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: Following support from Mojo, 6Music, Amazing Radio, BBC Introducing and beyond, alongside their first headline dates, shows with The Coral, Buzzard Buzzard Buzzard and more, The Dream Machine have announced details of a vinyl release that collect together each of the band’s four track EPs in one place. Volume 1 - 3 features the twelve tracks released on Volume 1: Sacrements; Volume 2: On The Water and Volume 3: Pooch Slingers’ Wild Round-Up.

The Dream Machine are a four piece from Liverpool who tap into that city’s free flowing wellspring of glorious psychedelic melody; the latest in a long line of dreamers who effortlessly create the kinds of tunes that lodge deep inside your brain and refuse to move on. Twelve of those tunes can be heard on Volume 1 - 3, the collection of The Dream Machine’s EP releases of 2021/22.

The seductive first full-length from electronic composer and multi-disciplinary visual artist Amosphère. Born in China, partly educated in Japan and now residing in Paris, her work came to the attention of a wider circle of listeners when she was invited by Laurel Halo to perform as part of a 10-hour durational ambient concert at London's Mode Exchange in 2019. Amosphère uses a careful selection of vintage electronics, sophisticated harmonic sense, and keen compositional intelligence to invite listeners into a meditative sonic space. Time expands and contracts, simplicity reveals complexity, and repetition becomes patient transformation. Spreading out over six expansive yet self-contained tracks, more die of heartbreak serves as a perfect introduction to Amosphère's warmly enveloping approach to analogue sound. Developed from scores (contained in the accompanying booklet) using techniques from concrete poetry and graphic notation as well as fragments of traditionally notated material, these six pieces take in a broad sweep of moods and approaches, from the gently burbling layered monophonic patterns of the opening 'circuit of unconsciousness', reminiscent of the sun-drenched synth figures of 70s Alvin Curran, to the haunted gliding tones and reverberating pops of the closing 'melting a piece of cadmium'. At times starkly minimal and making bold use of the stereo field, Amosphère's production approach keeps the grit and grain of her analogue gear intact, at times calling to mind the work of pioneers like Delia Derbyshire and Eliane Radigue.

Jazz writer Walter Kolovsky has said that Friday Night In San Francisco "may be the most influential of all acoustic guitar albums." LPs of it have been a demonstration staple on turntables around the world for over 40 years. To celebrate the lasting impact of this singular album and the legendary concert that it represents, Impex Records is proud to announce the long-awaited follow up: Saturday Night In San Francisco.

Working with hours of original 16-track live session tapes, Al Di Meola and his team have brilliantly curated this musical tour-de-force, bringing to life for the first time on LP, SACD-Hybrid and CD the explosively virtuosic final performance of Di Meola, John McLaughlin, and Paco De Lucia at the Warfield Theater in San Francisco, December 6, 1980. In the exclusive essay by music historian Charles L. Granata, Di Meola says of that final night: "It's exciting because the audience was right there with us, savoring every single note of music. And, we were ripping. It was crazy good!"

Impex worked carefully with Di Meola, mixing engineer Roy Hendrickson (SPIN Studio), and mastering engineer Bernie Grundman to recreate the magic of Friday Night In San Francisco so these never-before-released solos and trios burst out of your system with striking clarity, dynamics and technical brilliance. "Crazy good," indeed.

Tim Pinch

Musicians

Al Di Meola guitar

John McLaughlin guitar

Paco De Lucia guitar

Selections

High Focus Records are excited to share a new full length offering from prolific Brighton based producer Mr Slipz, this time with a fresh label signing, Australian rapper Nelson Dialect. A landmark release and signing for High Focus with Nelson being the first international signing on the label. UK listeners might have first heard Nelson collaborating with Verbz & Mr Slipz on the song ‘Hope’ from their acclaimed LP ‘Radio Waves’ released on High Focus in 2020. Nelson has a cult following in his own right in Australia, and previously released music on the legendary U.S label Fat Beats to great acclaim. Now teaming up with one of the most exciting and respected UK producers, Nelson & Mr Slipz deliver ‘Ever Since’. A statement piece by two artists with well over a decade spent on their craft which sounds as urgent and refreshing as if it were their first time releasing music. The album’s title is a reference to the endless quest for a timeless sound, reflecting the creative partnerships which spark from a seemingly forever existing thread of music. The two artists crossed paths whilst Nelson was on tour in Brighton, and a chance introduction to Slipz made this album a reality. As fate would have it, due to a cancellation of plans and changing of schedules during Nelson’s tour, the pair ended up in the studio for 8 days straight together which is when the bulk of the album was created. They each saw this as a cosmic alignment and thus played into the albums astrological artwork themes and overarching concept. Striving to capture the lightning in a bottle moment, what resulted musically on this album was an inspired surge of energy and intense creative output that is felt across the entire LP. Equal parts personal and lyrically dextrous, Nelson explores a multitude of concepts over the hard hitting drums and jazzy samples producer Mr Slipz is renowned for through his previous work with artists including Verbz, Kofi Stone, Vitamin G & Datkid among many more. The album features a slew of impressive guest verses including label mates Vitamin G & Verbz on the emphatic ‘Oxford Scholars’. Two legends Jehst & Confucius MC combine on ‘Smooth Ride’. Bronx pioneer & D.I.T.C legend A.G delivers a show stopping verse on ‘Trembling the Marrow’. There are hypnotic singing performances by Indira May on ‘First Date’ & ‘Open Book’ as well as Hiatus Kaiyote back up vocalist Jace XL on the soul stirring anthem “Figure Out What’s Right”. U.S rappers SickInTheHead & Cazeaux O.S.L.O round out the impressive guest list on the album with their inspired verses. Listeners caught their first glimpse of the duo with their debut single ‘Only Just Begun’. A whirlwind 3 verse tune showcasing the relentless wordplay and imagery Nelson is regarded for over a moody, hard hitting Slipz production. With a buzz already around what Nelson Dialect & Mr Slipz are brewing, the duo have just released their second single ‘Oxford Scholars’ featuring label mates Vitamin G & Verbz

BLOODBATH'S 2002 DEBUT FULL-LENGTH STUDIO ALBUM MARKS ITS
20TH ANNIVERSARY, ON MID-PRICE CD - FEATURES THE LINE-UP OF
ANDERS NYSTROM, JONAS RENKSE, MIKAEL AKERFELDT & DAN
SWANO.Bloodbath is a titan of death metal from Stockholm, Sweden,
notable for the inclusion of Katatonia & Opeth members & in their recent
era, welcoming Nick Holmes of UK doom legends Paradise Lost to join in
with the brutality
Formed in 1998 with a mutual fascination for horror & the glory days of death
metal from classic bands such as Entombed, Morbid Angel, Cancer & Autopsy,
Bloodbath has remained a leading light of extreme metal since their 'Breeding
Death' EP was unleashed back in 2000 & a formidable force for over 20 years,
cemented in recent times by their 'Grand Morbid Funeral' (2014) opus & its followup, the even blacker-hearted 'The Arrow Of Satan Is Drawn' in 2018. Debut album
'Resurrection Through Carnage' was released in 2002 & built on the foundations
laid by the 'Breeding Death' EP, with a continuation of the classic old school
Swedish sound & d-beat style, whilst notably establishing a maturity & identity of
their own. The album introduced more dynamic & controlled, groove- laden
passages & melodic/atmospheric texturing, whilst still infusing the compositions
with influences from the genre's glorious past.
As with 'Breeding Death', Bloodbath's line-up of Anders Nyström & Jonas Renkse
of Katatonia, Mikael Akerfeldt of Opeth & Dan Swanö of Edge of Sanity remained,
with production & engineering duties once more handled by Dan Swanö & the
band.
This edition of 'Resurrection Through Carnage' marks 20 years since the album's
original release & is presented on mid- price CD with 8- page booklet including
lyrics

Tartelet are proud to introduce the blissful, psychedelic electronic soul sound of ABUNAI on his sophomore album Chrysalis out May

20th. Across 11 songs the Oakland, CA-based multi- instrumentalist lays down a dreamlike style which should chimewith fans of Tame Impala, Khruangbin and James Blake alike. As well as the sun-soaked surrounding of his Californian home, ABUNAI’s family connection to Hawaii casts its influence over an album which has all the makings of a crossover success. Look no further than early support from the likes of Gilles Peterson, Don Letts, and Wayne Snow for further proof this album is set to blow up.

“My sound is definitely influenced by the live music I grew up with in the Bay Area,” says ABUNAI. “There's plenty of musical legacy here, including the '60s psychedelic and counterculture movements, the '90s rave scene, and the hyphy movement. "I'm always trying to connect the dots and blend all of my influences.

Chrysalis was, like so many recent albums, a project made largely in isolation during the pandemic, although ABUNAI did reach out to close collaborators Gravity and Raquel Marie to contribute some guest vocals, Kevin Farzad from Sure Sure for the acoustic drum parts and a few additional production touches from Tartelet regulars Glenn Astro and Max Graef. He bills the songs as an exercise in therapeutic self-care through lockdown as much as a balm for others. “It's music for healing,” ABUNAI explains, “for the listener to be able to marinate in the slow tempos, the dreamy textures, the swirling vocals, and the lush synthesizers. It’s very much about growth, re-emergence, and dreaming of a better future.”

