Cerca:into

Valentina Goncharova's fundamental conceptual musical work released in full uncut form as part of Hidden Harmony Lost Tapes series (HHLTS01). Restored and mastered from the original 6.3 mm analog tapes. A large-scale work comprising eleven parts of varied, brooding, mystical reflection in which the author alters the instrumentation to fit both programmatic and musical character of each section.
Includes a 12-page booklet, which detailly explains the album's conceptual basis, background and creation context, and provides insights into unique sound recording and technical solutions adapted during the album recording in 1988. Created and written with direct involvement of V. Goncharova and I. Zubkov.

From the Liner notes:

"My task is to allow the listener to penetrate deeper into the music. The music is wholly improvisational. It has no concept in the rational sense of the word. It’s concept is purely intuitive. It presumes The Law of Analogies: “As above so below. Man is the same as the Universe. The Universe is the same as Man.” ("Emerald Tablet” by Hermes Trismegistus"). This intuition is a kind of rephrased logic which uses many more symbols which contain not only philosophical but also imaginative meanings/ visionary interpretations.

This music is a stream of consciousness in its purest form: not an imitation of a stream, as in the ‘suggestive poetry’ of the 20th century, but a stream where one flow is superimposed on another (a multilateral passage of recording). And, if we think this flow of music will be better understood under the influence of a verbal flow, then the verbal flow should also be more intuitive and associative, as objective for this short write-up you are currently reading.

Ocean did not appear within the coordinate system of logical scientific thinking of the last four centuries. It can be said that it is based on an intuitive concept of representations of the world which are captured in music figuratively. Similar to how myths were created in time immemorial with only partial support from verbal associations. Ocean is an experience of passing the Human Soul and Mind through the different states of the material world: birth, development, and achievement of perfection, transformation at the points of The Way and Silence, the manifestation of the harmony of the world (Om), which until then had remained in a latent state. It is averse to both mainstream contemporary physics and fringe scientific research. It exists outside their explanatory power.

Ocean is the source of all forms that can receive their life within time and space. Here it is. It has everything: beautiful and terrible, good and evil, self-sacrifice and betrayal. Boundless love and inspired creativity. But contact does not happen immediately. The memory of a bygone civilization is still fresh, and of the dearest things left with it."

Written, performed and produced by Valentina Goncharova
Composition A1 to C4 recorded in Kose subdistrict, Tallinn, Estonia (Recording period August-October 1988)
Composition D1 recorded in artist´s home studio in Lasnamäe subdistrict, Tallinn, Estonia (Recording period May 2021)

repressed !


For the Shango EP, producer Waajeed transitions from downbeat to upbeat on the latest release from his DIRT TECH RECK imprint with three choice cuts ranging from the millennial Blaxploitation vibes of the title track to the orgasmic, angular funk that is “Better Late Than Never” and “Winston’s Midnight Disco.” Merging the electro sounds of his native city with the pulsating drums of his native land, Waajeed taps into African roots in reclaiming the dance music that is his birthright as a son of Detroit.

Echoes of this summer's 'Shango' still shimmer through systems as Detroit's Waajeed continues to make good on his promise: to 'put paint where it ain't.'

After years of soul, funk and hip-hop explorations as a founding member of the Platinum Pied Pipers (among many other innovative escapades) and, most recently, a soulful remix of Amp Fiddler on Kenny Dixon's Mahogany Music, Waajeed is building on the fresh line of house grooves he commenced this summer. His first pedigree dancefloor tracks in almost 20 years, he taps directly into the source and builds with his own soulful bricks. It's working, too; DJ-wise he's playing alongside Moodyman, Mr. Scruff and Carl Craig this fall, while 'Shango' has enjoyed heavyweight support by The Black Madonna, Carl Craig, Jackmaster, Gilles Peterson and many notable selectors.

'Accosting Form, Pure Intent" - Nathaniel Young's new album for Mysteries of the Deep - is a contradiction that makes sense. At once raw and elegant, it emerges from a place of constraint and desire. Its individual tracks reflect this paradox as the album unlocks itself like a koan: a riddle that, once solved, dawns on the listener like an epiphany.

Metallic emanations in "Communal Dysphoria" and "Comfort in Form," interpolated with echo and reverb, arise from the void and disappear back into it, moving like scattered precipitation over rugged, rhythmic terrain. Certain tracks speak to certain influences: in "Extrasolar" and "May I Speak Candidly," drone is tempered by synth pads and wistful ambience. "Zion Waits for No One" brings to mind a sense of the Chthonic: a dark, primitive creature submerged. A monster from the loch that at times breaks through the still, watery surface.

Despite the assorted elements at work, a visceral quality binds everything together. Even the record's more subdued works are textured and tangible, at times balancing or playing against the serrated edges of its more structured pieces. Like all compelling works, the sounds here exist in a liminal space that is not entirely classifiable. Still, it is wholly cohesive in both its moodiness and its adeptness.


Releases on Umor Rex, Blankstairs, Phinery Tapes, Hospital Productions

Repress incoming...

Far Out Recordings proudly presents Milton Nascimento's Maria Maria. Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, Maria Maria reveals one of Brazil's greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including 'Os Escravos De Jó' and 'Maria Maria'.

Originally released in 2003 as a double CD package, with Milton Nascimento's 1984 follow up ballet soundtrack Ultimo Trem, Maria Maria will be available on vinyl for the very first time from December 2019, with Ultimo Trem set for vinyl release early 2020.

Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song 'Canção do Sal (Sultry Song)' at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. He began his musical career as a young teenager, singing in a crooner style he learnt from listening to Brazilian singers and US groups such as The Platters on the radio. Hungry for more opportunities to perform, Milton moved to Belo Horizonte, the capital of Minas Gerais, at the age of twenty. By the beginning of the 60s Milton had made a name for himself both as an accomplished singer and guitarist.

Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Together these four wrote and produced what would become Milton's milestone album, 'Clube da Esquina (Club on the Corner)'. The originality of 'Club da Esquina' shaped the local scene, and it reflects the essence of 'the Nascimento Sound'. Milton's religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz and rock.

In 1976, Milton and Fernando Brant teamed up with a new contemporary dance company called Grupo Corpo, whose Argentinian choreographer Oscar Araiz, would become a collaborator with the two musicians. Together, they conceived a show based on the composite life story of the daughter of a black slave called Maria. Nascimento wrote music to Brant's lyrics and "Maria Maria" was premiered in the main theatre of the Belo Horizonte Palacio das Artes that year. "Fernando wrote the lyrics for the ballet, but there were originally no lyrics for the theme song, "Maria Maria'". Milton and Fernando worked on the lyrics together, basing them on folk stories about black women of the countryside. Adds Milton "These memories are mostly things that we witnessed – Fernando and I – rather than what we experienced ourselves.

Milton's music is impressionistic, emotional and romantic. Relying on songs without lyrics as well as evocative vocalizing and choruses, Milton experimented heavily with Afro-Brazilian percussion and taped jungle sounds. His composing method for these recordings was highly unconventional: "I wrote the music for 'Maria Maria' in a tiny Rio apartment with friends and their kids running around and having fun! I love to be in noisy places, surrounded by people", he says.
The music on 'Maria Maria' was performed by an impressive group of young musicians who are today household names in Brazilian music, including Naná Vasconcelos (percussion and effects), Toninho Horta (guitars) and Paulo Moura (sax). Several vocalist including Naná Caymmi, Fafá de Belém, Beto Guedes, and Milton himself, had hits in years to come with reworkings of these songs.

Milton says his compositions follow his visions "like a movie", and he believes that reflects his long love affair with cinema. "I only began composing because of enjoying the movies so much," he says. "I wrote my first song "Peace for the Coming Love" after seeing 'Jules et Jim' (the cult 60s French film directed by François Truffaut), with my friend Marcio Borges. We went early in the morning and watched it four or five times in a row, then went to Márcio's home and wrote the song."

The songs also include solo spoken passages set to music, clearly influenced by this style of French art cinema. On the title track, Maria's story is narrated and translated to music through the use of African Percussion, drums and metal signifying the field slave tools of the day. 'Trabalhos (Works)' runs to work rhythms and whipcracks: no words, just pain. 'Lília' documents the beating of the slave woman. After 'A Chamada (The call)' and the triumphant 'Era Rei e Sou Escravo (I was a king now I am a slave' things begin to turn and Milton employs tropical jungle cries to symbolize freedom. 'Santos Catholicos x Candomble (Catholic Saints vs Candomble)' represents the battle between African and European religions through the music of both sides. Milton's heavenly falsetto pours into 'Francisco' and 'Pai Grande (Great Father)' and the outstanding 'Eu Sou Uma Preta Velha Aqui Sentada no Sol (I'm an old black lady, sitting under the sun)' conjures images of an old woman sitting deep in the forest, her memories painted in drums, piano and voices.

“Still Lives” is the third solo full length by the Finnish composer Marja Ahti, following a pair of releases on the Hallow Ground imprint. As a collection, it may be seen as a series of studies on the liminality of the listening act and an investigation into the physicality of sound. Ahti forges vivid electroacoustic environments from field recordings, analog synthesizers, acoustic feedback, magnetic tape and digital processing, resulting in a set of articulate, prickly, and surprising compositions. In the artist’s words, “These pieces could be conceived of as vanitas paintings of a kind – selections of mundane or archetypal objects, sounds that have their own distinct qualities, but exist only by virtue of being temporary events. From another angle, one could think of them as shrines – objects assembled and set in a particular relationship to each other, charging each other in their given constellations.” Marja Ahti (b. 1981) is a musician and composer based in Turku, Finland. Originally from Sweden, Ahti has been a part of the Finnish experimental music scene for more than ten years in different constellations. She is currently active in the duo Ahti & Ahti with her partner and as a member of the Himera artist/organizer collective.

Coming hot on the heels of his debut on Distant Horizons, London breaks-master Yosh joins the core label family with a killer 4-tracker on Lobster Theremin.

As one of the most recognisable names from the emerging UKG re-rise (it never went away, y’know), Yosh has developed a reputation for dutty 2-steppers and screw-face breakbeats designed to delight and devastate the rave.

