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Just over 20 years since its original release on Aphex Twin’s Rephlex records, DMX Krew’s classic We Are DMX receives its much needed first reissue on Cold Blow. It expands the original LP into a full 2xLP gatefold with four(!) bonus tracks, including instrumentals and the beloved Denki No Merodi now for the first time on 12”.

We Are DMX is a testament to the true depth of Ed DMX’s musicianship. From catchy electro pop sing-alongs to melodic dance tracks defying pigeonholes, the album was crafted almost entirely by Ed himself. True to the original album credits, the reissue is mastered by the legendary Matt Colton and is housed behind the iconic artwork by Manuel Sepulveda of Optigram.

Expected late October/early November

Scott Gilmore’s Volume 01, an Analog Synth Gem, Makes Its Vinyl Debut - Pressed at 45RPM for maximum fidelity.

Recorded on a vintage Tascam 388, the LP version of Gilmore’s alluring, easy-going instrumental electronic record arrives in the physical world via In Sheep’s Clothing Hi-Fi Records.

Los Angeles, CA — When the Los Angeles electronic musician and multi-instrumentalist Scott Gilmore recalls the creation of the songs on Volume 01, he describes specific moments of spontaneous inspiration. “I remember sitting at the tape deck, watching the leaves outside the window as they flittered in the sunlight—a moment of stillness that became intertwined with the melody I was recording,” Gilmore recalls, speaking of the track “Song For Cate.”

This sense of simplicity and presence is at the heart of Volume 01, which was recorded entirely on a Tascam 388 using a carefully curated selection of instruments.

Volume 01, an intimate, instinctual album that mixes lo-fi digital rhythms, strummed guitar, and melodic synth layers, is a collection of songs that captures Gilmore’s magnetic fluidity and the spontaneity of his process. Initially released digitally and as a limited edition cassette, Volume 01 is set to be issued on vinyl for the first time by In Sheep’s Clothing Hi-Fi.

The Tascam 388 is a classic mid-1980s analog machine that combines an 8-track reel-to-reel tape recorder with a built-in mixing console. Volume 01 exudes the kind of hazy, nostalgic warmth that only such recorders can provide. For the nine-song album, Gilmore harnessed analog synths including the Arp Odyssey, Yamaha CS-01, Korg DW-8000, Hohner Pianet T, Roland TR 606, and Roland SH 101, as well as bamboo alto saxophone, clarinet, electric guitar, and electric bass.

The album is awash in brief, propellant pieces. At just over four minutes, the relatively epic “Horizon Line” is driven by a three-note snare pattern, a two-note cymbal tap, with a humble bass-line serving as the rudder; Gilmore’s improvised keyboard runs move with an intuitive, conversational glee. The pensive "Shade" sounds like it could be a Penguin Cafe Orchestra demo. Closing track “D. Hareem” runs on a wobbly time signature but with an insistent, determined rhythm that belies genre descriptives. “I prefer to not know what I’m making as I compose,” Gilmore says. “It’s when I can’t clearly define what the music is that it’s then something that I want to put out into the world.”

In hindsight, Volume 01 was a portent. After its 2016 cassette release, Gilmore connected with International Feel, the Balearic imprint run by Marc Barrot, to release the sublime Subtle Vertigo. In 2019, Gilmore’s music caught the attention of Marc Hollander, the experimental composer and founding member of Aksak Maboul, which led to a signing with the Belgian label Crammed Discs. That deal enabled the creation of Gilmore’s solo album Two Roomed Motel and Doctor Fluorescent, a retro-futuristic, Vocoder-heavy 2020 collaboration with Eddie Ruscha V, a.k.a. Secret Circuit). Across these projects, Gilmore’s work has been mentioned in the same sentences as Stereolab, Arthur Russell, Woo, Air, R. Stevie Moore, and others, all of whom have combined synths and non-synths to memorable effect.

With the upcoming vinyl release, Volume 01 will set into wax an enduring set of works, offering listeners the chance to experience analog artistry in its most authentic, tangible form. In Sheep’s Clothing Records is honored to bring Gilmore’s work to vinyl.

Die Wahl-New-Yorkerin Yaeji hat sich in den letzten Jahren als Produzentin, Sängerin und DJ mit ihren introspektiven Dance-Floor-Hymnen eine ganz eigene Nische geschaffen. Nach der Veröffentlichung ihrer Debüt-EPs, sowie den Singles "Raingurl" und "Drink I"m Sippin On" in 2017, war sie auf Charli XCXs 2019er Album "Charli" zu hören, remixte Songs für Dua Lipa oder Robyn, kollaborierte mit dem Seouler-Künstler OHHYUK, verkaufte weltweite Headline-Touren aus und eröffnete ihren eigenen Lifestyle Webstore JI-MART. Ihr Sound und ihre Einflüsse sind dabei so vielschichtig wie ihre Herkunft. Geboren im Jahr 1993 in New York reicht ihr Stammbaum von Seoul über Tokyo bis nach Atlanta - Einflüsse die sich in ihrer Musik in Form von koreanischem Indie-Rock und Electronica, 2000er Hip-Hop, sowie Leftfield Bass und Techno wiederfinden. Mit ihrem 2020er Mixtape "WHAT WE DREW“ schärfte Yaeji noch mal ihre Vision als Musikerin, die kreativ losgelöst von Sprachen Genre-Grenzen zu sprengen vermag - kein Wunder, dass sie daraufhin von Pitchfork 2022 zu einer der "25 Artists Shaping the Future of Music" ernannt wurde. Die nahe Zukunft wird sie ebenfalls prägen. Schließlich erscheint am 7. April nun endlich das Debütalbum "With A Hammer" bei XL Recordings. Entstanden innerhalb von zwei Jahren in New York, Seoul und London kurz nach der Veröffentlichung des Mixtapes und während den Lockdowns ist es eine Ode an die Erforschung ihrer selbst, setzte sie sich doch dabei mit ihren eigenen Emotionen auseinander - besonders mit ihrer eigenen, in ihr brodelnden Wut. Während sie textlich zwischen englisch und koreanisch springt, nutzt sie erstmals auch Live-Instrumente, sei es in Form von einem Ensemble an Musikern oder auch zum ersten Mal sie selbst an der Gitarre. "With A Hammer" beinhaltet darüber hinaus auch Features der Produzenten und engen Verbündeten K Wata und Enayet, sowie Gast-Vocals der Londonerin Loraine James und von Nourished by Time aus Baltimore.

The Relegation is something that we've been working on for roughly the last couple of years. With this being our first full length album following two previously self released EPs, Exemplifying Their Defeat and Dawn of Terror, we wanted to make sure that this effort stayed true to the Martyred recipe, but also allowed us to showcase the evolution of the band as well. During the time between the last release and working on this one we were able to harness our individual darker times & experiences, and translate them into this in the most honest and brutal way we could_as a band I believe that's what we have done with The Relegation.

Transparent vinyl. The Relegation is something that we've been working on for roughly the last couple of years. With this being our first full length album following two previously self released EPs, Exemplifying Their Defeat and Dawn of Terror, we wanted to make sure that this effort stayed true to the Martyred recipe, but also allowed us to showcase the evolution of the band as well. During the time between the last release and working on this one we were able to harness our individual darker times & experiences, and translate them into this in the most honest and brutal way we could_as a band I believe that's what we have done with The Relegation.