As well as dealing in ear-catching pop melodies and sweet vocals, there’s an underlying theme of the ocean, which stems from his coastal surroundings and his family roots in the Pacific. “I think the album is aquatic,” he reflects, “and it feels like a voyage to me, or like a long shower, being reborn in the water. I played the album for my grandpa, who's a veteran sailor and pilot from Hawaii, and he said it was the perfect music to play when you're sailing on the open ocean at sunset.” Cast in nostalgic, soft-focus tones and endlessly soothing for the soul, Chrysalis is your new favourite record for tender moments, hazy days and starry-eyed reveries alike.

Daje Funk Records makes a triumphant return with the latest instalment to the spectacular ‘Slam Dunk’ series bringing you the Slam Dunk EP3.

First up on the A-Side of this stellar four tracker is Strange, with the acid laced disco burner, ‘Keep On’. From the intro of delicious 120bpm beats with added ‘Bongonaise’, the cleanest of guitar riffs leads to a hot disco bass with stabs of Rhodes keys lovingly applied. Just when you think you have it all worked out, the acid rug pull is a masterstroke. ‘Keep On’ has a classic (but often elusive) disco vibe with a wickedly acidic twist. ‘Strange’ will rule the summer, guaranteed. Any questions?

For A2, the considerable production chops of Ezirk are on full display with ‘Erotik’ - an 80s funk inspired taxi ride through rush hour traffic to the best cocktail bar on the planet. It’s infectious, demanding fist bumps and virtual high fives. It’s a melody that sets all the possibilities of a great night out through wielding the ultimate synth power. And that breezy sax? Heaven. Put the needle down and let it take you!

On the B Side, we start with label co-owner and master of the groove, De Gama and his carefully crafted ‘Higher’. The tempo is dropped right down here, with De Gama showing his darker and funkier side. Like a joint Gil Scott Heron and Robert Plant fever dream, ‘Higher’ is an intricate lecture in immaculate beats, unimaginable concepts and chord progressions. Serious grooves. Very serious.

Rounding things off on the B Side and closing the EP is ‘R.O.C.K.’ by Hungary’s The Magic Track. These boys know how to deliver a chugger from the MT workshop. You expect them to lure you in, and ‘R.O.C.K.’ does just that. One minute you’re in church, the next in a heaving club with retro beats, thumping bass and driving piano filling the air. The Magic Track are selling magic dreams and you’re buying. The whole bag.

The Slam Dunk EP 3 slam dunks with such force it shatters the backboard. Get it in your record boxes for the summer, and let it stay there!

Killer old schooled beats comes with his dreaming rap by CV Smiles after the long intro from SJT Remix.

On other side,Pure analog 139bpm techno session from the guy "PST" with 808.

Rudolf Abramov is taking a step in a different direction from his last release on Höga Nord Rekords. This 7” contains the works of deep mining in an old hard drive during the introversion of the pandemic quarantine. These two gems have been going under a bit of tasteful polishing before reaching the point of release and the result is a punk meets Stoner rock experience propelled by hard sequencers and drum machines.

This record is as English/Irish as you find em: straight forward instrumentation and lyrical performance presented with a dirty and rough production. The beats are stripped with an edgy punch and the synthesisers are overdriven, giving them guitar like qualities.

The Paracetamol/Clonex 7” is a release of covid demons, and the sound of spitting out the bitter taste of isolation, or to use his own words: “On this 7" you will find absurd and desperate lyrics accompanied by heavy English and Irish accents, driven robotic drum machines, dirty synths, crunching bass, and as unpolished as your dad's old Angle grinder. All that served alongside your favourite cheese and onion crisps”

Lolina project emerged at a time when CDJs became standard in clubs and artists from many disciplines began exploring their possibilities. In Lolina’s records and performances, they are used as a live sampling tool allowing her to move between composition and improvisation. On “Fast Fashion”, discarded vocal takes and phone recordings made while watching videos online or walking down the street are re-sampled across long-form collages. “Mark Ronson’s TED Talk Intro (Using Computer Remix)”, restyles a lecture about sampling and constructed of samples into a track that can’t be contained by any of its elements. Relaxed beats break down into stuttering, jokes turn into abstract situations, and meaning is altered through repetition. With transitions between different parts defining the listening experience, “Fast Fashion” reveals a process by which one thing can be changed into another. “Fast Fashion” is Lolina’s fifth album and first working with Deathbomb Arc. Digital to be released on Oct 27th with vinyl to follow in early 2022 ~ both on pre-sale now. Lolina previously released music as Inga Copeland and was a member of the band Hype Williams between 2009 — 2013.

Newly minted Berlin label Bulging Discs begins with a bang, with their first physical release from Novocastrian turned Berliner Okayokayokay. On the Zonts, is an introspective journey through a blend of nostalgic sounds from breakbeat, electro, garage, house and trance. While contrasting these eclectic and disparate influences via unexpected twists and turns, Okayokayokay uses these reference points to create something distinctly futuristic.

For the first time ever, T-Rock’s debut solo album, Conspiracy Theory will be available on Vinyl, CD & Cassette in time for the album’s 20 year anniversary! The album was first independently released in 2002 on CD-only through Secret Service Inc., the year after T-Rock left Three 6 Mafia's Hypnotize Camp Posse. With guest features from Kingpin Skinny Pimp, Wylecat, Area 51, Odd 1, J-Love, C.I.A., Chilly Rakin, Lyrical Child, 6ix Shot, C-Mac, Miss T., Da Crime-Click, II Tone & 240 North, this album is considered an underground classic amongst fans and critics. This special edition release is pressed on classic black vinyl (limited to 200 copies) as well as a high dispersion silver, and transparent blue variant limited to 150 copies each.

'The Ceiling' is Iogi's debut solo album, featuring himself on all
instruments
The album introduces iogi's compositions and lyrics, his smooth vocals and his
unique approach to music. A nostalgic 60's vibe, with influences from Connan
Mockasin, Paul McCartney, Beach House and the like. The album was produced
together with Nomok, and it features a few guests - Nomok, Sefi Zisling & Amir
Bresler. Vinyl edition includes bonus track.

Under the name Delicate Steve, guitarist extrodinaire Steve Marion has
spent the better part of the last decade establishing himself as one of the
most wildly innovative and widely revered players in the game.He's
recorded with Paul Simon, been sampled by Kanye West, toured in the
Black Keys, and released four critically acclaimed albums of genrebending instrumental music
He's your favorite musician's favorite musician, a virtuoso songwriter, producer,
and performer who occupies a lane entirely his own in the modern indie
landscape, but he's never liked the sound of the electric guitar? "I've tried
everything under the sun to get away from it," he explains. "Until now."Written and
recorded on a white 1966 Fender Stratocaster that reignited his love for the
instrument, Delicate Steve's warm and captivating new album, After Hours, marks
a first for Marion, an earnest, easygoing collection that revels in the simple joys of
plugging in and playing. The songs are sweet and breezy here, pairing vintage
soul grooves with mesmerizing, wordless melodies, and Marion's production work
is subtle and restrained, stepping back in all the right places to let the album's
masterful performances speak for themselves. In another first, Marion teamed up
with outside musicians on the record, bringing in renowned bassist Shahzad
Ismaily (Yoko Ono, Marc Ribot) and famed Brazilian percussionist Mauro Refosco
(David Byrne, Atoms For Peace) to help flesh out the arrangements and stretch
his sonic boundaries.
The result is a dreamy, introspective album built for late night comedowns and
deep dive soul searching, a cinematic, escapist fantasy for the wee hours of the
morning that draws on everything from Bill Withers and Sly Stone to Pharoah
Sanders and Salvador Dali as it explores memory and nostalgia, instinct and
intuition, serenity and transcendence.

The masterful progressive sludge metal outfit Intronaut (USA) released their fifth album in 2015. This long sold out piece of underground art now makes a quick comeback in a limited-to-999 copies edition on double purple vinyl, wrapped in a gatefold jacket.