‘My Fire’ is a jungle-influenced cut of broken breaks - malfunctioning, soulful and electric - the perfect accompaniment as day turns to night, the atmosphere loosening as it does. A sun-setting stepper brimming with v i b e s.

‘Hold On’ sees Yosh venture towards his traditional garage territory - low-swung percussion, wubby stabs and ambient dreamscape aesthetics spraying contemplative thought patterns into the air as we sway from side-to-side, before ‘I Feel’ reignites the junglist inspiration with its rumbling bassline, bouncing breaks and underground energy.

We reach our climax with the most ‘heads down’ cut on the record; ‘Outa Sight’ maintains that light and dark sensibility that has become such a staple of Yosh’s productions, simultaneously taking us from moments of sweaty intenseness to moments of blissed-out ecstasy.

Yellow Vinyl

Parisian producer DJ Atlance follows up an appearance on Happiness Energy’s various artist compilation late last year with five sun-soaked house cuts on Running Out Of Steam, just in time for January coming to an end.

‘Le Club, La Nuit’ gets things underway with a sample-heavy slice of early evening house music; funk-driven basslines, radiant atmospherics and a distinctive Atlance, hip-house bounce hold the door for the listener as they venture further into the dimly lit room. ‘When I Hear Your Voice’ throws it back to the 00’s with its MTV-pop-dance blend of catchy vocals and murder-on-the-dancefloor energy.

‘Eternal Sunshine’ is as radiant as the title would suggest; a bright sequence ofsaxophones, jazz-keys and feel-good warmth that we wish would never come to an end, before Atlance shows what he would ‘Do For Love’ on a synth-bending, playful cut of coastal house music.

‘After The Storm’ maintains its housey aesthetic, but this time on an electro-tipped 2-step; instantly recognisable vocal samples, dreamscape aesthetics and meditative breaks uniting on a blissed-out trip.

While awaiting the release of Dignity Of Labour, The Ex headed back into the studio in early 1983; this time with a new friend – The Mekons' Jon Langford – helping produce.

Originally released in April 1983 (only a month after Dignity Of Labour), Tumult marks a major evolution in Ex-sound. Opener "Bouquet Of Barbed Wire" emerges snarling out of post-punk atmospherics with Terrie Ex's glacial guitar, Bas Masbeck's loping bass and cascading tom-toms from new recruit Sabien Witteman, while "Fear" and "Survival Of The Fattest" bring to bear the rhythmic core of the band, their signature angular style.

Lyrically, the songs on Tumult cycle through a series of familiar concerns: animal rights, squatters, the working class, punk's penchant for radical chic and the creeping fascism of nationalist sentiments. G.W. Sok's voice is squalling and perfectly wry throughout.

Tumult remains a high-water point of early Ex, serving as both developmental guide and way-station. The next 18 months would see the departure of Bas and Witteman and the arrival of long-serving bassist Luc Klaasen and drummer Kat Bornefeld (whose supple rhythms propel the group to this day). The album stands as one of the most compelling and unique documents of early '80s DIY exploration. If Mark E. Smith had only one favorite Dutch punk band, then it would undoubtedly be The Ex.

This first-time vinyl reissue comes with 28" x 39" full-color poster

It’s been a long way. All seems to blend naturally with ‘A Long Way’, the debut album from Parisian duo Jacques Bon & Drux.

Jacques is a long term friend, who was running the Paris branch of the Smallville record store for 13 years (2006 – 2019). He made himself a name also outside of Paris as a DJ and with music released on Giegling, Kann, Mule Musiq and of course Smallville. Jacques shares his studio in Paris with Vincent Drux, a producer and sound engineer, who recently started his own imprint Cabale Records. Both got together naturally in the studio for hour-long sessions to craft an album together. House music at its most meticulous form.

First, as a short form, in which every track captures another time zone of the dancefloor experience. And then as longform, as a whole album with a narrative that combines futuristic aesthetics, classic ethos and human warmth.

From the rolling percussion and windy-city style bassline of opener ‘Distant Voices’, with its cut yet longing distant voices, through deepy, dubby and raw ‘Celeste’, the haunting synths of ‘Mirage’; The snares that arrive mid through ‘Space Ways’ and launch into another level; ‘Radiance’’s Techy vibe ride; The late night chords and peak time beat programming of ‘Your Wings’; And then final couple stick the landing with enough energy, deepness and beauty - ‘Elevate’, which channels Bon and Drux’s inner Fred P, and ‘Sandstorm’, a mastery percussive tale with a long, repetitive chord that opens and closes, teases until it disappears and remains nothing but a whispery dying effect.

Words by Niv Hadas


All Tracks are written, produced and mixed by Jacques Bon & Vincent Drux

Like the MIMIKOTO project’s previous albums, also “Blackbird’s Philosophy” can be described as a symbiosis of jazz with electronic music and other styles of groovy stuff.

On this album the electronic elements melt into the acoustic sounds and rhythms on a quite subtle way, while the acoustic patterns partially adopt styles of electronic music reminding of deep house, ambient and Detroit house.

Jazzy Rhodes, bass, drums and sax solos performed by jazz-rooted musicians like Darius Blair, Uli Schiffelholz, Johannes Schwarting and Justin Zitt, play a more important role than on former releases and bring nuances of funk, modal jazz, free jazz and bebop to this album.

With Fabio Kumori’s string orchestral sound created with upright bass, effects and looper in the track “Notes from Kirishima”, even elements reminding of classical music and atmospheres from soundtracks become a part of this album. These elements merge with rhythmic sound arpeggios of analog synths and vibraphone, which create a maybe unknown style of new music.

On the last track of the album, namely on the track “Blackbird’s Philosophy (Part II)”, you hear the soulful and expressive voice of Noomi Mae Coleman, who joined the MIMIKOTO crew in 2020.

The MIMIKOTO project was founded in 2019 as a collective of musicians related to jazz, funk, soul and electronic music, after a certain period of composing and playing as duo, trio and quartet

Introducing Cutcross, created to champion the melting pot of bass-centric sounds teetering around 140 bpm. Heading up the concept is Sicaria Sound, a DJ duo who since their inception set out to explore and expand on the possibilities of these sounds whilst spotlighting underground artists. Cutcross is therefore their next step in supporting the forward-thinking music that they've drawn for when curating sets.

For CXT005 we've curated another compilation EP - "With The Sonant" - stitching together a collectively hazy set of tracks yet each with their own vocal deviations. Epoch's long coveted "2-Door Subaru" is the explosive opener, followed by two distinct approaches to trappier terrains via Woven Thorn's "Loveless" and "Try Me" by zns before descending into the dub-diving murky waters of Soukah's "Don't Care".

West coast new romantic icon Riki returns with her 2nd simulacrum of pitch-perfect synth-pop, aptly titled for the precious substance it is: Gold. Inspired by notions of symbolic power, letting go, and transmutable realms of the heart, the album further refines her rare gift for making swooning melancholia as anthemic as it atmospheric. Working with Telefon Tel Aviv co-founder Josh Eustis at his Pasadena studio, the sessions unfolded fluidly and fruitfully, focusing on “quieter moments” and refining the record’s palette and voice. Occasional interruption from a nearby flock of wild parrots infused a mood of California dreaming, purple sunsets dissolving into deepening neon night.

The roots of Naima Bock’s music are far reaching. Born in
Glastonbury to a Brazilian father and a Greek mother, Naima spent
her early childhood in Brazil before eventually returning to England
and various homes in South East London. This heritage combines
with more recent pursuits in Naima’s music. From the Brazilian
standards that the family listened to while driving to the beach, to the
European folk traditions she tapped into on her own, and the pursuits
that interest her today - studies in archaeology, work as a gardener,
and walking the world’s great trails - Naima’s music draws from
family, the earth and music handed down through generations.
 Naima’s debut album, ‘Giant Palm’, is undoubtedly infused with the
Brazilian music of her youth and regular family visits. She found
inspiration in “the percussion, the melodies, chords - and particularly
the poetic juxtaposition of tragedy and beauty held within the lyrics.”
 By the age of 15, Naima was embedded in the music scene of SouthEast London, eventually forming Goat Girl with school friends and
touring the world. After six years playing bass in Goat Girl, Naima left
the band to try something new. She set up a gardening company and
started a degree at University College London in archaeology
because, as she jokes, “I liked being near the ground.” During this
time, she wrote music, played guitar, learned violin, worked with evershifting South-London collective Broadside Hacks, and met producer
and arranger Joel Burton through Memorials of Distinction labelhead
Josh Cohen. Joel’s burgeoning interest in Western classical music,
global folk music, and experience in large scale arrangement and
orchestration informed the collaborative process that eventually
culminated in ‘Giant Palm’.
 Recorded with the help of over 30 musicians (including Josh Cohen
on synth / electronics) by Dan Carey of Speedy Wunderground at his
studio space in Streatham, South-East London, and engineered by
Syd Kemp, the songs on ‘Giant Palm’ represent a snapshot of a
specific feeling, of brief moments in Naima’s life that make up a larger
whole.
 The expansive yet delicate arrangements highlight Naima’s love for
the collectivist values of traditional folk music, in which songs belong
to everyone, and singing can take on countless forms without the
need to exactly replicate something. “All the other representations
that I’d had of singing felt so unattainable,” she recalls. ‘Giant Palm’
finds Naima bucking these expectations to let her unique voice and
sense of communal creativity flourish.

Can it really be just be over a year since Yard Act
exploded into the national consciousness with their
debut EP ‘Dark Days’, released via their own Zen
FC imprint? Yard Act have gone on to be one of
2022’s defining artists with the release of their
debut album ‘The Overload’, and their rise has
been as entertaining as it has been meteoric. And
as well as touring the world and smashing sales
records, they’ve still found time to continue Zen
FC, releasing acclaimed 7”s from Baba Ali and
Benefits.
 Being the budding record industry moguls that they
are, they couldn’t bear to see the ‘Dark Days’ EP
languishing out of print. So they commandeered a
Danish pressing plant and rudely shoved their way
to the front of the queue, picked a new colour
(silver in honour of ‘The Overload’ finishing second
in the Album Charts) and rushed through a repress
in time for the summer. And while they were at it,
they sorted out a run on the format of the future –
the noble cassette.
 So there you have it: while you’re thinking about
putting ‘The Overload’ at the top of your albums of
2022, you can enjoy the EP of 2021 all over again.