2024 Reissue

The second album of songs resulting from the collaboration between Teho Teardo and Blixa Bargeld was released in 2016, three years after the celebrated debut with "Still Smiling". Often the nature of collaborations is fleeting, usually not involving a sequel; in this case, however, we are faced with the evident settling of a bond, human and artistic, that is no longer occasional but has reinvented itself to explore other territories and will not stop there either. The album cover is inspired by the famous 1533 painting by Holbein the Younger, "The Ambassadors": a work celebrating an official visit, a meeting between two friends, the pride of their gazes still strong despite time, distance, despite everything. Teho and Blixa return with an album of new songs, sung in German, English and Italian. "Nerissimo" is the superlative of black in Italian and there is something rather black about the music on this album. Not in the sense of dark, an adjective often used to define certain sounds, but just as it happens with the colour black, which contains all other colours, so this music contains a multitude of possibilities."Nerissimo" is also the title of the track in English that opens the album and closes it, as if between two parentheses, in Italian. A temporal passage between languages that links Rome and Berlin, where the album was recorded, ever more intimately. A crossing of the last three years of work together for Teho and Blixa. This record is also a nocturnal story of apparitions, of colours that disappear from the world just by naming them, of aeroplane flights with the lights off in the cabin, of objects whose symbolism represents the passions and interests of the two artists (starting with the objects reproduced on the cover); a sort of tale through objects, continuous movements and the discovery of sounds, even random ones. Sounds intercepted in the space of these three years and which ended up on the disc as interferences that challenged the structure of some songs, resulting in their adaptation to the invasion of foreign sound bodies. "Nerissimo" does not only contain songs but also features experimental tracks, such as "Ulgæ", in which the lyrics explain, like a subtitle, the sounds that follow one another in a story.

2024 Reissue

"Still Smiling" is the first album of songs written in four hands by Teho Teardo and Blixa Bargeld; a work conceived and composed over two years, with dedication, working side by side, deciding and choosing every sound, every word, every silence together. The album, contains 12 songs: 10 previously unreleased, a new version of "A Quiet Life" and the cover "Alone with the moon" by Tiger Lillies. On the album, recorded between Rome and Berlin, in Teardo"s Rome studio and in Einstürzende Neubauten"s "Andere Baustelle" (the historic band of which Bargeld is leader), cellist Martina Bertoni and the Balanescu 4et collaborated. Teho and Blixa dialogue in symbiosis, Blixa"s deep and intense singing ranging from Italian to English and German, Teho"s music sublimating and enchanting between strings, electronics and experimentation. The maturation of ideas and intentions, in the numerous journeys between the two capitals, the desire, listening and meeting of their respective expressions, have left their mark. Still Smiling is a record that gives time, it is a privileged vision that covers all the sky between Rome and Berlin. The collaboration between the two artists began in 2009 for "Ingiuria", a performance by Raffaello Sanzio"s "Societas" that featured Alexander Balanescu on stage in addition to Bargeld and Teardo. In 2010, Bargeld and Teardo collaborated again to record A Quiet Life, the title track of the soundtrack of the film "A Quiet Life" with Toni Servillo. After these two experiences, a strong understanding and artistic affinity was born, which has led to the genesis of "Still Smiling".

* Strictly limited-edition 5x12” vinyl hard case box with spot varnish finish on the front and back and full colour sleeves for each vinyl.

* V Recordings marks three decades of groundbreaking Drum & Bass with '30 Years of V', an album featuring 22 fresh tracks that honour the label's rich legacy while paving the way for its future.

* Presented as a collectable 5 x12” Vinyl hard case box set, with spot vanish finish, this project links the past of V to it’s future and shows the label is as dynamic and relevant as ever.

* A selection of brand new music, from the current V family as well as remixes of some recent big hitters and seminal classics. Over recent years, V Recordings itself has continued in the mold in which it was formed, releasing music from some of modern-day D&B’s most exciting, innovative and committed artists.

* This project which label head honcho Bryan Gee has painstakingly compiled over the past few years, sees the likes of L-Side, Alibi, Break, Serum, Dillinja, Voltage, Paul T & Edward Oberon, Command Strange, Need For Mirrors, Chimpo, Sl8r, Think Tonk, Level 2 and more all on board to see their name alongside V’s iconic sun logo and celebrate this milestone.

* It is a celebration of V Recordings' contribution to our global scene, underscored by support from industry icons like DJ Marky, Watch The Ride, Break, Fabio, Grooverider, Born On Road, Kasra, S.P.Y, Roni Size, Ed Rush, Caylx, Camo & Krooked and many more.

* Since its foundation in 1993 by Bryan Gee and Jumping Jack Frost, V has been a cornerstone of the electronic music world, pushing the boundaries of Jungle and Drum & Bass. The label has been instrumental in the careers of many genre-defining artists, constantly evolving while staying true to the roots of Drum & Bass culture. '30 Years of V' embodies this journey, offering a blend of nostalgia and innovation that appeals to long-time fans and newcomers alike.

Though allegedly a Texas native, Milton Davis first recorded in Los Angeles in 1967 as a member of The Four Tempos. When that act split, he trekked up the coast in stages, eventually settling in Portland. Here he secured the lead vocal role for local scene heroes, Slickaphonic. Though a full album of their own was taped, another reel of material was cut centred on Milton as a solo artist. Neither set of tracks saw release in their day, but from the latter collection we've pulled a bona fide 1977 disco-soul smasher and a mid tempo flipside with a sheen that belies its depth. First time ever on 7" 45, dinked centre hole with picture sleeve, 500 numbered copies only.

Rising multi-media artist Shaboozey intends to build his own world.

Determined to carve his own lane in the Alt-Country / Hip-Hop space; he crafts a sound that pays homage to a cast of traditional Western influences, such as Bob Dylan, Lead Belly, Johnny Cash, and Leonard Cohen, while looking into the future of what the two genres have yet to introduce.

Remaining true to his Virginia roots, Shaboozey hopes to continue the region’s long-standing tradition of producing some of the most prolific creatives of the new millennium. This time through elevating the scope of contemporary hip-hop and introducing a modern Americana culture to a global audience.

Fresh off of his inclusion in the groundbreaking Beyonce album, Cowboy Carter, of which he was the only featured artist to appear twice, Shaboozey is set to release his own album, Where I've Been, isn't Where I'm Going. An album that has been years in the making, it includes standout singles “Let It Burn,” “Vegas,” “Anabelle,” & the infectiously fun singalong anthem “A Bar Song (Tipsy).” Millions of streams later, and appearances on esteemed programs such as COLORS and The Late Show with Stephen Colbert, Shaboozey is set to become the new face of modern American country music.

* First time on 7" for this horns-led instrumental gem from the Love Grocer crew aka Chris Petter and Dave Fullwood (Ital Horns and Zion Train).

* Originally appearing on 10" with a Cheshire Cat vocal in 2000 and on the `Rocking with the Love Grocer’ album, both on Dubhead in 2000 and 2001 respectively.

* Backed with a dub cut.

This follow up album to Tapper Zukies `Bunker Buster’ set, sees Tapper again rally calling his fellow reggae singers to work up some great songs. This group of tunes lean towards a more soulful sound, yet still holding that reggae feel we know and expect from Mr Zukie. The title itself `A Soulful Chant I’ we felt suited this set of songs perfectly .