Intronaut from Los Angeles have for years been at the vanguard of progressive underground sludge metal. Their 2013 album Habitual Levitations has been sold out for years, and is now making a comeback as a limited-to-999 green double vinyl edition, wrapped in a gatefold jacket

Following the precursor singles of 2021, Formality Jerne-Site’s unveiling is finally cast upon her already-growing fanbase. Trained classically as a composer and completing a masters at the Royal Danish Academy of Fine Arts, Jura introduces a highly-anticipated playground of carefully sculpted characters, plots and lessons - sometimes charming, sometimes nefarious, always absolute and sincere. A fictional land opens its doors and roof to us. A trio of trans kids run amok in rural suburbia. Various sorcerers of the wild future enter the scene on some songs; on others, the mind is cast to sun-drenched drives and journeys of yesteryear. At the heart is a pop sensibility: yearning, reflections, vanity, guesswork, hope. Jura is adamant about practice and precision. Dead seriously she offers, about making music: ‘Nothing should be half-hearted or an accident.’ There’s a maturity and elegance to her compositions, arrangements that - although at first sound seem abstract - lean away from experimental, somehow. She sing-speaks in English, and somehow not typically theatrically for such a play of a record. The theatrics are all real. It’s a fantasy land for sure, but it's based on hard facts. Like academia subdivided into poetry. It’s that weird-ass specificity she mentioned. Opener ‘Someone’s Lifework’ introduces less a choir of voices, than a choir of personalities. The art of storytelling is at the center of the musical expression. A protagonist relinquishes control of chaos that’s bigger than them on a perilous journey on some vessel: they comfort their co-passengers. There’s a sense that the hero - or anti-hero - might be more canny and cunning than the sweetness they first sell to fellow players. 'Is this our getaway chance?’ sings fellow Copenhagener Ydegirl amongst swelling synths and reverb that become so definitely Jerne-Site as the quest continues. The search? For intimacy, perhaps. ‘Same late Age (dIcK bIfFeReNcE)’ imbibes at once, some further disorientation, perhaps a little hallucinatory feeling which may come over the listener. Through a synthesizing of political themes that work across time ‘Same Late Age (dIcK bIfFeReNcE)’ bears reminiscences of the musical expressions of anti-capitalism in the 1980es, although in a new body and context. “I have a feeling that music reconjures societal morals and ideas from the time in which it was written when we press play or hear a live performance. From the moment at a concert when the symphonic orchestra starts tuning in, the time traveling begins. So I imagined how it would be to be trans sitting there playing the first violin, having the job of producing that first tone that all the other musicians around me tune in ona, ” Jura explains. The listener yearns for more; and subsequent tracks deliver. On ‘How Intimate It Gets,’ Jura meditates on the futility of closeness, begging the audience to enter the blood and guts of their own entanglements, the blueprints of focusing entering. Jura sings richly about fingers being lines, pointing or bending, and we’re reminded of their own wicked ways we can’t control. A history of singing in choirs informs the harmony of myriad inner voices heard across the album. At once prophetic and enigmatic, some of the songs rearrange historical events out of pop musical language. The enormously entertaining ‘Pinot-Botticelli Toast to European Users’ conjures scenes of Cold-War world leaders stuck on a cruise in the Transatlantic vacuum, and the protagonist watches a devastating heartbreaker careen on into the picture, led by his own hips on ‘The Lasceaux Associate’. Finally, on title track ‘Formality Jerne-Site’, American English rises to the occasion like a verdict around the narrative of three trans teenagers in rural Colorado: language turns into something sensual and haptic, playing with the snare and sizzle of syllables. The words twist and bend, while the music follows its own synaesthetic logic: “around us pop culture made a vow to a normative desire, drawing in like water color percussion”. Anyines is a site of play and documentation, with a canon so far quite nice. Their future is one that envisions supporting the galaxies their dear friends embody, be it music, performance, video games or beyond. Highlights from their discerning back catalogue include myriad formats: live and digital, plus releases binded to physical artefacts that enhance the live experience such as sculptures and scents. Their history also includes disappearing time-sensitive shadow-tracked material and cross-disciplinary opportunities that reflect deep professionalism and a totally non-schooled semblance of sound and drama. Recent releases include a dance-theatre soundtrack, a traditional shiny pop record, and the acclaimed ML Buch sophomore, Skinned.

D'Arcangelo is the duo of Marco and Fabrizio D'Arcangelo and Arium is their first release of sublime introspective electronics for A Colourful Storm. Throughout EPs and seminal albums for Rephlex, Nature and Suction Records, D'Arcangelo forged a sleek and sensuous sound alongside their label mates Bochum Welt, Leo Anibaldi and Lory D. Arium is their latest EP, containing new studio productions and a lost gem produced during the Shipwreck era, hinting at the seminal Broken Toys' Corner and Eksel albums. Full-colour sleeve with insert and liner notes by Marco D'Arcangelo.

Emerging from the dark recesses of the Chicago and London underground, in 2000 Omni a.m. relocated to New York. This EP marked their first release in their new surroundings, it's an intense and highly sought after 4 tracker that showcases the duo's continuing originality and guile.

First up 'Smurfette's Big Night Out' is imaginative in it's approach, there's punchy beats and cascading percussion that drive the track along and really deliver the funk. Psychedelic acid touches interweave with haunting pads and a super deep b-line creates a chemistry like no other. Next is 'Buckshot' a more stripped back rolling affair. Undulating synths and swathes of infectious bass build the track throughout, whilst spacious analog delays and dub influenced sonic tricks abound. Over to the flip where 'I On U' is a wonderful floor friendly roller coaster of a ride, intro'd by a super phat kick, there's stuttering snares that jack and swing, whilst warm synths bubble and filter. Lastly 'Sick Sense' sets the controls for deep space, the bold throbbing bass makes it proper heads down groovin' affair, and the expertly programmed spoken word vocals interplay to add intrigue and atmosphere.

New York Sessions is a cherished release from the Omni a.m. catalogue, a classic where all 4 tracks ooze class and character. This EP has certainly stood the test of time and has been lovingly remastered by Curvepusher for today's discerning minds and dance floors, full support already coming from Raresh and SIT.

Relentless techno powerhouses Octave One stride in 2022 with a brand new release that re-affirms their status across two essential tracks. 2021 was another busy year for the Burden Brothers, who re-introduced the world to their Never On Sunday alias. The project first started in the 90s as an outlet for deeper, more introspective sounds and was fittingly brought back last year to great acclaim. The Detroit duo’s Locus of Control series also hit volume number three and the iconic Octave One live show continued to light up clubs everywhere from Barcelona, Paris and Geneva to LA and New York. Despite that, they still had time to cook up more of their famously soulful techno in the studio, the first two tracks of which are presented here.Opener ‘The Blue Drift’ surges ahead on waves of rattling metallic synths. Well swung claps bring that irresistible sense of groove, while twisted melodies add raw dynamics. Add in the heavy underlying bass and you have a classic Octave One track that is both physical yet emotional. On the flip side is ‘It-Just-Is’ a powerful statement of intent. It’s a stripped back track where house and techno meet - there is a seductive slide to the drums and potency in the turbulent synths which bring the energy. The melody is melancholic and as the emotive pads ring out they lodge deep in your brain to make for another standout cut. This vital new release proves Octave One remains right at the forefront of underground music more than 30 years after they started out.

Eighteen sacred psychedelic suppositories from the laboratory of mad scientist and scalpel-happy pop mutilator Jean-Pierre Massiera. Includes
the rarest and most sought after fuzz funk, spooked surf and
interplanetary prog from ‘The French Joe Meek’ and all his schizoid splitpersonalities and freakish friends - The Maledictus Sound, Chico
Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus
himself.

 Let Finders Keepers introduce you to some old friends of theirs - Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like they’re flicking through the imaginary LP racks in the record shop from ‘A Clockwork Orange’ or perhaps congratulating the runners up in a
Halloween fancy dress competition but for the previously uninitiated you
have just been ordained into the congregation of the many split
personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the
nine-headed monster as he mutates and shape-shifts back through time
to his humble beginnings in a Buenos Aires province ravaging and
pillaging the music of the European people for his own twisted
benediction along the way.

 This might, as intended, sound a little bit dramatic but if there is one
single ingredient that gives the eccentric Jean-Pierre Massiera his
distinct flavour it’s a large dollop of drama. Add sprinklings of
schizophrenia, shock, myth and macabre and you are on the way to a Bmovie broth with an acquired taste that has, like all the best cheese,
taken over thirty years to mature to perfection. Like all the best monsters,
his split personality is the key to his infamy and the secret of his blood
sucking success.

 This is why Jean-Pierre Massiera is (un)commonly known for two key
periods in his career which, like a worm, can be split down the middle to
thrive and flourish independently. To cut a long story short, Massiera is,
above all, a lover and purveyor of musique fantastique, and is willing and
able to hijack whichever stylistic vehicle that passes him buy in order to
do feed his lust. In the earlier part of his career he honed his sordid craft
amongst psychedelic circles in Nice and Quebec. From late 1972
onwards he moved to Antibes and started a disco revolution and
became an in demand cosmic record producer. For years, prog rock
obsessives and disco aficionados have wondered if there was two
unrelated freak merchants called Jean-Pierre Massiera but, in this rare
instance, exploito-maniacs from both sides of the cosmic coin are united
by the work of this singular, single-handed monstrous music
manufactory.

