Cerca:into it over it

Cardinal Fuzz and Centripetal Force (North America) announce First Welcome, the eighth full length album from the ever evolving, veteran psychonauts White Manna. The album is being presented in a 500 copy vinyl pressing and will be made available for preorder on November 12th. The official release date is December 10th. White Manna's longevity as one of the leaders of the modern psychedelic movement is attributed to their willingness to introduce new elements to their sonic repertoire. Initially, these moves were subtle, but as the band has moved on through the years, these moves have become much more pronounced, always leaving listeners wondering what is in store for them as new releases are announced. So, here we are with First Welcome, an album that features warbled country leanings, airy blooms of ambience, and occasional hints of a German yesteryear, all implemented into the band's signature hazy and spacey mosaic of sound. None of these developments are unexpected, as they do build off of their previous album ARC, but here we see the band expand these elements and really make them their own. It should be noted that First Welcome is a product of the COVID era, with much of the recording happening in quarantine or while socially distanced. The band's process relied on communicating via email and sending music files back and forth. For White Manna this made the world of COVID both more fun and challenging, and they used the opportunity to get friends in different places to overdub tracks. Backing vocals and slide guitar were recorded while camping in the Mojave Desert. The saxophone was recorded in Liverpool. England. The trumpet sounds and some of the passages on the Rhodes were laid down in Northern California, and much of the vocals, piano, and synthesizer tracks were recorded in Costa Rica. As a result, the sound of First Welcome is reflective of the circumstances of these contemplative times. White Manna is recommended for listeners of everything from Hawkwind to Harmonia - and everything in between.

'It sounds like Roedelius remixing a Spacemen 3 track'

Pharoah Sanders' "Shukuru" is noteworthy as being the album that reunited Sanders with vocalist Leon Thomas, who sang on some of Sanders' most endearing and powerful compositions-- among them the legendary "The Creator Has a Masterplan".

Thomas only joins the band on two tracks-- "Mas in Brooklyn (Highlife)" and "Sun Song". The former gets a full calypso reading complete with steel drum sounds and chanted vocals traded between Sanders and Thomas. It's a lot of fun, but by and large, throwaway. The latter is one of the true gems on the album-- a pretty ballad that serves as both a launching point for Sanders' best balladry and Thomas' vocal, with the latter soaring in his upper register wordlessly between verses intoned in his trademark baritone. It's by and large simply stunning.

The rest of the record has got its issues however, and by and large this comes in the part of Henderson's synthesizer-- while his piano tone is virtually indistinguishable from an acoustic piano, several tracks receive irritating synth vocals or strings (it's really hard to tell which, it's fairly indistinct and obnoxious), mangling otherwise fine performances of traditional tenor feature "Body and Soul", Sanders-penned "Jitu" (although admittedly the leader manages such a powerful solo it gets past it) and an absolutely breathtaking reading of "Too Young to Go Steady". At least opener "Shukuru" and closing funereal piece "For Big George" are spared this as the use of synths of them are far more tasteful (although one questions Sanders' choice to intone his wife's name over the former's smokey lines, but that's another story). by Vine Voice

Glasgow's First Lady of Jazz Carol Kidd, whose string of successful Linn recordings in the 1980's have made her a staple of international audiophile artists, returns with an all-new collection of delectable jazz and pop standards delivered in her inimitably smooth and heartfelt style.

Kidd has always been an artist celebrated for her cool, controlled phrasing and easy-going balladry, and her lovely new recording, BOTH SIDES NOW, is replete with her trademark inflection and warmth spread over classic songs by everyone from Rodgers & Hammerstein, Billy Joel, Joni Mitchell, and Richard Thompson. A songwriter of note, Kidd herself contributes two new tracks co-authored with Chris Anthony.

Impex's exclusive 180-gram 33 rpm LP, mastered by the superlative Kevin Gray at Cohearent Audio, features brilliantly detailed mid-tones, effortlessly stable bottom end, and crisp overtones. RTI's peerless pressing brings it all together for your listening pleasure.

Carol Kidd is an international award winning singer. She has been named 'Best Vocalist' at the British Jazz Awards on four occasions and was appointed MBE for Services to Jazz. In 2006, Carol was a winner of the prestigious Nordoff-Robbins Tartan Clef Music Award and in 2017 she received a Lifetime Achievement Award at the Scottish Jazz Awards. Renowned for her impeccable phrasing and delivery along with an unforgettable ability to breathe fresh life into any jazz standard, Carol has cut a distinctive path through the Great American Songbook throughout her career with orchestral and trio backing, as well as performing as a unique and intimate duo with guitarist Nigel Clark.