The roll call of great singers starts with Prince Alla adding his distinctive feel to the opening track `Children Don’t Cry’. `Heaven On Earth’ features Junior Ross on vocal duties. `Poverty’ is richly enhanced by one of Jamaica’s greatest vocal bands, Silvertones. Tapper himself follows with the thoughtful `Man-A-Man’ and another great reggae trio the Viceroys counter with `Help Me’. Dennis Walks guides us with `I Wanna Go’ and Junior Ross appears again with the timeless `Be On The Right Track’. Mr Zukie points the way on `People of Love’ and Prince Alla insures us that right will always overcome wrong doing with `Good Over Evil’. A favourite of ours `That Was The Day’ again song so majestically by the Viceroys leads us into the Silvertones `Magic Touch’. Little Roy leads us out with `Youth In The Ghetto’.

Hope you enjoy the set.

* BCee returns to Spearhead Records with ‘These Are The Days’.
* These Are The Days see’s BCee collaborate with 13 different vocalists showcasing some of the finest and freshest the scene has to offer.
* Over the past 23 years, BCee has achieved over 100M streams, headlined the biggest clubs in the world such as Fabric, and through his label Spearhead Records has nurtured and presented a myriad of new talents to the world who’ve gone on to become some of the biggest names in this game: Hybrid Minds and Netsky to name a few. His music has garnered support from industry heavyweights like DJ Marky, Sub Focus, London Elektricity, Camo & Krooked, and Fred V.

After already working on yeyeh005 together, it was more than overdue to do a solo EP together. Our lives crossed over ten years ago, and the past six years saw us grow into a deep friendship. All four tracks were made around the time of preparation for a Breakfast Club ADE 2021 with De Lichting live. Three years later, we are releasing these solo club cuts.

Repress of the original RPG7 tunes... and, on the flip a 2016 Version. Babakar this time did a translation in french of the original words... And King Smoke did a more Techno / tekhouse version of the track... 2 Worlds for one Peace ! LTD 100 copies !

Pressed for the first time on 4 sides.
45 rpm Gatefold with Lyrics, Clear Purple 180 g Vinyl, 2024 repress. Edition of 450

Diving deeper into the story of Japanese reggae pop, Tokyo Riddim Vol. 2 explores an electronic, new wave and often experimental sound unlike anything Japan or Jamaica had ever heard before.

The first time Ryuichi Sakamoto left Japan, he did not go to the United States or Europe - he went to Jamaica. It was 1978, YMO were about to release their debut album, but Sakamoto was in Kingston, invited to play synths for Japanese idol singer Teresa Noda at Dynamic Sound Studios in a band alongside Neville Hinds and none other than Rita Marley. It’s not a story many know, but one which would spark Sakamoto’s fascination with dub and mark a new chapter in the ongoing Japanese love affair with reggae.

The Teresa Noda tracks they cut - ‘Tropical Love’ and ‘Yellow Moon’ - bookend this second volume of Time Capsule’s Tokyo Riddim compilation, which tells the wider story of how a fascination with Jamrock swept Japan, adding a dash of lime to that sweet city pop sound, embracing a globalised musical palette and creating a whole new genre in the process.

For some, like Sakamoto, a diversion into reggae was part of broader fascination with new sounds and styles, tipped into the global disco of homage and appropriation that made Japanese music of the late ‘70s and early ‘80s some of the most creative and undefinable in the world.

You had iconic shape-shifter Yosui Inoue, who toyed with reggae, afro-beat and electro-Balearic, (and whose For Life Records released several tracks on this comp), and Kay Ishiguro, who enlisted J-reggae originator Pecker on the ambitious Stevie Wonder-esque ‘Red Drip’.

Then there were the Compass Point devotees - producers and musicians alike who were enthralled by the sound of the Bahamas studio and drew on the detached cool of Grace Jones - as heard in the music of Juicy Fruits, and the disco noir of Casablanca-signed femme fatale Yuki Nakayamate. Sometimes, as was the case with Risa Minami, the J-reggae influence said more about Japan than it did about Jamaica.

But where Tokyo Riddim Vol. 1 focused on the city pop sound, this compilation goes further, digging out the more experimental collaborations and hybrids exemplified by Tomoko Aran, who in working with Yusuaki Shimizu and Mariah emphasised just how far reggae had travelled to be recast into something entirely new on the other side of the world.

Perhaps more than anything, in connecting the dots between Tokyo and Kingston, between Jamaica and Japan, the Japanese reggae was building a musical language that existed outside of the paradigms of US and European cultural hegemony - an encounter shaped by commerce, capital and creativity that is now being recognised more broadly for the first time.

Nearly a decade after the release of his breakthrough debut album 'Sunday', Swedish producer HNNY (aka Johan Cederberg) returns with the album Light Shines Through, released independently via HNNY's own imprint.

For his first album in almost a decade, HNNY has returned to the electronic soundscapes that inspired his earliest releases. It's made for the quiet, brain-tingling moments of solitude at home and contains a consistent thread throughout, not just in the ambient sounds used, but also more conceptually with what the songs evoke and what they are about: the album lands at a particularly pivotal moment of HNNY's life after the birth of his two daughters which have given him a new perspective on life.

HNNY's melodies are a gentle alternative to the more complicated corners of dance music. Debuting on Studio Barnhus in 2011, HNNY aka Johan Cederberg quickly became one of house music's most talked about artists with a signature sample driven style. He has won a Swedish Grammy in the electronic music category, toured the world globally and created a following both in and outside of the dance music community for his bittersweet strain of dance music.
Shortly after the release of his critically acclaimed debut album Sunday, the producer stopped touring solely focusing on production. Since then, HNNY has racked up hundreds of millions of streams, released a number of singles and EPs on the likes of Let's Play House, Puss and Omena and he is now finally ready to return to the LP format for the first time in nearly a decade with the album Light Shines Through.

Red Laser gets on a kinky tip, where poppers are currency and salacious activities mandatory as label chief Il Bosco grabs us by the nethers and heads for 'The Darkroom EP'.

Inspired by amyl-soaked tales of Euro basement sex club debauchery, and steadily edging its way to a never-ending climax, the EP is a highly charged exercise in x-rated synth-jizz and erotic Manctalo that'll have you quickly believing you're surrounded by massive pulsating dicks on a cocktail of GHB and Mkat.
Maintaining a persistent throb throughout, the EP has us reaching blindly through clouds of pink saturated club smoke, unsure of what our sweat-soaked hands will grasp on to.

Two remixes alongside three originals. Fabrizio Mammarella has the blood rushing to our head quicker than a whiff of Rush Black Label* on his mix of 'Notio Botherdini'. Adding extra acid for a trippier sexperience and urging willing participants to "close your eyes" as he achieves maximum thrust.

Meanwhile local Stretford poppers enthusiast** Bob Swans also has a fumble in the shadows, remixing 'Dark Room' with late late late on in the session in mind - a time of carnal lucidity and primal urges that'd make even Michael Barrymore's peculiar desires look vanilla. It's a sparse and special redux, fluffing us with that latexy bassline and never-ended sfx trails until we're quite literally cumming in your ears.
Apologies, that probably was a bit graphic.

*Poppers brand highly endorsed by Red Laser contributor Count Van Delicious

**Red Laser only hypothesizes to said producer’s poppers usage.

Plastic Estate is a contemporary synth-pop act from Wales, UK.

With an onus placed on atmosphere and refinement, the duo evoke a rich palette of romance and lustre with their polished marque of pop music.