 Remastered and available once again on deluxe black vinyl since the
initial Finders Keepers limited edition 2009 pressing

Shadow Kingdom Records is proud to reissue the classic debut album of
Italy's Bulldozer,'The Day of Wrath' in half purple and half clear vinyl with
red splatter.Italy's Bulldozer should require little introduction
During the 1980s, they were the even-uglier alternative to Venom and Motorhead,
and made their name with such anthems as "Whiskey Time" and "Ilona the Very
Best." They also had an utterly wild, over- the- top presentation and visual
aesthetic, all embodied in accurately monikered frontman AC Wild. They were a
cult band before "cult bands" were such a thing in the metal scene. In short, there
was one – and only one – Bulldozer. Their debut album, 'The Day of
Wrath',released iin 1985, became something like bottled magic: Bulldozer never
again sounded as dark and depraved and raw as they did here. While their
successive albums saw the band cleaning up their act and getting thrashier and
are no less beloved, 'The Day of Wrath' is widely/ rightly considered the classic
album from Bulldozer.

Martens: "Matthew Sage’s (Cashed Media, Fuubutshi) »The Wind of Things« and »Catch a Blessing« are two favorites of new music in my shelter. So when a little while ago he dailed in with this idea to make a Country Western album together, i saddled up and joined the stampede. The result is a universal coming of age story."

Sage: "I have always found the idea of whatever 'Western' means in America to be very elusive. It feels like a fantasy that we keep trying to relive by retelling exaggerated stories. An echo of an echo of an echo..."

Martens: "In them, the dissatisfied, unfolds that wide open road. With television infused meditations of packing a gun on horseback, and chasing a bison herd under torrential rains."

All music, recording: Matthew Sage, Lieven Martens Except: piano on track 7 by Wietske Van Gils, field recording on track 7 by Mick Sage, and carillon on track 10 by Luc Dockx

Mixing, editing: Lieven Martens; mastering: Roman Hiele; typography: Jeroen Wille; risograph printing: Jan Matthé

Bliss is undoubtley the heaviest and darkest album to date by Tungsten
The typical ingredients that define the music of Tungsten are still there while new
grounds and territories are being explored musically. The hooklines are stronger
and more dynamic than on previous albums. The lyrics are darker but they still
ocus on things common man might relate to in one way or another.
Mike Andersson says; "It all came naturally. Creating and recording this album
ruly put us in a feel of bliss. Nick & Karl who wrote the music have really showed
heir skills and musical talents on Bliss with new musical ideas but still based in
he genre that we established in the band in from the beginning".
All songs were recorded the same way as the previous albums at Harm Studios,
Trelleborg (Sweden). Nick Johansson once again took care of the mixing,
mastering and production duties. Karl Johansson says: "We really hope that Bliss
will reach out to an even broader fanbase than before. So much pain, sweat and
ove have been put into this album. We are truly excited to introduce Bliss to the
world". Anders Johansson agrees; "Yes, this album might be one of the hardest
or me to record. Nick is close to a perfectionist at the production helm so if I can
find something that has been good about the pandemic it might be the fact I
could spend so many more hours in the drum studio just to practise and develop
my technique".

Basic Rhythm returns to his Jungle roots for his final release with Planet Mu. Harking back to the golden era of the mid 90s, but with a contemporary slant, Basic Rhythm hands in three dance floor killers, with a remix from the grim reaper himself, Loxy. The titular track, Cool Down The Dance, opens with a jittery fragmented drum pattern and wooshing stereo effects, lending a slightly disorienting feel to the intro before the well known vocal refrain leads into a monster amen drop. Deep subs, amen breaks and steely stabs roll out this dance floor banger. This is followed up with an absolute behemoth of a track. Horse Mout’ utilises an infamous vocal sample in a fresh way, building upon the intro with waves of dubwise effects before launching into a devastating onslaught. With support from scene stalwarts DJ Storm and Flight this one has been smashing up dance floors! The third track is a remix of Cool Down The Dance by Loxy, bringing his inimitable cool production style to the fore, stripping away the amen layers to reveal something for the darker corners of the dance. One for the head noders and the eyes down crew. The final track, Satta, is a nod to the dub of Augustus Pablo, King Tubby, and On U Sound. A slow boiling minimal intro that drops into the extreme minimalism of just a kick drum and sub bass line belies the swagger of the eventual drop. Swinging drums in an almost military pattern tumble and stagger around the core line of kick drum and sub bass, lending this an almost drunken air.

It's a great honour to announce this Detroit legend: Alton Miller! Alton needs no introduction. A classy producer for decades, we're more than happy that he sent us some essentials over for his new ep - essentials ya dig! The main track "Where u r" is a deep, emotional and jazzy clubber, just right for some hot summer club action. The flip side offers again top quality with "Hard to lose", which is pure detroit magic and "Give it up", a track that origianlly has been relesed in 2010 and now gets a deep soulful jazzy remix from Boddhi Satva. Essentials ya dig, indeed! And yes, we love that fantastic artwork by Giza One too!

Time Cow & Ossia take 2 tracks from Jabu’s 2020 album ‘Sweet Company’ into unfamiliar (and dance floor friendly) territory. Side A sees ‘Us Alone’ gets transformed by Time Cow from slo-mo tearjerker into syrupy disco wrecker, managing to somehow touch on reference points everywhere from east LA lowrider anthems through 00s garage and all propelled fwd by an eyeball shaking low end pressure. On the flip Ossia takes snatches of the original ‘Slow Down’ and flashes them in around a 4/4 and a synth melody, fragments of Daniela’s vocal floating like a half remembered conversation. Later Rakhi’s strings come in but in a more unsettling way than the original, eventually dissolving to a kind of Majora’s Mask (in dub) conclusion. All terrain / all weathers - club / bbq / afterparty / late night introspection sessions.

‘An Awesome Wave’ is finally back in stock on vinyl as the band celebrate the 10th anniversary of this classic debut record. Described by The Guardian in their Albums Of The Year coverage as “Remarkable and Rewarding:, ‘An Awesome Wave’ won the band the Mercury Music Prize and an Ivor Novello award, the album has since gone platinum in the UK and continues to receive critical acclaim. This album saw the start of a remarkable trajectory for the band who became one of the most successful British bands of the millennium. alt-J have now sold in excess of two million albums and their songs have been streamed over two and a half billion times. Their follow up album This Is All Yours was a UK number 1, GRAMMY and BRIT Award-nominated album. Released in 2017, album number 3 RELAXER flew straight into the top 10 of the UK album chart ahead of a summer of major international shows-including a headline show at London’s O2 Arena; and headline performances at numerous festivals and became their second album to be nominated for the Mercury Prize. 2022 saw the release of their 4th album The Dream which reached top 3 in the Uk and was one of the best reviewed records of 2022.

Tiptoe between the toadstools of Liverpool’s city parks, and amongst the foliage you might find a Strawberry Guy, contemplating his next chord-progression. Composing hi-fi symphonies from within his humble abode, the Welsh-born songwriter is ready to share the fruits of his labour with debut album Sun Outside My Window. A timeless vista of ethereal balladry looking towards 19th Century musical maestros and works of art, it brings new meaning to the term ‘Modern Classic’ and is the most optimistic of lockdown records yet.
“It’s about seeing the simple things in life and them making you happy,” tells Alex Stephens, the Guy behind the Strawberry. “I remember this day when I was really down… looking out the window, the sun beaming in was beautiful, it made me want to go outside – it was simple but made me so happy in that instance.”
A one-man impressionist, painting majestic soundscapes, Strawberry Guy blends truthful lyrics with lush arrangements to conjure new emotive worlds. Inspired by composers of the Romantic period, or Debussy, Ravel, and other classical artists of the 1800s, his wonderland moves like a Monet painting where arpeggios dance between meadows of dazzling dynamics and dramatic key changes. As former keyboard player of The Orielles and Trudy and The Romance, the light through his floor to ceiling windows has caused a dramatic Greenhouse Effect and now ripening on solo terms, his innocent uploads of ‘Without You’ and ‘F-Song’ comfort 2 million Spotify listeners a month. ‘Mrs Magic’ has received 40 million streams, landing at #13 in its chart and countless fan-created videos have appeared on YouTube. “Throughout history composers have tried to capture emotion, painting their own impressionist pictures with musical brush strokes… I guess I’m just trying to do the same and people enjoy that,” he suggests modestly.
Named by musical friends Her’s after his impeccable taste in milkshakes, Strawberry Guy upturns ‘bedroom artist’ perception, as each idea is crafted into a widescreen wonder where vocals tag-team instrumentals and countermelodies flourish within the Georgian walls of his Liverpool flat’s small space. “I want it to sound like I’ve squeezed an 80-piece orchestra into my room, and for listeners to wonder how all those strings got there,” he says. “Working on the 4-part harmonies, the orchestra became real; I began believing in myself.”
Imitating nature’s effect on emotion, like 70s songwriters, or the fantastical soundtracks accompanying vibrant scenes in the Japanese animated Studio Ghibli films and video games, landscape is brought to the fore. Monet’s picturesque Meadow at Giverny features as the album’s accompanying artwork – perhaps a reminder of the rural Welsh countryside views through his childhood home’s window; “I was inspired by how calm and peaceful the image felt. Its painted lines show real-life scenes in a magical way, which to me reflects my music.”
Just as the first Strawberry Guy EP Taking My Time To Be offered a slowing down for the soul, Sun Outside My Window is musically unhurried, written and recorded over 2 years. “Recording as a lone berry meant I could run with my emotions in the moment and deliver something true; it would have been an entirely different album had it been recorded in a studio,” he says.
Modern Classic? Only time will tell. For now this Guy’s happy-sad world is here to get the juices flowing and with, pandemic permitting, a US tour in 2022, life looks a whole lot sweeter. Until then, take it slow, be at one with the wilderness and remember, when life gives you lemons, swap them for Strawberries.

