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Unreleased themes from Kornelije Kovac for commissioned documentary short 'Raport iz Sarajeva', directed by Miodrag Zdravkovic in 1982. This music themes precede the official songs, idents and audio logos for the XIV Winter Olympic Games Sarajevo 1984 opening ceremony made by Kornelije Kovac in his Belgrade based studio from 1982 to 1984. Sourced from the original master tapes with full color artwork by Eric Adrian Lee. Includes insert with photographs from Kornelije Kovac private collection and liner notes by Zeljko Luketic. XIV Winter Olympic Games in Sarajevo 1984 had immeasurable status in the history of Yugoslavia and is widely recognized by organizing committee to be the best in recent history of the Games. However, they were also the pop-culture melting pot of the times, with posters by Andy Warhol and famed local designers and the music by Kornelije Kovac, leading the selected best-of-the-best composers of the times. The recordings on this release share the same musical approach to melody and structure Kornelije Kovac (1942 - 2022) was using at the beginning and the mid of 1980s: while exploring the possibilities of synthesizer, fresh from his collaborations in London with famed composer Hans Zimmer, and almost a decade since he shared Eurovision Song Contest stage with ABBA in Brighton with his Korni Grupa, He also collaborated with Bernie Marsden (Whitesnake), Paul Jones (Manfred Mann) and Andy Pask (Landscape) among others. Kornelije Kovac always insisted on the freshness of the harmony layers combined with DJ friendly rhythm backing track. With the warm analogue feel that resonates in today's digital world this was chosen for a purpose to be an old-school 12'' maxi-single, as it was intended to be, cut loudly for the sakes of all lost and existing discotheques in Sarajevo and all over the world.

A cover of MF DOOM's "Rapp Snitch Knishes" from his 5th album "Mm..Food" released in 2004! Includes a cover produced by Mac DeMarco.

This release, by pianist Christian Rowell based in Florida, was released in 2021. With vocals that show respect for Quasimoto and a jazzy touch added to the boom-bap, this is a amzing cover. The B-side includes a version produced by Mac DeMarco, a Canadian treasure and a key figure in the indie scene of the 2010s, and an instrumental version that has been streamed close to a million times on Spotify. This 7-inch release is now available!

REISSUED!!! Received an 8.1 rating from Pitchfork. "Sadly, many will hear Chris Corsano & Bill Orcutt's latest LP, Made Out of Sound, as 'not-jazz,' though it would be more aptly described as 'not-not-jazz.' In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn's late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley's Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo—but if you've been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt's style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record 'jazz' (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many 'mere' improv records to transcendence, but here he's crafted his polyrhythms within more narrative channels, bringing to mind his 'mannered' playing in the lamented Flower-Corsano duo. It's not 'groove' playing precisely, but it follows many grooves simultaneously, much like Orcutt's own melodic musings—which is why they're so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), 'I didn't edit them at all. I overdubbed two guitar tracks, panned left/right. I'd listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the 'lead', though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.' Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in 'Man Carrying Thing,' but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with 'How to Cook a Wolf,' its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine ) until the end crashes upon the shore. Much like Orcutt's last solo album, Odds Against Tomorrow, there's a gentler, almost pastoral flow to some tracks ('Some Tennessee Jar,' 'A Port in Air,' 'Thirteen Ways of Looking') that calls to mind the mixolydian swamplands of Lonnie Liston Smith—but unlike Odds , other tracks ('The Thing Itself') smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound , we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room—we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon..."—Tom Carter

Jeffrey Lewis’s 2015 masterpiece ‘Manhattan’ in random-colour reground vinyl. “Lewis’s catchiest and finest album” - (Grade: A) Vice. Blang Records are thrilled to announce they’ll be bringing the wild streets of Manhattan to the UK and Europe this autumn with the vinyl re-release of Jeffrey Lewis’s 2015 masterpiece ‘Manhattan’. The LP sold out of its first pressing and has been impossible to buy anywhere for years…until now. Out on exclusive Random Mix Colour Reground EcoVinyl in record shops from 20th September. Blang Records and Jeffrey Lewis have history: before Blang was a label, it started life as a live night at the 12 Bar Club in Denmark Street, hosting many a set of the NY Antifolk artists over on UK shores, including Jeffrey Lewis. Now 20+ years since Jeffrey first played Blang, it feels fitting that tour support comes from UK antifolk linchpins, Blang Records mainstay, and arguably one of the UKs most criminally underrated bands, David Cronenberg’s Wife (“A mix of 80’s fall and the Velvet Underground” - NME). Native New Yorker Jeffrey Lewis is a comic book writer/artist and a musician. A cult hero birthed from the now infamous antifolk movement that sprung up on Manhattan’s Lower East Side in the 90s, Jeffrey has released dozens of albums showcasing his unique blend of bleakly witty observations, scratchy, lo-fi punk and croaky folk/anti-folk, all firmly rooted in a strong DIY sensibility. Jeffrey and his band have toured the world multiple times over, released albums on Rough Trade, Moshi Moshi and Don GIovanni Records, and have been featured by NPR, The History Channel, The NY Times and more. ‘Manhattan’ was mixed by John Agnello (Dinosaur Jr., Phosphorescent, War On Drugs) and recorded by Brian Speaker at SpeakerSonic Studios NY, produced by Brian Speaker and Jeffrey Lewis. “We’ve been fans of Jeffrey Lewis since seeing him at the Sidewalk Cafe in 2001, so we’re really really pleased to be really-re-releasing the excellent album ‘Manhattan’ just in time for his September UK Tour. This all started when Jeffrey asked for help looking after his merch after his UK tour finished last year and we said we’d help him press some records in Europe from a UK address as the postage costs from the US were way too much. This ultimately led to us re-releasing his classic album (and respectful nod to Lou Reed's New York) ‘Manhattan’. It's beyond a dream come true. Blang is the home of fantastic lyricists and that's exactly what Jeffrey is - this is a perfect fit.” - Blang Records. “Jeffrey Lewis is an amazing musician, and if you don’t know his songs you probably have a hole in your heart that can only be filled by his words… I did!” – Regina Spektor. “Jeffrey is the best pure songwriter I know of… ‘Sad Screaming Old Man’… is one of my favourite songs ever written.” – David Berman, Silver Jews. Tour Dates: Jeffrey Lewis & The Voltage, w/ support from David Cronenberg’s Wife - Aug 29th Hertford – Corn Exchange, 30th Coventry – The Tin Music & Arts, Sept 1st Stockton-on-Tees – Georgian Theatre, 2nd York – The Crescent, 3rd Stirling, Scotland – The Tolbooth, 4th Birkenhead – Future Yard, 5th !SOLD OUT! – Halifax – The Grayston Unity, 6th Norwich – Norwich Arts Centre, 7th Northampton – The Black Prince, 8th Carmarthen – CWRW, 9th Nottingham – The Old Cold Store, 10th Southampton – The Joiners Arms, 11th Hastings – The Pig // Jeffrey Lewis solo: 12th London – West Hampstead Arts Center, 13th London – West Hampstead Arts Center

Mystic, member of the legendary rap collective Digital Underground, is releasing her 3rd album Dreaming In Cursive: The Girl Who Loved Sparklers on Vinyl. She is most known for her classic Cuts For Luck and Scars for Freedom which was released on vinyl last year. This new album find a return to her roots working with long time collaborator Walt Liquor to create the sonic landscape she's most known for. There was a crowd-sourcing campaign to create the visuals for this project that was successful and from it came three visuals that will be the foundation for a short film released this summer called A Black Love Trilogy. This project is the healing balm the world needs in these trying times.
GRAMMY-nominated rapper, singer, and Bay Area legend Mystic (affectionately known as the “DU Goddess of Digital Underground”) has returned to bless the world with a new album like only she can. "Dreaming In Cursive: The Girl Who Loved Sparklers" is Mystic’s first new release from her label, Beautifull Soundworks, and is produced by herself and Walt Liquor. With song and voice that resonates with the beauty of unadulterated womanhood, Mystic’s new album is what she coined, “Healed Black woman music.” As a seasoned veteran in the music business, Mystic reminds us of her ability to seamlessly weave together harmonies and vivid lyrics that invoke thoughts of love, community, and healing. Always on time with her offerings, this new project warms the soul as only Mystic can—a perfect reminder to long-time fans of their love for her and a welcoming invitation to music lovers around the world looking for high-quality, meaningful, and banging music at once.
Quote: “I am known for moving in between the intersections of trauma and healing--the beauty and the pain. My healing journey and life journey have brought me to a place where the art reflects my level of healing and the knowledge, wisdom, and joy I passionately pursue. My fans have healed and grown with me, and I look forward to the joy and conversations this album will encourage.”

