den für das beste Musical. Außerdem wurde das Album der Besetzung mit einer Goldenen Schallplatte und dem GRAMMY Award ausgezeichnet.

Florence Henderson spielte die Hauptrolle in der ersten nationalen Tournee, die mehr als zwei Jahre lang lief. Jean Bayless verkörperte die Rolle der Maria in der Londoner Originalproduktion, die mehr als sechs Jahre lang lief und lange Zeit den Rekord als am längsten laufendes amerikanisches Musical in London hielt. 1965 kam die Filmversion von The Sound of Music in die Kinos und schrieb Hollywood-Geschichte. Unter der Regie von Robert Wise und mit einer von Rodgers überarbeiteten Filmmusik (Hammerstein war 1960 verstorben, so dass Rodgers sowohl die Musik als auch die Texte für zwei im Film enthaltene Lieder schrieb: ”I Have Confidence” und ”Something Good”) und einem Drehbuch von Ernest Lehman konnte The Sound of Music mit einer Traumbesetzung aufwarten: Julie Andrews als Maria, Christopher Plummer als Kapitän, Eleanor Parker als Elsa, Peggy Wood als Mutter Äbtissin und Charmian Carr als Liesl. The Sound of Music wurde mit fünf Oscars ausgezeichnet, darunter für den besten Film, und ist das beliebteste Filmmusical aller Zeiten.

"Vor ein paar Jahren, nach einem Konzert in irgendeinem zentral-niederösterreichischem Club, vielleicht Melk, vielleicht Krems, vielleicht Sankt Pölten, kam ein schöner junger Mann zu mir. Er heiße Thomas Gravogl, sagte er und schenkte mir in ansonsten wortkarger Grandezza eine Schallplatte. Das Cover zeigte eine Krähenfeder, "Gravögl" stand drauf, und der Titel: "In da Finstan". Das Ganze war ein schöner Moment. Als ich die Platte anderntags hörte, war ich begeistert, und mehr noch, nach dem zweiten oder dritten Hören dauerhaft ein bisschen zum Besseren verändert. Der Dichter und Sänger Thomas Gravogl und seine Band, die Gravögl, stellte sich heraus, waren vier Zauberer aus dem bergigen Süden Niederösterreich, dort, wo sich Pielach- und Traisental durch sonnabgewandte Hügel immer höher in die waldigen Ostalpen schlängeln, in Richtung der Madonna von Mariazell und des mächtigen Ötschers. Wie diese wilde Gegend ausschaut, so klingen die Gravögl-Songs in ihrer weit zurückgelehnten Virtuosität. Es sind Outlaw(berg)balladen, Lieder, wie sie überall möglich sind, wenn auch überall nur ganz selten, und, yeah, halt auch in den Wäldern hinter Lilienfeld. Seit unserer Begegnung in diesem Club, an den ich mich nicht mehr erinnere, haben Thomas Gravogl und ich immer wieder darüber gesprochen, einmal miteinander "was zu machen". Jetzt veröffentlichen Charlie Bader und ich das zweite Album der Gravögl: Imma is irgendwos. Es ist eine Lieblingsband. Es ist eine Freude."

An autumnal treasure, East Village’s Drop Out has spent the past thirty years finding new ears to bewitch and new hearts to melt. The only album from this British four-piece, recorded and released in the early nineties, it’s long been considered one of the hidden jewels of its time, and is talked of with hushed reverence by people who know. Bob Stanley of Saint Etienne once called it “an elegy for a particular brand of eighties guitar music, sweet minor chords and Dylanesque lyrics”, which captures what makes it so special; in summarising its era, though, it also effortlessly transcends it.

Like all great guitar gangs, East Village fell together as a four-piece; having relocated from High Wycombe to London in mid ‘80s, brothers Martin and Paul Kelly on bass and guitar, set on forming a group together, were joined by John Wood (guitar) and Spencer Smith (drums). Wood and the Kellys shared writing and vocal duties; it was an ideal combination, and one of the many charms of East Village is their various song writing voices, a tip of the hat, seemingly, to the 60s folk-rock groups who influenced them.

Originally influenced by garage-rock and freakbeat, the band eventually came through via the same scene as groups like Felt, The Go-Betweens, The Weather Prophets, and Primal Scream. They’d formed as Episode Four, releasing an EP, Strike Up Matches, in 1986, which has gone on to become one of most sought after releases of the C86 era. Their first two singles as East Village, ‘Cubans In The Bluefields’ (1987) and ‘Back Between Places’ (1988), were released on Jeff Barrett’s Sub Aqua label.