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".

Black Vinyl Repress

For the third release on De:tuned we proudly present The Kosmik Kommando AKA Mike Dred. Mike hardly needs an introduction; considered as one of the masters of the Roland TB-303 Mike has been releasing records under various aliases since the early 90s. He has recorded for high profile labels such as R&S and Rephlex as well as his own Machine Codes label. Together, with Aphex Twin, Mike was behind the Universal Indicator releases which are among the most collectible and sought after records in techno history.

De:tuned has worked closely with Mike to develop an 8 track project that gives props to the American Psychologist Timothy Leary and his proposed theory of 'The Eight-Circuit Model of Consciousness'. This model describes 8 circuits of information that operate within the human nervous system. Each circuit refers to a different sphere of activity, enhanced by experimentation with a particular substance. Each circuit also represents a higher stage of evolution than the one before it and the higher the circuit, the fewer the people have activated it as the higher four circuits exist for those who migrate to outer space and live extraterrestrially.

The 8 Models are applied to the track titles that present a varied collection integrating acid house, techno, electro and rave culture.

3 of the tracks on offer here were written exclusively for Mike's live performance at the De:tuned 'Meeting of Minds' event in June 2012, which was Mike's first full live show in 3 years.

This 8 track project will be available on limited 180 gr white double vinyl with label and sleeve artwork by Mike himself. Stay Tuned!

2022 Silver Vinyl Repress

For the third release on De:tuned we proudly present The Kosmik Kommando AKA Mike Dred. Mike hardly needs an introduction; considered as one of the masters of the Roland TB-303 Mike has been releasing records under various aliases since the early 90s. He has recorded for high profile labels such as R&S and Rephlex as well as his own Machine Codes label. Together, with Aphex Twin, Mike was behind the Universal Indicator releases which are among the most collectible and sought after records in techno history.

De:tuned has worked closely with Mike to develop an 8 track project that gives props to the American Psychologist Timothy Leary and his proposed theory of 'The Eight-Circuit Model of Consciousness'. This model describes 8 circuits of information that operate within the human nervous system. Each circuit refers to a different sphere of activity, enhanced by experimentation with a particular substance. Each circuit also represents a higher stage of evolution than the one before it and the higher the circuit, the fewer the people have activated it as the higher four circuits exist for those who migrate to outer space and live extraterrestrially.

The 8 Models are applied to the track titles that present a varied collection integrating acid house, techno, electro and rave culture.

3 of the tracks on offer here were written exclusively for Mike's live performance at the De:tuned 'Meeting of Minds' event in June 2012, which was Mike's first full live show in 3 years.

This 8 track project will be available on limited 180 gr white double vinyl with label and sleeve artwork by Mike himself. Stay Tuned!

Minru is the project of Caroline Blomqvist, a Swedish musician based in Berlin. Woven from light and shadow, the interplay of her folk and indie-rock blend appears from a personal space of finding life after death. On her debut LP »Liminality« she paints melody in soft tones, whispering secrets to navigate feelings of loss.

Built around winding layers of acoustic guitar, piano, and strings, Minru is a surprisingly uplifting and stirring testament to Blomqvist’s own suffering from the passing of someone close to her. Returning to Berlin from Sweden feelings of grief, confusion, and pain travelled with her, and these emotions prompted the journey both of and within the album, heard as a dreamlike actualisation of wandering lost between them. "I read that Carl Jung used the word "»Liminality«” to describe the psychological process of transitioning. I instantly felt seen; it reflected my own experience and the feelings I carried whilst making the album – a sense of the old certainties being gone, but the new not being quite there yet,” she says.

Defined as "the threshold separating one space from another" »Liminality« moves between feeling the ground beneath your feet fall away, fighting through the darkness and the doubt, and the emerging shades of hope and light as you painstakingly make peace with mortality and find yourself as a person again. "I am happy to have encapsulated this moment of time in sound," Blomqvist says, "it will always be there as a memory."

Flourishing from a preferred position of solitude, »Liminality« sees Blomqvist’s vision radiate with intensity from her home-based studio in Neukölln - a small, 2-room apartment with squeaky old wooden floors. Capturing the intimacy of the space, she recorded vocals and synth on gear partly borrowed from friends (to swiftly reunite it with its owners), and the songs flow with a stream of consciousness as feelings become entwined with melody. Time-restraint drew the process to a natural close, preventing Blomqvist from losing herself to experimentation. “Maybe I would have been stuck in »Liminality«, trying out sounds forever,” she suggests of the way ‘Into the well’s instrumental swims into a warm stream of synth pads. "It’s the cosiest moment on the album,” she says, “Cosy is a feeling I always strive for in life."

Finished and self-produced at a Berlin-Lichtenberg recording studio alongside musical friends (Povel Widestrand, Tobias Blessing, Sunniva Lilian Shaw Of-Tordarroch, Marlene Becher and Liv Solveig Wagner), the result is beautifully detailed and rich like the folk of her Swedish roots. First picking up a guitar as a kid and becoming obsessed with it, she would skip school to spend extra hours mastering the instrument, grappling to perfect the ‘Stairway to Heaven’ intro. “As a child I was fascinated by my dad’s acoustic guitars around the house and would hit the strings to make them sound,” she recalls. After attending music high school in Gothenburg and playing in bands during her teens, Blomqvist later moved to Germany. As well as enjoying walks at Tempelhofer Feld and coffee at Leuchtstoff café, she performed with Tuvaband, Adna, and Tara Nome Doyle and played in Berlin venues Loophole and Schokoladen, where music became her world. With the passing of time she felt a growing urge to find an outlet for her own songs; Minru was the answer along with her first »Yearnings« EP.

Now writing whenever she returns to Sweden, within the calm and stillness of her family’s mountainside cabin, her skilfully constructed arrangements summon the comforting atmosphere of home. “I hope listeners will feel inspired to slow down a bit, create, draw, cook something. Just be in the moment that is now.” »Liminality« is the kind of record that rewards attention. Give this album your time, it will give you its soul.

Club Glow co-founder Denham Audio is no stranger to linking up with friends. Running the label alongside fellow breaksmiths Mani Festo, LMajor and Borai, the rave-focused producer has established the imprint as one of a leading name in acid hooks, lairy basslines and whiplash-inducing breakbeats, and here - on Cheeky Sneakers - he readies the release of five varied cuts of lowend pressure and sky-high euphoria alongside Swankout, Thugwidow and Coco Bryce.

'Good Time' does what it says. A cut of happy-hardcore inspired breaks beamed straight from the Midlands; there is just enough headsy energy to keep the chin-stokers entertained, whilst inspiring an emotional, smiling release for those whose infatuations lie closer to ravey keys and Bangface Weekenders. Swankouts second collaboration - 'Keep On' - is a growling slab of screw-face electro and breaks, highlighting both producers' knack for finding the sweet spot between varying forms of UK music - fast, hardcore and dutty, it's a surefire party starter. Thugwidow is introduced on 'Testing My Patience'; the producer has been making a name for himself with some excellent releases on Sneaker Social Club and Circadian Rhythms, and here he and Denham Audio combine on a chugging steamroller of malfunctioning, soulful riddims.

It's a dreamy meet on 'Close 2 Me' - Coco Bryce recently collaborated with Amy Dabbs on an excellent jungle EP which received support from BBC Radio 1 and more, and here the Netherlands produce brings his native hardcore spirit to the surface on a pitched-vocal cut of jungle-techno.

Seeing out the release is a remix from emerging producer RAVETRX, who has recently enjoyed sessions on Rinse FM and NTS alongside Roni and Hooversound Recordings co-label head Sherelle.

Arriving on Lobster Theremin's White Label on comes a fresh-sounding and typically loud release from Leeds vinyl enthusiast Peaky Beats. Never one to be pigeon-holed into a specific style of music, his recent releases have explored 2-step, speed garage and dub - bringing his wicked ear for big UK blends into the spotlight - and earmarking him as one of the UK's most exciting emerging producers.

On Paradise Falls EP, Peaky Beats unites the worlds of jungle, drum & bass and 2-step on a high velocity, future-facing project, with a little help from contemporary jungle legend Tim Reaper. 'Paradise Falls' is a melodic stepper that ventures close to 150BPM territory. Those skippy UKG elements are all there, but this time with a hefty dose of jungle influence which brings a certain weightlessness to the track. 'Soul Diesel' ventures further into the garage sphere; the velocity diminishing slightly as the vitality continues to soar. Introspective breaks for sunny days.

'Tangerine Dream' is a prime old school cut of dubbed-out nostalgia. Sitting somewhere between The Streets, El-B and Coco Bryce, its deep bass-weight inspires big 'Any Jungle In, Guy?' energy, before Tim Reaper's remix of 'Paradise Falls' blows the bloody doors off with a typically emotive and atmospheric cut of jungle fantasia.