They have garnered support from the likes of Simon Le Bon of Duran Duran, KEXP and BBC Radio, and played sold-out shows with the likes of LA Priest, Home Counties, and Real Lies, as well as playing at large regional festivals like Ritual Union and Sŵn Festival.

Having previously released a 7” and LP with Avant! Records, they are now releasing their second album on 11th October with new tracks gaining critical acclaim being added to BBC Radio Wales’s ‘Welsh A-List’.
Their sophomore album hails a new era for the act; moving away from darker sonic roots, their sound has progressed to a brighter, more polished aesthetic with fresh influences from the ‘Hi-Fi luxury’ of West Coast Sound, and the gloss of 2010s Chillwave.

What’s more, ‘Code d’Amour’ makes you wonder: What is Pop today?

For many years it has been synonymous with melody, harmony and emotions. These days it seems to be still about emotions but not very good ones, probably because the world is as ugly as it’s ever been, have you noticed?

But what about the fundamental role of popular music which is to represent and at the same time to celebrate and enforce the ties of social living? What about the good times?

Yes, there is a lot to be changed and to fight for but good vibes are not just for recreational use, they can literally build a sense of community among people. If you are looking for that kind of sound right now, you should look no further.

FFO: Talk Talk, Blue Nile, Spandau Ballet, Ian Broudie’s Care, Small Black, Alan Palomo of Neon Indian, Wild Nothing.

Grover Washington Jr, Hydra. This jazz classic finds its first time on 45. Released in 1975 with arrangement and keys by Bob James it’s no surprise to hear an infectious head nod groove under
GWJ’s sublime sax licks. The drums have been sampled over 100 times from ATCQ to Biggie, but
most will recognise the bass hook obviously sampled by Black Moon
for their underground hip hop classic “How Many MC’s”.
Seals & Crofts, Sweet Green Fields. Never before on 45, the Californian soft rock duos’
album cut can easily slip by most diggers. The familiar staccato bassline will have your neck snapping, while a proggy folky riff floats over head. A slightly extended DJ friendly intro showcases the
bass and drum hook sampled for Busta Rhymes’ 1997 hit “Put Your Hands Where My Eyes Could
See”.

DJ Support: Gilles Peterson, Yogi Haughton, Rocky, Greg Belson

Moton takes its time to select the best tracks for it’s loyal but hungry fan base, however, this EP was worth the wait. A killer 3 tracker cleverly edited from vaults of much respected don of the scene, Ghosted Edits, aka David Hill. The A side is an 80’s style boogie disco dancer to destroy the better floors, flipped with an infectious gospel vocal dancer that will have you singing out loud, alongside a wonderful soul 2 stepper with a touch of Balearic goodness! Proper pool side vibe. Enjoy.

Something About Livingis an album of live recordings by experimental jazz composer/multi-instrumentalist Robert Stillman. The music was captured over the course of Stillman's time as the solo support act for The Smile (Thom Yorke, Jonny Greenwood, Tom Skinner). The album weaves excerpts from various theater and arena shows along the tour's North American routing into a seamless whole, creating a 40-minute program that represents an expanded version of Stillman's ever-transforming live set.

Something About Livingis the product of a steady, on-stage evolution that happened over the course of the nearly 60 shows opening for the Smile across the EU, UK, US, Canada and Mexico. However, the creative origins of the set began in relative isolation during the pandemic, through Stillman's work on projects like his multi-media installationUnseen Forcesand his monthly broadcast for Margate Radio, both of which drew upon solo improvisation using saxophone, cassettes, Yamaha DX7 synthesizer, and effects.

"At the time The Smile asked whether I'd like to open for them on their first tour, I felt like I'd already been preparing without really knowing it," says Stillman. "I'd been doing this music constantly, but always for a hypothetical audience" During the pandemic, Stillman's solo set-up served as the research lab where he worked on all the concepts he was interested in: solo improvisation, creating and manipulating cassettes, FM synthesis, analogue delays chains, no-input mixing, and non-metric rhythmic pulses. So when he was offered the first Smile tour, the idea was to bring "the lab" onto the stage.

What Stillman could not have prepared for was the experience of playing in venues with capacities of up to ten thousand listeners. "The first tour was in summer 2022, so not that long after the worst of the pandemic, when I had pretty much made peace with the idea that I might never be able to perform for an audience again. Then all of a sudden I found myself in front of huge numbers of people, and felt the massive responsibility of being with an audience, of this thing I'd done alone for so longactually being witnessed, and it was completely overwhelming!" On the flip-side, Stillman also recalls, was a new appreciation of how powerful the live performance was as a social phenomenon. "It's a cliche, but also true: the moment of making and hearing music in a shared time and space has a very specific meaning and power; there was a sense that everyone in the venue was necessary to make it real, regardless of what they were doing, or how they felt about it. There was an inevitability about it that I'd never fully appreciated."

Over the course of the tours that followed, Stillman transformed this appreciation of the shared moment into an ethic of spontaneity that guided the development of his live set. "An important reference for this set has always been an Animal Collective show I saw when I first moved to New York, probably in 2001 or so, that has always set the high-water mark for what I wanted to do live- they were improvising a lot, and out of what would seem to be absolute chaos they'd find their way to something structured, and then back out again into the unknown. It was so thrilling to witness".

ThoughSomething About Livingcompiles recordings from different dates along the tour, Stillman has edited and mixed them into a work that seeks to reflect the ebb and flow between 'chaos and control' that characterizes his live set. Among the compositions featured are some from previous album releases ("Time of Waves", "What I Owe", "What Does it Mean to Be American") as well as some new compositions ("The Dream of Waking", "Renaissance 2.0," and the title track, "Something About Living").

The album/track title "Something About Living" is a reference to a line from Stillman's favorite film,My Dinner With André: "André Gregory is explaining the value of life experiences that, as he says, are'to do with living'.That really struck me, the way he articulated it. I strongly believe live music situations can ask these kinds of questions, for performers and audiences. I hope that's reflected in this music."

[a] 01: Time of Waves (Live in Miami FL) [Live]
[b] 02: What Does It Mean to Be American (Live in Forest Hills NY) [Live]
[c] 03: The Dream of Waking (Live in St Augustine FL) [Live]
[d] 04: Something About Living (Live in Richmond VA) [Live]
[e] 05: What I Owe (Live in Chesterfield MO) [Live]
[f] 06: Renaissance 2.0 (Live in Chesterfield MO) [Live]

Erich Fromm's “Escape from Freedom” was published 83 years
ago. His assumption was that modern man, having freed himself
from the shackles of the old days and living freely, longs to
return to the totalitarian, destructive and conformist world. In
2024, the pluralistic and individualized way of life of the socalled West seems self-evident. Boundless freedom is suggested -
but we continue to flee. Utopias are crumbling and conservatism
is experiencing a renaissance. At the same time, the freedom to
decide “ to be able to stay” in contrast to “having to leave”
currently seems to represent a high value.

This EP, between the two producers from Germany and Ukraine, was
created in this field of tension. David Heine and Konstantin
Kost are already working together on the current AMAS project
(Odessa EP)

"Freedom From Esacape" adapts the former title of Erich Fromm's
central work, which is given a prominent role on this record.
Music and techno are freedom and escape at the same time:
transcendence and escapism. In interaction and contradiction at
the same time.

The cover picture was taken on 25 July 1909, when Louis Blériot
became the first person to cross the English Channel in an
aeroplane with the Blériot XI, which he had designed himself.
The reversal of the title and the idea for the cover artwork
came about during a conversation with the artist Jennifer Mattes
in Vienna.