A long line of admirers has included Tony Bennett, Vic Damone and Frank Sinatra, who invited her to open for him at a stadium concert where he remarked that, "Carol Kidd is the best kept secret of British jazz." After a sensational performance at the Tribute to Johnny Mercer show at the Royal Concert Hall in Glasgow, Sir Michael Parkinson observed from the stage that "If there is a better jazz singer out there I have yet to hear them!" Luminaries who have performed alongside Carol as her guests include George Shearing, Georgie Fame, Annie Ross, Benny Carter, Joe Temperley, Bobby Watson and Martin Taylor.

Following a battle with cancer, Carol returned to the stage triumphant in the summer of 2013 to give a powerful, emotional performance at the Glasgow Jazz Festival. In the wake of this homecoming, it is impossible to deny that Kidd is one of the most remarkable artists and performers of our time.

With its name indicative of the music's boundary-testing diversity and Southwestern inspiration, On the Border finds the Eagles leaving everything on the table and embracing a harder edge that takes the band out of more relaxed territory and establishes it as a group that knows how – and wants – to rock. Glenn Frey, Don Henley, new member Don Felder, and company immediately announce their intent on the defiant album-opening hit "Already Gone" and never look back, crafting a gem of a record that from start to finish is arguably their most consistent and balanced effort.

Limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's significance and enhances the experience for generations to come. Playing with reference sonics that elevate an effort revered by audiophiles, it provides a lively, dynamic, transparent, and intimate view of a release whose contemporary importance continues to grow. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and gorgeous presentation of the UD1S On the Border pressing befit its select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic Navajo cover painting to the meticulous finishes.

And with On the Border, there's plenty to take in and soak up. Declared by famed critic Robert Christgau as "the Eagles' best album," the 1974 set claims a rich backstory. Initially recorded amid tumultuous sessions with producer Glyn Johns in London shortly after the release of the group's sophomore Desperado set, On the Border took a new turn after the band elected to scrap most of the prior work, return to its native California, and team with producer Bill Szymczyk to give the material less of a smooth, polished sheen and more toughness. Szymczyk also afforded the Eagles more input and freedom in the arrangements, and suggested adding another guitarist to play on "Good Day in Hell." Felder got the call, and so won over the Eagles with his skills, he quickly became the fifth member of the band.

While the late-arriving Felder only plays on one other album cut, "Already Gone," his mates more than prove their muster on the remainder of a double-platinum affair that established the Eagles as a force whose range transcended the calmer country-leaning style it perfected on their first two LPs. Primarily written by Jackson Browne and shelved during the Desperado sessions due to its higher-energy nature, the throttle-twisting "James Dean" ricochets with barbed riffs and rebellious swagger. Listen without limits to how Szymczyk's raw production stamps the song with a leather-and-jeans cool befitting its protagonist. Similarly rugged, the slide-guitar-fueled "Good Day in Hell" boasts its own mean streak. And the funk-laced, boot-stomping title track cautions "don't you tell me 'bout your law and order." Throughout On the Border, the Eagles are in no mood to mess around.

Not that the band skirts sentimental territory. On one of the era's finest covers, the Eagles nail the bittersweet feelings and bring high-definition detail to the vivid scenery of Tom Waits' "Ol' '55," a song the group makes its own. The rustic ballad "My Man" serves as a tribute to the recently deceased Gram Parsons, with singer-guitarist Bernie Leadon taking the lead on the microphone as he pours his heart out to his former Flying Burrito Brothers mate. And when it comes to romance, is it possible to top "Best of My Love"? Graced with Henley's honey-dipped vocals, refined wordless group harmonies, brushed drums, and the gentle strum of acoustic guitars, the Johns-produced cut soared to Number One and set the stage for what would soon be the Eagles' reality: global dominance.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master recording. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

If it's really a post-genre world, why does everything sound the same? The two halves of Tampa rap duo They Hate Change_Dre (he/him) and Vonne (they/them)_first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listen to music differently from most people_they're sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they've been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that "encyclopedic" barely begins to cover it _ not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast's twerkably raunchy answer to house) and crank (think "Miami bass meets NOLA bounce"), but also drum `n' bass, Chicago footwork, post-punk, prog (they're, like, seriously into prog), grime, krautrock, emo, and basically any genre on the map. Once they graduated to DJs on the Tampa DIY scene _ which includes everything from punk rock house parties to the black "teen nights" that pop up in rec centers and ballrooms _ they figured out how to pull all these disparate sounds together into a cohesive style. More importantly, they figured out how to make it something people will actually move to. When they made the transition to rapping and making beats, they brought that pleasure-seeking approach to sonic experimentation with them. "With this album, Vonne says, "it's really like, okay, you know how you talk about the internet breaking down borders? Here's what that actually sounds like. It's not just a hip-hop record with a couple more weird sounds. You want homegrown DIY? This is a record that was written, produced, and recorded in a 150-squarefoot bedroom from the least cool city you could think of." Finally, New is what a truly post-genre musical landscape is supposed to be: building deep connections that transcend outdated distinctions between them, spilling over with the joy of exploration and possibility, and daring other artists to think broader, go deeper, take bigger risks. Let the rest of them keep playing by the old rules_They Hate Change will keep changing the game.