When it came time to record Drop Out, East Village found a supporter in Bob Stanley, who bankrolled the album sessions until Barrett re-signed the band to his new imprint Heavenly Recordings in 1990. The album that took shape is dusky, heartfelt, lamplit, full of chiming minor chords, close harmonies, rattling organs, all buoyed by a rhythm section that moves as one, steady and elegant. There’s melancholy here, certainly, on songs like ‘What Kind Of Friend Is This’, but also pleasure and freedom, on ‘When I Wake Tomorrow’ and ‘Silver Train’. The group were obsessed with Dylan’s Eat The Document at the time, and the album’s rich with references to the film; Drop Out’s character is also somehow close to the thin wild mercury sound of Blonde On Blonde, and the lambent light of the Byrds’ Notorious Byrd Brothers.

In one of life’s gentler surprises, ‘Silver Train’ became an unexpected radio hit in Australia when released there as a single in 1993. The story of East Village seems marked by such unexpected turns and surprising events. None was more surprising for their fans at the time, though, than their onstage split in 1991, leaving an unreleased album in the can. Encouraged by Jeff Barrett the band revisited the tapes two years on and while mixing the album for its posthumous release in 1993 invited Debsey Wykes (Dolly Mixture, Coming Up Roses, Saint Etienne, Birdie) to sing the quietly devastating album closer, “Everybody Knows”, a perfect, sad-eyed sign-off.

Listening now to Drop Out, its timelessness is clear. It could have been recorded by young folk-pop hopefuls in the late sixties, taking their shot at the big time; but it could just as easily have been recorded yesterday, by a group that’s both reverent to music’s past, but forward looking in spirit and temperament. It’s that kind of album. Drop Out’s pop poetry is fully formed, with a singular charm that takes in wistfulness, romance, and good times, and a clutch of deeply moving songs that are overflowing with melody and gracefulness. It’s pretty much everything you’d want from a guitar pop record.

It's also an album that’s slowly accrued its own legend. From its stunning cover art, photographed by Juergen Teller originally for a Katherine Hammett campaign, to the ten perfectly formed songs within, Drop Out’s significance in the scheme of things is such that, a decade ago, it was given a rare 10/10 rating in Uncut magazine, who called the album “the lost classic of its era”. Drop Out comes round every decade or so, each edition introducing new fans to its understated beauty, and this latest reissue is its most elegant and deluxe yet.

The 30th anniversary edition of Drop Out lands in two formats: an LP with tip-on style jacket and four-page insert, designed to partner with the 2019 vinyl reissue of their singles and rarities compilation, Hot Rod Hotel; and a double CD, featuring an extra disc compiling the group’s early singles and alternative versions. This CD edition previously has only been available in Japan, though it now features a new, superior mix of their second single, ‘Back Between Places’. Both feature new, typically eloquent liner notes from writer Jon Savage.

The members of East Village have all gone on to do inspired things: Martin Kelly joined Jeff Barrett at Heavenly and has managed label mainstays Saint Etienne since 1993; Paul Kelly formed Birdie with Debsey Wykes, and is now a renowned film director and graphic designer; both Paul and Spencer Smith played in Saint Etienne’s live band; John Wood moved to China to teach, and released a lovely, understated folk album, Quiet Storm, in Japan in 2006. But with the hazy perfection of Drop Out, they’ve all already etched their names in the firmament.

In the 1970s, Robert Cahen turned to the burgeoning field of video art, where he became a pioneering artist. He was originally trained in musique concrète, his creative background, and joined the Groupe de Recherches Musicales in 1972. The pieces on this record were composed in the GRM studios between 1971 and 1974. They testify to a lively inspiration and imagination combined with a precocious formal mastery that already carries the seeds of later developments, which the artist cleverly and inventively deployed in the field of visual arts. (François Bonnet, Paris, 2022)

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«La nef des fous» (1974), 12’00