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Rhetoric & Terror is Berlin-based Hemphill’s second album since leaving Liars back in 2016.

No stranger to reinventing his approach towards composition, Rhetoric & Terror feels like we are – perhaps for the first time – opening a doorway into Hemphill’s personal life, to his disparate sonic influences, his wide-ranging journeys through philosophy, and his own reflections on his role as an artist.

Like different thoughts and feelings emerging in a state of meditation, Hemphill invites you to pause on one ‘scene’ for a moment before moving onto the next. There’s space to get lost here – both emotionally and in the colour of the album’s wide-ranging textures.

With his wife Angelika Kaswalder on vocals throughout the album and multi-instrumentalist Morgan Henderson – a longtime friend of Hemphill’s since Henderson’s time in the post- hardcore band The Blood Brothers - adding woodwind, Nonpareils is no longer simply a solo project – and it’s apparent in this openness.

The name of the album – Rhetoric & Terror – describes this split that Hemphill is making from the conceptual nature of his first solo album (2018’s Scented Pictures), and the new direction that he – perhaps – hopes to continue taking. The title comes from a chapter in Giorgio Agamben’s book, “The Man Without Content”, where he describes the concepts of rhetoric and terror to describe two different types of writers: the rhetorician and the terrorist. The terrorist is a misologist who is only into the feeling; the rhetorician is committed to logic and form.

“With Rhetoric & Terror, I wanted to start with emotions and feeling. I was playing with my kids, listening to Cocteau Twins, I have a wonderful partner, and it seemed very contrary to any sort of growth to sequester myself from this life in order to get into character as a musician. Instead, I tried to remove the boundaries between my creative life and my. responsibilities and have it all be one fluid thing. All things at all times, and trust that this will guide my music rather than more intellectual concepts or limitations.”

Despite its catalysts being in philosophy and conceptual art, Hemphill has created an album that’s deeply “emotionally available”. It’s also helped him take a new stance on life that combines his life as a partner and parent in a kind of unity with his role as the artist. It’s plain to hear as a listener – Rhetoric & Terror, despite its intimidating name, is welcoming
and playful, even during its most intense moments.

"They are the Finnish / Dutch / British troupe NIGHTWISH – one of the most fascinating rock bands of the last decades, whose enigmatic paths have proceeded from acoustic passages to symphonic heavy metal and from catchy folk to progressive majesty. If there is one trait the band has year after year, it might be this: expect something familiar but also expect the unexpected. NIGHTWISH has indeed broken all kinds of boundaries – never deliberately, but perfectly naturally.
Now guess what? NIGHTWISH's new studio album ""Yesterwynde"" – the band's tenth overall – is no exception to the rule. But it is more...

“""Yesterwynde"" took more time to make than any previous NIGHTWISH album”, nods keyboardist Tuomas Holopainen, who once again envisioned most of the material. ""The new album was intensively worked on for 3,5 years. My ambition and piety really skyrocketed, and I just couldn't let go of the creative process – and didn't want to. Along the way, ""Yesterwynde"" became both an exhilarating obsession and a comforting haven for me. All aspects of the making – compositions, lyrics, arrangements, cover art, videos, mixing and so on – were given more attention than ever before.""
The result? There's a fascinating, but inexplicable feeling that NIGHTWISH has once again been able to find unprecedented nuances, spices and perspectives in their new works – exactly: after a career of nine classic albums. """"Yesterwynde"" is an experience that takes time to digest. The gravid ingredients of the songs are easily recognizable, but beneath the surface lies a large number of intriguing details and features"", Holopainen describes.

""It's interesting – but not surprising – that ""Yesterwynde"" has attracted quite a variety of opinions. Some have stated that it is the most 'band' record to date. For some it appears to be the heaviest and most ominous NIGHTWISH release. It has also been called our most progressive album. And the list goes on.""
And what does Tuomas think of it himself?
""To me, ""Yesterwynde"" sounds, tastes and feels strongly like the true essence of NIGHTWISH – enriched with new moods and flavors.""

The lyrics of ""Yesterwynde"" deal with large-sized universal themes: memories, mortality, humanism, time and much more. ""The new album is the conclusion of the trilogy – textually it follows in the footsteps of its predecessors ""Endless Forms Most Beautiful"" and ""Human. :II: Nature."""", Holopainen says. ""At the same time, ""Yesterwynde"" is the band's most lyrically driven album: our music has never been so 'married' to the lyrics. So here's a tip: if something in the composition puzzles you, the words might clear it up.""
""For me, one of the key lines is 'we are because of a million loves' – taken from the song ""Perfume of the Timeless"". Each of us is part of an unbroken chain that stretches back billions of years. If even one of your ancestors had died too young – mauled by a cave bear, for example – during this incredibly long period of time, you would never have been born. In other words: our existence is such an unfathomable privilege!”

What does the term 'yesterwynde' mean?
""It describes a feeling that cannot be found in any human language. That's why we had to invent a whole new word. The album is supposed to open that feeling to the listener.""
Without taking anything away from the solid delivery of guitarist Emppu Vuorinen, drummer Kai Hahto, bassist Jukka Koskinen and multi-instrumentalist/singer Troy Donockley, it might be worth highlighting one fact: the performance of the eloquent storyteller Floor Jansen is once again unparalleled. It is simply breathtaking how the singer is able to make songs fly with her performance. ""Floor's second child was born just over a month ago, and we hadn't rehearsed together at all... So it was a little nerve-wracking to go to Floor's home studio for vocal recordings. Well, what happened? We had booked twelve working days and after six days everything was completed in style. Floor's preparedness for the sessions was something extreme!""

After the recordings and mixing process, there was one more working phase. Mastering. Could you possibly guess that no shortcuts were taken at this point either?
""The album was mastered seven times until we reached the finish line – one hundred percent satisfied!"", states Tuomas. ""When the record was eventually finished, a three-year, extremely inspiring adventure had come to an end. I felt very, very happy.""
NIGHTWISH's next steps are clear. And they are not the most common ones.
""NIGHTWISH will not go on a world tour this time. This was a decision made for personal reasons. But don't worry... Our contract with Nuclear Blast Records includes several albums, and there's plenty of motivation to create new music!""
May the dream continue...
"

"They are the Finnish / Dutch / British troupe NIGHTWISH – one of the most fascinating rock bands of the last decades, whose enigmatic paths have proceeded from acoustic passages to symphonic heavy metal and from catchy folk to progressive majesty. If there is one trait the band has year after year, it might be this: expect something familiar but also expect the unexpected. NIGHTWISH has indeed broken all kinds of boundaries – never deliberately, but perfectly naturally.
Now guess what? NIGHTWISH's new studio album ""Yesterwynde"" – the band's tenth overall – is no exception to the rule. But it is more...