Today, Toronto-based producer Sven Lochenhoer releases his quirky two-track ‘It Knows’ EP, out now via Dirtybird.

Since 2017, Sven Lochenhoer has been a consistent character among the flock, popping up on various Dirtybird compilations and sub labels over the years. Diving into the depths of house music, Sven Lochenhoer’s ‘It Knows’ EP is reminiscent of Dirtybird’s 2005 origins. Thoughtfully produced, the EP consists of its edgy, club-centered title track and experimental downtempo companion ‘Rain Check’. Each layered with gentle piano melodies, warm basslines, and wonky vocal effects, Lochenhoer has crafted an intricate duality through this two-track project.

The rising Canadian producer first appeared on the scene six years ago. Since then, Lochenhoer has gone on to release records with such labels as Dirtybird, Trippy Ass Technologies, and Dumb Fat. Through his original productions and Splice sample packs, Sven Lochenhoer continues to earn the favorable regard of artists and aural aficionados alike.

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods . A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet , before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood's value of sound matured with a remarkably democratic and nonhierarchical approach and application. Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood's music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods , self- issued as a small vinyl edition in 1975. Where Neighborhoods , a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood's love for nature. Only recently discovered in his archives, the album dramatically expands his concept of "musical cinematography," imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood's extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world. A fascinating counterpoint to its predecessor, Back to the Woodlands brings us even closer to Hood's belief in the transportive qualities of sound; that field recordings could serve as a vehicle for the imagination and liberation, particularly for those with similar mobile disabilities as his own. Across the album's twelve compositions, the rippling instrumental harmonics - shifting between abstraction and playful melody - fold so seamlessly into the birdsong, bubbling brooks, and other environmental ambiences, that they often give the impression of having been recording within the landscapes toward which they whisper. Falling somewhere between the immersive calm of healing music and New Age, the creative field recording practices of sound ecologists world building for Folkways, and the jazz infected ambiences during Obscure / Editions EG's highest heights, Back to the Woodlands sculpts an singular proximity of music for its moment; a form of ambient sonic realism that draws the consciousness toward its surroundings as much as within. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood's Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin , with new liner notes by Michael Klausman . On behalf of Ernest Hood and Freedom To Spend, a portion of the proceeds from this release will benefit Oregon Wild, an organization dedicated to protecting and restoring Oregon's wildlands, wildlife, and waters as an enduring legacy for future generations.

Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines. Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno. Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Jalea is the affectionate term used by seafood-craving Peruvians for one of the country's signature dishes. In this jalea the menu consists of four original tracks highlighting the artist's career on one side, and four selected remixes by iconic producers from Mexico, Argentina, and Peru. Tribi arrived on the scene as digital cumbia was busy spreading its wings from Buenos Aires, soon to take over Latin America (and later the world), with Lima the next city to catch the bug. Ernesto had been DJ'ing in clubs since the mid-90s, and experimenting with Peruvian cumbia since the mid-00s, but the birth of his alias Tribilin Sound allowed him to go wholesale into his beloved chicha, reinterpreting grooves by classic Peruvian groups like La Pintura Roja, Los Titanes and Chacalón y la Nueva Crema, as well as proving to be a dab hand at a mash-up. Soon, he found himself at the heart of a like-minded community, releasing a debut self-titled album with Peruvian label, Terror Negro, and following it up with Aquí Siempre Bailamos (2014) for pan-Latin collective Sello Regional. Coming from a club background, rhythm has always been central to Ernesto's approach, his adopting of Peruvian styles never deviating from the necessity to get bodies moving, and the remixers here seem to take delight in stretching out his rhythms. Mexico's Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines; another Mexican, Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian thunder-duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno..