About the tracks:
On the A-side, the two protagonists create a world of minimalist
dub techno, which also has melodic, flat side strands in its
narratives. The more than 60-year-old fragments from TV
interviews with Erich Fromm on the subject of freedom,decisions, constructivism and destruction are presented so
densely and rustlingly that you don't feel compelled to follow
the lecture. Instead, the spoken word corresponds with the
minimalist framework of the two pieces. The old audio recordings
are embedded as part of the composition. Some of it may be
understood and arouse the listener's curiosity, but again and
again you get lost in the repetitive swamp of sound, so that you
may understand more of the text each time you listen to it
without it imposing itself on you.

The two remixes of the first track take a different approach.
"Save Your Atoll" specifically frames and limits the spoken word
in its interpretation and embarks on a hypnotic journey that is
less worldly and more futuristic.

"Anna Kost" goes one step further by literally suffocating the
old man's spoken word, as if the destructive drum patterns were
trying to shut him up.

"Freedom From Escape" will be released on 18 October 2024 in a
physical edition of 200 records and is available digitally on
all common portals.
WEIRDMOUTHRECORDS2024

“Friends, they are my ticket out of this place I am in… feels like nothing more than a dirt bike vacation stop between Phoenix and San Diego.” Dirt Bike Vacation—for Worried Songs Records—explores the sonic world of the late amateur guitar player, Charles ‘Poppy Bob’ Walker, through a captivating set of instrumental songs made in the mid-1980s. Recorded on a single-track, Marantz field recorder, the project is a transportive document of Walker’s days spent as a meatpacking employee in Yuma, Arizona and the dailiness of that existence: driving to work, sitting in his backyard, walking around drunkenly, unwinding on the couch with a friend. These sketches, showing an experimental tendency, are surprisingly ahead of their time; some exhibit ad hoc tape delay (“Granite Bluffs,” “Goodbye YMCA”), while others make use of primitive overdubbing (“Continuation to Moon Doctor”). Not dissimilar to works such as Bruce Langhorne’s The Hired Hand soundtrack, Walker’s guitar playing is melodic, texturally rich and beautifully sober. On a musical tour from Nashville to Los Angeles, musician-archivist, Cameron Knowler, uncovered these songs from a series of dusty cassette tapes housed at a branch of the Yuma County Library. Originally tipped off by cryptic metadata entries found through an online finding aid, Knowler requested a sound sample and was immediately drawn in by their eerie, yet hopeful nature: “I didn’t care what they sounded like at first, but once I heard just a few seconds, I had to find out everything I could about Charles, who he was, and if he was still alive.” As it turns out, the two had miraculously crossed paths over 20 years prior when Cameron was a young boy accompanying his mother, a gem trader, on a biyearly sojourn to Quartzsite, a town 80 miles north of Yuma: “Charles, sitting down and smoking in a recliner, withdrawn, held what I now understand to be a mid-1990s Martin D-28 guitar. Unlike other old-timers, his instrument was sharply tuned and had a nice sound, even to my young and uncalibrated ears. Though his left hand showed signs of highly developed arthritis, his musical ideas were animated by a palpably deep understanding of fretboard anatomy, arrangement and harmony.” Sorting through the index cards associated with these tapes, Knowler was able to gain a detailed sense of most recording’s provenance, whereabouts and time: Walker’s Datsun pickup truck chugging along boiling hot Interstate 80, the Marine Corps Air Station parking lot, the Eastern Wetlands on the banks of the Colorado River, a fishing trip to Martinez Lake. Trying to reduce the amount of his own subjectivities coloring the work, Cameron constructed titles and track sequences by borrowing information gleaned from Charles’ handwritten notes: “I tried to organize everything by time of day, giving the listener the sense of how a Yuma day might sound and feel like, and each song title—even the record itself—is borrowed from his own words.” This proved no small task, as many notecards had to be deciphered and then coupled with their native tapes which needed extensive restoration treatments. The result is a project very much out of the blue, and one that is intensely personal to Knowler, having grown up in the same town under similar circumstances. “It feels like a part of my own journey as a guitarist reckoning with the defining marks of a gothic border town,” he remarks. “At the time I would’ve met Walker, I didn’t have much outside influence, but he has been in there all the while.” In their current form, the tracks combine to create a sonic journey that boldly contributes to the traditions of acoustic guitar soli, archival digs and field recordings all the same; most importantly, it is a creative document which shows a day-in-the-life of a man grappling with the human experience under a ubiquitous Yuma sun.

Greg Wilson returns to Running Back with another special project.
Forty years on from the release of the groundbreaking ‘Street Sounds UK Electro’ LP, ‘Real Time’ (two versions of which opened the separate sides of the album), finally gets a 12” release. Despite its prominence on ‘UK Electro’, it was the only inclusion not to be issued on 12” back in 1984.
Zer-o, like Syncbeat and Forevereaction, were the same trio – Manchester musicians, Martin Jackson and Andy Connell, and DJ Greg Wilson, making his first foray into record production. They also teamed up with rappers, Kermit and Fiddz, for the Broken Glass
track, ‘Style Of The Street’, one of the early UK hip hop releases. Fictional production and songwriting credits were added by Street Sounds to suggest a thriving British electro scene, the music having blown-up in New York during ‘82/’83, with the ‘Street Sounds Electro’
series, launched in October ’83, documenting these developments and unlocking a significant youth market who’d religiously collect these compilations.
Featured here is a Greg Wilson edit of ‘Real Time’, the ‘retrospective dub’ (the ‘UK Electro opener, which was in fact the original demo version of the track), and a Gerd Janson bonus beats edit. Flip it over and you’ll find a pair of 2024 reworks – the retrospective
dub, and the more downtempo introspective dub – courtesy of Greg and Ché Wilson, whose recent collaborations have included remixes for Gabriels and Confidence Man.

REISSUE of Sun And Sail Club sophomore album. The name might be the Sun and Sail club, but you'll find no yacht rock here. Instead of Michael McDonald, we have Bad Brains. Kenny Loggins? Hall and Oats? More like Matt Pike and Lemmy Fucking Kilmister. "The Great White Dope" is featuring members of Kyuss, Fu Manchu, and the Adolescents, containing 10 riff-filled tracks of high energy, bullshit-free punk and sleaze. The song writing on 'The Great White Dope' steers away from the experimental direction of their previous release, and it's laser focused on one thing: unapologetically rocking your face off. The vocoder is gone and they've recruited singer Tony Adolescent, who delivers balls to the wall vocals with no added effects or frills. The production, like the music itself, is loud, heavy, and beautifully simple. "This record is a direct result of my wife telling me she was pregnant with our son. As a first time father, panic set in and I wrote the album in two hours. I wasn't sure if I'd have a lot of time once he was born so I crammed as many frantic riffs into one album as possible. Looking back it's funny to listen to now, but at the time I was on a mission. Everyone killed it on this record and we recruited Tony Adolescent on vocals which is unreal to me." - Bob Balch