“""Yesterwynde"" took more time to make than any previous NIGHTWISH album”, nods keyboardist Tuomas Holopainen, who once again envisioned most of the material. ""The new album was intensively worked on for 3,5 years. My ambition and piety really skyrocketed, and I just couldn't let go of the creative process – and didn't want to. Along the way, ""Yesterwynde"" became both an exhilarating obsession and a comforting haven for me. All aspects of the making – compositions, lyrics, arrangements, cover art, videos, mixing and so on – were given more attention than ever before.""
The result? There's a fascinating, but inexplicable feeling that NIGHTWISH has once again been able to find unprecedented nuances, spices and perspectives in their new works – exactly: after a career of nine classic albums. """"Yesterwynde"" is an experience that takes time to digest. The gravid ingredients of the songs are easily recognizable, but beneath the surface lies a large number of intriguing details and features"", Holopainen describes.

""It's interesting – but not surprising – that ""Yesterwynde"" has attracted quite a variety of opinions. Some have stated that it is the most 'band' record to date. For some it appears to be the heaviest and most ominous NIGHTWISH release. It has also been called our most progressive album. And the list goes on.""
And what does Tuomas think of it himself?
""To me, ""Yesterwynde"" sounds, tastes and feels strongly like the true essence of NIGHTWISH – enriched with new moods and flavors.""

The lyrics of ""Yesterwynde"" deal with large-sized universal themes: memories, mortality, humanism, time and much more. ""The new album is the conclusion of the trilogy – textually it follows in the footsteps of its predecessors ""Endless Forms Most Beautiful"" and ""Human. :II: Nature."""", Holopainen says. ""At the same time, ""Yesterwynde"" is the band's most lyrically driven album: our music has never been so 'married' to the lyrics. So here's a tip: if something in the composition puzzles you, the words might clear it up.""
""For me, one of the key lines is 'we are because of a million loves' – taken from the song ""Perfume of the Timeless"". Each of us is part of an unbroken chain that stretches back billions of years. If even one of your ancestors had died too young – mauled by a cave bear, for example – during this incredibly long period of time, you would never have been born. In other words: our existence is such an unfathomable privilege!”

What does the term 'yesterwynde' mean?
""It describes a feeling that cannot be found in any human language. That's why we had to invent a whole new word. The album is supposed to open that feeling to the listener.""
Without taking anything away from the solid delivery of guitarist Emppu Vuorinen, drummer Kai Hahto, bassist Jukka Koskinen and multi-instrumentalist/singer Troy Donockley, it might be worth highlighting one fact: the performance of the eloquent storyteller Floor Jansen is once again unparalleled. It is simply breathtaking how the singer is able to make songs fly with her performance. ""Floor's second child was born just over a month ago, and we hadn't rehearsed together at all... So it was a little nerve-wracking to go to Floor's home studio for vocal recordings. Well, what happened? We had booked twelve working days and after six days everything was completed in style. Floor's preparedness for the sessions was something extreme!""

After the recordings and mixing process, there was one more working phase. Mastering. Could you possibly guess that no shortcuts were taken at this point either?
""The album was mastered seven times until we reached the finish line – one hundred percent satisfied!"", states Tuomas. ""When the record was eventually finished, a three-year, extremely inspiring adventure had come to an end. I felt very, very happy.""
NIGHTWISH's next steps are clear. And they are not the most common ones.
""NIGHTWISH will not go on a world tour this time. This was a decision made for personal reasons. But don't worry... Our contract with Nuclear Blast Records includes several albums, and there's plenty of motivation to create new music!""
May the dream continue...
"

One of two big previously unreleased cuts to a well loved '87 digi riddim. The Singing Melody is the first cut of this adaptation which he would go on to do a few more times, real dancehall vibes. The Rod Taylor is another great example of his small but deadly late '80s output. Both tunes voiced at Dynamic Sounds in the golden year.

Combining the signature soundscapes of Scorn with tartareous textures, the current album "The Only Place" reaches a psychedelic groove, based on what Harris calls "Pushing an original idea further" with his own shades of light and dark and celestial electricity of what SCORN is. These 10 tracks add elements unheard in Scorn since Evanescense and Gyral - ethereal ambiences and floating, near-melodic-but-not-quite moments, a signature of Harris' abilities to generate feelings in a lost world of his own creation. Mick Harris is one of the world's greatest compositional treasures. Starting his career as the energy dynamo behind the drum kit of the UK's Napalm Death, he made the term Blastbeat a household reference, wrote the band's music on his mother's one string guitar, and joined the Guinness Book of World Records for composing the world's shortest song. In the decades succeeding, he has re-inventedmusic several more times, from the wild abstract jazz of Painkiller with John Zorn and Bill Laswell, to the drowning ambience of his Lull project, all while continuing to build a world that he can truly call his own - the dark post-dub of SCORN. "Reaching 54 this year - this won't stop the challenge, driving me more so now than ever" - says Mick Harris, commenting on the recent phase in his creativity. The pandemic isolation and lockdown pushed the work of the maestro more than anything else could have. In 2021, his output is ever-increasing, releasing the newest collabs with Justin K. Broadrick and the single "Distortion", featuring one of the most outstanding voices of hip-hop - Kool Keith - his closest collaborator, Ohm Resistance founder - Submerged. Commenting on the release of "Distortion", Mick Harris said to mxdwn: "I enjoy collabs - they bring something different to the swim." Working on his own and collaborating with everyone from Sleaford Mods' James Williamson, on the previous SCORN release or with Kool Keith and Submerged on "Distortion", Mick Harris never had problems with putting energy into beats and sound landscapes, combining various surreal elements with three basic elements that always push Harris further, that are extremely crucial for both Mick Harris and SCORN as a project - frustration, anger and anxiety. 2024 vinyl version on orange coloured vinyl!

crys cole returns to Black Truffle with Making Conversation, her third solo release for the label. After the intimate song-like constructions of Other Meetings (BT096), Making Conversation documents a different facet of cole’s work, presenting three rigorously conceptualised commissioned pieces, each of which extend her signature approach to highly amplified small sounds into new directions.

The side-long title piece is a stereo version of an 8-channel sound installation exhibited in 2023 at the Tabakalera Art Center in Donostia / San Sebastian, Spain. The piece uses a multitude of instrumental, vocal, concrete and electronic sounds to evoke the soundscapes cole encountered during nocturnal listening session in Bali, Indonesia in 2018 and 2019. In this world of night sounds, she explains, she ‘observed the complex interplay between amphibian, lizard, bird and insect communication, domestic animals (roosters, dogs), man-made sounds (airplanes, vehicles, conversations and evening activities) and sounds that were difficult to place’. Drawing on field recordings as memory aids (but including none in the finished piece), cole’s piece uncannily reproduces the spatiality and pacing of environmental sound without attempting strictly to replicate it. We hear insect-like twittering and birdsong fragments, resonant thuds and distant roars, furtive crunches and taps, muffled breath and metallic scrapes. While at times it can be difficult to imagine the source of these sounds, at other points they are clearly instrumental or electronic in origin; in its placement and layering, though, the whole assemblage suggests the glorious, unthinking richness of a non-musical sound environment. Suggesting at once the electronic gardens of Rolf Julius and the little instrument expanses of classic AACM, the piece is a brilliant enactment of the Cagean drive to ‘imitate nature in her manner of operation’.

‘Valid ForeverrRrrRRrrr… (pt. 1)’ began as cole’s contribution to an Issue Project Room commission to realise a score from Alison Knowles and Annea Lockwood’s Women's Work, a 1975 collection of text and conceptual scores by women artists and composers. cole’s piece begins from Beth Anderson’s Valid for Life, a complex arrangement of the letter R in various typefaces. Where the composer suggests a realisation on a trio of acoustic instruments (playing rolls with velvet beaters), cole translates the piece into her characteristic sound and object language as a trio of rolling sounds on ‘two large similar paper things and one 5-pin bowling ball’. Rolling from one side of the stereo field to the other, the bowling ball’s uneven movement is the heart of this immersive textural array, created with the simplest materials, which generates phantom sensations of pitch and phasing effects solely through amplified friction.