"Astro's death came as such a shock, and I'm still reeling from it,” comments Ali. “This album is now more poignant and special than either of us could have imagined when we were recording it. Astro heartbreakingly passed just two weeks after we'd finished the final mixes, so this is a way of keeping his memory alive.”The follow-up to 2018’s A Real Labour Of Love – which debuted at No.2, the highest charting album by any incarnation of UB40 since 1993's Promises And Lies, and spent a month in the Top 10 – Unprecedented is fueled by the roots rocking spirit that powered UB40's original incarnation, and is an album to inject a little reggae sunshine into even the darkest days.Recorded in studios in London and Jamaica in between lockdowns, the album is a collection of songs that Ali and Astro have loved for many years by artists they admire such as Steve Wonder and Kris Kristofferson alongside self penned tracks that were inspired by the pandemic and the state of the UK at the moment.

Camp Trash seemingly burst out of nowhere with their debut EP Downtiming at the beginning of 2021, armed with catchy riffs and infectious vo- cals that earwormed their way into your head and wouldn’t let go. It landed on several prominent playlists from NPR, Stereogum, and the cover/ feature track of Spotify’s official editorial list, ‘Fresh Finds- Rock’.

“Oberst and company have eectively crafted a searing punk fueled half-hour funeral march for both small-town life and the days when you were more likely to hear the words mom and pop than multinational corporation. At the record's core, there is a sense of great disillusionment with watching the cold, calculated displacement of human interaction and community while the world tries to fill the void with money and chain stores.” - Tiny Mix Tapes

“Desaparecidos is like nding gold when you're looking for silver.” - Exclaim!

2022 nds us releasing the 20th Anniversary Edition of Desaparecidos' Read Music/Speak Spanish into a world in which the dread and disenfranchisement detailed throughout the album feel as pertinent today as they did then. The characters and settings may have changed, but the startling narrative has not.

In late 2001, Conor Oberst, Denver Dalley, Landon Hedges, Ian McElroy, and Matt Baum spent a week at Presto! Recording Studio in Lincoln, NE recording a punk album. That debut album, released in the post-9/11 fog of early 2002, screamed out observational commentary on urban development, the sacrice of human value for the dollar bill, and the new American Dream in a way that felt distinctly out of sync with the hyper-patriotic atmosphere of peak G.W. Bush-era America.

8 years after his debut album entitled "What You Give", it's time for the Greek musician's second long player! No doubt, this is Bengoa's most mature work to date and a product of countless studio hours. Pushing his electronic sound forward, the Greek musician, dj, songwriter and label owner, delivers an outstanding 9-track LP, floating between trip hop, nu-jazz, mid and downtempo motifs. The extensive use of physical instruments like saxophone, trumpet, guitars, piano, percussion and bass add musicality and deepness to the whole record, on which Bengoa has also written most of the lyrics himself. "Music For Your Red Parts" flows like an undercurrent of nervy isolation and late night melancholy, toying with the emotional structure of it's own sound. Songs that signal something memorably, indelibly and hypnotically sexy, without talking about sex. Music that you feel - strong, soft and filled with emotion. It wants to meet you in your deepest parts. It will play games with you, fill you with sorrow, or send you into a deep reverie. out now through SAOS RECORDS.

Midland are an American country music trio. Having released an EP last summer en route, Midland’s Cameron Duddy, Mark Wystrach and Jess Carson are on the verge of arriving at their ultimate destination with The Last Resort: Greetings From on May 6 via Big Machine Records. The trio spent the pandemic exploring their creative depths, from progressive Country that grew out of “Urban Cowboy” through Dwight Yoakam’s post-traditionalism and arrive with their third studio album. As Midland’s “Sunrise Tells The Story” rises at Country radio, the two-time GRAMMY® nominees dial in their Laurel Canyon-cum-Bakersfield sound for a tension that also promises release. Falling harder than the singer imagined throughout the spicy hook-up song, melting harmonies lean into a more erotically charged proposition. RADIO: BBC Radio 2, BBC local stations (session on BBC Radio Ulster), CountryLine's 'Artist Of The Month', Absolute Radio Country, Downtown Country, Smooth Country PRESS: Entertainment Focus (5* review), Building Our Own Nashville (5* review), Maverick, Americana UK, RNR Magazine, SW London Magazine, country specialist outlets Socials: TW: 62.3K, FB: 307.9K, IG: 276K, TikTok: 91.5K

The second single from the Nicole Willis album Happiness in Every Style opens up the promised spectrum of joy into new ecstatic states. One In A Million is an unapologetic love song, which while connecting to this most traditional mode in soul music, also makes it correct for the dancefloor. Connoisseur terms such as 'crossover' or 'modern soul' might prove to be accurate here, but a membership in the soul scene is not mandatory to get down.

The main thing is that this up-tempo horn-driven groover, propelled by The Soul Investigators (as the usual suspects), should make things move inside, tickling nerves in scenesters as well as the layman, as their breakthrough hit If This Ain't Love did back in the day.

The world and the music business is different for Nicole Willis and the boys from up north. Nevertheless, One In A Million might be the underground hit that nobody saw coming. Or it just as well might not, but this is no excuse for not making quality music. This and more can be anticipated from the new album, dropping on Timmion Records in autumn 2015.

Libreville Records presents Totāl Cuevas, a seminal compilation album of legendary DJ Guy Cuevas's own music.

Guy Cuevas is a French-Cuban writer, musician, and DJ, pioneer of the art of modern DJing.
A key figure on the Paris night scene, Guy Cuevas gained a cult status as the resident DJ of the mythical nightclub Le Palace, gathering thousands of people every night under his booth, shepherding them with his music towards euphoria. He also collaborated with a great number of Fashion brands, such as Yves Saint Laurent, Kenzo, Dior, Hermès and many more.

In the early 80s, Guy Cuevas released a handful of records, channeling his hedonism and natural grandeur into his sound, creating a unique music of his own.
Totāl Cuevas brings together music from his three singles Ebony Game (1981), Obsession (1982), and Gallo Negro (1984), and includes previously unreleased alternate mixes.
Guy Cuevas’s most iconic output, "Obsession - The Nassau Mix" (mixed by François K) gets a fresh new reboot with "Obsession - The Paris Version".

Remastered from the master tapes.

No global pandemic can dull the drive of musicians to create. At the onsetof the Covid-19 crisis artists everywhere found themselves ponderingwhat music making looks like under quarantine. In the absence of touringand in-person recording New York’s Ben Pirani and Evolfo - members ofwhom play in Ben’s backing band The Means Of Production - prove thespirit of collaboration can still flourish under social distancing with the helpof file sharing. And so the idea to exchange remixes of existing materialrevealed itself. Each musician recording their parts from home andzapping them across the city to be assembled. Peachy, from Evolfo’s 2017 LP Last Of The Acid Cowboys released onBrooklyn’s Royal Potato Family is given a solemn reharmonization byPirani. Jumping off with cacophonous strings and horns it then shifts to awinter’s day post-bop groove with Matt Gibbs original vocal swirlingabove. Cacophony returns and bookends the track leaving the listener toponder the poetic lyric. Try Love, from Ben Pirani’s 2018 Colemine LP How Do I Talk To MyBrother is stripped to it’s vital elements and built up again. Evolfo’sreimagining unfolds with a searing sunshine fuzz guitar. As the uniquegroove heats up Matt and Raff stack Ben’s original vocals getting to themessage of the tune we, together. After two big key changes the tunepours into a psychedelic zone’s unknown punctuated by sheets ofdelayed saxophone.

This three album Limited Edition Numbered set of Fleetwood Mac live
and studio tracks on Blue Vinyl recorded after the departure of Peter
Green and before the arrival of Stevie Nicks and Lindsey Buckingham
Fleetwood Mac made it big twice over: first as young kings of the late 1960's
British blues boom – blues fanatics who nonetheless made the pop charts with a
batch of memorable songs penned by founder Peter Green.
Then secondly, as the band that with its Rumours album Californian line- up,
tapped into a whole new market in the mid-1970's which became known as AOR -
adult oriented rock.
The music here is from a pivotal eighteen months in Mac's history as it lost its
original if- it- ain't- blues- we- don't- wanna- know attitude and looked to its own
songwriters - and America's West Coast sound - for inspiration.
After Peter Green's exit in May 1970 the rest of the band bravely decided to carry
on as a 4-piece, and so rented an oast house called Kiln House to try and 'get it
together in the country. Christine McVie joined, and one of the stand-out songs,
'Station Man', would endure for Mac in the bleak years before they moved to
California in 1974 where they struck gold with their eponymous white album and
then Rumours. 'Station Man' eventually found its way into the live set-list of the
Buckingham/ Nicks line- up and listening to it again here you can hear why: in
there, as far back as 1970, are some trademarks of the Rumours sound: threevoice harmonies, in- song tempo changes and ringing guitar sounds. Similarly,
'The Purple Dancer' and 'Jewel Eyed Judy' showcase a vocal harmonies and
melodic sense of things to come for Fleetwood Mac many miles down the line.

Yves Jarvis is back with his third solo album entitled, The Zug
The Montreal, Canada based artist's unique vision for "psychedelic- jazz- folk"
comes into sharper focus, with elevated production and a waterfall of creative
ideas presented with an ever growing confidence in craft.Jarvis continues to
refine his creative approach to the core of his being, where music and life
intertwine in harmonious fashion. He fuses genre elements into a symbiotic
relationship where wistful folk, tender R&B, and jazz experiments feed into one
another to grow lush new forms. Though he maintains an air of mystery with his
lyrics, Jarvis's whisper-soft words can be interpreted as both deeply personal and
politically motivated.