This compilation brings together 22 sound poems, including both pioneering and current pieces, and constitutes itself as the first great overview of sound poetry from Peru. It continues a cycle that began in 2009 with the appearance of a CD called Inventar la voz: Nuevas tradiciones orales To Invent the Voice: New Oral Traditions and was followed up in 2011 with another one called Irse de lengua [To Let It Slip], both of which contributed to articulate diverse manifestations of poetry that used technological means, also in the context of intense activity in the local scenes of experimental music and sound art that opened spaces for interdisciplinary dialogues. What we know as sound poetry is the product of a technological revolution associated with the appearance of various means of recording, transmission and amplification of the voice. A long process that took shape in the 20th century, until it became a discipline, articulated as an international movement which, based on phonetic research, expanded into a universe of oral/vocal artistic practices as part of a new technological context. The recordings gathered here comprise a time frame that goes from 1972 to 2021. We find poems that work with montage techniques, either because they explore simultaneity or juxtaposition, such as those by Mario Montalbetti, Frido Martín, Florentino Díaz, Carlos Estela, Luisa Fernanda Lindo, Macri Cáceres, Rodrigo Vera Cubas, Tilsa Otta, Giancarlo Huapaya/Omar Córdova, Virginia Benavides, Lisa Carrasco and Luis Alvarado. Others emphasize vocal/oral performance: we find the phonetic poems of Carlos Germán Belli and Eduardo Chirinos, as well as the concrete conceptual poems of Michael Prado, Sandra Suazo, Peru Saizprez, and the oral/guttural poem of Omar Aramayo. Finally, we find another group of pieces where the poem starts with the creation of a computational parameter or algorithm, as is the case with the pieces by Jorge Eduardo Eielson and Enrique Verástegui, eventually reaching the use of Artificial Intelligence as in the poems by Francisco Mariotti and Paola Torres Núñez del Prado. The Verbal Matter: An Anthology of Peruvian Sound Poetry is part of a series produced by Buh Records for Centro del Sonido, a website set up as a digital archive of Peruvian experimental music and sound art. The compilation has been made by Luis Alvarado and is published in a limited edition of 300 copies in vinyl format. It includes extensive notes and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez.

CoOp Presents is incredibly proud to present an all-new compilation album put together by Allysha Joy. This 14-track LP gives us a solid glimpse into the current wave of Antipodean bruk / broken beat artists.

Allysha explains "the connection began with a guest mix for CoOp Presents Worldwide FM radio show. I was asked to guest on the show, so pulled together some heavy unreleased and unmastered "Australian" broken sounds. I immediately called Horatio, Close Counters and Setwun, some of my nearest and dearest inspirations and collaborators to get them in the mix! Within 24 hours I had a brand new beat from Setwun called 'H.B.Y', I ran up some vocals on a Close Counters track and landed a wild jazz-bruk collaboration called 'Fly' from Horatio Luna and Nikodimos! We all felt really blessed to be linking in with some of the innovators of the sound we love!

Also in the mix, I played a track by Lanu a.k.a Lance Ferguson, one of "Australia's" funkiest songwriters and producers. Mike Gurrieri and Chris Gill over at Northside Records had already been scheming to set Lance and I up on a music date for weeks, which turned into writing 'Rewind' . Lanu, along with Ennio Styles, have been integral in the broken beat sound down here from the early 2000s and they connected Jonny Faith in to bring 'Southern Stepper'.

After linking in over the music and working on some collaborations, Alex Phountzi and IG Culture asked me to put together this compilation. The first person that came to mind was Sampology. A wild ride of shifting harmony and incredible vocals, Sam delivered 'Sunny', featuring Maia. Also of Middle Name Dance Band acclaim and a beaming light of creative energy, Kuzko created 'Immunity' for the comp — their debut solo release!

Also up in Meanjin, Special Feelings and Squidgenini were making their own style of jazzy house music and we absolutely knew that they would kill it on the broken beat tip. They sent through 'On Heat' and 'Prophecy' respectively, and inspired me to write and produce 'Listen'. A track about the struggle to be heard as female and non-binary artists. A hard-hitter mixed by co-collaborator Yelderbert of our new duo project, Totek.

As my brother and the one that first introduced me to Agent K, I knew we had to get Ziggy Zeitgeist up in the mix! He immediately sent over a bunch of tunes, and from alongside all of the 30/70 Collective demo drum loops and fresh Z.F.E.X sounds, we selected 'Bruk Samba' featuring Cody Curry, the CC Dance Orchestra.

I had managed to pull together a bunch of tunes for the compilation and after a studio session one afternoon I was walking down Sydney Road and bumped into Silent Jay, Alien and A.KID a.k.a. ACID SLOP at their new spot, the Mandarin Dreams HQ. We were just chatting and above Jay's head I spotted the New Sector Movements record, 'Download This'! To see that they'd just been spinning this record felt so serendipitous, so I had to ask them to be on it! Acid Slop sent me through a tune literally the next day, called 'Everything Falls Apart' and within the week we got 'Walk Away', from Lori and Silent Jay. It felt complete.

The way that this music just effortlessly and lyrically fell together, is a testament to the broken beat undercurrent that runs within the jazz and dance music scene down-under. 'They're Energised' connects a scene of deeply talented and inspired musicians, collectively shaping the new wave of uniquely "Australian" bruk and broken beat music!"

'They're Energised' is released mid-November 2022 on double vinyl and digital worldwide via CoOp Presents.

Needwant Records arrive with the latest in their ever-evolving roster showcasing the sounds of underground city life, proudly presenting label newcomer NATE08's kaleidoscopic debut LP, 'Furaha'.