There are pieces of music whose title is obviously a mere label given afterwards to a finished product. And others, on the contrary, which develop in spiral around a bundle of images and impressions condensed into a few words. This is the case indeed with La nef des fous. However, this work by Robert Cahen oddly wraps itself around its title, with bends, breaks, and an impetus driven further every time to close a new circle, for such is the very essence of the spiral. This, at least, is the way I perceive the form of the work, with its theme-chorus which, in part one, both ponctuates and disrupts the emerging musical curve in various ways and at irregular intervals, as well as its broader and more open second part, which closes with a recollection of the beginning of the work. The challenge of a musical form justified by the topic it illustrates, right down to its gaps, its wanderings and its twists, and which would confer upon it the necessity of a profound logic, that of insanity, is the challenge attempted by Robert Cahen. In such a genre as tape music, so careful with respect to form, one can appreciate its audacity. La nef des fous, or Unity through heterogeneity, or Each to their own madness, but all in the same boat. This means that if we can listen to each of these sound characters, “broken chants”, which create the work for themselves, through the singularity of their delirium, we can also, from one to the other, trace the continuous chanting of a music that is inherently and spontaneously poetic, a music that carries “the unconscious under its skin” (Christiane Sacco). (Michel Chion, January 1976)

«Masques 2» (1973), 08’34

Concert version (for tape only) of an audiovisual work entitled Masques, in which the faces of old dolls and «masks», filmed during the Basel Carnival, were projected in 16mm. Masques 2 is a metaphorical version of Masques in which music is featured in its arcane musicality.
Through its concrete and suggestive music Masques 2 aims to bring to light hidden memories, buried within us, thus enabling an awakening, the resurgence of events from our own history. (R. C.)

«Plurielles» (1971), 08’35

Premiered at the Paris Biennale, 24 September 1971. Suite based on the score of a TV film directed by Sophie Talmon.

«Persona» (1971), 08’34

Premiered at the Paris Biennale, 24 September 1971.

«Passé composé» (1971), 05’29

A discreet but essential figure in the field of musical creation, Horacio Vaggione has been crafting an ambitious, precise and highly significant body of work for over the last fifty years, coupled with a demanding research activity. This disc offers four purely electroacoustic pieces which illustrate, each in their own way, this singular and fascinating grammar developed by Horacio Vaggione, a complex but fertile grammar which establishes a very special relationship between structure and texture, between matter and formula, to create a fascinating musical space, made up of polyphonies and metamorphoses. (François Bonnet, Paris, 2022)

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«Schall» (1994), 07’30

Schall exclusively uses piano sounds sampled and processed with various digital techniques. The sound palette focuses on several shapes of various sizes which reiterate, altered to varying degrees, throughout the process. The granular paradigm is clearly assumed here, as is also that of the interactions between various temporal scales. Basically, there is a concern for the articulation of micro-events. The piece essentially plays with low-intensity frames, composed of various planes and punctuated by stronger objects, in a kind of polyphonic dialogue between proximity and distance. (H. V.)

«Rechant» (1995), 15’51

Initially, a few brief sounds of instrumental origin — percussions, flutes, strings. Processed by means of various digital techniques, projected on various temporal scales, analyzed and re-synthesized, worked in their parts (in their saliences), articulated in their edges as well as in their interactions, these sounds show, as Bachelard would say, «pluralism under identity». I thus tried to compose morphologies by targeting properties contained in the material and by projecting them on temporal perspectives of all sizes. The title, an allusion to the old polyphonic technique, refers to the iterative content of these morphologies as well as to the modalities of their interweaving. (H. V.)

«24 Variations» (2001), 09’50

The word «variations» applies here to the morphological transformations of the material, as well as to the various contexts in which these transformations appear. The result can be heard as a continuous interaction between sound particles of different sizes, composed of several layers, reflecting a preoccupation with detailed articulation spanning different time scales. (H. V.)

«Gymel» (2002), 09’25

In Gymel I tried to compose a space-trajectory using layered sounds, produced by morphological operations (splits, clusterings) that spread out from location to location in variously dense objects. The space was treated through phase-decorrelation, a technique which I use extensively, both to create spaces and to locate sounds and movements within a polyphonic (stratified) context. (H. V.)

In keeping with tradition, the new year brings another offering from Portuguese pianist and composer Tiago Sousa. »Organic Music Tapes Vol. 3,« the third instalment in Tiago’s ongoing series, continues to develop a freeform dual approach to organic and fluid compositions for Piano and Organ - this time adding a real church tube organ to the proceedings.

Evolving from the foundation laid in the first two volumes, Sousa introduces the pipe organ into his signature piano compositions, expanding his sonic palette into an even more otherworldly organic realm.