REISSUE of Sun And Sail Club sophomore album. The name might be the Sun and Sail club, but you'll find no yacht rock here. Instead of Michael McDonald, we have Bad Brains. Kenny Loggins? Hall and Oats? More like Matt Pike and Lemmy Fucking Kilmister. "The Great White Dope" is featuring members of Kyuss, Fu Manchu, and the Adolescents, containing 10 riff-filled tracks of high energy, bullshit-free punk and sleaze. The song writing on 'The Great White Dope' steers away from the experimental direction of their previous release, and it's laser focused on one thing: unapologetically rocking your face off. The vocoder is gone and they've recruited singer Tony Adolescent, who delivers balls to the wall vocals with no added effects or frills. The production, like the music itself, is loud, heavy, and beautifully simple. "This record is a direct result of my wife telling me she was pregnant with our son. As a first time father, panic set in and I wrote the album in two hours. I wasn't sure if I'd have a lot of time once he was born so I crammed as many frantic riffs into one album as possible. Looking back it's funny to listen to now, but at the time I was on a mission. Everyone killed it on this record and we recruited Tony Adolescent on vocals which is unreal to me." - Bob Balch

“Christmas is constant,” says Ben Folds. “Allowing you to take stock of what’s different, to understand who you are and all the ways you’ve grown and changed.” That notion lies at the heart of Folds’ brilliantly titled new holiday collection, Sleigher. Built on an eclectic mix of originals and reimagined classics, the album examines thepassage of time through the lens of Christmas, reflecting on memory, loss, and longing as it explores the variety of ways the yuletide season marks the chapters of our lives. The songs are playful here, full of humor and cheer, but they’re also laced with an inescapable sense of melancholy, a looming darkness that always seems to hover around the periphery of those late December nights. Folds’ performances, meanwhile, flirt with the standards while stretching the boundaries of tradition, at times offering up flashes of Vince Guaraldi and Burt Bacharach while still remaining true to Folds’ singularly virtuosic brand of off-kilter indie pop. The result is not so much a Ben Folds Christmas record as it is a Ben Folds record set at Christmas, a meditation on the inexorable turning of the calendar and our ever changing selves as observed at the most wonderful—and challenging—time of the year.

A RADICAL HORIZON is comprised of a series of duets between cellist Lori Goldston and pianist Stefan Christoff, recorded on a late Fall afternoon in Brooklyn, NY. A conversation between friends, these improvised excursions reflect a willingness to be open to the spirits in the space and between the notes; a spirit of communion that, as Stefan writes, "guides and dances with our dialogue together".

Stefan Christoff is a Canadian musician, community organizer, and journalist based in Montreal, Quebec. He has collaborated with artists such as Sam Shalabi and Adriana Camacho, performs with his brother Jordan as a duo in Anarchist Mountains, and has released music on labels such as Moon Villain, Shimmering Moods, and Aural Canyon.

A lifelong community activist, he helped establish the Musicians For Palestine project and has engaged in street-level solidarity work in Lebanon and The Philippines as well as closer to home in Montreal. This is his second appearance on Beacon Sound after 'In Sofia', an album of piano improvisations recorded in Bulgaria, was released on the label in 2023.

Classically trained and rigorously de-trained, possessor of a restless, semi-feral spirit, Lori Goldston is a cellist, composer, improvisor, producer, writer and teacher from Seattle. Her voice as a cellist, amplified or acoustic, is full, textured, committed and original. A relentless inquirer, her work drifts freely across borders that separate genre, discipline, time and geography.

Current and former collaborators and/or bosses include Earth, Nirvana, Mirah, Jessika Kenney, Ilan Volkov, Eyvind Kang, Stuart Dempster, David Byrne, Terry Riley, Jherek Bischoff, Malcom Goldstein, Steve Von Till, Lonnie Holley, Cat Power, Ellen Fullman, Maya Dunietz, Mik Quantius, Embryo, O Paon, Tara Jane O’Neil, Natacha Atlas, Broken Water, Ed Pias, Christian Rizzo and Sophie Laly, Threnody Ensemble, Cynthia Hopkins, 33 Fainting Spells, Vanessa Renwick, Mark Mitchell, Lynn Shelton, and many more.

Her work has been commissioned by and/or performed at the Kennedy Center, Sydney Festival, Cineteca Nacional de México, Tectonics Festival, Frye Art Museum, Time Based Art Festival (TBA), WNYC, The New Foundation, Paris Fashion Week, Northwest Film Forum, On the Boards, Seattle International Film Festival, Seattle Jewish Film Festival, Bumbershoot, Crossing Border Festival, Boston’s Museum of Fine Arts, Joe’s Pub, the Stone, University of Chicago, and venues large and small throughout North America, Mexico, Australia, and Europe.

Strange Power!, the fifth record from Durham, NC-based songwriter and poet Anne Malin Ringwalt, emerges from the darkest waters of the self into a world remade. Releasing in conjunction with her second book of poetry, What Floods (Inside the Castle, Oct. 2024), Strange Power! overflows with Ringwalt's teeming and sensuous personal symbolry: glowing lilacs and gentle queens, dolphins wild and girls who grew up brave _ T.S. Eliot sung by Cat Power, backed by Mount Eerie. She sings: "I rose up from water." Ringwalt writes and performs with the authority of a lifetime spent harnessing the alchemy of storytelling; her belief in the power of words to heal and transform is palpable in each achingly- delivered lyric. Made amidst profound inner and outer change, Strange Power! also sees Ringwalt taking up the role of self-producer for the first time, mirroring and supporting the record's Orphic quest by gathering contributions from a coterie of friends wielding an electric range of American instruments. Violins, vibraphones, drum machines, electric guitars dappled with spring reverb, wind-blown shells, and a host of other numinous sounds form an unfurling and shadowy world which was then carefully honed during the mixing process (shepherded by Michael Cormier-O'Leary and Lucas Knapp) _ settling the final record in an eerie meridian between spareness and verdancy. The result is a beguiling and darkly blooming realm: the sound of a personal cosmos being remade, piece by piece. Ringwalt is at the height of her spirit as both songwriter-poet and singer, her willowy voice by turns conjuring and keening as she reckons with her deep past and the stories told since. Opening track "The Pines" sets the stage for a record of truly life-long scope: "I was a child, now I hold her / I was asleep for many years." Some songs, like the gorgeous "North Carolina" and "The Saint," were written as early as 2013 but, Ringwalt says, "insisted upon being remembered" as the record took shape; in its final form, they serve as inciting moments of self-discovery before the journey to come. "The Visionary" recalls one of Ringwalt's earliest musical breakthroughs _ her re-rendering of an Emily Brontë poem into a song at age 15 _ and, she says, "`cites' the melody of that song in the context of this new one _ a holding of the past and present and every layer in between/beyond, in utter solitude _ a solitude that reflects certain aspects of abandon as a child and an adult..." This unusually lengthy time-scale lends Strange Power! a deeply moving sense of narrative fullness. Stretches of the record _ particularly the "Judgment Day" ? "River" ? "Lilac Bloom" trifecta that form the black heart of Side 1 _ may recall familiar wanderings of personal underworlds such as Mount Eerie's Lost Wisdom Pt. 2 or Neil Young's Ditch Trilogy. Yet this hollowed landscape is in turn exorcized by the a capella "I Know," in which Ringwalt sings "I won't be gutted by you / For giving and trying to heal / I won't be gutted, I am not a fool / I deserve a love that is new" before the song concludes with a piano passage that recalls hymnal music _ suggesting a faith in life itself to offer new beginnings. Side 2 features some of Ringwalt's most powerfully introspective writing to date, as the songwriter casts off myth after myth in her search for personal transformation. By the final song, "Stories," the energy that has been gathering all throughout the record breaks loose as Ringwalt reflects: "I wrote so many stories, not knowing what the end was." But at this stage in the journey, we know there is no such thing as an ending; if the healing process is never complete, the storyteller's strange power is what finally offers liberation.