London-based label Needwant Records have been tirelessly advancing dance music's esoteric fringes for well over a decade, with their immaculately curated catalogue routinely moving dancers and garnering respect and plays from the industry's most revered tastemakers. Here, the newest recruit to the label's glittering line-up, Mumbai-based musician, producer, and DJ, NATE08 brings forth his breathtaking inaugural album.

Equally adept as a producer, session bass player, and genre-spanning selector, Nathan Thomas has become an irrepressible force in India’s blossoming underground music scene. The Mumbai-based musician’s solo project, NATE08, treads the groove-oriented territories of funk, r&b, and house – with his elegantly spun productions firmly rooted in dance music's glorious heritage while imbued with a future-facing production gloss.

Title track 'Furaha' blissfully sets the tone for what's to follow, with dextrous Latin guitar gliding over intricate percussive waves as heavenly chords fill the sun-kissed panorama. Upping the energy just a touch, Azamaan Hoyvoy's honeyed vocal enlivens the summer haze of 'Trigger Fool', arriving over evocative chords and laser tight four/four rhythms to create a stunning slice of low-slung future house deepness.

The funk-flecked bump of 'Bunker' sees Nathan's bass mastery arrive in full force, with spirited slaps propelling misty chords and sublime guitar licks across a loose-limbed beat. Continuing the horizontal sensations, the captivating chord progressions of 'Hold Up' soar over thick, rolling bass notes and shimmering synth swells.

Lead single 'Sunrise Sundown' is a stunning example of NATE08's organically spun deep house prowess, with Jitwam's soul-drenched vocals cascading over succulent chords and dancing synth melodies as smokey beats and pulsating bass cement the heads-down groove. Next, hypnotic fusion guitar refrains soar over lively percussion and gentle pads for a life-affirming Balearic voyage, maintaining the carefree spirit while enlivening the senses as the arrangement heads for the horizon.

The 'Let's Go To Ibar' interlude makes way for the mesmerising deep house flex of 'Want You', where Megan Murray's yearning vocal provides the seductive hook as acidic bass notes bounce over glistening chords and propulsive beats. A prime example of NATE08's futurist intentions arrives in the form of r&b-meets-house hybrid 'Feel It', with Lojal's striking performance flitting between searing soul and street-ready swagger powers over an intoxicating, organ-infused bed.

The forward-thinking two-step rhythm of 'Cold Muse' sees broken drums drive emotion-heavy chords and bewitching guitar licks over sensual bass, before closing track 'Primrose' sees the album home with a fitting flourish. Here, Naisha's heartfelt vocals sail across an ocean of glassy chords and staccato synths, with kinetically charged congas enlivening the groove as the magnetic bass adds body to the celestial instrumentation.

Originally released 2020 on cassette and digitally.

Forged alone in a cave on the island of Java, and recorded in a fortress in Poland, Antonina Nowacka’s “Lamunan” is an intimate exploration of a mysterious darkness and the earliest of musical forms. Nowacka has co-created raw electronics and audiovisuals as half of WIDT and the enigmatic Mentos Gulgendo, but her solo practice focuses solely on the voice’s inherent connection to mental states, its ability to speak wordlessly, and the apparatus of speech itself – leading her to a six-month trip to study traditional music in Indonesia.

A day trip to visit a Javanese volcano turned into days of exploring, Nowacka eventually stumbling across a cave. “Rarely does anyone come there because Indonesians are afraid of the dark and the cave is poorly lit,” explains Nowacka. “I could sit there and sing for hours without feeling the passage of time.”

Hours spent in the dizzying darkness and echoes of Seplawan Cave produced a series of unaccompanied vocal motifs. Moans, chants, hums, and wordless cries met with the multi-million year-old facades of the stone walls. The freely flowing compositions seem forged from the same natural material as that stone, carved into shape by nothing but water, time, and solitude.

Upon returning to Poland, Nowacka recorded with Rafal Smoliński in the cave-like sonic conditions of the Modlin Fortress some 50km north of Warsaw. The intimate and surreal sound of the cave is recreated, Nowacka overlapping multiple vocal lines to create delicately interwoven chamber choral pieces, musically minimalist and emotionally maximalist. The album’s title – "Lamunan" – comes from the Indonesian word for ‘dreaming’ or ‘fantasy’.

Everyone’s favourite Israeli digger is back for another round of gloriously rare edit heat on RNT!

‘Baila’ gets the party started with infectious flamenco chants and claps over a churning acidic groove, and ‘Disco Hummus’ rounds out the side with a bit of joyful disco cheek.

On the flip, ‘Sun’ turns an unlikely cover of a classic into an Afro Disco banger, and ‘Simba’ rumbles and rolls with restraint toward a hypnotic peak of brass and vocals.

Elado has done it again…Mazel Tov!

