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Two *limited edition* 160-gram classic black vinyl LPs (pressed by Smashed Plastic in Chicago) inside a heavyweight reverse-board single-pocket jacket with poly-lined inner-sleeves. Vinyl Only. No digital, no represses.

Tempo Records brings you another new sublabel called TempoSubs. Here we bring Brazilian DJ Andy and he describes the tracks his own words: "A: somente se alcana a sabedoria com ao. AA: a disciplina te leva onde a motivao no pode te levar." meaning something like "Change your mindset".

This beautiful crafted crystal clear limited edition vinyl 12" comes in a new designed Tempo Records high quality "Kraft" outer sleeve and a beautiful innersleeve. All tracks mastered by Stuart Hawkes of Metropolis Mastering, London.

This is a high-octane tribute to jungle, footwork
and bass beats, with a BPM that rarely drops
below 150BPM and studded with names key to all
genres.
 It respects both the birth of the scene, with
inclusions like the late legend DJ Rashad and
former footwork dancer RP Boo, as well as its
current locality, pointing to a trio of uber cool US
producers in New York’s AceMo and Kush Jones,
and Miami-based duo INVT.
 Fellow Londoners Tim Reaper and Worldwide
Epidemic take in the latest of the UK scene, along
with label Time Tunnel who deliver remixes of
tracks from the glory days of rave.
 Driven, proudly black, gay and outspoken,
SHERELLE co-runs the established jungle label
Hooversound, while 2021 saw her launching new
label Beautiful, a platform for supporting black and
LGBTQI+ artists.

20 YEARS OF MUSIC FOR MARCEL ODENBACH

Richard Ojijo’s music for the films of german video artist Marcel Odenbach not only underscores and accentuates the imagery and motion, but also serves to propel the narrative too. The compositions are auditory distillations of the visual and create a synergy between music and image that draws the observer ever deeper.

With Odenbach’s and Ojijo’s collaboration now entering its 3rd decade, Ojijo was recently inspired to revisit and remix some of the themes contained within the extensive body of work.

— Matt Karmil, Aug 2021

Die Musik von Richard Ojijo für die Videoarbeiten des Künstlers Marcel Odenbach sind eindrucksvolle Beispiele dafür, wie Klänge Filmbilder nicht nur untermalen oder deren Wirkung atmosphärisch verdichten können, sondern neben dem Visuellen ein gleichberechtigtes Eigenleben entwickeln, das auf das Gesamterlebnis des Films zurückwirkt: plötzlich auftauchende innere Bilder oder Assoziationen, die das Gesehene mit noch größerer Komplexität und Mehrdeutigkeit versorgen.

Wenn sich etwa in „Innerer Sicherheit“ oder „In stillen Teichen lauern Krokodile“ sphärische Flächen und Soundeffekte ausbreiten, erinnert dies zuweilen an elektronische Stimmungen der späten 90er Jahre, obwohl die Thematiken der Filme in gänzlich andere Richtungen weisen. Dabei wird nie der Spannungsbogen der filmischen Dramaturgie vernachlässigt. Vielmehr kommt es zum Wechselspiel von dienender und freier Funktion, in dem die Musik nicht nur ihre schöne, sondern – den Themen der Filme angemessene – beunruhigende Wirkung ausbreiten kann. So tauchen wie aus dem Nichts Stimmen auf oder Geräusche, etwa von Stiefeln in „Beweis zu nichts“, die parallele Narrationen auf die Audiospur legen, um die zum Teil bedrohliche Wirkung der Bilder zu verstärken und womöglich Bereiche des Unterbewussten zu berühren.

Die Zusammenarbeit von Ojijo und Odenbach dauert mittlerweile über 20 Jahre an. Ojijo hat nun seine Arbeiten für die Filme Odenbachs neu zusammengestellt und neu gemischt. Die Platte erscheint im Herbst 2021 aus Anlass der großen Odenbach-Retrospektive im Düsseldorfer K21-Museum. Dort werden auch sieben Videoarbeiten zu sehen sein, von denen fünf in Zusammenarbeit mit Richard Ojijo entstanden sind.