Fabric resident Anna Wall and production partner Corbi link up again for the first time since their debut EP 'DATs In The Attic' dropped on Ritual Poison in 2019. Between then, Anna has gone on to release music on her own label Dream Theory and turned in a gorgeous deep cut for music platform 22 tracks' final send off before closing. Corbi has been no stranger to production either, heading up important label Fina records and releasing stand-out EPs on Rough Recordings & Kouncil Cuts.

The pairing bring their newfound knowledge to LTWHT, shape shifting between colorful displays of breakbeat and melodic perfume. Ahead of the release, Anna & Corbi spoke of their love of digging into the past, delving into old techno and rave records and inspired by artists like LFO. While the influences are apparent their sound remains unique, contemporary and flourishing with personality.

Title track 'Persistence' opens with choppy breakbeats and deep subs, adding extra depth and weight; providing the perfect base for the record's shimmering synth lines. 'Consciousness' then conjures wide-eyed atmospherics, joining hands with a soothing, deep bassline and diamond shaped arpeggio. 'I'm just changing consciousness' is gently spoken as the track ebbs and flows across the oceans moon-lit surface.

Subtly euphoric and inherently introspective, B side opener 'Take A Moment' shows a developing side to the pair's growing sonic palette. Early trance meets breakbeat, in an emotive display of otherworldly electronics and primordial whispers. The tracks bassline and lead add an extra layer of playfulness, turning the track from a cerebral workout to a blissful dance around an open flame. The record comes to a close with 'Regardless' an acid inspired dream that unfolds amongst a backdrop of clouded pads and intoxicating patterns.

Tibor Kocsis doesn't take a minute to introduce himself on his first EP for 030303 records; he presents himself with a slap in your face from the very first second. Title track Delta Ophiuchi is heavy duty dancefloor material... reminiscing of the very best of K Alexi Shelby's early works, just a little more focused and to the point maybe - an instant rush and an instant classic! Second track Nekorb is a little sweeter and more for the after hours. The remaining 3 tracks keep that same flow; a wonderful blend of Chicago, psychedelic British acid house and electronic minimal wave.

Cardiff alternative rock duo James and the Cold Gun are pleased to announce the details of their debut EP False Start, set for release on April 29th 2022 through Gallows' label Venn Records and Seattle-based label Loosegroove Records, owned by Stone Gossard (Pearl Jam) & Regan Hagar (Malfunkshun, Brad, Satchel). False Start is available to digitally pre-order now, with a vinyl release scheduled for the summer: https://orcd.co/falsestartep Speaking of the new partnership between the band and Loosegroove Records, the influential indie label that was founded back in 1994, which has issued records from acts such as Critters Buggin, Malfunkshun, Weapon of Choice and Devilhead, and was the launching point for Queens of the Stone Age’s debut album in 1998, Stone Gossard said: “I heard James and The Cold Gun’s ‘Long Way Home’ on KEXP last year and thought this band fricken rocks! Who are these upstarts?! "This new track, ‘It's Mutual’ takes it to another level. Totally unhinged and letting it all hang out. Loosegroove Records is thrilled to be working with James and the Cold Gun on this new EP with a future full-length coming soon.” On 'It's Mutual', James Joseph said: "It's a song that embodies the feeling that you get when you hit a stalemate in a relationship, that feeling when you're both sat together but neither person is able to speak. We've all had those awkward silent car journeys where there has been an argument or something isn't right but we can't even chat about it. Next time you have an awkward car journey, grab the aux and chuck some Cold Gun on." James Biss adds, "We wrote these songs for False Start in our flat in 2020 during the pandemic and our first time playing them live as a band was to record them. It was pretty mad recording live around our drummer, hearing the songs played loud with real drums for the first time after months of being stuck inside writing them on the computer. Recording with Adrian Bushby was a dream though, he was bopping around the control room and egging us on to play louder and harder, he's technically the first person we ever played in front of." Taken from the EP, lead single 'It's Mutual' is out now: https://orcd.co/itsmutual The band have rapidly been building support from some of rock’s most respected taste-makers, including Kerrang! Magazine, Rock Sound, Punktastic, Dead Press, Running Punks, BBC Introducing Wales, Deezer’s Hot New Rock playlist, Triple J’s Short Fast Loud, Apple Music’s New In Rock, Beez at Mosh Talks on Twitch, Alex Baker at Kerrang! Radio, John Kennedy at Radio X, and Daniel P Carter on the BBC Radio One Rock Show.

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.

SINGLE VINYL EDITION OF DODHEIMSGARD'S 1999 MASTERCLASS OF
BOUNDARY-PUSHING EXPERIMENTAL BLACK METAL.To fans of black
metal, Dødheimsgard need no introduction, being one of the great
purveyors of the Norwegian Black Metal creative evolution
The band was formed in 1994 by Aldrahn (Thorns) & Vicotnik (Ved Buens Ende).
The early incarnation was that of a raw & at often melodic black metal band, with
their debut album also featuring Fenriz of Darkthrone on bass. In recent years,
Dodheimsgard has become known for its eclectic musical ventures & poignant
mood shifts, with a less chaotic, more considered approach compared to their
earliest works. Following the 'Kronet til Konge' & 'Monumental Possession'
opuses, there was a shift in direction as demonstrated on 1998's 'Satanic Art' EP
& by Dødheimsgard's third album, '666 International', Vicotnik had taken over a lot
of the writing duties, with DHG's style becoming more technical yet ferocious
black metal, with strong experimental ideas & industrial elements. Vicotnik's riffs
were inspired by cult bands such as Thorns & perfectly entwined with Aldrahn's
delightfully twisted lyrics & immense vocals to create something truly unique. In
its '666 International' incarnation, DHG (as they were later to be known) featured a
line- up of well- respected Norwegian musicians including Czral (Aura Noir, Ved
Buens Ends, Virus), Apollyon (Aura Noir, Immortal), plus Mr Magic Logic (Fleurety)
on keyboards, as the album was constructed over a period of time. All in all, '666
International' is rightly regarded as a highly influential masterpiece of avant-garde
metal by many since its release in 1999.
This edition of '666 International' is presented on black vinyl in single sleeve,
retaining the original cover artwork & contains lyrics.

What would it sound like if Ginger Root was asked to make the soundtrack to an American adaptation of a fictitious Japanese film from 1981 entitled, “街のやつ” (Machi No Yatsu) You’d get their new EP, “City Slicker” While the previous Ginger Root albums have had themes of introspectiveness and observations on past personal experiences, this upcoming release is the first collection of songs written from an outside perspective. The first collection of songs that live in a fabricated world. A short 19-minute escape to a metropolis that never was. Following a protagonist whose neighbors call him the “City Slicker”. On this EP, Ginger Root continues to pioneer their self-proclaimed genre: “Aggressive Elevator Soul”. By blending the bones and blueprints from the works of Yacht Rock and City Pop, with textures from the ever-evolving Bedroom Pop scene, glueing them all together fruitions something uniquely Ginger Root. One may argue that the best way to listen to “City Slicker” is not by vinyl, nor by cassette, but by VHS (if such a merch item were to be created). major label,

Welcome To Our World is the debut studio album by the Norfolk, VA duo Timbaland & Magoo. First released in 1997 by Blackground Records, the platinum selling album features guest appearances from artists such as Missy Elliot, Aaliyah, Ginuwine, and Playa. Known as a classic among duos in Hip-Hop history, the album features singles such as "Up Jumps Da Boogie," "Clock Strikes," & "Luv 2 Luv Ya."

Originally released in 1998 by Blackground Records, Tim's Bio: From the Motion Picture - Life from Da Bassment is the debut solo album from Hip-Hop & R&B superproducer Timbaland. With guest appearances from heavyweights such as Magoo, Missy Elliot, Aaliyah, Ginuwine, Plays, Skillz, Nas, Jay-Z & Twista, as well as the debut on-record appearance of acclaimed MC Ludacris, Timbaland takes full control of production for the album. The album features the hit songs, "Here We Come," and "Lobster & Scrimp."

The second volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.

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

“I’m closing a chapter in my life,” Barbie Bertisch says to me from a park bench in Greenpoint, “I spent the last four years working towards gaining confidence around my ideas and my creative perspective. This feels like a culmination of that process” The “this,” in question is Bertisch’s debut record Prelude, a collection of eleven songs that chronicle 5 years of Bertisch’s life. The legendary musician Anna Domino describes the record best: “Prelude is a record of layers and depths. The melting phases and soaring distances.”


Raised in Buenos Aires and Miami, Bertisch has called New York home for most of her adult life. When she started piecing together Prelude, she was in her Brooklyn kitchen. It was early quarantine. Stuck at home instead of DJing at clubs, she found the space to parse through the archives. What she previously considered unworthy of attention in the era of distractions, finally made sense as a whole once all the noise was turned down. Compiling a list of songs in various states of completion, Bertisch dreamed up an album, a chronicle in growth and healing frustrations of the past, an honest account of someone trying to find her own voice. That in and of itself was a journey. It took years for Bertisch to accept that she was an artist. “I felt like I was surrounded by men who ruled every space. I constantly felt like I had to ask permission to enter, always around bands but never the girl in the band” she says.