Less than a hundred miles inland from the capital city of Lima lies the great Peruvian jungle, an untamed land of impenetrable forests and endless winding rivers. In its isolated cities, cut off from the fashions of the capital, a unique style of music began to develop, inspired equally by the sounds of the surrounding forests, the roll of the mighty Amazon and Ucayali Rivers, and the rhythms of cumbia picked up from distant stations on transistor radios. With the arrival of electricity, a new generation of young musicians started plugging in their guitars and trading in their accordions for synthesizers: Amazonian cumbia was born.

Powered by fast-paced timbale rhythms, driven by spidery, treble-damaged guitar lines, and drenched in bright splashes of organ, Amazonian cumbia was like a hyperactive distant cousin of surf music crossed with an all-night dance party in the heart of the forest. While many of the genre’s greatest tracks were instrumental, and others were simple celebrations of life in the jungle, the goal of every song was to keep the party going.

Radio stations in Lima remained unaware of the new electric sounds emanating from the jungle, but a handful of pioneering
record producers ventured over the mountain passes to the cities of Tarapoto, Moyobamba, Pucallpa – even Iquitos, a city
reachable only by boat or plane – and lured dozens of bands to the recording studios of the capital to lay down their best
tracks. Although many became local hits, few were ever heard outside the Amazonian region … until now.
With eighteen tracks from some of the greatest names in Amazonian cumbia, Perú Selvatico is both the improbable soundtrack
to a beach party on a banks of the Amazon and a psychedelic safari into the sylvan mysteries of the Peruvian jungle.

I'm talkin' about Beatmasters, but not the late 80s crew that saw collaborations with the Cookie Crew etc, I'm talking about the legendary Bristol beatmaster Boca 45 who has mastered, honed and polished his creative techniques and his distillation of beat making over the last 25+ years. Born out of hip hop and rooted firmly in the Bristol scene of Massive, Wild Bunch, and Portishead, Boca 45 aka Scott Hendy has successfully navigated an ever changing musical landscape with an unwavering connection and honest adherence to those very roots and ethics. It's what makes Bristol such a special place for art of all forms in the city, a DIY, earthy and passionate sound and vision that runs through all the artists that call Bristol home.
And so it continues with Boca's only 45 release this year in ‘22. It’s strictly Limited to 300 copies on High Quality Yellow wax with each copy stamped & numbered.
On this Bomb Donut he teams up with NYC Native Tongue OG Bam of The Jungle Brothers on hype vocals duties for 2 dancefloor burners.
The A side '(Do It) Fluid' goes straight for the jugular with an immediate phat rubbery bassline that precedes a beat that charges and swings between 4 to the floor and wild breaks. Everything else within the track is supporting that drum & bass, heaping bucket loads of flavour into the mix. And to make it even more tasty, the arrangement is a clear 'DJs Choice', eminently cut-able, mixable, and double up-able! The intention of this (and the flip) is most definitely to stick 'nasty faces' on everyone on the dancefloor.
So if you weren't already bleeding from a torn jugular from the A side, then the B side is going to do some serious damage to what is left of your vascular system. Picking up the tempo with a heavy-duty breakbeat that drives ever forward, 'Another Dimension' is peppered with fuzzed up riffs, Bam's hype vocals, and spacy flourishes. The result is a blistering dancefloor nugget heavily laden with urgency and vigour that DJs, dancers and breakdancers alike will be seriously wigging and poppin' out to. Ultimately these are classic Boca productions, full of the energy and verve we all know and love, honest, funky, raw, they have it all.
Both tracks are a step up from cut-and-paste, yet that ethic is loud and proud throughout (and has been a trademark of Boca's beats over the years).
It's perfectly reasonable to predict that this 45 will be going straight into the play crates of DJs across the world. And you can quote me on that.

Deniz Cuylan set out to explore his own distinctive sound on his 2021 solo debut album 'No Such Thing As Free Will.' The album signaled the Turkish musician's first bold step into the spotlight following a winding 15-year path in the music industry playing in multiple bands with home bases dotted all over the globe - Stockholm, NYC, Istanbul - and tackling a wide array of styles both on the stage and in the studio. Now settled into his current home in Los Angeles, Deniz lends his instrumental talents to create scores for independent films and recurring Netflix original series, yet these projects inevitably fulfill the sonic backdrop for another artist's vision. Looking inward on his own for the first time, 'No Such Thing As Free Will' laid the groundwork for his own personal soundtrack, one that fused his love of classical guitar, introspective jazz, and ambient expressionism with his whimsical compositional ear. Over a magical 6-track journey, 'No Such Thing As Free Will' painted a lush cinematic narrative with Deniz's guitar as its guide, delivering an album that "seems to invent new languages for the guitar" (The Guardian) and receiving glowing comparisons to legends like Steve Reich, The Durutti Colum's Vini Reilly, Glenn Branca, and Bert Jansch. With such a singular foundation exposed on a debut album, many artists would stay true to their inventive winning formula and find out if lightning could strike twice. Deniz is not one of those artists. An explorer at heart, Deniz unveils a beautifully alluring and lightly adjusted language on his mesmerizing second album 'Rings Of Juniper.' The record continues to spotlight Deniz's exquisite guitar work and hypnotic compositional skills, yet it boasts a punchier, refined, and more immediate tone right from the start. Accented by a desire to once again uncover a new shade of his sonic palette with the support of a talented cast of friends and artistic collaborators, 'Rings Of Juniper' lays bare a rich, dynamic, and evocative sound that Deniz lovingly refers to as Mediterranean Minimalism.