THE DYNAMICS • DRAG’N'FLY
by VINCENT HELLO.

Jamaica, 1960s. Ska artists, rock steady and reggae take back some soul songs of the United States, thus giving their versions that will in turn become future classics. The hits of the moment are also seasoned with Jamaican sauce, no matter where it comes from Original, pop, country, jazz... The rhythms of the island permanently transform the tracks of origin. In 2024, with their third album called Dragn'fly and decorated with a beautiful dragonfly (a "dragonfly" so in the language of King Tubby) the Dynamics honour Jamaican tradition and dynamite 10 versions of hits from yesterday and today. The Dragonfly spread his wings reggae, soul, funk to land in all headsets at the heart of good stereos and on spicy dancefloors. Because this dragonfly is a true superfly that speaks to the heart... and legs.

After two albums whose success led them to walk the globe of Glastonbury in Tokyo, honoured by the large elders (the first part of Lee Perry here, a regular dj support of Don Letts over there) the Dynamics are alive so their 'soul reggae vocal sound system” in front of audiences specializing in Jamaican or to those who are who were lucky enough to meet them by chance in Chemical Brothers... or Lady Gaga.

The Dynamics have forgotten the weight of ancestors to make their own recipe. They proclaim it, they are Sound System! The voices of Mounam, Steve Levi and Mr Day are in the front row, so making lovers, preachers, crooners and crooners to Turns of Duty, while Fab Master Flab all in one of the roots and futuristic echos. But if the mind is a sound system, the dynamics sounds also as a group through instruments live performances that plunge the tracks into a fervor unique. And then there are the hits, so, from all times and of all styles.
The low rider becomes toaster and leaves the road a American carried by these vocal harmonies Sky to take the exit Kingston. On the roadside, the joker delivers his lovers soft rock after a small detour to Muscle Shoal, The time to borrow a guitar from Duane Allman. In the south again, Mounam “Mrs Dynamics” meets the spirit of «Mr Dynamite» and tells him his radical, soul version. “ man’s world...” inna digital style! The spiritual anthem “you got to have freedom” by Master Pharoah Sanders becomes a universal skank, pop and dub who sends resounding high its universal message Dance! The dynamics are mutating the classic of ESG into a small, minimal pop bomb that is not without resemblance to the Neptunes of Mr Pharell Williams. On the edge of the track, Peter Gabriel sees his “Sledgehammer” groover as he does could imagine it and dissolve into sublime soul scrolls. Later, “After laughter...” soul classic celebrated and sampled Born into a rock steady air promised also to eternity. JJ Cale’s "cocaine," leaves its on the dancefloor for a reggae disco version, necessarily! And then, we must conclude. So it’s time to send an original title. It will be "Rubba Sub", to the aromas of sleng teng, which proves that far from the hits, the Dynamics deploys same layouts to deliver fresh and authentic sounds. And when the dub echoes evaporated, that the riddims have been silent, only remains an album majestic, in turn a future classic, full of unique Dynamics sound that mixes with instinct the echoes of yesterday to its own voices today.

After working within various collectives, rapper Davodka is celebrating his ten-year solo career with the album "Heritage." With a myriad of concerts in France and Europe, 6 solo albums, and features with the entire French independent rap scene (Demi Portion, Melan, Dooz Kawa, 3ème Œil, Swift Guad...), Davodka is known for his incisive words and the speed of his flow, making him one of the leading lyricists.

This new album is the heritage of the past ten years, where the artist takes a step back and captures the universe in which he has evolved, paying homage to it through music. The rapper's lyrics have never been more personal. He addresses rarely discussed topics in rap, such as his depression in the track "Arc en ciel," his relationship with his autistic child in "Enfant bulle," and his awareness of the difficulty in having completely selfless relationships as an artist in "On naît seul, on meurt seul."

"Heritage" attests to Davodka's undeniable place in conscious rap, notably with the track "Avec des mots," where he shares the mic with Sinik, an emblematic artist of the golden age of French rap. Although Sinik, a French artist with countless certifications, had announced the end of his career two years earlier, he makes an exception for Davodka and records a powerful track in homage to all those who come from the bottom.

Davodka, true to himself and his audience, primarily raps over boom bap and trap beats; however, he ventures into unknown territories, notably in "On naît seul, on meurt seul," where he adopts a ragga flow, and "Feuille froissée," with its auto-tuned chorus. He also takes the time to pay homage to the beginning of his career, when he was part of the MSD collective, by reprising a verse written at the time in the track "Les minots dorment – Remix."

Join him on October 25, 2024, to discover "Heritage," Davodka's 7th album. He will be touring throughout France, Switzerland, and Belgium, and in Paris at the Cabaret Sauvage on December 5, 2024, for the release party.

Queen’s self-titled debut album will be remixed and released this October. This is the first time that a Queen album has been remixed. Retitled Queen I for this release, the front cover’s Queen logo, originally designed by Freddie Mercury, will be updated with the addition of the Roman numeral “I”. The original album was recorded in 1972 and was released in July 1973 on EMI Records in the UK and Elektra in the USA.

Featuring the singles “Keep Yourself Alive” and “Liar”, the album achieved Gold sales in the UK and USA, and has been a fan favourite ever since.

This Collector’s Edition sees the album presented in a whole new light, having been newly mixed from the original multi-track masters, and with the song “Mad The Swine” now reinstated into the album running order in its originally intended place.

The bonus discs that complete the 6CD+1LP set include: De Lane Lea Demos (also newly mixed from the original multi-track masters for the very first time); a CD comprised entirely of previously unreleased Queen I session out-take music and dialogue; a CD of instrumental and backing track versions of the album; a live CD featuring some of the best and most interesting live performances of songs from this album (some of which are previously unreleased); and finally, a disc comprised of Queen I tracks that were recorded for BBC Radio One (including DJ announcements).

Queen I – including “Mad The Swine” – is also presented on 180g black vinyl.

The Collector’s Edition is complemented by the addition of a 108-page 12” hardback book, which features a treasure trove of rare and previously unseen photography, hand-written lyrics, Freddie Mercury’s sketches, and more.

Presented in a rigid two-piece box with fold-out poster and four photo prints

Queen’s self-titled debut album will be remixed and released this October. This is the first time that a Queen album has been remixed. Retitled Queen I for this release, the front cover’s Queen logo, originally designed by Freddie Mercury, will be updated with the addition of the Roman numeral “I”. The original album was recorded in 1972 and was released in July 1973 on EMI Records in the UK and Elektra in the USA.

Featuring the singles “Keep Yourself Alive” and “Liar”, the album achieved Gold sales in the UK and USA, and has been a fan favourite ever since.

This Collector’s Edition sees the album presented in a whole new light, having been newly mixed from the original multi-track masters, and with the song “Mad The Swine” now reinstated into the album running order in its originally intended place.

The bonus discs that complete the 6CD+1LP set include: De Lane Lea Demos (also newly mixed from the original multi-track masters for the very first time); a CD comprised entirely of previously unreleased Queen I session out-take music and dialogue; a CD of instrumental and backing track versions of the album; a live CD featuring some of the best and most interesting live performances of songs from this album (some of which are previously unreleased); and finally, a disc comprised of Queen I tracks that were recorded for BBC Radio One (including DJ announcements).