Much like its predecessors, »Organic Music Tapes Vol.3« immerses listeners in a nebulous sonic landscape, where the compositions exist in a nebulae-like state— eternally floating over stars and planets. The contours of these musical pieces are indefinite and indeterminate, refusing to settle or conform, a testament to Sousa's commitment to pushing the boundaries of traditional minimalism while still paying respect to the American pioneers of the genre, such as Terry Riley and Steve Reich.

Enter then the third volume and be locked in a new theatre of eternal music by an artists that keeps pushing his own style to ebullient highs.

Suburban Architecture continue their series of now highly collectible 4 track EP releases with their 6th offering, 'Inside / Outside'. This new collection of tracks once again draws heavily on influences from the jazzier, atmospheric strains of mid to late 90s Drum & Bass. Putting a contemporary spin on sounds rooted in this golden era of dance music, the latest 4 tracker is split into two parts: Inside / Outside. Each track appears in two parts, delivering similar themes at different tempos.

Opening track 'Inside Part 1' will please followers of Suburban Architecture's previous work - lush pads, deep atmospherics, Jazz fusion flute licks and smashing Amens are all present in the mix. Inside Part 2 lowers the tempo without compromising the energy: Slo-mo Amens interspersed with complimentary breaks sit on top of huge pads, Reece style bass and rousing vocals. Outside also appears in two similarly styled parts. This time Part 1 comes in at the lower tempo, a light vocal-led slow motion rolling number with classic Apache elements, while Part 2 applies the same sonic template to a tough, jazzy roller.

"Over the past five years I’ve seen the darkness and now I’ve come to the light. I’ve learnt wisdom. It’s humbling to see where I’ve come from.”
The past half decade has seen Unknown T establish himself as among the most creative and authentic voices in British Rap. A string of seminal singles and mixtapes have pushed, and then shattered, the musical boundaries of UK Drill, his distinct voice offering stark yet poetic accounts of life in the overlooked corners of London. Now, he is ready to release his debut album Blood Diamond. 13-tracks long, Blood Diamond is a vivid journey into his mind, spirt and history, illuminating on the trials, traumas and triumphs he has met along the way. “It’s not easy to come through what I’ve been through, and making something out of it,” he says, “It’s a good feeling coming out of that environment and seeing what I’ve made possible.”"

Nach dem erfolgreichen Debut "Out in the cold'" erhielt auch der Nachfolger "Home" im Jahr des Releases 2007 von Fans und Fachpresse absolute Bestnoten und zählt nach wie vor zu den Topalben der Band im Oliver Hartmann. "Home", welches musikalisch nahtlos an den Erstling anschließt, enthält neben den Opener "Coming home to you" weitere musikalische Highlights wie "The sun's still rising", "Higher than me" sowie mit ihren Soul- und Blueselementen auch die grandiose Ballade "Crying". Nun erscheint das Album nach knapp achtzehn Jahren erneut als Reissue auf Ltd. 180g High Quality Vinyl, das speziell für diesen Zweck von Miro Rodenberg (Avantasia, Kamelot u.v.m.) remastert wurde. Zusätzlich wurde auch das neue große Booklet mit weiterem zusätzlichen Bildmaterial versehen, das so in der ursprünglichen Version auf CD nicht enthalten war. Mit überarbeitetem Sound und in neuem Gewand ein absolutes Muss für Fans von Hartmann.

60
Highs and lows, anger and joy, belief and doubt reflected in raw and honest
observations of Martyn Joseph's sojourn and the state of play today. A stripped
back acoustic render reflects his weapon of choice that has provided hope and
solace and a commentary of companionship to a worldwide army of ardent fans
for decades through his passionate commitment to social justice, mystery, and
love.'From a vast goodbye to a small hello' he writes in 'Folding', the opening song
of surrender and resilience, and where else would you find an album calling for
the elimination of a tyrant alongside a call for greater love and empathy.
Embracing the contradictions and beauty with a fearless pen, Joseph continues
to cut an impressive path. If you're looking for truth, these songs will anchor you
to a horizon of hope.

ECORDS
Born out of the creative genius of the two founding members, Alfred Morris III
and Kim Martin, FORCE's 12" EP is a landmark in the Maryland metal scene, in
addition to being a highly sought after record by collectors and Doom Metal
aficionados. Soon available in a limited replica edition, to which will be added
extensive liner notes written by Kim Martin himself, detailing the band's history,
creative process, musical background and much more!
This release will be eternally dedicated to the memory of Alfred Morris III, who
unfortunately left us in 2018. Rest in peace, Alfred! Keep on rocking forever!