Soul icon Otis Redding made immeasurable contributions to the form. As a singer-

songwriter, producer, arranger and talent scout, Redding was responsible for some of the

music’s biggest and most lasting hits during the 1960s, though his death in an airplane crash

in 1967 brought his life and career to a tragically premature end. He was born Otis Redding

Junior in 1941 in the small town of Dawson, Georgia, the son of a sharecropper and preacher,

and moved to the city of Macon at the age of two, where he learned to sing at the Vineville

Baptist Church. After singing in the high school band, he performed weekly gospel songs on

radio station WIBB, winning local talent contests after being inspired by Little Richard and

Sam Cooke. Since his father became ill with tuberculosis, Redding began supporting the

family at the age of 15, working as a gas station attendant, a digger of water wells, and

occasionally by playing piano with pianist Gladys Williams at the Hillview Springs Social

Club. Then, in 1958, Redding had a repeat prize run at a talent contest held by broadcaster

Hamp Swain, bringing him first into a group called Pat T Cake and the Mighty Panthers, and

later into Little Richard’s band (during a time when Richard switched rock and roll for

gospel). Moving to Los Angeles in late 1960, debut single “She’s All Right” was issued on

the Trans World label (a subsidiary of Al Kavelin’s Lute Records), credited to The Shooters

featuring Otis; following the birth of their first child and his subsequent marriage to Zelma

Atwood, Redding recorded the popular “Shout Bamalam” for Macon’s Confederate Records

(who swiftly reissued it on the Orbit label since some radio stations objected to the original

label’s confederate flag logo, during a time of terrible racial segregation in the South).

Redding cut the movingly emotive “These Arms Of Mine” at Stax studios in Memphis in

1962, backed by Booker T and the MGs, which surfaced on the subsidiary Volt label in

October, reaching the charts some six months later (and eventually selling a reported 800,000

copies). Subsequent singles “What My Heart Needs” and “Pain In My Heart”/“Something Is

Worrying Me,” recorded in September 1963, formed the bulk of debut album, Pain In My

Heart, which was padded out by standard cover tunes of songs such as “I Need Your Lovin’,”

Ben E King’s “Stand By Me” and Little Richard’s “Lucille.” The album, which surfaced at

the start of 1964, reached the top 20 of the US R&B chart and also hit the Billboard Hot 100;

this edition has an alternate track listing that includes the Trans World debut single tracks

“She’s All Right” and “Getting’ Hip,” as well as “Mary Had A Little Lamb,” the B-side to

“That’s What My Heart Needs.” Carefully remastered, spinning at 45 rpm for enhanced qudio quality.

Vinyl Only

Making their return with further innovative output this Spring is Bucharest based outfit, VARME, a label curated and cared for by, Paul Popa. Crafting the seventh release on the label is the incredibly talented beat maker, Maximo. The Uruguayan’s “XKP” EP meanders through low end leaning electro, and intelligently arranged spaced out techno, rough and ready for the club.

Title track “XKP” moves in mechanical motions, chugging by as trippy beeps and bleeps make themselves known. Futuristic elements breathing life into the chunky drums. The A2 “Trip To the Moon” teeters on the fine line of techno, and trance, sitting comfortably between the two, blasting you with dusty nostalgia from records of the past but maintaining the modern twist Maximo consistently captures.

On the flipside delving deeper into the mind of Maximo is “1945” is a sleek and crisp trip, a punchy kick and ice cold hi-hats drive the groove. The vocal sample used fits perfectly, transcending the listener as it continues to flash in and out. Closing 007 is “Sinrazón” a curious journey through shimmering pads and synths, teasing you down a path of mystery with the dark bassline that simmers throughout.

Solid impressions from a label that continue to propel their distinguished energy, showing no signs of slowing down, continuing to become somewhat of a diggers paradise with their catalogue. VARME are not afraid to push music they believe in, never taking the restraints of genre on their shoulders. Whilst not making music Maximo is helping steer the ship at Deeper, a collective who share their musical vision in their native country of Uruguay.

Sixteen arrives to the label straight from Detroit, by the owner of Vigilante Cartel - Dave P who is also known as Dirty Dave or Dirty Dave P, who has been releasing records since the early 90’s. This Electro & House infused 12’’ is made by the man together with his friend Rick Tuner and consists of 4 track journeys starting from the space and heading way beyond any known stratospheres known to mankind.

This record is very dear to these artists and to all the people who took part into making this project come to life. All aboard the “Saturn V” as it’s taking off into the wilderness of clubs & institutes of electronic music all over the world. The weather seems bright and the sky is clear, which makes it absolutely perfect conditions for the launch.

Oslo-based American-Norwegian trio Buster Sledge releases their first
studio album Call Home in May 2022, following up on their self-recorded
and self-released debut Spirit (2020)
Fiddle, banjo, guitar and three voices are the vehicle for lyrical storytelling against
an orchestral background anchored in the acoustic music traditions of the United
States. Hailing from northern California, lead vocalist and songwriter Michael
Barrett Donovan mixes themes from personal experience with folk and country
music archetypes to breathe new life into time-tested song structures. Banjoist
Mikael Jonassen and guitarist Jakob Folke Ossum both share a thorough
appreciation for the fundamentals of bluegrass music, clear melodies and
harmony- singing through the lens of being trained jazz musicians. In eleven
tracks, Call Home tips its hat to artists such as Norman Blake, The Punch
Brothers, Tim O'Brien and John Hartford. Buster Sledge was the first group to
record in the recently relocated Globus Studio of Sjur Lyseid (Little Hands of
Asphalt) and his influence from behind the mixing board pushed the band into a
slightly-augmented acoustic sound with more streamlined arrangements which is
a suiting duet with the album art by William Hay that realizes a scene of a rider
overlooking a large river-valley in impressionistic swaths of color.
Banjoist Mikael Jonassen, from Bodo in the far north, is Norway's first and only
higher-education certified banjo player. Despite beginning with an electric banjo
and playing exclusively fusion jazz, Jonassen currently focuses his efforts on
Scrugg's style acoustic banjo and the playing of Bela Fleck and has taken several
trips to the US to learn from the masters. Jakob Folke Ossum, jazz- guitarist
turned flat- picking aficionado, discovered the sound of acoustic flat- picking
through Tony Rice and Bryan Sutton and meticulously taught himself from
records and videos. Fiddler Michael Barrett Donovan made a living as a musician
in New York City doing a master's in classical composition while touring with a
Grateful Dead tribute band. The three met in a comment section on a bluegrass
forum after Donovan moved to Norway in 2019. The rest of the story you'll have
to ask them at a show sometime. Buster Sledge has been on stage in many small
venues in southern Norway, don't miss them the next time they come to town!

The complete aural presence that is Oshkosh, Wisonsin's Cavernlight
returns with "As I Cast Ruin Upon the Lens That Reveals My Every Flaw ",
an all-encompassing journey that could very well be one of the best postmetal / sludge releases of the last 5 years
Recorded at Electrical Audio in Chicago and mixed Scott Evans (Kowloon Walled
City, Yautja, East of the Wall) and features the artwork of vocalist / guitarist Scott
Burns.

Graeme Martin and Liam Karima made the new pet deaths album to be
both explored and sat with
In age of dull disconnection and constant refreshing, unhappy ending, the London
duo's second full- length effort, was deliberately and acutely considered to be a
journey of its own; nine new songs but one whole immersive piece for the listener
to climb inside, in the quiet of reflection, in the sobering commute to and
from.Following on from the sparkling celestial folk of the band's 2019 debut To
the Top of the Hill, unhappy ending is the next step in pet deaths' somewhat
remarkable journey. Setting out to make their new album, the band had one
question in the forefront of their collective mind: Is life an unhappy ending, or do
we become part of a bigger movement to more positive things?
Across the album's nine tracks, this conundrum is explored in many and
meaningful ways, their subtle take on melancholic folk- pop conjuring a
bewitching atmosphere that hangs over every inch of the album. unhappy ending
thrives within the world it creates for itself, one of distinctive colours and shapes
that feel intimate and familiar but always slightly off- kilter, as if you've
momentarily stepped into someone else's dream. It sings of love and loss and the
unwieldy connection between those two things, in ways that feel quietly radiant
and beguiling, caught in an alluring contrast. Recorded at a residential studio in
Oxfordshire which they used as a retreat from the business of London – fleshedout and toyed with over time with their acclaimed producer Ian Davenport
(Slowdive, Gaz Coombes, Radiohead's Philip Selway) who encouraged the duo to
lean into the wilder parts of their creativity. Inspired, musically, by the spiritual
moments of Alice Coltrane, the freeness of Miles' 'Bitches Brew', with a sprinkling
of Talk Talk's 'Spirit Of Eden' in its colourful unravelling, unhappy ending is an
enveloping experience, touching upon universal themes but all shone through the
lens of Karima's signature perspective.
Tour in May & June in support of the release - dates in Newcastle, London, Bristol,
Manchester & Sheffield.
Pet Deaths previously supported the likes of Elbow and Arab Strap.
Support from So Young Magazine, Chris Hawkins (BBC 6 Music), DIY Mag, Clash,
Huw Stephens (BBC Radio 1)

Historical power metal force CIVIL WAR enter their fourth battle with Invaders! Swedish historical modern power metal outfit CIVIL WAR fly the flags of international strife once again with their brand new, fourth album, Invaders, set for release on June 17, 2022 via Napalm Records. The band founded by former members of Sabaton returns with 10 new wartime anthems detailing harrowing stories of sorrow and tales of turbulent triumph from around the globe, as well as human nature itself. Invaders marks the band’s first album with masterful frontman Kelly Sundown Carpenter and formidable shredder Thobbe Englund (ex-Sabaton), and grips with riveting accounts ranging from Viking invasions and the greed of powerful nations to legendary Native American battles and magical Arthurian fantasy – all amid a profusion of enthrallingly dynamic vocals, epic soundscapes and impressive, technical instrumentals. The album starts off with the captivating “Oblivion”, inviting the listener into an apocalyptic world with its exotic, menacing sound, strong vocals and heavy guitar riffs. Packed with epic symphonic power, Invaders continues with the war anthem “Dead Man’s Glory”, telling a story of Irish resistance – fighting to preserve their way of life against a Viking invasion. The album rages on with the retelling of a legendary Native American victory at the Battle of the Wabash on the fast-paced “Invaders” and then settles into the pulsating, atmospheric “Heart of Darkness” before arriving at “Andersonville” – recounting the horrors of Confederate prisoner-of-war camp Andersonville Prison through the letters of a Union soldier to his wife. This song soars as a massive power ballad with heart-rending symphonics, choirs and emotive vocals. “Battle of Life” delivers the grand finale of Invaders as a pummeling, fiery power metal pinnacle, summoning listeners of all walks of life to persevere and call on inner strength in times of trouble. In keeping with the album’s Native American theme, the Western-inspired heavy metal battle cry “Custer’s Last Stand” sees its 10th anniversary re-recording and re-release as a bonus track, entrancing the listener with Carpenter’s passionate vocal delivery, searing guitar harmonics, keyboard fanfares and tribal drums. With Invaders, CIVIL WAR prove they’ve once again etched a position all their own in the annals of modern power and heavy metal while proving their deft storytelling skill and knack for engaging lyricism. Invaders is a must-listen! .