— Michael Kerkmann, Aug 2021

Richard Dawson is the diminutive Geordie troubadour
whose moving songs have been described as state-ofthe-nation addresses, even - or perhaps especially -
when he’s singing about pre-medieval peasants. Circle
are the genre-straddling pioneers of The New Wave Of
Finnish Heavy Metal, known for wearing spandex or
dead fish onstage and singing in a made-up language.
 Together they are… Richard Dawson & Circle! ‘Henki’
is their epic joint record. It might seem a departure to
those who are most familiar with Dawson from recent
solo albums like 2017’s ‘Peasant’ and ‘2020’ (released
in 2019). In fact, ‘Henki’ fits comfortably into the bigger
picture of two acts who have always strived for
uninhibited originality.
 Easily the greatest flora-themed hypno-folk-metal
record you’ll hear this year, ‘Henki’ adds an electrifying
new chapter to the remarkable story of each act,
marking the beginning of a beautiful partnership.
 CD in printed inner wallet with 12-page booklet.
 Double LP in printed inner sleeves plus digital
download card.

Green Smokey Vinyl Repress

Giving form to a broad personal project of continuous inquiry and existential expression, A World Of Servicemarks the Ostgut Ton debut of Spanish producer, DJ and artist JASSS aka Silvia Jiménez Alvarez.

The evolution of A World Of Servicehas curved around genre collapsing and unexpected metamorphoses. Formerly the name of the monthly radio show JASSS hosted in Berlin, and soon to be the title of her expansive multi-sensory touring concept in collaboration with Ben Kreukniet, here A World Of Serviceis powerfully concentrated in sonic form. Throughout the album JASSS muses on the especially current human and technological barriers to interconnectivity; both lyrically and musically she deconstructs the self, unmasks anxieties and interrogates the insufficiencies of language as applied to gender, identity and interpersonal relationships. Forming her own fluid, nuanced lexicon in response, JASSS seeks a deeper understanding of her multiple selves, emerging through unbridled adolescent rage and the wisdom of maturation, traversing liminality with abstract electronics and baroque industrial pop. Visually this is underscored by Matt Lambert’s uncanny floral cover portraiture, as well as the record’s distinct scent of wet earth, flower and woods developed for the album by Meri Bonastre and applied to the vinyl innersleeve.

Following the imaginative nostalgia of Weightless, her 2017 debut album for iDEAL Recordings, as well as her series of blistering dancefloor 12”s for Whities/AD 93, A World Of Servicefolds personal and societal concepts in on themselves, not seeking answers but rather luxuriating in the unique friction that questions create. JASSS is intensely focused yet musically unbridled; this is reflected in tonal shifts of A World Of Service. Through the computerised yearning and bruising of a heartbreak on “Luis”, to the jagged and wordless tundra of “Vapor Dentro”; the intriguing juxtaposition of warm, alluring Spanish vocals against rigid pillars of industrial heft and bass grind (“Camelo”), and the soaring maximalist industrial popof the album’s closer, “Wish.”

As intensity rises through the pandemic-era trip hop of the album’s title track “A World Of Service”, JASSS sings: “Pleasure / Is nowhere to be found inside this world of service / I call to be my life.” Pleasure may remain elusive to her, but in the determination to make peace with her various identities in this technological age, JASSS offers a compelling glimpse into an essential type of artistic voice.

The Berliners present an unusual live album that is a testimony of strange times: their Phanerozoic concept album performed live in its entirety at a time when no shows were happening anywhere in the world. 3 LPs / 2 CDs plus DVD and access to HD video download and streaming. Phanerozoic I was streamed live from Pier 2, a big hall in the port of Bremen, on March 25, 2021. Phanerozoic II, recorded at "Die Mühle" studio, aired on April 16, 2021 as part of the digital edition of Roadburn Festival, this year abtly named Roadburn Redux. Both shows couldn't have been more different: where the first part boasts with a pompous, mesmerizing lighting production on a big stage, the 2nd part is quite the opposite: intimate, almost cosy, focused on musicianship rather than performance. A stripped down setup in a dark barn, with moody, minimal but not any less efficient lighting. "We wanted to give people 2 totally different experiences", says band leader Robin Staps. "In Bremen, we had the chance to record a proper Ocean live show, the way people know us. We played facing towards the front of the stage, to an invisible crowd, essentially to a huge empty room_ but we knew people were watching, even if we didn't see them. There was the same rush of adrenaline right before going on stage as you get before going on at any big open air festival_ maybe with a little extra anxiety added, because knowing that so many people are watching you without being able to see them yourself was super weird." This release is yet another master class of record packaging from Norwegian artist and long term friend and collaborator, Martin Kvamme: the trifold is made from thick, rough and incredibly fibrous cardboard, adorned with a filigrane copper foil embossing of a bitmapped live fotography from the Bremen event. It contains 3 vinyl records in printed inner sleeves or 2 CDs, plus a DVD and a concert ticket with a streaming and HD video download link to both concerts.