Portland's premiere purveyors of kraut-inflected party rock return with an
album's worth of tunes crammed into an extended playing set
The eponymous lead track bursts out of the gate with ebullience. Lee Ritter's
rhythms and Cord Amato's riffs fit comfortably in the space where Kraftwerk left
off and DEVO began. "Artificial Head" may be about a Fleshlight, or it could be a
paperback sci-fi-derived weed fantasy. You could listen to Møtrik while sober, but
why would you do that? Next up is the measured and groovy "Castle Electric"
which features a dialog between bassist/vocalist Erik Golts and a sexy computer.
His German is easily as good as her English and one wonders how the night
ended after she switched the lights "auf." Side one completes with "Unifox" built
up from a Dave Fulton synth composition into a full- fledged Møtrik track, this
being the first time the band has bucked its contrarian vision of a band that jams
in its own professional recording studio yet refuses to produce itself. "Outer
Reaches" is the patiently awaited sidelong epic. The contemplative and
exploratory scene begins with chirrups from an analog swamp, then slowly rises
through the hazy pastel atmosphere on a crystalline bubble before blasting off
into full- fledged Floydian outer space psych. As always, Møtrik colors between
the lines, applying its overall aesthetic to rock music, which is to say it's the
FORTRAN approach to basement partying. Artificial Head is just what your body
needs to feel complete. Pressed on Light Green Color vinyl.

James Taylor's best-selling record since 1970's hallmark Sweet Baby James, the triple-platinum JT takes its permanent place as one of the singer's most enduring albums — an affair that gorges on country, blues, and rock styles as well as incisive songwriting. As the pre-eminent singer-songwriter's Columbia debut, it catapulted Taylor back into the limelight and re-established his place as the era's leading-edge folk-rock troubadour.

Sourced from the original analog master tapes and pressed at RTI, Mobile Fidelity's numbered-edition 180g LP possesses a warmth, immediacy, and intimacy absent from other pressings. The singer's comforting voice, breath control, and enchanting guitar lines sound as if they pour right out of the studio control room. Similarly, the splendid array of backing instrumentation is balanced, vivid, and dynamic. Taylor should always sound this realistic, warm, and lively.

More than any other of his records, JT features all sides of Taylor's lyrical persona. Optimistic, content material fills half of the 1977 set while Taylor reveals a darker, moodier identity on a number of songs that keep the 12-track set alternating between shade and light, shadow and sun. He turns romantic and blissful on the touching ballad "There We Are," praises the power of love on "Your Smiling Face," and enchants with the graceful "Secret O'Life."

In addition to channeling domestic bliss, Taylor expresses surprise and cynicism on "Honey Don't Leave L.A.," delves into despair on "Another Grey Morning," and invites sardonic tones on "Bartender's Blues." The result is a complete picture of an extraordinary songwriter and an accurate sketch of the mixed emotions many of us feel when it comes to romance. Taylor's ability to capture deep-seated feelings and set them to lyrical and musical poetry explains why we relate to him on such a meta-level. It's also why his music, including JT, remains timeless.

Taylor doesn't do it all alone. JT benefits from an all-star support cast. Carly Simon and Linda Ronstadt supply background vocals, saxophone great David Sanborn plays the horn, Russ Kunkel mans the percussion, and arranger David Campbell oversees the strings and woodwinds. It's no wonder why many fans consider this gorgeous collection of Laurel Canyon pop-rock Taylor's finest.

Whether you've never heard this record or know it inside and out, this reissue will open your ears to previously hidden details ranging from pedal-steel guitar accents to honky-tonk tonalities. Taylor's funky rhythms, too, gain in stature, as does his command of pace and tempo.