Prelude is an introspective record. It explores all of the valences of being and feeling. Some songs are chaotic and choppy. Others are soft and searching. There is rage and innocence, and moments of forced stillness, like capturing the aftermath of panic attacks, as in “After The Storm”. Bertisch also focuses on rhythm, bass guitar being her main instrument, and no stranger to the power of the beat. The record also draws on influences as varied as Kaitlyn Aurelia Smith, Cocteau Twins, Berlin School, and pioneering producer François Kevorkian. Both sonically and conceptually, Prelude is a portrait of who Bertisch is as a person.“Is This What You Wanted?” is fiery, a pointed provocation to domineering figures from her past. It’s full of strobing, strident synths, and heady lines of bass. It gives off the same vibe as a fire alarm, as a big room dance track that subverts your expectations of what it means to dance in a sea of bodies. “28,” the record’s opening track is more peaceful. It’s all languid keyboard arpeggios with the occasional flourish of a cascading synth effect.


Since most of the songs already existed in some form or another, Bertisch’s job on Prelude was to refine and reimagine music that had previously been private. She spent time rearranging, rewriting, adding elements newly available to her, such as the saxophone, and pushing the limits of the rough mixes to mold the universe she envisioned. Along the way, Bertisch grew more excited about her abilities as a musician. The resulting record is one that is inherently confident.


Prelude is also a homespun release. It’s coming out on Bertisch’s own label, Love Injection Records, which she runs with her partner Paul Raffaele. The two also DJ and make zines under the name, which started in 2015. Love Injection is a love letter to New York. Prelude is a word of encouragement to those struggling with self-actualization. The record was mixed by Justin Van Der Volgen and mastered by Walter Coelho. Love Injection Records holds the remix tradition in high regard, and they’ve enlisted reworks by some of Barbie’s favorite producers. It’s all a labor of love for Bertisch. Prelude is her: Barbie the musician.
©℗ Love Injection Records 2022

1985 session by piano great Duke Jordan alongside bassist Jesper
Lundgaard and drummer Billy Hart
Duke Jordan (1922-2006) famous for his intense lyricism embarked on the world
jazz scene as a member of the classic Charlie Parker Quintet in the late 40s with
his trademark introduction to "Embraceable You". Jordan unlike many other
American jazz musicians in Bebop era found his artistic and personal living space
in Europe since the early '70s. His extensive recording output on SteepleChase
including this album from 1985 recorded in Denmark makes up the huge part of
his discography.
"A most agreeable set that is both eminently listenable and very
enterprising...Jordan was always a fleetly swinging but subtle pianist whose allround musicianship has never got the recognition it merits. This fine trio deserves
to sell well and spared his name further afield." - Richard Palmer, Jazz Journal
International

2 Vinyl Disc - Swirl Color - Live archive release
Chuck Berry, the songwriter and guitarist now known worldwide as the Father of
Rock & Roll, came from humble beginnings. The complete Concert. Mastered
from the Analog Tapes: There was no shortage of historic rock music festivals in
1969, from highs of Woodstock to the crashing lows of Altamont. Meanwhile,
interest was steadily building on another front. A full-fledged 1950s rock and roll
revival was brewing, and the idiom's pioneers were experiencing a Renaissance.
No longer viewed as over-the-hill relics, they stood as vital sources of real rock
and roll. Combining the two contrasting demographics at one event was a rare
sight to behold, but the Toronto Rock 'n' Roll Revival 1969, held that September 13
at the University of Toronto's Varsity Stadium, represented that unlikely hybrid.
That afternoon the Father of Rock & Roll returned to lead the apostles of rock into
the next decade. After decades of inferior releases, for the first time, this
historical concert is presented in its entirety. Includes, School Days, Carol,
Memphis, Nadine, Rock & Roll Music, Johnny B. Goode, I'm Your Hoochie Coochie
Man, Too Much Monkey Business, Sweet Little Sixteen, Goodnight Sweetheart
Goodnight and more. Double LP Pressed on Swirl Color Color Vinyl.

Ivo Neame's twisting grooves and harmonic ingenuity have helped
establish his distinct voice in international contemporary jazz
The celebrated Phronesis pianist returns to Whirlwind for 'Glimpses of Truth', a
powerful artistic statement marking the first time Neame's big band
compositions have been committed to disc. Neame's most assured body of work
to date will undoubtedly be remembered as one of this period's most impressive
artistic achievements. "Having lots of people play this intricate polyrhythmic
music can be really emotionally powerful," says Neame. Taking inspiration from
Phronesis' large ensemble projects, the compositions also played a didactic role,
as a way of introducing newcomers to complex rhythmic structures. The
pandemic flipped that idea on its head: faced with dwindling opportunities to hear
these compositions live, Neame thought "'I'm just going to plough on regardless
and record it all'." Composed, multi-tracked (Neame plays all the tutti sax lines),
videoed, mixed and mastered remotely over the pandemic period, 'Glimpses of
Truth' embraces the digital on a global scale, as Gilad Hekselman, Jim Hart and
Ingrid Jensen appear alongside a stellar selection of UK musicians.
Neame stumbled across an article which claimed that 12 million Americans
believe interstellar lizards run the United States. "I wanted to write a tune that
would encourage people to wake up and question their beliefs" - 'Rise of the
Lizard People' is what followed, immediately dropping you into Neame's world of
pulsing rhythms and shifting feels.
The album finds Neame well equipped on his continued search for hard- fought
truths.

Maverick Sabre announces his much-anticipated fourth LP Don’t Forget To Look Up, out 28th January 2022 via FAMM. The follow up to 2019’s When I Wake Up, the introspective 12-track release was conceived in lockdown and sees Maverick examine and unpick love in its various iterations. Traversing recollections of previous relationships, to examining the societal pressures placed on couples, Don’t Forget To Look Up is both intimate and inquisitive at the same time. From the brooding vulnerability of opener ‘Falling’, to his recent Demae collaboration ‘Not Easy Love’ (which saw support from the likes of Crack, Complex, District, TRENCH, TLOBF and more), this sublime body of work places Maverick’s sultry tones in centre stage. Calling on the legendary Nile Rogers to provide the guitar on the shimmering, disco cut ‘Get Down’ and the vocal acrobatics of Sasha Keable for the evocative ‘Middle of Eden’ - Maverick carefully weaves collaborators through the project. A truly multifaceted artist, Don’t Forget To Look Up sees Maverick step up on production duties - producing half the tracks on the album. Maverick will be returning to the stage in 2022 for a 9-date UK + IRE tour, commencing with a homecoming show at The Academy, Dublin on 17th Feb and closing on 10th March at the Alexandra Palace Theatre, London. Platinum-selling, BRIT-nominated artist Maverick Sabre is the voice of a generation. Previously collaborating with the likes of Jorja Smith, Joey Bada$$, Bugzy Malone, Chronixx, Rudimental, Vintage Culture and George The Poet – Maverick has a flair for working with the best artists, producers and tastemakers in the scene. Imbuing each of his timeless releases with perceptive social commentary, introspective lyricism and his signature emotive delivery; this prolific, critically-acclaimed artist has been supported by the likes of The Guardian, The Arts Desk, Complex, GQ, NPR.

Indecent Proposal is the second studio album from Norfolk, VA duo Timbaland & Magoo. Originally released in 2001, the album features Magoo's Q-Tip-like flow and Timbaland's distinct production style drawing from reggae, retro and soul. Features include early appearances from Jay-Z, Twista, Petey Pablo and Ludacris, as well as looks from Aaliyah, & Static Major. Released nearly two months after Aaliyah's untimely passing, the album was dedicated to the memory of "Babygirl."

For the best part of 10 years, For Those That Knoe has maintained its position as a platform for obscure and under-represented artists of recent past, (re)introducing their music to the world in the form of a stories told in chapters and specially crafted albums.

Taking a slightly different tack, For Those That Knoe is looking to the present rather than back in time with a first LP outing for Slovenian producer Vid Vai.

Vid Papez has had a succession of quality EPs under his belt, originally classically trained on violin, lute and guitar, his sound has developed into a lush mix of catchy breakbeat rhythms, precise intelligent percussion and other-worldly melodies and sound scapes.

In constructing Laminar Flow, Vid has taken inspiration from fluid dynamics and coupled it with early influences in the form of UK bleep, IDM and breakbeat sounds. The result is a timeless piece of liquid-smooth sonic art that is strongly relevant in 2022 whilst also giving a gentle nod to the pioneers of the deeper end of the rave scene.

Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound.

Listening pays off. This is evident not least in the debut EP of Golden Pudel Club barman Paul Speckmann.

Long years behind the bar of the Hamburg club pub made him a willing listener to the numerous and diverse events there - from start to finish, something that very few "regular" clubbers can claim.