2LP in printed innersleeves.Mattias De Craene flirts with musical boundaries at the intersection of minimalism, ambient, jazz and free improvisation. Like a one man orchestra he takes the listener on a dreamy and slightly conjuring journey.

Following up on 2017's phenomenally received 'All Right' / 'Innerspace' single on BMTM, Tim Reaper returns to the label with two gorgeous slices of cruising atmospherics that hark back to the seminally lush sounds of Lucky Spin, Dee Jay Recordings and early Good Looking Records.

'Stand Up' layers Demon's Theme-esque strings over hypnotically alternating chords, while submarine beeps deliver head-nodding rhythms over the shuffling breaks and bumping bass lines. If the words 'Speed' and 'Mars Bar' mean anything to you, you should listen to this immediately.

'The Tranquility Track' takes us into more melancholy territory, with filtered Steve Reich-style marimba loops and haunting pads dancing over the vintage break edits for which Tim Reaper has become famous.

Strictly for those who understand the power of a mesmerising groove.

Underground coldwave duo The KVB are back
with their most potent and immediate record yet.
Produced and mixed by Andy Savours (Black
Country New Road, My Bloody Valentine, The
Horrors), ‘Unity’ represents an exciting
development in the band’s sonic journey.
 Across the album’s ten songs, The KVB
masterfully pull together their trademark
components; radiant guitars, textural synths and
an ear for a moody, brooding melody all presented
here with a renewed dynamism.
 Throughout the album, lyrical themes combine
double meanings and a sleight of hand is present;
Le Corbousier’s brutalist ‘Unité d’habitation’
informs the title track and via the French-to-English
translation ‘Unité’ becomes ‘Unity’ - a rallying cry to
totality on the dancefloor. ‘Unbound’ is informed by
the classic shoegaze stylings of Slowdive and Ride
but also late-modern poet Keston Sutherland and
the idea of recreating a special moment lost to the
past.
 Black vinyl, housed in a deluxe spined sleeve with
the vinyl itself housed in a double sided printed
inner sleeve. Comes with digital download card
included