One of Swedish Death Metal most sought after albums, and rightfully so! Therion’s relatively unknown beginnings as a “standard” Death Metal band seem to be misunderstood by many Metal listeners. Although the general consensus seems to be that “Beyond Sanctorum” is just “straight up Death Metal” while their later releases are neoclassical style, upon closer inspection, the opposite seems to be true. Although “Beyond Sanctorum” uses mainly instruments and performance aspects of standard Death Metal, the songs are alreafy composed in a style more similar to actual classical music. “Future Consciousness” starts the album off with a churning Morbid Angel style intro alternating with dark tremolo melodies and some heavy groove. Other bright spots include “Cthulhu”, featuring deep, cavernous doom sections evoking the famous sunken city, alternating with frantic fast passages. “Enter the Depths of Eternal Darkness” goes from a sludgy opening section to fiery death metal, with some eerie lead guitar moments and is also quite satisfying. “Symphony of rhe Dead” has an early The Gathering feel, that bursts into Death Metal later on. The highlight of this album is definitely “The Way”. This is where the bands developing symphonic style is most obvious, so “Theli” fans should definitely hear this song first. We cannot recommend it enough - “The Way” is not only the best song on the album, but one of the best examples of adventurous, progressive (yet uncompromising) Death Metal one is ever likely to hear. This album released around the time when Death Metal was abandoning its primitive roots and going off into more complex territory. For anyone willing to take the time to really listen to music beneath surface level aesthetics, this is actually a surprisingly complex and rewarding listen. This album is light years ahead of their debut.

The dawn of Symphonic Therion glooming at the horizon, yet still drenched in Dark Metal execution! Though it was their fourth full-length, and we had been given a sampling of their symphonic/gothic direction with “Symphony Masses: Ho Drakon Ho Megas”, “Lepaca Kliffoth” might remain the most memorable masterpiece of the band’s career along the follow-up “Theli”. A transitional phase between the band’s Death Metal roots and the hybrid of symphonic, gothic metal which they would carry forward for the rest of their career. This is an extremely dark album. The band retains their fascination with obscure occult magick and prophecies within the lyrics, and the music revolves around killer mid-paced Metal riffs drenched in the vocal libations of Christofer Johnsson. The album starts off strongly with “The Wings of the Hydra”, and from there on the serpent has snaked about your spine. An addictive piece with an obvious Celtic Frost influence, chanting vocals, simple synth tones and arabesque guitar melodies which evoke the mythical age of the song’s namesake. The album’s ‘hit single’, “The Beauty in Black” is glorious and gothic, it uses a pair of operatic vocalists (male and female), a sort of predecessor to the revolving door of guest musicians the band would use on their later albums. Other excellent tracks include the charging “Riders of Theli”, the crushing doom of “Black” which would have fit almost perfectly on “Into the Pandemonium”. The rest of the album is equally dark and enchanting, with other standouts being the title track and “Evocation of Vovin”. Synthesizers, flutes multiple vocalists, and the core of the band are all clear and precise throughout, yet it still carries a very raw and dark, ominous tone to it which trumps the later studio efforts. This may not be quite as symphonic as many Therion fans demand of their material in recent years, but it clearly marks the point where this band transformed from a innovative Death Metal band into the Gods of Gothic Metal. There are very few parallels to something like this, and it belongs in the collection of any fan of quality Occult Metal.

A multicultural explosion of West African, French and Brighton sounds
Stranded Horse is a touring machine centered around composer, songwriter and
instrument maker Yann Tambour.Whilst he had developed his own kora playing
and teamed up with local player Boubacar Cissokho (cousin and protege of
erstwhile Tambour collaborator Ballake Sissoko) In terms of repertoire, there is
nothing to stop him from covering Joy Division, the Smiths or even Jackson C.
Frank and the moving "My Name is Carnival".Behind Yann Tambour and his band
Stranded Horse lies a faith in chance encounters, a belief that renewal is born out
of chaos. They strive to skirt conventions and labels and wed together
unexpected genres, rules and habits in an album of erratic wanderings, dance and
trance, at a time when more and more get walled off by reluctance and suspicion.
But a strange spell, it seems, was cast on our stranded horse since he chose to
hit the dancefloor for the first time the very year nobody could. Yann Tambour
was first known as Encre at the turn of the millennium. He was then whispering
and stacking orchestral samples into a kind of spoken word electronica with an
acoustic tinge. But in 2005, he decided to return to his early love for arpeggios
and dusted off his classical guitar, all the while growing a fascination for the kora,
an instrument symbolic of West-Africa.
But Stranded Horse doesn't forget to draw on the indie heritage that is still very
much present, as evidenced by "In A Sharper Fairway", which may remind the
most passionate folk fans of the folk- mindedness of Jackson C Franck. As for
the choice of English or French, it is a natural one, whether it is a question of
immersing oneself into the contemplative and poignant "Sparks Turn To Stone" or
entering the frenzied dance of the irresistible "Rumba du trépas", the richness of
the lyrics is reinforced by a voice stripped of all artifice, making each composition
sincere and authentic. The same is true when, with Youssou N'Dour's permission,
Stranded Horse adapts Star Band de Dakar's heady and vast "Thiely" from Wolof
to French.

A multicultural explosion of West African, French and Brighton sounds
Stranded Horse is a touring machine centered around composer, songwriter and
instrument maker Yann Tambour.Whilst he had developed his own kora playing
and teamed up with local player Boubacar Cissokho (cousin and protege of
erstwhile Tambour collaborator Ballake Sissoko) In terms of repertoire, there is
nothing to stop him from covering Joy Division, the Smiths or even Jackson C.
Frank and the moving "My Name is Carnival".Behind Yann Tambour and his band
Stranded Horse lies a faith in chance encounters, a belief that renewal is born out
of chaos. They strive to skirt conventions and labels and wed together
unexpected genres, rules and habits in an album of erratic wanderings, dance and
trance, at a time when more and more get walled off by reluctance and suspicion.
But a strange spell, it seems, was cast on our stranded horse since he chose to
hit the dancefloor for the first time the very year nobody could. Yann Tambour
was first known as Encre at the turn of the millennium. He was then whispering
and stacking orchestral samples into a kind of spoken word electronica with an
acoustic tinge. But in 2005, he decided to return to his early love for arpeggios
and dusted off his classical guitar, all the while growing a fascination for the kora,
an instrument symbolic of West-Africa.
But Stranded Horse doesn't forget to draw on the indie heritage that is still very
much present, as evidenced by "In A Sharper Fairway", which may remind the
most passionate folk fans of the folk- mindedness of Jackson C Franck. As for
the choice of English or French, it is a natural one, whether it is a question of
immersing oneself into the contemplative and poignant "Sparks Turn To Stone" or
entering the frenzied dance of the irresistible "Rumba du trépas", the richness of
the lyrics is reinforced by a voice stripped of all artifice, making each composition
sincere and authentic. The same is true when, with Youssou N'Dour's permission,
Stranded Horse adapts Star Band de Dakar's heady and vast "Thiely" from Wolof
to French.

Scared to Dance, the debut LP from Scotland's Skids, will be re-issued by
Last Night From Glasgow
In addition to featuring a remastered version of the original album a second LP of
bonus tracks will be included making this the definitive vinyl version of Scotland's
definitive punk album.This record may have been recorded over 40 years ago but
the songs resonate as much, if not more, today.
Featuring the glorious "Into The Valley" and "The Saints Are Coming"

Fantastic Negrito's upcoming album and short film "White Jesus Black
Problems" was inspired by a search into his ancestry where he found that
his 7th generation grandmother was a Scottish indentured servant who
entered into a common law marriage with an African American enslaved
man, his 7th generation grandfather, in open defiance of the racist laws of
1750's colonial Virginia
Their love story is a healing testament to standing up against inhumane and
brutal systems with love as your only weapon. Their perseverance is a lesson in
today's polarized society on the virtues of constant struggle in the face of
ignorance, fear, and violence, which is still present in the contemporary
embodiments of white supremacy, bigotry, and hatred. It's important to tell the
story of how those who suffered much greater indignities and violence than we
do in contemporary times were nonetheless able to preserve their humanity
through human connection and the determination to love. If they can do it in
1759, we can do it 2022.

On 'Hurricane Clarice' stringband revolutionaries Allison de Groot &
Tatiana Hargreaves infuse centuries of matrilineal folk wisdom into a
soundtrack to environmental disaster
Produced by indie folk visionary Phil Cook, the duo's energetic sophomore album
features nine pieces, including two epic medleys (carefully selected from their
archival deep dives) as well as a few transcendent instrumental originals.
Recorded during an apocalyptic heat wave in Portland, OR, the album is a
testimony to the relation of community and climate in a dying world. The
Hargreaves- penned title track delves into the surreal world of Brazilian author
Clarice Lespector while the Canadian ballad "The Banks of the Miramichi"
references the "before times" of a polluted river used as a case study in the
environmentalist classic 'Silent Spring'. We turn inward in times of global or
personal crisis, seeking the wisdom of those before us — a human instinct
manifested literally on this record through the recorded voices of the duo's
grandmothers. Any artist unearthing old sounds takes traditional elements and
exaggerates here or there to fit a personal aesthetic or style–there is no authentic
rendition. With 'Hurricane Clarice', Allison and Tatiana propose a third way beyond
tradition and progress. Community might just save us all.