On ‘Valid ForeverrRrrRRrrr… (pt. 2)’, cole makes a first foray in translating her signature approach into conventional instrumental sounds, here in the form of a transcription for MIDI percussion ensemble. The result is refreshingly puzzling, comparable perhaps only to the sparsest moments of Keiji Haino’s classic “C’est parfait…” Accompanied with extensive liner notes, photographic documentation and a download code, Making Conversation is an exciting next step in cole’s work, extending her signature concerns in new sonic and conceptual directions.

Die Indie-Folk -Band Mighty Oaks sind nach fast zwei Jahren Pause mit einem neuen Album und einer ausverkauften Tour zurück. Drei junge Männer aus drei Ländern kombinieren dreistimmige Harmonien, die einen einzigartigen Sound ergeben.

Nach 10 Jahren des Schreibens, Aufnehmens und ausgiebigen Tourens - mit Radio- und Chart-Erfolgen sowie Shows und Festivals von Seattle bis Budapest und von Træna bis Mailand - haben die Mighty Oaks-Mitglieder beschlossen, dass es Zeit war, eine Pause zu machen. Die neu gefundene Energie und Verbundenheit hat die Band nun dazu inspiriert, das nächste Kapitel so anzugehen, wie sie ihre gemeinsame Reise begonnen hat:
akustisch. Das neue Album High Times ist eine Sammlung von 12 reduzierten, authentischen, intimen Akustiksongs, die fast vollständig live inmitten der Ziegel und des Holzes von Ians Wohnzimmer in Berlin aufgenommen wurden.

Gemeinsame Fragen über Liebe und Freundschaft, über das Leben und die Sehnsucht ziehen sich durch das Album, verpackt in kompakte Geschichten, die den Hörer in einen Traum entführen, weit weg vom Alltag, so wie es die Musik tun sollte. Die Band wird im September ihr fünftes Album veröffentlichen und kurz darauf für sechs Wochen auf Tournee gehen.

how do we live in times when nothing seems safe, how do we listen to music when rockets and bullets make the air scream, how do we produce music when the building with our studio is simply no longer there?

over the last 2 years, AMAS and KONSTANTIN KOST have been trying to produce a techno EP across the borders of the war in ukraine. KONSTANTIN KOST was never able to leave ukraine for this, while we were able to move freely through europe.

this ambivalence is part of this album, it is part of every note and every line of the poems that can be heard here. we all associate techno with bass-heavy and dancing through the night, but ODESSA is more, it is a journey without being able to travel, an experience without being able to experience, an escape without being able to escape and a life without really being able to live ...

neither AMAS was able to travel to odessa during this time, nor KONSTANTIN KOST to europe, neither was able to experience the other personally. however, the exchange of music and lyrics has built up a relationship to a country at war, as well as to its people, musicians, women and children.

while we were dealing with our everyday problems in germany, the situation in ODESSA became increasingly confusing. the constant fear of being drafted and producing videos and images for the album at the same time were extremely ambivalent moments.

how do you deal with your counterpart in such moments and what do you say to someone in a situation that we can hardly imagine? we often talked about friends simply disappearing and corrupt officials and soldiers embezzling money and in the next sentence it was straight back to the vinyl production. these conversations were very rational and at the same time extremely surreal.

this EP is not meant to be a political EP, it is meant to be a human album and to take away the feeling of powerlessness from the people who were and are involved. this production and its music is a triumph over the destructive and dark side of war, it is meant to show that art is boundless and that people are connected all over the world even in the darkest times.

in the first track RED GLOW our guest TANYA (musician and djane from Odessa) stoically repeats the words LOVE and FEAR, followed by the words: “i meet you with red glow, in your eyes i quickly dissolve!” the track is part of everyday life, everywhere you meet this red glow and yet everything has to flow on and yet people still live and dance ...

in NIGHTCALL we walk through the streets and follow the call of darkness. the words “through the night” are used here repetitively like a percussion. but the highs and lows also give us hope and the belief that we will wake up again tomorrow and start a new day. in the dark there is always light, which must be preserved and found.
OLD KINGS is also the title of the poem we have written, based on the poem OZYMANDIAS by percy bysshe shelley. OLD KINGS determine our times and our political systems, seemingly unteachable old men hold the world in a stranglehold and it seems as if there are an infinite number of them. yet we continue to fight against these people, we cannot and do not want to do otherwise ...

in TALK TO GOD, KONSTANTIN KOST reads from the well-known ukrainian poem “a cloud floating behind the sun” by TARAS SHEVCHENKO, a famous ukrainian poet and writer. he is considered the founder of modern ukrainian literature and, in part, of the ukrainian language. it is about red fields, the fog and its darkness, as well as the sea and the calmness of the heart in nature, the longing for peace and peace with god.

in addition to poetry and music, all photographs and videos are original recordings by KONSTANTIN KOST of his city ODESSA. although we cannot visit each other, we still share strong visual impressions of a city that, in all its beauty and resilience, will hopefully soon be open to the world again. the cover is therefore also a picture of the port of odessa, a place where people and goods from all parts oft he world will soon be able to sail in and out again.

Imaginative re-workings and improvisations by Andrew Tuttle of the late great Michael Chapman's unfinished instrumental album. Sonic explorations that bridge the Southern and Northern Hemisphere via the Caribbean, remote Northumberland and sub-tropical Australia. Navigating calm seas and turbulent waters of ambient corals, new-age pirates, waves of lapping banjos and drifting eroding guitars.
When Michael Chapman passed away in September of 2021, at the age of 80, he did so – as he spent much of his life – as both a pioneer and a legend. A veteran of the British blues/folk/jazz scene, Chapman emerged in 1966 and continued working throughout his life, always pushing the boundaries of his creations while collaborating with a slew of similarly heralded musicians along the way: Bert Jansch, Mick Ronson, Elton John, Thurston Moore, Steve Gunn; to name just a smattering of those he worked alongside over the years.
It's the latter of those – Brooklyn guitarist and songwriter Steve Gunn – who Chapman flourished alongside in recent years, the two collaborating on 50 and True North, two of Chapman’s final and finest records. It was through that friendship that Chapman’s music found Andrew Tuttle, the Brisbane-based multi-instrumentalist who has toured Australia several times alongside Gunn.
In the aftermath of Chapman’s passing, his partner Andru discovered Tuttle’s Fleeting Adventure LP, describing it as “one of the albums that kept me sane during that first brutal winter on my own.” The pair met in Australia shortly after, and before Andru had even made it back home to the north of England, Tuttle had begun working on the recordings she shared with him at that time. Those recordings were part of a project Chapman was working on at the time of his death, called Another Fish – what would have been a companion piece to his previously-released LP, simply called Fish.
Though Chapman had spent time in his local studio playing all the guitars, layering the different sounds and effects, he’d always intended to do much more work on the songs, however fate had its way and he never got to ribbon-bow those ideas and bring the album to its conclusion.
Though there was little intention in terms of how to finalise the project, Tuttle spent valuable time with those recordings. What materialised, eventually - with time, care, and diligent attention - is a two-disc set Another Tide, Another Fish, something both unusual and completely distinctive. The first disc, Another Tide is centred around Tuttle’s own work, which shaped all seven of Michael’s songs and ideas into new songs of their own, and the second disc which simply incorporates the recordings that Michael left behind.
“On all of the tracks I also ‘played along’ on banjo to the originals several times until I learned an approximation,” Tuttle continues. “This ended up resulting in a ‘hybrid’, where some works are easily identifiable to those who know Michael’s originals, and some took that inspiration to head altogether elsewhere. Each of the tracks, even where not obvious, does have at the very least a trace element sample of the original recordings so that it’s a true collaboration.”
What we’re left with is indeed a hybrid: part remix album, part cover album, both a solo work and a collaboration, of sorts. Inspired by Chapman’s original ideas and with new track titles directly referencing the numbered but otherwise untitled source material, Tuttle adds his own flashes of colours throughout, including editing, sampling, MIDI transposing and signal processing that twists these songs into beautiful new shapes. Perhaps Tuttle’s greatest achievement here then is that Another Tide sounds so effortlessly free of all this context.
Whether you know Michael’s, Andrew’s or even Andru’s story or not, these recordings will bristle with enchantment and intrigue, worlds are built, and while some thrive and grow, others fizzle out in a burst of light, such is the way. “It's been a long, long road but we got there and I think it's been more than worth it,” Andru says in the record’s liner notes. “I really hope you think the journey was worth it too.”
Guitars and effects by Michael Chapman recorded by Alex Warnes at Phoenix Studio, Brampton, Cumbria, 2017 Banjo, effects and edits by Andrew Tuttle at Bella Vista, Brisbane / Meanjin, 2023-2024