GENRE: Modern Classical, Experimental, Ambient Metal. RIYL: György Ligeti, Sarah Davachi, Stars Of The Lid. 180g LP pressed at Optimal, 350gsm jacket, inner & DL card. Jessica Moss Also Known For Her Tenure In Thee Silver Mt. Zion (2002-2015), Black Ox Orkestar (2002-2007), Recordings By Vic Chesnutt, Carla Bozulich, Arcade Fire, Basia Bulat, Roy Montgomery, Sarah Davachi, Big Brave & More. A phosphene is “the phenomenon of seeing light without light entering the eye.” The title of the heart-rending and resolute new album by composer/violinist Jessica Moss could not be better chosen. Moss is by now a seasoned practitioner of immersive isolation music; across three previously acclaimed solo records of minimal and maximal post-classicism, her acoustic, amplified, and electronically-shifted violin is the raw material for deeply expressive, palpably haunted, wholly committed compositions. But Phosphenes inscribes fleeting halos of refracted ghostly light out of a prevailing darkness with especially plangent determination and intensity. This is the most overtly searching, mournful and inexorable music Moss has made to date. The pieces on Phosphenes exquisitely navigate consonance and dissonance, building patiently from single notes to multiple voicings, harmonic stacks and clusters. These compositions channel themselves like slow-moving water in a dark cave, finding small eddies and catching glints of luminescence from within. Signal processing is kept to a minimum in the three-movement “Contemplation” suite on Side One, where Moss deploys amplification chiefly in the service of activating overtones and pitch-shifts, thickening and widening the sonics, carving out her unique timbral space. Based on a four-note sequence that sets whole tones against one another, “Contemplation” is a bona fide requiem that finds Moss at her most instrumentally naturalistic, measured, and modern. Side Two unfolds in a more foreboding vein: “Let Down” is marked by cavernous octave-dropped arco and pizzicato, providing a gothically-inflected substratum upon which hauntingly wordless vocal invocations and cumulative gyres of violin melody unfurl. “Distortion Harbour” grinds with noisier grit and a more harrowing complexion, highlighting Moss’s ambient-metal sensibility and her distinctive palette of industrial-inflected power electronics a reminder of why she’s also been a go-to player on albums by the likes of Big Brave, Oiseaux-Tempête and Zu in recent years. These two songs also feature upright bass from old friend and former bandmate Thierry Amar (Godspeed You! Black Emperor, Thee Silver Mt. Zion, Black Ox Orkestar). Album closer “Memorizing & Forgetting” is inarguably the most tender and beautiful song in Jessica’s oeuvre: a keening lullabye of sorts, on which she plays piano, violin and guitar, joined by her partner Julius Levy in a lustrous ambient vocal duet. Everyone has been trying to find a way through and out of pandemic, lockdown, social isolation and often darkened hope and for many musicians, the absence of touring, of live performance, live sound, live audiences, and a living. For Moss, it’s also been “like when you press your fists hard against your eyes and eventually there is fireworks.” The light gets in where it can, even or maybe especially as imaginative sensory simulacra (if/when we shut down our screens and are left to our own devices). Phosphenes is a stoic, acutely sensitive, superlative musical statement from Moss

White Splatter Vinyl

LIMITED ICE BLUE VINYL

On Delta, a dozen artists across four continents freely interpret Fountain across a double LP, again featuring Donna Huanca’s surreal artwork, and the unearthly graphic manipulations of Nufolklore Studios. Remaining faithful to Fountain’s presentation, Lyra’s curation reflects her commitment to stylistic diversity, with the old guard and the next wave alongside each other. Where some artists chose to rework existing works, others composed new material from fragments found across the record. The results showcase the very themes of wordless identity conflict and technological concerns that Lyra and her foremothers have projected.

the limitless highs of Sigur Ros and the steady pulse of The Knife. KMRU cloaks Lyra in a hazy film, soundtracking the depths of space embedded within the ghosts of jungle past. Gabber Modus Operandi expose the realities of artificial nature in a multicoloured rave dystopia. Eris Drew’s double opus takes the tenets of her philosophies into both ambient and peaktime expressions of the trip, the things that lead to the decision before, and the portals that can open up after.
Ben Frost dissolves Cradle’s deep and tremulous hymn in analogue warble, distressed tape spooling out of control and breaking up over the heavens, while remaining oddly serene. Heaven In Stereo conjures up post-rock with trap drums out of Gossip, buried in bass weight and dub space. Nailah Hunter and Tygapaw transform New Moon into an earthbound ode to nature and a pounding trance state induction, while Caterina Barbieri and Hudson Mohawke extract and amplify Tendril’s mind and soul. Vessel takes what feels like the entire album and builds it up to a frantic climax before subsuming into Enoesque pastoralia.
Alongside Delta, Lyra has collaborated with Spitfire Audio to develop Siren Songs, a free plug-in for their LABS series made from playable samples from Fountain, able to work across DAWs in multiple formats. By removing barriers to access, the listener can craft their own responses to the album’s themes, or use its language to express their innermost feelings in their own works.
Life and society emerge where water tessellates over land and provides fertile soil. The chances of evolution that made them interact as they did could have had meaningful environmental consequences had things developed differently. For Lyra Pramuk, that fertile geology provides the ground for her albums. Fountain was that burst of water and swell of energy that propelled her to critical acclaim. Delta is a new take on a traditional remix album, centred on transgenerational dialogue and global storytelling, and will be released again via Iceland’s Bedroom Community label. Projecting Fountain through prisms, wordless songs fractalize into lush creations that blossom with new life.
The ability to have such sheer diversity of material in one place is thanks to the global increase in accessible technologies, fueling an explosion of creativity and genre exploration that was thought of as unthinkable in our lifetimes. Like its namesake, Delta is a point where creative flows meet and triangulate, where global and personal folk histories are presented in novel ways, where transcultural collaboration is celebrated, where many worlds emerge from the depths below.
RIYL: The Knife, Spacetime Continuum, Lorenzo Senni, the soundtrack to Planete Sauvage, 3:45 AM by the front left speaker, 7:45 AM as light pours in and everything winds down.