"Now comes Analogue Productions' 180-gram double 45 RPM reissue sourced from the original Island master tapes sent over from the U.K., cut by Kevin Gray at Cohearent Audio, pressed at RTI and housed in a laminated gatefold "Tip on" jacket complete with "pop up" band. The packaging is exquisite! Only word for it. AP couldn't get permission to use the pink label so it uses the green Chrysalis one. ... if the goal was to duplicate the original pink label Island sound, this reissue misses that, which is good because this new double 45 reissue is far superior to the original in every possible way. The tape was in great shape, that's for sure. Clarity, transparency, high frequency extension and especially transient precision are all far superior to the original. Bass is honest, not hyped up and the mastering delivers full dynamics that are somewhat (but only slightly), compressed on the original. Ian Anderson's vocals are naturally present as if you are on the other side of the microphone. Most importantly, the overall timbral balance sounds honest and correct. But especially great is the transient clarity on top and bottom. ... Best of all, as the title suggests this album "stands up" to time. It hasn't lost a thing musically, lyrically or sonically. Highly recommended!" — Music = 9/11; Sound = 9/11 — Michael Fremer.

Jethro Tull's second album, Stand Up, marked an early turning point for the band with the addition of guitarist Martin Barre along with Ian Anderson's introduction of folk-rock influences to the group's blues-based sound.

Released in the summer of 1969, Stand Up rose quickly to the top of the U.K. Albums Chart, and eventually earned gold certification in the U.S.

Stand Up was the first album where Anderson controlled the music and lyrics, resulting in a group of diverse songs that ranged from the swirling blues of "A New Day Yesterday" and the mandolin-fueled rave-up of "Fat Man," to the group's spirited re-working of Johann Sebastian Bach's "Bouree in E Minor." In a recent interview, Anderson picked Stand Up as his favorite Jethro Tull album, "because that was my first album of first really original music. It has a special place in my heart."

Now with our 45 RPM release, plated at QRP and pressed at RTI, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Clean, balanced, richly detailed. Just the way an Analogue Productions reissue should sound. You'll experience Jethro Tull classics such as "Bouree," "A New Day Yesterday," "Look Into The Sun," "We Used To Know," "Fat Man" and the rest with a new appreciation for the Grammy-winning progressive act's musical skill and innovation.

Classic Black Vinyl repress in soon note new price. LP with DL card. “a songwriter testing the limits of her sound and redefining herself in the process” - Pitchfork // “Rundle’s voice floats above the seething morass, graceful and triumphant, an angel welcoming the apocalypse” Stereogum // The cover to Emma Ruth Rundle’s fourth solo record, On Dark Horses, bears a blurry photo of the songwriter obscuring her face with a large toy horse with broken legs. The photo suggests something candid but also hidden, graceful but also fractured a fitting portrait for an artist who has established a career by vacillating between shrouding herself in mystery and exposing her wounds to the world. The first peek behind the curtain came with her Sargent House debut Some Heavy Ocean, where layers of distortion were excised in favor of acoustic guitar and Rundle’s beguiling vocals. There was a distinct difference by the time Rundle released Marked For Death, a stark and deeply personal meditation on mortality and self-destructive behavior. Her entire musical trajectory from the cinematic instrumentals of Red Sparowes to the lush haze of Marriages and onward through her solo career seems like a gradual disclosure of intimate secrets. With On Dark Horses, Rundle doesn’t shy away from uncomfortable realities or retreat into a private world, but it does capture an artist who has survived their personal nadir and come out stronger on the other side. Taking the full arrangements of Marked For Death on the road demanded a backing band, which Rundle pieced together from tour companions first Dylan Nadon from Wovenhand and Git Some and later Evan Patterson and Todd Cook from Jaye Jayle. Rundle’s budding romance with Patterson prompted a move to Louisville, Kentucky, which not only amplified the equestrian themes of the record but also yielded a new writing process. “This the first time I haven’t played all the guitars on my own record,” Rundle says of Patterson’s contributions to the writing process. “It was stressful letting go but it was also rewarding.” The collaboration worked both ways, with Rundle contributing to Jaye Jayle’s No Trails and Other Unholy Paths. That album’s “Marry Us” mirrors On Dark Horses’ “Light Song”, with the union of Rundle’s siren vocals and Patterson’s poised baritone conjuring a dizzying and feverish update on the duets of Johnny Cash and June Carter. The eight tracks of On Dark Horses capture the evolution of Rundle as an artist, with vestigial traces of the savvy guitar work of Electric Guitar: One, the siren song beauty of Some Heavy Ocean, and the amplified urgency of Marked For Death all factoring into the album’s rich tapestry. Rundle arrives at the end of the album with an ode to a traumatized and heartbroken friend on the grand and triumphant “You Don’t Have To Cry”. After laboring over the majority of the material for the album, she wrote the finale in one sitting, describing its easy birth as a gift from the gods. It’s a fitting closer, a song announcing Rundle’s newfound hope and reminding us to take control during our darkest moments instead of succumbing to them. Track Listing: 1 Fever Dreams 2 Control 3 Darkhorse 4 Races 5 Dead Set Eyes 6 Light Song 7 Apathy on the Indiana Border 8 You Don’t Have to Cry