Queen I – including “Mad The Swine” – is also presented on 180g black vinyl.

The Collector’s Edition is complemented by the addition of a 108-page 12” hardback book, which features a treasure trove of rare and previously unseen photography, hand-written lyrics, Freddie Mercury’s sketches, and more.

Presented in a rigid two-piece box with fold-out poster and four photo prints

"• 25th Anniversary expanded edition available on CD and for the first time on vinyl. • Contains five previously unissued tracks recorded live, November 14, 1999 on Mountain Stage. • Packaging contains lyrics, photos, and liner notes from Peter Blackstock (No Depression, Austin American-Statesman) While gigging in Austin, Texas, in the late 1980s, Kelly Willis developed a strong fan base. Among her fans were other Texas musicians like Lyle Lovett and Nanci Griffith. Griffith introduced her to producer Tony Brown who signed Willis to MCA Records. Soon, she would find herself in the films Thelma And Louise and Bob Roberts, as well as receiving a nomination as Top New Female Vocalist at 1993’s Academy of Country Music Awards. After three records on MCA, and an EP on A&M, Willis finished her fifth release and signed with Rykodisc, who released What I Deserve in 1999. Featuring originals by Willis, three co-writes with The Jayhawks’ Gary Louris, and songs by Paul Kelly, Paul Westerberg, Nick Drake, Dan Penn, and more—What I Deserve became her highest charting album to date, hitting #30 on the Country charts and #24 on Heatseekers Albums. It is also now revered as a landmark release in Alternative Country and Americana circles—with good reason. To celebrate its 25th Anniversary, What I Deserve returns—expanded with five previously unissued live performances of songs from the album recorded November 14, 1999 on Mountain Stage. In addition to an expanded CD reissue, the release sees its first appearance on vinyl as a double-LP! In addition to the 17 tracks (appearing on both formats), the packaging contains lyrics and new liner notes from Peter Blackstock (No Depression, Austin American-Statesman), all done with Kelly’s approval. What I Deserve has always deserved another look and listen for those who may have missed it the first time—what you deserve is to lose yourself in Kelly Willis’ incredible What I Deserve and celebrate 25 years of this landmark album.
"

With "Morir en otra habitación", Wild Honey delivers a wonderful record full of emotion and warmth. Beautiful pop music that travels through an intimate moment with an unusual and touching naturalness.

It has been just over three years since Guillermo Farré, the singer and multi-instrumentalist behind Wild Honey, released "Ruinas futuras" (2021). Hailed as one of the best albums of that year, that record reflected his recent fatherhood and the exceptional circumstances of the first stage of the pandemic. Now, his new songs are the echo of a difficult and convulsive time after the death of his father.

The result is a mini-album of five songs that swing between fragility, the unexpected and the everyday. It is a snapshot that captures, as Guillermo describes in one of his lyrics, "slow motion avalanches". These are pieces charged with great emotional intensity but also full of light, driven by the expansion and openness of their exquisite arrangements.

"When I try to remember when something happened, I always think of historical events or personal milestones like moving houses, the birth of my children or the records I've made over the years. Recording an album is sort of like taking a photograph of a particular life moment and I've got used to records helping me sort out the time in my head."

"Morir en otra habitación" is the deliberate effort to document the strange and surprising feelings of that period, knowing that over the years these songs will be the easiest way to remember those months. A feverish exercise of describing in songs that journey of extremes where making breakfast for my children, explaining to them what a person's ashes are or playing the game of making a wish upon seeing a shooting star all come together."

In its vinyl edition, the album will include instrumental versions that, without the presence of Guillermo's voice, are close to the soundtracks he has recorded in recent years for film and TV.

Although Wild Honey is a project with a marked personal character, "Morir en otra habitación" has the support of collaborators close to Guillermo. Co-produced with Remate, the album includes contributions from Clara Viñals (Renaldo & Clara), Anna María Biffi, Javier Lorente and José María Rubio. In addition, Sean O'Hagan (The High Llamas) is responsible for the exquisite string arrangements, which recall Scott Walker, Belle & Sebastian or the most delicate Colin Blunstone, and Ali Chant (Aldous Harding, M. Ward, Katy J Pearson) has been in charge of the mixing.

In 2007 an Italian film festival invites Mouse on Mars to score a film of their choice. The organizers claim to be able to clear the rights for any movie the band chooses. Werner Herzog’s fictional documentary Fata Morgana, which merges footage of several desert explorations by Herzog and his team into one continuous association, has long been a band’s favorite. The film comes with a soundtrack by Mozart, Leonard Cohen, Third Ear Band and field recordings. Andi Toma and Jan St. Werner are sent a DVD to Düsseldorf and start working. The idea is to score the film in real time so instrumentation has to be readily at hand: guitar, percussion, electronics, mouth harp, pedals, software, tapes, samplers. Once the arrangement for the three-part film is sorted Mouse on Mars bring their score to stage. Herzog Sessions is performed twice: first when the band still thought the rights had been cleared, and a second time at London’s Southbank Center knowing that Herzog would have never approved a new score.

--

Mouse On Mars – London Queen Elizabeth Hall soundtracking Werner Herzog.
By Mike Diver, 24.04.2009

Filmed in 1971, Fata Morgana is perhaps not one of Herzog’s best-known works (think Grizzly Man, Rescue Dawn, et cetera…), but then Mouse on Mars have never been ones to embrace the mainstream, quietly letting their modern, experimental take on krautrock do the talking over the years, thus producing some quietly brilliant electronica that far outweighs their modest profile.

The film itself is not altogether dissimilar to the wonderful, Phillip Glass-scored Koyaanisqatsi, with sweeping landscape shots and no obvious plot or narrative, though Fata is concentrated purely in one place – in and around the Sahara Desert, switching from images of barren wasteland to desert tribes and dead, skeletal cattle.

The obvious thing to do when soundtracking such powerful imagery is to vie for dreamy electronic soundscapes which can be sustained for a long period, and whilst this ambient shoegaze approach was present and correct (also carefully constructed and highly effective), Mouse on Mars added a human element to the performance, incorporating a live dimension by using and looping guitars, harmonicas, processed vocals and even a live horn player (quite possibly a flugelhorn. Look it up if you don’t believe me) for the final section of the film.

Some of the most interesting points arose when the duo suddenly switched from solemn, ambient tones to glitchy, bouncing electro (reminiscent of their more upbeat work) whilst on the same film shot – causing the audience mood to flick from tripped-out bliss to attentive semi-wired, utterly subverting any idea of a narrative the film may have possessed. Clever stuff.

Ranging from sinister to surreal to humorous, all the moods portrayed in Fata Morgana were successfully matched by Mouse on Mars’ live rescore – no mean feat. The duo also went above and beyond the call of duty with their own soundtrack, adding a fascinating personal signature to an already unique film.

In celebration of the 21st Anniversary of this popular Christmas double album, Jeepster and War Child are releasing It’s A Cool Cool Christmas on vinyl for the first time. Originally released on November 20th 2000 as a CD only release, it will now be available on vinyl on November 19th 2021. This double album is released with colourful inners within a wide spine sleeve.

REPRESS

In celebration of the 21st Anniversary of this popular Christmas double album, Jeepster and War Child are releasing It’s A Cool Cool Christmas on vinyl for the first time. Originally released on November 20th 2000 as a CD only release, it will now be available on vinyl on November 19th 2021. This double album is released with colourful inners within a wide spine sleeve.