French producer and remixer Nicolas Laugier aka The Reflex is a name synonymous with supreme remixes and reimaginings of disco, soul, funk and dance classics. This brand new and essential double-pack sees Laugier take on some of the immense Salsoul catalogue, lovingly reworking classics alongside deep digs from the seminal NYC disco labels vaults. There's something for every dancefloor occasion here with Inner Life, Metropolis, Leroy Burgess and Aurra all getting The Reflex touch. These new versions are more than just re-edits, these are proper remixes utilising master stems, session tapes and the original spirit of these incredible recordings. It's no wonder The Reflex's 'revisions' have found themselves in the hands of tastemakers, DJs and hardcore record fiends alike! You need these....

These brand new mixes have been mastered with love, care and respect for Salsoul / BMG. Artwork and design courtesy of Al Kent / Million Dollar Disco. Worldwide manufacture and distribution courtesy of Above Board distribution, 2021.

Prodigal son of the ESP Institute, Juan Ramos, rises from the cesspool of a world gone mad with 'Agua Del Cenote', his fifth release with the label. Whilst many artists are following their inner light to bring us some much needed joy amidst these rotten times, Juan (being the little shit that he is) follows an inner demon and delivers listeners and dancers a demented clusterfuck of sadistic chaos. The title track opens with what sounds like a butane torch and we metaphorically freebase into oblivion. Our perception of reality unravels, writhing in abrasive textures smeared across a low-slung, mid-tempo erotic thump. Everything feels blurry and distant, as if we’re swimming through an underground aquatic tunnel, in a panic, searching for an invisible band of spirits whose tune summons us into certain annihilation. Following this is a remix from a decorated lord of 20th Century electronics, Harald Grosskopf AKA The Synthesist. Harald wipes away grit and lethargy to reveal elements hidden deep within the mix as well as softens Juan’s sense of terror by building up to an optimistic layer of added synth. We’d love to offer some relief with the balance of the EP, however, the remaining two tracks paint complimentary hues in the same cerebral palette. 'Let It Go (Freaks Only)' veers closely to House in terms of tempo and gestalt, utilizing a vocal sample from Third Generation (Kerri Chandler) and a healthy dose of sub bass, but Juan hardly apologizes for his masochistic tendencies and certainly never relents into an uplifting mood. Closing the EP, Juan serves an antidote of sorts with 'Cuko', as if suggesting a way out of the swamp, but leaves it up to the listener’s intuition to not only see the carrot, but actually follow it into the light, thus completing the quest.

IDLES return with their new album, ‘CRAWLER’, an album of reflection and healing
amid a worldwide pandemic that stretched the planet’s collective mental and physical
health to the breaking point.
 Frontman Joe Talbot says: “We want people who’ve gone through trauma,
heartbreak, and loss to feel like they’re not alone, and also how it is possible to
reclaim joy from those experiences.” IDLES albums have always been anchored by
these overarching themes, but the ability of the band to juxtapose beauty and rage
with humour and drama has never felt more satisfying than on ‘CRAWLER’.
 These stories are vividly brought to life through IDLES’ most soul-stirring music to
date, recorded with co-producers Kenny Beats (Vince Staples, Freddie Gibbs) and
IDLES guitarist Mark Bowen.
 Previous album ‘Ultra Mono’ was Number 1 album in the UK, with over 35k sales
week one.
 Huge 2022 January UK tour including five Brixton Academy dates, three at Glasgow
Barrowlands, two at Manchester Warehouse and more. Over 20k UK tickets sold in
the first hour of release.
 Three high budget music videos, written and directed by LOOSE (Lucy Hickling,
Stink Films).
 CD in digipak packaging.
 Deluxe LP mastered at half-speed (45rpm), pressed on deluxe heavyweight 180g
black double vinyl and housed in a gatefold jacket with printed inner sleeves.
 Eco-Mix coloured vinyl LP housed in a single-sleeve jacket and printed inner sleeve.
Eco-Mix vinyl production uses leftover wax that’s already in the factory, meaning
each record is different and the colour is completely random and unique.
 Standard black vinyl LP housed in a single-sleeve jacket and printed inner sleeve.