亂 (luan) is the latest release from LA based producer/DJ Mix Match Emperor who weaves powerful soundscapes with an amalgamation of field recordings, obscure samples and original music compositions that combine to form a cohesive work of sound art that stays true to its name, translated to “Chaos”.
The combination of jazz samples and lo-fi mixing techniques create a cocktail that in parts resembles vaporwave whilst regularly pulling away from any genre formulation with sharp cuts into noise and then back through electronic rhythms reminiscent of Autechre.

Although listeners can often be tempted to pick out their favourite tracks, this record is definitely designed to be listened to in its entirety, as it takes you on a journey through varying phases that nod to both Steve Reich & the late Sam Mehran simultaneously.

The album is the leadoff release under the Strictly Frisky label with a limited cassette run available here for the first time.

Beginning life in 2018 in the home of songwriter Myles McCabe experimenting with shouty, electronic bedroom pop ME REX are equipped with multitudes of “surging gargantuan hooks”, McCabe was quickly joined by longtime friends Kathryn Woods (guitar/vocals), Phoebe Cross (drums/vocals) and Rich Mandell (bass/keys/vocals). In 2021 the band released their debut album Megabear: a record built from 52 short tracks intended to be played in shuffle mode in order for the listener to create their own perfect combination of songs. In 2022 they dove headfirst into follow-up EP Pterodactyl which saw them change pace and tact throughout — constructing delicate vocal layers with luscious swathes of guitars and keys to build a bridge between their raw DIY past and a bright, creative future. Across all four songs on new EP, Plesiosaur, ME REX focus their attention on catchy choruses and snappy rhythms. With Toilet of Venus acting as an extension of Lager Door, the former track looks at present struggles as opposed to the latters inherent nostalgia, Jupiter Pluvius looks theologically at the idea of projecting strength and power onto inanimate objects, all wrapped in sharp wordplay and vibrant fuzzed out guitars and keys that are addictive as hell. Described as “nothing short of an artistic triumph” by Brooklyn Vegan— as well as seeing praise from Pitchfork, DIY, Rocksound, Line Of Best Fit, BBC 6Music, Radio X, Amazing Radio, Audiotree, The I Paper and Baby’s Alright— ME REX are showing no signs of slowing down.

An official reissue of the 2017 double album by Caligula’s Horse, originally issued on Inside/Out Records. Caligula’s Horse are among the vanguard of the new generation of progressive rock artists. The Australian band has been often compared to the likes of Opeth, Haken and Porcupine Tree, and original copies of In Bloom on vinyl have already reached high prices on the collector’s market. The Svart reissue comes with a gatefold jacket and the 1000 copy pressing is split into two color variants, the more serene clear vinyl option and the more expressive blue and green marble edition.

An official reissue of the 2017 double album by Caligula’s Horse, originally issued on Inside/Out Records. Caligula’s Horse are among the vanguard of the new generation of progressive rock artists. The Australian band has been often compared to the likes of Opeth, Haken and Porcupine Tree, and original copies of In Bloom on vinyl have already reached high prices on the collector’s market. The Svart reissue comes with a gatefold jacket and the 1000 copy pressing is split into two color variants, the more serene clear vinyl option and the more expressive blue and green marble edition.

An official reissue of the 2015 album by Caligula’s Horse, originally issued on Inside/Out Records. Caligula’s Horse are among the vanguard of the new generation of progressive rock artists. The Australian band has been often compared to the likes of Opeth, Haken and Porcupine Tree, and original copies of In Bloom on vinyl have already reached high prices on the collector’s market. The Svart reissue comes with a gatefold jacket and the 1000 copy pressing is split into two color variants, the more serene clear vinyl option and the more expressive red and green marble edition.

An official reissue of the 2015 album by Caligula’s Horse, originally issued on Inside/Out Records. Caligula’s Horse are among the vanguard of the new generation of progressive rock artists. The Australian band has been often compared to the likes of Opeth, Haken and Porcupine Tree, and original copies of In Bloom on vinyl have already reached high prices on the collector’s market. The Svart reissue comes with a gatefold jacket and the 1000 copy pressing is split into two color variants, the more serene clear vinyl option and the more expressive red and green marble edition.

Back in stock on Black Vinyl !

Stars Are the Light, the luminous seventh album by the American psych explorers Moon Duo, marks a progression into significantly new territory. From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada’s guitar-driven psych rock, and reached its apotheosis in the acclaimed Occult Architecture diptych, Stars Are the Light sees the band synthesize the abstract and metaphysical with the embodied and terrestrial.

Branching out from Occult Architecture Vol. 2, the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience — love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration — rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos.

Gene Pitney was a musician’s musician. Having begun his career as a songwriter, he was not content merely being the faceless pen behind his peers’ success, becoming a singing star in his own right. He did this during a time when America’s shores were being invaded by a wave of British talent led by The Rolling Stones and The Beatles. Pitney turned the tables by finding success in the UK and went on to enjoy a 45- year career. 1962 was Pitney’s breakout year in the US. He shot to Number 4 in April with the Burt Bacharach and Hal Davidpenned hit (The Man Who Shot) Liberty Valance, intended as the theme for the John Wayne
flick of the same name. He followed that up with his highest-charting US single, Only Love Can
Break A Heart. It would go on to be covered by numerous artists, Dionne Warwick attempting
her own version in the late Seventies. He left behind a four-decade career that saw him notch
up 16 US Top 40 singles and 22 in the UK. His legacy is also evident in the hits of others, like
Orbison, Bobby Vee and Ricky Nelson. This collection showcases the best of Pitney’s early
work, and gives an insight into one of America’s most gifted musicians, a man who found his
own voice.

ANATHEMA'S CLASSIC 1995 OPUS OF MONUMENTAL ATMOSPHERIC
DOOM, PRESENTED ON SINGLE VINYL.Anathema has spent most of their
career making music that defies description
As part of the Peaceville 3, along with Paradise Lost & My Dying Bride, Anathema
have carved a strong legacy since their inception at the turn of the 1990's, to
become a widely revered & respected band within both the metal world & beyond,
as their sound & compositions progressed from doom/ death metal into more
rock & progressive territory with each subsequent release, becoming one of the
UK's most cherished & critically acclaimed rock bands. 'The Silent Enigma',
Anathema's second studio album, was originally released in the summer of '95 &
was the first release on which guitarist Vincent Cavanagh took over the vocal
duties of the departed Darren White. Where Darren's vocals were guttural,
Vincent's style pushed the possibilities for Anathema onwards & upwards, with a
scope & breadth beyond his years, complimenting an ethereal roller- coaster of
thoughtful atmospherics & crushing Celtic Frost style riffs - the Swiss legends
being a notable inspiration. What emerged was a fine example of highlyatmospheric & often emotional gothic doom, spawning classic Anathema songs
such as "Restless Oblivion", "Sunset of Age", "The Silent Enigma" & "A Dying Wish".
Lauded by the metal press & fans alike as a doom metal classic, the album's
popularity has remained a favourite within the metal scene.
This edition of 'The Silent Enigma' is presented on single vinyl including inner
sleeve with lyrics.

MASTERED FROM THE ORIGINAL ANALOGUE MASTER TAPES AND PRESSED ON MOFI SUPERVINYL

· A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra’s Eldorado Marries

Rock and Symphonic Elements, Includes the Aptly Titled Hit “Can’t Get It Out of My Head”

· Mastered from the Original Analog Master Tapes for Audiophile Quality: Mobile Fidelity 180g Vinyl LP and

· Melodic, Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section: Arrangements and Lyrics

Transport the Listener to Faraway Horizons



Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic fashion.



Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, and housed in a tip-on jacket, Mobile Fidelity's numbered-edition 180g LP of Eldorado allows the long-time audiophile staple to resonate with previously unheard dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended.



Presenting the album with breath-taking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, this collectible reissue features reference-quality levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado LP also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.

An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practicing Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.



Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the unwoken fool."



Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."



Decades later, Eldorado doubles as the equivalent of an out of body experience, an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.



MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

What is possible in the field of electronic music? What can you get out of
a cutting-edge ecello, that he helped to develop, from the instrument
itself? What possibilities do loop machines, samplers and many other
technical innovations offer? The classically trained cellist, who embraces
experiment, moves without gravity into the pulsating core of a musical
universe, that has expanded exponentially in recent years, on his solo (in
the true sense of the word) album

The multi-instrumentalist duo that comprises Hermitude - Luke Dubber
(aka Luke Dubs) and Angus Stuart (aka El Gusto) - were in Japan when
Covid became a stark reality
Just making it back to Australia before the borders closed, they quietly slipped up
to Angus' place just outside of the Blue Mountain town of Blackheath as the rest
of the world went into meltdown.
The two holed up together in Angus' childhood home with a pared- back music
setup and began a process that was all about taking back control over how and
why they make music as Hermitude. As Luke says, "they say the artist is your
inner child, so it was like the children were out at play. There were no rules or
expectations; we just threw stuff at the wall. It was really fun, which is why we
started making music in the first place." A year and a half later, Mirror Mountain
was finished.
The album acts as a reawakening, a place to draw strength as time goes by..

Green Vinyl Edition - PNFG is frustrated but delighted to bring you a half
of a double treat from The Bathers!In 2022 we aimed bring you the debut
album "Unusual Places To Die" on vinyl and cd - some 35 years after it's
initial release on Go Discs
Accompanying this remastered album we also intended to produce "More
Unusual Places To Die" an 8 track EP featuring early recordings, providing an
incredible insight into the mind and music of Chris Thomson.Both records and
CDs were to be remastered by fellow "Friend Again" Paul McGeechan.
Sadly due to insane problems obtaining licensing contracts from Island Records
via Universal Music, we have taken the decision to make some changes to the
project.The 8 track Mini LP is now a fully-fledged album featuring 12 tracks (14
on CD) Some new never before released tracks, fully remastered and some
alternative versions of previously available tracks. This album is now entitled -
Summer Lightning.