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements - punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones - are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins - Jonah Falco and Mike Haliechuk - weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act - with Tamsin M. Leach and Jack Goldstein centering them on stage - and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements_punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones_are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins_Jonah Falco and Mike Haliechuk_weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act_with Tamsin M. Leach and Jack Goldstein centering them on stage_and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

The new album from the original founding member of Kool & the Gang -- 2024 Rock & Roll Hall of Fame inductees! Drummer George “Funky” Brown, along with Robert “Kool” Bell on bass, his brother Ronald Bell on tenor and lead vocalist James "J.T." Taylor, was one of the main songwriters in their pop/R&B band Kool & The Gang, whose classic hits like “Jungle Boogie,” “Hollywood Swinging,” “Celebration,” “Get Down on It” and “Joanna” made for a novel and immensely successful pop-funk groove in the 1970s and ‘80s. Such songs have been featured in films (“Jungle Boogie” was in Pulp Fiction while “Summer Madness” appeared in Rocky) and have been sampled countless times by artists including DJ Kool, Mase, Too Short, DJ Jazzy Jeff and the Fresh Prince, Boogie Down Productions, Brand Nubian, De La Soul, A Tribe Called Quest, Nas, N.W.A., Kris Kross and Jermaine Dupri. Aside from being crowned 2024 Rock & Roll Hall of Fame inductees, Brown, with Kool & the Gang, has been inducted into the New Jersey Hall of Fame--and there’s a street in Jersey City named in the band's honor. The Grammy-winning group has received the Soul Train Legend Award and a star on the Hollywood Walk of Fame.

Nilüfer Yanya veröffentlichr ihr neues Album ‘My Method Actor’ auf Ninja Tune!

Während sie am neuen Album schrieb, zog sich Nilüfer mit ihrer kreativen Partnerin Wilma Archer (Sudan Archives/ Celeste) ins Studio zurück. Sie war ein Jahr lang mit ihrem zweiten Album „PAINLESS“ auf Tournee und befand sich in einer Phase des Übergangs, zwischen Alben, zwischen Plattenfirmen und zwischen Wohnorten. „My Method Actor“ hat viel mit der Idee zu tun, von einem Lebensabschnitt in einen anderen zu wechseln. Die Samen für „My Method Actor“ wurden Anfang 2023 gepflanzt, aber erst im Frühjahr desselben Jahres begannen die ersten Triebe zu sprießen. Als die Songs zu entstehen begannen, zogen sich Yanya und Archer von der Welt zurück. „Dies ist in dieser Hinsicht das intensivste Album.“, sagt Yanya. „Weil es nur wir beide waren. Wir haben niemanden sonst in diese Blase gelassen.“ Sie schrieben und nahmen in kleinen Sessions auf, verteilt über London, Wales und Eastbourne. Die Atmosphäre des Albums spiegelt diesen Kokon kreativer Energie wider: Es umhüllt die Hörenden mit cineastischen Schwüngen und wirkt gleichzeitig intim, indem es ihn in die kleine Welt einlädt, die sie geschaffen haben, und seine Geheimnisse preisgibt.

Nilüfers vorheriges Album, „PAINLESS“, wurde durchweg als eines der herausragendsten Alben des Jahres 2022 gefeiert, mit glühenden Kritiken von The Guardian (Album der Woche), The Sunday Times, Crack Magazine, NME und anderen. Das Album enthält die herausragenden Tracks, „anotherlife“, „stabilise“ und „midnight sun“, die Nilüfer in der „Tonight Show Starring Jimmy Fallon“ performte. Nilüfer trat auch in „Late Night with Stephen Colbert“, „Later with Jools Holland“ und in der Tiny Desk-Konzertreihe von NPR auf.

Sie hat Adele, The xx und Mitski auf ihrer Tournee begleitet, war Headlinende im Londoner Shepherd's Bush Empire und hat Shows in ganz Europa, Australien, Japan und den USA ausverkauft. Yanya wurde auch von Sampha, King Krule und Little Dragon geremixt und hat mit Bombay Bicycle Club und Liss zusammengearbeitet.

Mutant is proud to present Academy Award-winning composer Michael Giacchino's latest album, Exotic Themes for the Silver Screen – Volume 1, featuring iconic scores from Giacchino's extensive portfolio rendered in the retro lounge style of Exotica from the 1950s.



“It's no secret that we at Mutant are huge fans of Michael Giacchino,” says Spencer Hickman, Co-Founder of Mutant. “We're excited to release a retrospective of his astonishing three decades as a composer. Rather than just curating a simple compilation of his previous works, Michael went back into the studio, rearranged and re-recorded every major theme from his career. These tracks have been recorded in an Easy Listening style inspired by such greats as Martin Denny and Les Baxter, creating not just a unique and incredible look back at some of the most beloved movie and television themes of the modern age, but also bringing a fresh, exciting take to the beautiful journey he has taken us all on with him. It feels like you are discovering these songs for the very first time: timeless, beautiful, and a joy to listen to. These newly recorded themes transport you to a far-off sunset, looking out at the ocean, complete with a cocktail in hand, providing a much-needed escape from the stress of modern times, and we can all agree that is something we all crave right now.”



Exotic Themes for the Silver Screen – Volume 1 spans nearly two decades of Michael Giacchino’s music, from his early video game scores to his television hits and blockbuster films. The album transforms these works through the lens of Exotica, replacing epic strings and thundering drums with vibraphones and marimbas.



“This album was inspired by the work of Arthur Lyman and Martin Denny,” says Giacchino. “What would they do with the Star Trek theme? Or video games like Medal of Honor? It was a way for me to play in that world I loved so much growing up. I thought it would be fun to create a fantasy world, where this album was recorded back in 1967 and then lost, only to resurface today.”

The album showcases Giacchino’s unerring talent for melody, stripping down grand symphonies to their essential elements while retaining their aesthetic and emotional core.



“So much was rooted in the big orchestral sound, so it was really about scaling it back. The real trick is figuring out the little fun hooks and things you can add along the way. There were no rules; I was up for anything. It was a way to re-engage with the material and be creative in a new way.”



Exotic Themes for the Silver Screen – Volume 1 includes an array of reinterpreted pieces from Michael Giacchino’s career. Highlights include ‘Primordial Forest’ from the 1997 video game The Lost World: Jurassic Park, ‘Life and Death’ from Lost, the theme from Ratatouille, ‘Roar!’ from Cloverfield, ‘Enterprising Young Men’ from Star Trek (2009), ‘A Man, A Plan, A Code, Dubai’ from Mission: Impossible - Ghost Protocol, and a Super 8 suite.



Featuring package design by Luke Insect, and liner notes by Charlie Brigden.

Marking the follow-up to acclaimed 2023 EP ‘Empathy Lives In Outer Space’, the impressive quartet kick off their EP campaign with visceral lead track ‘Shapeshifting’, showcasing another unbridled display of powerful emotion and effortless vocals, powered by their phenomenal rhythmic instrumentation.