Five years after the release of "Je vous dis" in 2018, Geins't Naït and L.Petitgand's second album from the "Mind Travel" and "Make Dogs Sing" collection on the German label "Offen", the duo are now writing a new chapter in their story with this fascinating poetic tale. The same mysterious and heady atmosphere which characterises the two musicians is present in this new work but clearly they have never ceased refining and polishing their sounds to give their compositions even more power and depth. Geins't Naït and L.Petitgand here offer twelve new tracks with names as enigmatic as the title "Like this maybe or This" itself and the record's whole universe. In reality, these mysterious names lead us to let ourselves be taken to the deep meaning of their creation. The subject matter is certainly difficult to grasp and invites us on an inner journey while leading us to doubt and question ourselves incessantly. There is a perfect alchemy between these two artists though this was far from self-evident as they come from two very different schools. Thierry Merigout, who is now the only representative left from the late 80's experimental project Geins't Naït in Nancy, comes from the post-industrial scene. As for Laurent Petitgand, he is a pure melodist who is best known for his work as a composer of music for films and live shows and has collaborated with Wim Wenders and Paul Auster in particular. "Like this maybe or This" is a fully accomplished symbiosis between Geinst Nait's industrial and experimental tonalities and the celestial melodies of Laurent Petitgand. "Shape of the storie" starts the album with a bewildering atmosphere which mixes a sample of a guttural voice with cavernous resonances thus prefiguring the album's general atmosphere. However, while some tracks like "HAC" fuel our existential anguish, other tracks have a poetic and melancholic tonality which touches our deepest humanity. This is the case of "Dustil" whose subtle piano notes combined with the melancholy violin show us a sublimated world. This fascinating blend of violence and gentleness makes this record an atypical work which enables listeners to lose themselves in an emotional nebula where they can perceive the turbulence and also the intensity of our inner life.

Shovel Knight began as a modest, yet highly promising Kickstarter project in March 2013. Billed as “a groundbreaking love letter to 8 bits!” by Indie developer Yacht Club Games, this 2D side-scrolling platform game released in June 2014 to universal praise and accolades.

Fans and industry professionals praised Shovel Knight for its charming retro-2D visuals, humorous story, fun characters and strong gameplay design, which all came together to offer a game that is nostalgic yet very modern. The efforts of Yacht Club Games paid off when Shovel Knight was won the prestigious “Best Independent Game” award at The Game Awards 2014. The game’s chiptune soundtrack, composed by Jake Kaufman and Manami Matsumae, is integral to the game’s modern-retro identity and has been similarly praised for its outstanding arrangements, memorable melodies and strong technical composition. This definitive soundtrack contains all music from the original Shovel Knight game released in June 2014, with a vinyl tracklist crafted by Jake Kaufman himself. The package cover and inner-gatefold have been designed exclusively for the soundtrack by Hitoshi Ariga; an interview with co-composer Manami Matsumae; and character artwork from the game.

"To make this concept a cohesive whole, Hybrids took a couple of years to compile. It reflects a certain shift in my sound, where I've try to maintain a constant balance between experimentation and efficiency - surprise, technique and playability... It's a highly functional object crafted from a subversive standpoint, breaking the rules while following them all. Auto-referential musical artifacts blend into composite shapes, and ultimately manifests into five exercises in style, trespassing traditional boundaries of genre, tempo, and (good) taste. While this record probably expresses an inner conflict at the intersection of hypermodernity and conservatism, I hope it accomplishes, at least, its primitive function-to put the body in motion."
- TENEBRE