Last Night From Glasgow is thrilled to bring you the majestic "Mother
Natures Kitchen" from Kevin McDermott Orchestra on vinyl
Following his solo album, Suffocation Blues, Kevin McDermott formed the Kevin
McDermott Orchestra and began performing the material that would become
Mother Nature's Kitchen. McDermott distributed KMO demos to record
companies and they were soon signed to Island RecordsThe album - which
followed in 1989 was named byThe Sun Newspaper as being number 37 in the
list of "The best Scottish albums..ever"

Album first released 1983 and now re-released on 180 Gram vinyl
The Heptones are a Jamaican rocksteady and reggae vocal trio. They were a
significant force in that played a major role in the gradual transition between ska
and rocksteady into reggae with their three-part harmonies.
The Heptones: Barry Llewellyn, Earl Morgan & Dolphin ‘Naggo’ Morris
Recorded at Black Star Recording Studio, 46 Spencer Road, Tottenham, London,
N17 9UU, UK
Includes extensive sleeve notes.
Promotion across social media platforms
Advertising in, Echoes, Record Collector Magazine and Riddim

Creme White Vinyl - On the cover of their debut album "Wilde deutsche
Prärie" (Wild German Prairie) from 2018, we saw a burning house
surrounded by apparently insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries. This LP format is released on ltd ed cream
vinyl.
PR Agency (Print/Online/Radio GSA): Community Promotion PR Agency (Print/
Online/Radio Worldwide): La Pochette Surprise Marketing: Print/Online: 2500€ /
Radio: 2000€ / Social Media: 3000€ / Ads: 3000€ PrintAds: Westzeit Cover
(Feb2022), Musikexpress, Visions, OX Fanzine, Flight13 Mailorder, Schall TOUR
DATES Präsentiert von DIFFUS, OX FANZINE, BYTEFM 20.4. A- Wien - Rhiz 21.4.
München - Heppel & Ettlich 22.4. CH-Basel - Hirscheneck 23.4. Stuttgart - Club
Cann 28.4. Düsseldorf - KulturSchlachthof 29.4. Husum - Speicher 30.4. Hamburg
- Molotow 05.5. Kassel - Goldgrube 06.5. Münster - Gleis 22 07.5. Bremen - Tower
08.5. Hannover - Bei Chez Heinz 17.5. Köln - Bumann & Sohn 18.5. Nürnberg -
Muz Club 19.5. Chemnitz - Nikola Tesla 20.5. Dresden - Groove Station 21.5.
Berlin - Urban Spree Separater PR Report verfügbar

Creme White Vinyl - On the cover of their debut album "Wilde deutsche
Prärie" (Wild German Prairie) from 2018, we saw a burning house
surrounded by apparently insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries. This LP format is released on ltd ed cream
vinyl.
PR Agency (Print/Online/Radio GSA): Community Promotion PR Agency (Print/
Online/Radio Worldwide): La Pochette Surprise Marketing: Print/Online: 2500€ /
Radio: 2000€ / Social Media: 3000€ / Ads: 3000€ PrintAds: Westzeit Cover
(Feb2022), Musikexpress, Visions, OX Fanzine, Flight13 Mailorder, Schall TOUR
DATES Präsentiert von DIFFUS, OX FANZINE, BYTEFM 20.4. A- Wien - Rhiz 21.4.
München - Heppel & Ettlich 22.4. CH-Basel - Hirscheneck 23.4. Stuttgart - Club
Cann 28.4. Düsseldorf - KulturSchlachthof 29.4. Husum - Speicher 30.4. Hamburg
- Molotow 05.5. Kassel - Goldgrube 06.5. Münster - Gleis 22 07.5. Bremen - Tower
08.5. Hannover - Bei Chez Heinz 17.5. Köln - Bumann & Sohn 18.5. Nürnberg -
Muz Club 19.5. Chemnitz - Nikola Tesla 20.5. Dresden - Groove Station 21.5.
Berlin - Urban Spree Separater PR Report verfügbar

Creme White Vinyl - On the cover of their debut album "Wilde deutsche
Prärie" (Wild German Prairie) from 2018, we saw a burning house
surrounded by apparently insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries. This LP format is released on ltd ed cream
vinyl.
PR Agency (Print/Online/Radio GSA): Community Promotion PR Agency (Print/
Online/Radio Worldwide): La Pochette Surprise Marketing: Print/Online: 2500€ /
Radio: 2000€ / Social Media: 3000€ / Ads: 3000€ PrintAds: Westzeit Cover
(Feb2022), Musikexpress, Visions, OX Fanzine, Flight13 Mailorder, Schall TOUR
DATES Präsentiert von DIFFUS, OX FANZINE, BYTEFM 20.4. A- Wien - Rhiz 21.4.
München - Heppel & Ettlich 22.4. CH-Basel - Hirscheneck 23.4. Stuttgart - Club
Cann 28.4. Düsseldorf - KulturSchlachthof 29.4. Husum - Speicher 30.4. Hamburg
- Molotow 05.5. Kassel - Goldgrube 06.5. Münster - Gleis 22 07.5. Bremen - Tower
08.5. Hannover - Bei Chez Heinz 17.5. Köln - Bumann & Sohn 18.5. Nürnberg -
Muz Club 19.5. Chemnitz - Nikola Tesla 20.5. Dresden - Groove Station 21.5.
Berlin - Urban Spree Separater PR Report verfügbar

Having kicked off in Galway and then quickly on to Brisbane, we travel across the pond to Durham, to pick the brains of one dance music’s freshest minds and most exciting talents, Tommy 2000, for the all-encompassing GTOWN 003 - ‘2K Musik’.

5 tracks that will travel the length and breadth of your brain; from the epic opener and lead single, ‘Whales’, to the algebraic break sequences of ‘T-2000’, Tommy’s follow up to his debut EP on DJ Haus’ Dance Trax is about as mature a sound you could expect from any artist, let alone an 18 year old just dipping his toes in the water.

‘Whales’ leads the way as an almost orchestral breakbeat builder-style track that reaches its peak gradually and really takes us for a ride as we step into the world of 2K Musik. Following on from that, is the most classically-conventional track of the lot, ‘Baff’. The four to the floor backbone lulls the listener to be sucked into what is an entirely unique club track they’ve never even come close to hearing before. That is then spun on its head entirely when Tommy’s almost bookmark sound comes into play on the title track, ‘2K Musik’. Hammering us with breaks and unapologetic bass, this marriage of old school sounds with entirely dynamic arrangement and all around ingenuity tells us exactly what 2K Musik is all about.

We swap over to the B side then, without much of a break for air, and kick off with the ever-nautically themed ‘Tuna’. At this point, it’s more than evident that Tommy 2000 is entirely worthy of his placement as an artist that’s here to stay, as if he’s pulled us underwater to listen to what the sea creatures have to say to us. Totally transforming even more modern sounding breakbeat drum patterns and bending them to his will, GTOWN003 is almost like a portal into the mind of a music genius, not just an EP you sit down and listen to; this is an immersive exhibition into the world of Tommy 2000. The final stop on the line is ‘T-2000’. You want to stop and get off, but you can’t. Everytime you think you’ve got this track figured out, you haven’t. Snares coming crashing down and attacking the breaks just as you’ve began to comprehend the synthlines and pads that eb and flow off of each other as this crescendo takes us home and back to reality, as the needle lifts on what is only the beginning for one of dance music’s brightest stars on one of its realest labels.

GTOWN003 - 2K MusiK by Tommy 2000 lands on G TOWN RECORDS on June 24th. Are you Ready?

White Vinyl

Part of The Optic Sevens 4.0 Reissue Series.
Limited to 800 copies worldwide. Please check your allocation with your sales rep.
Pressed on White Vinyl.
Includes postcard and poster. Non-Returnable.
The Wake formed in Glasgow (Scotland) in April 1981, after singer/ guitarist Caesar teamed up with drummer Steven Allen and a bassist, Joe Donnelly. Previously Caesar had played guitar in Altered Images, writing first single Dead Pop Stars and appearing on the first two John Peel sessions, but left the group shortly before they crashed into the mainstream pop charts with Happy Birthday.
With few opportunities to play large live shows the new group financed a single on their own Scan 45 label, coupling upbeat indiepop number On Our Honeymoon with Give Up, a darker song featuring a keyboard line picked out by band friend Robert ‘Bobby’ Gillespie.

The insanely-prolific (as well as simply, insane) DANGER BOYS are most likely no stranger to your ears. In the past few years, the Neapolitan duo of (Raffaele Arcella) WHODAMANNY and (Enrico Fierro) MILORD has churned out innumerable releases (both as solo artists and with their projects THE NORMALMEN and MYSTIC JUNGLE TRIBE, of which the duo comprises 2/3) that have infected dance floors the world over.

Here, the duo inhabits their latest incarnation/incantation: DANGER BOYS. The result: a postapocalyptic, post-punk, disco-not-disco masterpiece that sounds like a record you dug out of a dusty flea market bin in Mexico City in 1982 - or maybe 2082 - hard to truly say.

The EP starts off with the spaced-out chugger, Monsters From the Future - which drags you into their bizarre universe, before ratcheting up the tempo for the rest of the EP.

Next up is Mind Control Musique, which delivers an insanely catchy chorus sung in a non-existent language.

THEN - the B-side - where Danger Boys opt to sing in Spanish for two versions of Gringo Tropicana, a track which is already becoming a staple of numerous prominent DJ’s summer festival sets (including Bradley Zero, Yu SU, and Artwork, to name a few).

As always, Vinyl only. Picture sleeve with OBI strip.

BEST OF SURF MUSIC! BETWEEN CLASSICS AND RARITIES, BE CARRIED AWAY BY THE WAVE OF SURF ROCK !