Hailed by The Sunday Times as “an intriguing musical concoction that doffs its cap to grunge, The Kinks, Iggy Pop and T.Rex”, and accompanied with press support from many highly recognised publications (DIY, Dork, Clash, The Line Of Best Fit, Rough Trade, The Forty-Five), the band have fast become mainstays on the BBC 6 Music (Steve Lamacq), Radio X (playlisted) and Sirius FM airwaves. With their biggest ever headline show announced for The Lexington, London this September to coincide with their EP release, Human Interest are primed to kick on in the summer months, with multiple festival appearances lined up to build on recent supports with the likes of English Teacher, Self Esteem and Hinds.

Hollow Coves, The Brisbane folk duo—Ryan Henderson and Matt Carins—carry light within an eloquent, engaging, and entrancing take on indie folk, as evidenced by the five songs that comprise their EP Blessings. The majority of the songs on Blessings were written during the Covid-19 lockdown and recorded and self-produced at the band’s newly built home studio on Australia’s Gold Coast. Hollow Coves’ music, including “Blessings” from this EP, has been used in over one million TikTok videos, charted in the Top 20 for Most Used on Instagram Reels, and garnered over 200 million views on YouTube. As a result, the band has been streamed over one billion times across DSPs and grown a dedicated global audience which has translated to their touring across continents. Earlier this year Hollow Coves played some of their biggest rooms ever all across Europe, North America and Australia/New Zealand in 2024 - including venues of 1,000+ in many cities across the US and Canada. The band has an on-going collaboration with the National Park Foundation. As proud supporters, Hollow Coves will donate $1 from every ticket sold on their 2024 North American Summer Tour to the Foundation in an effort to preserve our natural world. Their goal is to champion the importance of our national park system’s landscapes, ecosystems, and historical sites.

One afternoon Dave and his brother Harry recorded nine songs as Pulsars. Within weeks, the band opened for Oasis and was courted by ten labels, and soon signed seven-figure deal with Almo Sounds - founded by A&M owners Herb Alpert and Jerry Moss - the largest deal
ever offered to a new Chicago artist.

The band played with Sean Lennon, Blur and Supergrass and toured Japan four times, where they were hailed as heroes of subversive minimalist pop...but Almo Sounds’ promotion deal with Geffen fell apart just as Pulsars began a tour with Weezer. Promotion was pulled, and radio support collapsed in a mere moment. And that was it!
Rolling Stone: "One of the gems of the mid-Nineties alt-rock gold rush, the lone album by the brotherly duo the Pulsars is a himmering collection of blissed-out synth-pop peppered with references to long drives to Wisconsin, pet robots and S&M...” Trouser Press: “The
album is one of the singular musical accomplishments of the ’90s.”

Death and the Maiden’s Uneven Ground draws back the velvet curtain on the trio’s crepuscular dreamworld with nine songs of their distinctive shadowy slow-motion fusion of underground electronic dance music and post-punk guitars washed through with psychic unease. The trio’s name is taken from that of a nineteenth century engraving by Edvard Munch: an artwork steeped in mythology, exploring the dark boundaries between love and death, strength and frailty, beauty and decay. Their three albums to date each reinforce the symbolism of the name, and Uneven Ground’s title could apply as much to their own journey in the years since Wisteria, their previous album, as to the times in which we live. Bassist and vocalist Lucinda King is the bedrock, guide and storyteller. Guitarist Hope Robertson weaves swooping, soaring motifs and sometimes deconstructed layers of noise to build analogue atmosphere for these alternate worlds. Danny Brady’s beats mix old-school drum machines with electronic tones and distortion, while his synth arrangements blend elements of psy-trance and acid house with more amniotic ambient and industrial textures. While Uneven Ground may be the most overtly “pop”-sounding album in their catalogue, it also ratchets up the ominous atmosphere, noise and experimentation. Once again King’s evocative lyrics appear as cryptic stories, built from events, memories, dreams, moments, warnings, regrets; where questions raised are left unanswered, and possibilities remain open.

Nilüfer Yanya veröffentlichr ihr neues Album ‘My Method Actor’ auf Ninja Tune!

Während sie am neuen Album schrieb, zog sich Nilüfer mit ihrer kreativen Partnerin Wilma Archer (Sudan Archives/ Celeste) ins Studio zurück. Sie war ein Jahr lang mit ihrem zweiten Album „PAINLESS“ auf Tournee und befand sich in einer Phase des Übergangs, zwischen Alben, zwischen Plattenfirmen und zwischen Wohnorten. „My Method Actor“ hat viel mit der Idee zu tun, von einem Lebensabschnitt in einen anderen zu wechseln. Die Samen für „My Method Actor“ wurden Anfang 2023 gepflanzt, aber erst im Frühjahr desselben Jahres begannen die ersten Triebe zu sprießen. Als die Songs zu entstehen begannen, zogen sich Yanya und Archer von der Welt zurück. „Dies ist in dieser Hinsicht das intensivste Album.“, sagt Yanya. „Weil es nur wir beide waren. Wir haben niemanden sonst in diese Blase gelassen.“ Sie schrieben und nahmen in kleinen Sessions auf, verteilt über London, Wales und Eastbourne. Die Atmosphäre des Albums spiegelt diesen Kokon kreativer Energie wider: Es umhüllt die Hörenden mit cineastischen Schwüngen und wirkt gleichzeitig intim, indem es ihn in die kleine Welt einlädt, die sie geschaffen haben, und seine Geheimnisse preisgibt.

Nilüfers vorheriges Album, „PAINLESS“, wurde durchweg als eines der herausragendsten Alben des Jahres 2022 gefeiert, mit glühenden Kritiken von The Guardian (Album der Woche), The Sunday Times, Crack Magazine, NME und anderen. Das Album enthält die herausragenden Tracks, „anotherlife“, „stabilise“ und „midnight sun“, die Nilüfer in der „Tonight Show Starring Jimmy Fallon“ performte. Nilüfer trat auch in „Late Night with Stephen Colbert“, „Later with Jools Holland“ und in der Tiny Desk-Konzertreihe von NPR auf.

Sie hat Adele, The xx und Mitski auf ihrer Tournee begleitet, war Headlinende im Londoner Shepherd's Bush Empire und hat Shows in ganz Europa, Australien, Japan und den USA ausverkauft. Yanya wurde auch von Sampha, King Krule und Little Dragon geremixt und hat mit Bombay Bicycle Club und Liss zusammengearbeitet.

“Tu non hai questo suono. Non avrai mai questo sound”

Blank Mind presents three sublime versions of Big Hands’ ‘Girde Maye / Astere’ from Tammo Hesselink, Notte Infinita and Paperclip Minimiser - originally released on the Ossario EP in 2021.

Though playful in nature, and not overtly political - the lyrics explore identity and geographical boundaries. As the artist explains - it is written by an Italian and a Türk that talks in Italian, released in Britain in times of Brexit “and that’s why I chose to have a title in Kurdish in a song “sung” by a Türk.”

The vocal provides endless scope for reshaping and is entrusted to some of the most distinctive producers in electronic music; each of whom sensitively reimagine the original.

On the flip, the esteemed and prolific Tammo Hesselink produces a robust, and heavy version in his angular, crystalline style. Finally, Cong Burn wizard Paperclip Minimiser slows the tempo with a futuristic roller, an impressive creation by a man deeply immersed in technological innovation and at one with his machines.