Cabaret Voltaire’s ‘The Covenant, The Sword and The Arm of The Lord’, as originally remastered in 2013, now reissued on White vinyl. Known for being the harder, more experimental album of their “Pop” period, ‘The Covenant, The Sword and The Arm of The Lord’ was originally released in 1985 and includes the classic ‘I Want You’. The album embodys Cabaret Voltaire’s industrial electro-funk sound and their punk ethos.

Cabaret Voltaire were very much ahead of their time, harmonising dance music, techno, dub, house and experimental electronics, making them, without a doubt, one of the most influential acts in electronic music.

“...The Covenant, the Sword and the Arm of the Lord is an exercise in paranoia with anxiety coded into the jittery sample-heavy structures of the music itself.” - Spectrum Culture

Perhaps the best Soul / Funk LP Athens of the North has ever released and you know we have high standards, not one filler and mostly unreleased tracks – Essential LP

The Up Tights were formed by Henry Bradley in Forrest City, Arkansas in March of 1967 while most of the band members were attending Lincoln High School.They took their name from the Stevie Wonder song "Uptight - Everything's Alright." Playing at school functions, they quickly branched out to playing bigger shows and headlined the 1968 St. Francis County Fair in Forrest City.

The Up Tights first recorded for Action Records in Memphis as Noble and the Up Tights. The 45 featured an original song by singer, Izear "Ike" Noble Jr. titled "Don't Worry About It."

Henry Bradley was drafted into Vietnam in 1968. He served in the 1st Squadron, 11th Armored Cavalry Regiment. While he was away, the Up Tights continued with Henry's brother, Arthur, taking over all the guitar duties. The band also hired a manager named John Mitchell. In 1968, the band met Joe Lee, who owned Variety recording studio in Jonesboro, Arkansas.

For the band's first recordings at Variety, Lee chose two originals by Noble titled "Look a Little Higher" and an updated version of "Just a Dream" which Lee released on his Alley Records label in 1968. Lee continued to record the band over the next several months. He liked to experiment in the studio and produced many versions of the group's original songs, adjusting the mix and adding elements to each unique take.

For the group's second Alley release, they appeared simply as Ike Noble on the record label. Lee brought in a local songwriter named Charles "Jamie" Holmes, who had previously written for Alley records and Joe Keene's studio in Kennett, Missouri

The resulting 45 from this collaboration was "It's Bad" backed with "That's What I Get," two Holmes originals. Another Holmes original was unreleased at the time, but available here titled "There's Gonna Be a Better Day Coming." Stax Records was interested in signing the group and wanted to re-cut "It's Bad" at their studio, but ultimately the label passed since they generally had a policy of working with Memphis based groups.

As the band grew in popularity, they began appearing with and competing with Memphis legends, the Bar-Kays. The group's biggest show in Arkansas was an opening slot at Barton Coliseum, one of the largest venues in the state, in Little Rock in mid-1969. As a result, the band was offered a spot on George Klein's "Talent Party" television show on WHBQ in Memphis in July of 1969..... Further Sleeve notes on back of the LP

In a genre belonging to crooners like Marvin Gaye, Sam Cooke, James Brown and Otis Redding, authenticity is a requirement.
Enter Anduze, a unique vocalis whose riffs evoke the retro sounds of the aforementioned artists, but reverently done his way
– a fresh brand, re-imagines and crefted into a modern depiction of the era.

Anduze was raised on his father’s native land of St. Croix in the US Virgin Islands. His distinctive upbringing still lines the
threading of his creative fabric, which continues to expand into all corners of taday’s musical landscape.

It’s been over a decade since Anduze last released a full album. A lot has changed and progressed since then. He left behind the LA/Hollywood nights in exchange for a better quality of life in Athens, Greece. Also, during this span, he’s been a multi-featured artist on collaborations with producers such as Satin Jackets, Art of Tones, LTJ Xperience, Gramatik, and more…

However, his most noteworthy ascent is as lead singer (and songwriter) of Austrian act, Parov Stelar, with whom he tours
worldwide. Still, with all his accomplishments within the electronic world, it was time for Anduze to get back to his own sound – SOUL.

Using the pandemic as an opportunity, instead of a crutch, Anduze recorded “Aura,” a nine-song album that blurs the lines of
soul, funk, pop, folk, and R&B, with 20 contributing musicians.
If you like Prince, Michael Jackson, Marvin Gaye, Lenny Kravitz, Terence Trent D’arby etc…this album takes influences from
all their best moments and combines them into one mighty explosion that is simply, ANDUZE.
These days he is also living the new life of his song in collaboration with LTJ Xperience entitled Bad Side which has been
included in the new game update for Play Station GTA 'Los Santos' starring the DJ producer Moodyman and in the soundtrack of the new series And Just Like That, a popular follow-up to Sex And The City, which aired worldwide.

Ever get the feeling you’re being manipulated? Ever get the feeling you’re manipulating things? Somewhere between these two questions exists this seismic slab of dark post-disco drama from Leipzig duo New Hook: ‘Manipulation’.

The original version of ‘Manipulation’ has recently been released on Underground Pacific album ‘The Only Good Wave Is A New One’. But there’s more to story… Now redeveloped and reworked, ‘Manipulation’ has been manipulated into this epic club missile on Riotvan. Electrified and strident in its swagger, this new version maintains the duo’s sultry, provocative vocal but carries much more dancefloor weight. Every bit as sharp and to the point as the name New Hook suggests, it’s also been blessed with an equally forthright twist from dark disco don Curses who brings a little added funk to the bassline, manipulating the already manipulated ‘Manipulation’ with his own unique flare.

Now it’s time for your turn to manipulate it in the mix…

Applied Magic is proud to present the first full EP of one of the most promising duos out there: Last Men On Earth.

And not only is it their first EP - it will also be the first Applied Magic release available on vinyl. What a way to celebrate catalog number ten!

Applied Magic is proud to present the first full EP of one of the most promising duos out there: Last Men On Earth.
And not only is it their first EP - it will also be the first Applied Magic release available on vinyl. What a way to celebrate catalog number ten!

Originally hailing from Argentina, with Euge holding it down in Buenos Aires and Seba making waves in Tulum, they have been on a roll this year, releasing some incredibly well-produced and sparkling music along the way.
With tracks on Frau Blau, Amancay and most recently the incredible "Kakra" on Nandu's Out Of Options label, they have been supported by everyone from Dixon to Mano Le Tough, Trikk, and last not least Applied Magic labelhead Aera.

Pixel has actually been the highlight of Aera's sets for a while now, setting a unique vibe with its mix of breakbeats and a wistful melody that won't leave your head for a long time.

Here PT. I & II are the perfect flipside to this gem.
Part I is straight dancefloor fire. Distorted synths, big drums, and high-pitched crazy vocals driving you into a frenzy, with PT. II the introspective counterpart, a beautiful cinematic journey.

This time, the artwork is provided by Malaga based graphic designer Miguel Angel Salido.

Joona Toivanen Trio makes their We Jazz Records debut with their new album "Both Only", out 25 Feb 2022. A landmark work for the long standing group, the album showcases a new sound for the band, trekking deep into new ideas for an acoustic jazz piano trio. Since their formation as teenagers in mid-1990's, the trio of pianist Joona Toivanen, bassist Tapani Toivanen and drummer Olavi Louhivuori (of Superposition, Ilmiliekki Quartet and Linda Fredriksson "Juniper") has developed their remarkably coherent band sound step by step, touring the world over. Nowadays, the trio is geographically split between Gothenburg, Sweden (Joona), Copenhagen, Denmark (Tapani), and Helsinki, Finland (Olavi), but the unit has never sounded so together as one, and as adventurous as on "Both Only".

"Both Only" by Joona Toivanen Trio is a cocoon, a welcoming shelter of sound that opens up naturally for the listener to inhabit. The album is moody and introspective, even dark at times, but by the time you get to the closing track, "This and This", you'll likely notice something hopeful brewing up. This is not music dealing with nostalgia or a world lost. Instead, it's a body of work with delicate dynamics, taking a minute just to listen and to look inwards to learn something, to move forward.

The first single "Enlightened" is perhaps the most traditional piece on the album, yet it flows like a vessel beyond genre, conveying a mood, a feeling and an idea. Listen to how the piano, bass and drums discuss, how the groove moves with the instruments having their clear roles but also supporting each other and documenting a musical aging process exactly as that of a quality bottle of red wine. As a song like "Direction" proves, the melody is there all the way, yet there is nothing obvious about how it's carried by the trio. Things remain surprising, fresh and moving at all times. "Except For" keeps its intensity, while nearly erupting into a full on 4-to-the-floor banger. Nearly! The key here is how the energy sustains itself, building the intensity within the music.

"Both Only" is a powerful statement from a band ready to renew itself time and again, and one willing to do it slowly, outside of the hype. This process makes the impact enduring, nuanced and lovely.

WJLP37 Joona Toivanen Trio "Both Only" is available on vinyl as a black vinyl edition and as a LP+7" bundle also including WJ0716 "Except For (7" Edit)" / "Keyboard Study No. 2".

“More excellent poetic soundscapes from We Jazz! Love the flow through the tracks here – textural pieces moving into more rhythmic jazz abstractions. Beautifully recorded too.”
Quinton Scott — Worldwide FM

“Following on from the excellent Linda Fredriksson album We Jazz extend the journey with this innovative Joona Toivanen Trio set.”
Paul Bradshaw — Straight No Chaser

“You’ll look in vain here for extravagant splashes of color or bright swathes of sound, but what you will discover are a finely-chiselled set of compositions that make the most of the trio’s limited palette: flint-sharp melodies hewn from the ice, crisp and crackling rhythms.”
Cal Gibson — Ban Ban Ton Ton

“Incredible album from Joona Toivanen Trio and a strong start to the new year from We Jazz.”
Kerem Gokmen — Dubmission

“Encapsulating a new movement in jazz.”
Jay Scarlett — Sounds Supreme

“Interesting listen on the shortest day of the year. They have a very definite and saturated style.”
John Chacona — All About Jazz

“Airplayed the track”
Tom Ravenscroft — BBC6 Music

“Jazz album of the year released already in February?”
Ralf Sandell — Hufvudstadsbladet

“★★★★★”
Iida Simes — Voima Magazine