Returning from time apart to a world forever changed, dread-fuelled duo A SWARM OF THE SUN bring with them their fourth studio album, `An Empire'; its brooding, yet beautiful, melancholic narrative arc allows the band to dig ever deeper into desolation whilst a newfound lyrical focus adds a tenderness that is both harrowing and heartwarming at once. With the early bones of forthcoming `An Empire' tabled by events beyond their control in 2019, Erik and Jakob came together years later and scrapped them in favour of creating something entirely new; something distinctly different to break the cycle, defy categorisation and reflect the uncomfortable uncertainties of the times we now live in. The result is astounding; continuing the thread of narrative composition seen on `The Woods', `An Empire' is a six-track tale told in four distinct movements that are nothing short of devastating, from plaintive piano ballads to raw, full-band fury. For instance, taken from the album's third side, lead single `The Burning Wall' embodies this sprawling compositional feat perfectly, with the painfully frank opening couplet of "I know I fail you / I know that I run" establishing a gripping narrative trajectory backed by a simmering, impatient pulse that slowly and inevitably rises to an inescapable crescendo of cymbal chaos and wall-of-sound guitar drone. Elsewhere, 18-minute epic `The Pyre' represents Side B of `An Empire' with the confessional intimacy of a waltz-time ballad; the raw, wavering emotion of Jakob's words accompanied only by a haunting, lilting piano refrain before it too is consumed by the bittersweet might of post-rock euphoria to leave only embers of the apocalyptic lyrics in its wake_ `An Empire' marks a significant evolution of A Swarm of the Sun's already indelible post-metal sound. With increasingly bleak times forcing the band to reassess their relationship with creativity and suffering, this new body of work captures all the anthemic, intimate highs and crushing, debilitating lows of modern life on a knife edge.

Returning from time apart to a world forever changed, dread-fuelled duo A SWARM OF THE SUN bring with them their fourth studio album, `An Empire'; its brooding, yet beautiful, melancholic narrative arc allows the band to dig ever deeper into desolation whilst a newfound lyrical focus adds a tenderness that is both harrowing and heartwarming at once. With the early bones of forthcoming `An Empire' tabled by events beyond their control in 2019, Erik and Jakob came together years later and scrapped them in favour of creating something entirely new; something distinctly different to break the cycle, defy categorisation and reflect the uncomfortable uncertainties of the times we now live in. The result is astounding; continuing the thread of narrative composition seen on `The Woods', `An Empire' is a six-track tale told in four distinct movements that are nothing short of devastating, from plaintive piano ballads to raw, full-band fury. For instance, taken from the album's third side, lead single `The Burning Wall' embodies this sprawling compositional feat perfectly, with the painfully frank opening couplet of "I know I fail you / I know that I run" establishing a gripping narrative trajectory backed by a simmering, impatient pulse that slowly and inevitably rises to an inescapable crescendo of cymbal chaos and wall-of-sound guitar drone. Elsewhere, 18-minute epic `The Pyre' represents Side B of `An Empire' with the confessional intimacy of a waltz-time ballad; the raw, wavering emotion of Jakob's words accompanied only by a haunting, lilting piano refrain before it too is consumed by the bittersweet might of post-rock euphoria to leave only embers of the apocalyptic lyrics in its wake_ `An Empire' marks a significant evolution of A Swarm of the Sun's already indelible post-metal sound. With increasingly bleak times forcing the band to reassess their relationship with creativity and suffering, this new body of work captures all the anthemic, intimate highs and crushing, debilitating lows of modern life on a knife edge.

Lukas de Clerck brings us the ancient greek instrument, the aulos, of which his new interpretation of long form expression is coaxed forth on this tremendous recording. Lukas de Clerck explores a niche of archaeological research in music; the aulos is a historical Greek instrument that Lukas analyzed and reinterpreted by a luthier in modern times_navigating this impression as an artwork or living sculptural object, as there is an absence of historical partitions or written information about how to recreate technique on the instrument. Lukas de Clerck has interpreted information from the rare archaeological resources and visual art of the classical Greek period to recreate both playing technique and possible sound timbres with the instrument. With his contemporary approach to drone, post-minimalist music, and contemporary folk, we find a deeply satisfying and compelling, even playful set of songs, timbral exercises and compositions. An important document of new music meets contemporary archaemusicological research via Stephen O'Malley of SUNN O)))'s label Ideologic Organ. _ The telescopic aulos is speculative: might it have existed? It takes on features from the historical aulos, a double-reed instrument of which we know how it looked but little about what music was played on it or how it would have really sounded. It's an instrument without the limitations of canon or manual, providing creative freedom and awakening curiosity. The new instrument featured on this album is ancient and futuristic at once. The aulos has no tone holes; instead, each of the two tubes consists of three parts that can slide into each other. In this sense, the metal pipes bear a certain resemblance to the principle of a trombone. However, since both hands are already in use to hold both tubes, the sliding has to be done by way of gravity and the help of a «phorbeia», a leather mask which helps keep the reeds in place. The aulos's material is metal (instead of wood), which gives it a certain electronic allure and intensity, as well as a variety of sonic possibilities and textures. It produces overtones efficiently and allows them to play with their microtonality. The aulos Lukas plays on this recording was developed at Brasserie Atlas, a temporary occupation of a former brewery in the heart of Brussels where Lukas lives. It is quite a poetic coincidence that the birthplace of the instrument is named after the Greek titan condemned to carry the sky, while this instrument needs to be turned skywards to lower its pitch with the help of gravity. At Brasserie Atlas, Lukas has found collaborators who have shared in the process of building this new instrument: the collective Noir Métal has constructed the tubes, in this way becoming instrument builders; the phorbeia has been manufactured by Jot Fau; a former water reservoir in the vast cellar of the building carried the instruments' resonance for its first sounds. The place has left an imprint on this new instrument. With all of the telescopic aulos' layers, its sonic, musical and extra-musical components are still unfolding their potential as a medium for discovery and research, next to being an instrument of great musical potential. The music on The Telescopic Aulos of Atlas reflects this spirit. In several miniature pieces, it presents an encyclopaedia of musical possibilities that the instrument offers while keeping an intense and corporeal sonic specificity. The short pieces are studies that reflect on the sonic possibilities of this instrument that are yet to be explored. It meanders, searches and interacts with itself and the space. It needs to answer common expectations of old instruments being harmonious or pleasing. It transports a kind of experimental archaeology that, by formulating hypotheses in the present, allows us to reflect on what might have been in the past and simultaneously questions concepts of beauty, harmony or virtuosity. However, in the end, this instrument might have never existed before. -Julia Eckhardt

A new album by Medway's premier alt-folk outfit The Singing Loins! Yes indeed. We caught up with Rob Shepherd to find out more about their brilliant new LP Twelve_ Q: "The new album is called Twelve. Could you settle an office debate - is it your 12th album or have you called it that because it has twelve songs on it? (We thought Here On Earth was your 12th but not according to Discogs. Also, our ability to count accurately has diminished over the years!)" A: "A bit of both. Course, there's the 12 songs, but then, depending on how you count, it's also our 12th album (from 91-98, there's the 1st 4 LPs that Damaged Goods collected together on The Complete & Utter - that's a comp though, so we can't count that eh - then there's At The Bridge with Billy, so that's 5_..we can skip Alive In Dunkerque as well cos it's a live album....then there was 2004-13 where we made four more with you, then in 2019 we got back together and made 13 Moon Songs From Merry Hell, released on the Vacilando 68 label...so that's 10_and then we did another record with Billy, The Fighting Temeraire_ so yeah, that makes this one number 12)." Q: "The album has features newly recorded versions of several Loins classics. Was it a difficult decision deciding which back catalogue songs to record?" A: "No, pretty easy - it's basically the 12 songs we enjoy playing the most with the current lineup. Saying that, it's been a bit of a meandering road getting to this point. Since Brod passed away, Arf & me have done few nights of Loins songs - and it's felt good - celebrating the songs we all wrote together - so that started the selection process. Oli, Arf's lad, joined us on percussion and then Rich, who Billy had introduced to us, joined on violin - then Chris came along to play the drums, so Oli switched to guitar - and through all that we were refining the set of songs, and we got a point where we felt that, yeah, we've sort of worked out how to do this (you know, respecting and celebrating our past, without coming on like a tribute band to ourselves), so it made sense to make the album - just to reflect where we'd arrived at....so we went into Jim's Ranscombe Studios and bashed them all out live in a couple of hours....no overdubs, no fussing over mistakes....just sing and play the songs as if it was a gig." Q: "It's been 33 years since the debut Loins' LP - How does it feel to be the elder statemen of Kent's alt-folk scene?" A: "Ha ha, are we? We don't know any other folk bands, alt or not, so it doesn't feel as though we're qualified to be the statesmen of anything! Elder, certainly, but statesmen? Nope." Q: "There's been plenty of gigs recently with more to come around the album's release, including some European dates. For people who've not seen you before what can they expect from a Loins gig?" A: "Yeah, as I said, now that we've worked out how to do this, and as we're having so much fun with it, we thought we'd get out & about. We're off to Serbia immediately after the album's release, so that'll be an adventure - Serbia was always special for us (Aleks, the promotor, took us out there to play seven or eight times in all) and we've stayed in touch over the years, so it'll be lovely to see everyone out there again. As for what can anyone expect when they see us? "Riotous fun filled joy" I've just been told, but best let everyone else be the judge of that!" Q: "The Singing Loins wouldn't have existed of course if it wasn't for Chris Broderick. Chris sadly passed in 2022. What would he have thought about the fact you're carrying on with the band and recording new music?" A: "Yeah_ he'd be happy. In the week before he passed away, he asked Arf & me over, basically to say goodbye and tie up any loose ends. And he told Arf that we should carry the Loins on. So yeah, I think he'd be pleased and proud that we're keeping the songs, and his words, alive."

On her new album Alva, singer, musician, activist and cultural icon Mari Boine offers glimpses into a childhood which she abandoned when she chose to leave behind a strict religious upbringing in order to pursue a life of activism.

The new studio record reflects on finding the balance the between her, the at times lonely, mission to share the culture and histories of the Sámi people through music to people across the world, and her personal journey and relationships. The poignancy of the record
reaches an emotional high on the mournful “Mu eadni” (Mother of Mine), wherein Mari laments her own relationship with her mother. She is also found reflective on “Oainnestan” (Glimpses), when looking at the relationship she has with her son.

Alva reflects the “willpower” of its name, and takes the listener on a musical journey of exhilarating momentum, spurred along by a full band. There’s an emancipated energy that is also reflected in the music, soaring to new heights over vast imagined landscapes of the
tundra of Northern Norway.

Thandii (aka Jessica Berry, Graham Godfrey) first made waves with their debut album A Beat To Make It Better in 2023. The album gained somewhat cult critical acclaim long after its release, with listeners luxuriating in the unusual sound collaged from offcuts of Soul, Lo-fi Hiphop & Psych. Thandii’s world comes bolstered by collaborations with esteemed artists such as Michael Kiwanuka, Inflo, SAULT, Joy Crookes, Jordan Rakei, and Little Simz. The duo’s sophomore offering comes in the form of two companion albums Dream With You & Come As You. The two albums make up a single conceptual statement celebrating dissonance, contradiction, polarity and opposition.

The pair believe that binary thinking has a lot to answer for in today’s world and is often used to divide us as a people. ‘We wanted to explore what it felt like to hold disparate notions in both hands whilst making the music. Starting with the title tracks, we explored the idea of unashamedly being your authentic self in every moment - this is admirable for those that can live their life in an uncompromising way. In contrast to that idea, we explored those moments where we perhaps wished we were more than our reality - a dreamed up, imagined self’. It’s no surprise that duality is central to what Thandii is all about with the pair co-writing, co-recording & co-producing from their seaside studio HaloHalo in Margate, Kent.

The albums each have a distinct flavour of their own. Dream With You is built on cassette-tape-driven lofi beats, art-pop melodies and soulful piano breaks. Whilst Come As You explores more experimental song-form that wouldn’t seem out of place on Tender Buttons - Broadcast or Dots And Loops - Stereolab. Jessica’s voice is the transcendent, ethereal form that shapeshifts between the realms of the two statements; dancing playfully through falsetto harmonies, confessional spoken word, detuned alter egos and haunting choirs. Key collaborators on the albums include bass player Jonathan Harvey and pianist Steve Pringle, both members of Margate’s burgeoning Arts scene. Thandii escaped London nearly a decade ago, their sights set on creating a means for prolific expression, without the distractions that the city can bring. The albums find them in an exploratory stage, throwing paint at the canvas with joyful abandon, gifting themselves permission for uncensored expression. The LPs muse on relationships - romantic, platonic & familial - community, self-worth, self love, healing and boundaries, at times from differing perspectives. This contrast of opinion makes for rich listening throughout a vast emotional landscape

Onimikìg Algonquin: (n. an.)- thunder Timothy Archambault's unaccompanied flute pieces for this album have been inspired by Indigenous brontomancy (divination by thunder). Each piece highlights a different extended flute technique metaphorically related to types of thunder sounds: claps, peals, rolls, rumbles, inversions, and CG (cloud-to-ground). An important document of new music meets contemporary musicological research via Stephen O'Malley of SUNN O)))'s Ideologic Organ. The Indigenous flute used in this recording is made of cedar respective to the traditional woods used by the Kichesipirini and other tribes who live along the Ottawa & Saint Lawrence Rivers. To the Algonquin the flute (Pibigwan) is the wind maker or essence of the wind. Unlike other tribal nations whom the majority used the flute as a courting instrument, the Algonquin generally utilized the flute for more contemplative singular usage to mimic the sounds of nature or as a signaling device during times of conflict. When love songs were required, they were usually more plaintive in character expressing sadness, loneliness, or concerning the departure of a lover. The album intro begins with the shaking of a necklace of otter penis bone, fish spine, bear claw, elk teeth and deer hide, gifted from Algonquin Elder Ajawajawesi. It is meant to focus the listener's attention before the flute pieces begin. The warble or multi-phonic oscillation prevalent in all the pieces traditionally represented the "throat rattling" vocalization of the tonic note, sometimes known as the horizon of which the melody floats from. Due to the repetition of multi-phonic oscillation the performer will breathe erratically creating an altered state correlating with similar traditional ceremonial practices.

** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 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!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

Limited Opaque Green Vinyl. Anthony "Ant" Davis is a distinguished hip-hop producer, one-half of the renowned duo Atmosphere, and a founding member of independent record label Rhymesayers Entertainment. His decades-long career of beat-making has also included works for MF DOOM, Brother Ali, Murs, Rav, Sage Francis and a dozen others. Raised in a military family, his nomadic upbringing exposed him to many diverse influences and, coupled with his father's love for collecting records, laid the groundwork for his deep appreciation for all sorts of music. Ant's latest endeavor, Collection of Sounds, is a four-volume series of instrumental works showcasing the breadth and depth of his musical expertise. The Collection of Sounds series offers a window into Ant's creative journey, reflecting his evolution as an artist over the years. Drawing from a vast vault of unreleased material, he's exhumed cross sections of his catalog with surgical precision, organizing songs by sound rather than mere chronology. Volume 1 is at times so intimate as to border on claustrophobia, like the creeping "Bar One" or the haunted twinkling of "I Was Always A Collector" while other tracks are expansive enough to fill entire venues, like the forebodingly airy "4-Track Beyond Beat 1996." Many of the beats on Collection of Sounds: Volume 1 have pockets that are practically begging for rappers to explore. When he first pondered releasing an instrumental series, Ant figured he might want to make the songs more intricate than the ones gave to his rapper collaborators, filling up the space in the mix that would normally be given over to their vocals. "But then it would be jazz, right?" he says with a loud laugh. "And I'm not that." Fitting, as Collection of Sounds is not about forgetting who you are-it's about remembering, reconfiguring and reimagining, all at once; a testament to Ant's artistic integrity.