And these influences, from indie concert to electronica crunch, from jungle breakbeat massacre to dignified house groove, not only led to his varied DJ sets, with which Speckmann also made his house club happy, but certainly also served as inspiration for these wonderful tracks, which skil-fully oscillate between deep-dusty house, angereak indie dance and playful IDM jingling, often varying different elements in one track.

There is, for example, the delicately dreamy house hit "On The Flip", the latenight funk of "Star-ship", which would not be out of place on the Sunday MFOC floor, or the blurred indie ambient tune "Return", which captivates with campfire guitar and Sophia Kennedy on the vocals.

And these are just three of the seven tracks (or eight on the digital release) on the EP, none of which disappoint. Someone has listened carefully and learned his lessons. Chapeau!

Veyl is pleased to welcome Marco Freivogel’s Prequel Tapes for an immense 8 song release, 'The Golden Cage'. Completing an album cycle of themes and exploration which began with 2015’s 'Inner Systems', 'The Golden Cage' is perhaps Prequel Tapes’ most diverse and expansive work - utilising the artist’s own vocals for the first time and evolving his production and sound to new, uncharted dimensions.

Working off the trauma of his father’s suicide, 'The Golden Cage' was spawned from a hyper-realistic dream experience which revealed the artist’s path, catalysing new productions and techniques. The result is a striking work of unconventional electronics that journeys through rhythms, atmospheres and experimentations. A true narrative of a continuously challenging personal journey Beginning with the tension-building, free flow of 'My Turn', we then delve into grief and anger with 'I Hate You', which transforms into the pulsating tempos of 'Stranger or Lover'. The glistening nostalgia of 'Last Things' marks the halfway point before grappling with the heavy introversion of 'Alone' and devious energy of 'Mind Corner'. Nearing the end of our trip, 'Without Remission' uncovers the most dance floor tuned
piece while finally the title track closes things out with an energy that will linger long after you’ve listened.

The O'Reillys and the Paddyhats are a unique formation finally making their mark on the Irish folk punk scene - something new and refreshing to talk about. Here comes the Ltd. Edition vinyl edition of the successful album from 2016 in red transparent color!

Available on vinyl for the first time since it's original CD-only release in 2007. Tenor saxophonist Fred Anderson and drummer Hamid Drake had the closest of relationships, as close as a father and son might have. Their communication was at a higher level musically and emotionally. The music on this album reflects not only their masterful musical skills, but a conversation in music that is exceptionally powerful and unique. For From the River to the Ocean, they assembled a band consisting of fellow Chicagoans to record the most relaxed, perfectly balanced album they made together. It may seem hyperbolic to call From the River to the Ocean Fred Anderson's greatest album, but the empathy and cohesiveness of the ensemble, coupled with the saxophonist's brilliant, searching improvisations, makes it a powerful contender. From the River to the Ocean is an especially varied outing, ranging from Anderson's classic set-closing blues "Strut Time" to the meditative, spiritual, modal track "For Brother Thompson," dedicated to the late trumpeter Malachi Thompson and featuring bassist Harrison Bankhead on brooding piano and Drake chanting in Arabic. The record's title track and the closer, "Sakti/Shiva," find bassist Josh Abrams laying down an astounding bed on guimbri, the threestringed Moroccan acoustic bass familiar to fans of Gnawa music. Another of the album's delights is guitarist Jeff Parker, well known Jazz guitarist as well as member of Tortoise. Here, Parker displays an immense sensitivity and melodic genius, sharing solo spotlight with Bankhead's cello on "From the River to the Ocean" and sculpting a stunning array of shapes on the group's swinging take on Anderson's "Planet E." Underneath it all is Hamid Drake, an intensely creative soul continuing to challenge himself. Drake's growth is not measured in how many different instruments he plays - indeed, he's scaled back his arsenal over the years - but in the depth and musicality of his feeling. On this record he is remarkably light and airy, playing with tremendous delicacy and clarity. Propulsion can be introduced without a pneumatic drill, and Drake instigates an avalanche of rolling forward momentum on the opening moments, inspiring the two basses and guitarist to move, to make something moving, and in turn to further inspire Fred Anderson to some of his most forceful and imaginative playing ever documented. If the individual is a small receptacle of expressivity, a mountain spring if you will, then it is in ideal settings like this one that the springs join forces, turning into streams, then bigger and bigger tributaries, finally swelling into rivers that open into the oceanic creative waterways. Thank goodness Anderson and Drake tapped into that wellspring, drawing directly from the source

Available on vinyl for the first time since it's original CD-only release in 2007. Tenor saxophonist Fred Anderson and drummer Hamid Drake had the closest of relationships, as close as a father and son might have. Their communication was at a higher level musically and emotionally. The music on this album reflects not only their masterful musical skills, but a conversation in music that is exceptionally powerful and unique. For From the River to the Ocean, they assembled a band consisting of fellow Chicagoans to record the most relaxed, perfectly balanced album they made together. It may seem hyperbolic to call From the River to the Ocean Fred Anderson's greatest album, but the empathy and cohesiveness of the ensemble, coupled with the saxophonist's brilliant, searching improvisations, makes it a powerful contender. From the River to the Ocean is an especially varied outing, ranging from Anderson's classic set-closing blues "Strut Time" to the meditative, spiritual, modal track "For Brother Thompson," dedicated to the late trumpeter Malachi Thompson and featuring bassist Harrison Bankhead on brooding piano and Drake chanting in Arabic. The record's title track and the closer, "Sakti/Shiva," find bassist Josh Abrams laying down an astounding bed on guimbri, the threestringed Moroccan acoustic bass familiar to fans of Gnawa music. Another of the album's delights is guitarist Jeff Parker, well known Jazz guitarist as well as member of Tortoise. Here, Parker displays an immense sensitivity and melodic genius, sharing solo spotlight with Bankhead's cello on "From the River to the Ocean" and sculpting a stunning array of shapes on the group's swinging take on Anderson's "Planet E." Underneath it all is Hamid Drake, an intensely creative soul continuing to challenge himself. Drake's growth is not measured in how many different instruments he plays - indeed, he's scaled back his arsenal over the years - but in the depth and musicality of his feeling. On this record he is remarkably light and airy, playing with tremendous delicacy and clarity. Propulsion can be introduced without a pneumatic drill, and Drake instigates an avalanche of rolling forward momentum on the opening moments, inspiring the two basses and guitarist to move, to make something moving, and in turn to further inspire Fred Anderson to some of his most forceful and imaginative playing ever documented. If the individual is a small receptacle of expressivity, a mountain spring if you will, then it is in ideal settings like this one that the springs join forces, turning into streams, then bigger and bigger tributaries, finally swelling into rivers that open into the oceanic creative waterways. Thank goodness Anderson and Drake tapped into that wellspring, drawing directly from the source

The ninth installment in Numero's Cabinet of Curiosities is 100% chart smashes. Culled from the depths of the private press, Super Hits gathers 12 magical adaptations from the Me Decade's introspective songbook. Pop this oversized 8-Track into your Fleetwood Weltron and enjoy a motley crew of lounge singers, wedding bands, synth enthusiasts, trailer park dreamers, accountants, gym teachers, and more as they bring their own unique energy to classics by Steely Dan, War, Boz Scaggs, Neil Diamond, John Denver, Smokey Robinson, The Carpenters, Redbone, The Box Tops, Fleetwood Mac, and more. Tape warble not included.

Canadian songwriter and producer Jeremy Haywood-Smith needed an escape from his state of mourning when he began working on Slingshot, his most recent LP as JayWood. After the loss of his mother in 2019, and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for some forward momentum. "The idea of looking back to go forward became a really big thing for me _ hence the title, Slingshot." Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals, Slingshot is a self-portrait of JayWood at his surface and his depths. Musically, Slingshot reaches into sounds and styles Haywood-Smith has continued to explore throughout his catalog. "I think I made a really big deal to not pigeonhole myself," he explains. "Whatever is inspiring me at one point will work it's way into whatever I'm creating." Slingshot is an amalgamation of Haywood-Smith's many musical sensibilities, achieved with help from a crew of talented peers. Haywood-Smith wrote and performed a bulk of the track's instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon (on "Just Sayin") and Mckinley Dixon (on "Shine.") The album's penultimate track, "Thank You," was co-produced with Jacob Portrait of Unknown Mortal Orchestra. The song brings JayWood's sound full circle, offering something reminiscent of Haywood-Smith's earliest recordings, while flaunting that "The best is yet to come."

“Lovage” is defined as “an herb that is said to be a benefit for relieving abdominal pains due to gastrointestinal gas…also touted to reduce flatulence when consumed as a tea.” But when placed in the able hands of sonic mastermind Dan “The Automator” Nakamura, recording under the guise of musical lothario Nathaniel Merriweather, the result is a concept album of “music to make love to your old lady by.” With the help of collaborators such as Mike Patton (vocals), Jennifer Charles (vocals) and Kid Koala (turntables), Merriweather serves as your personal guide to the sensual side of life, painting a satirical, darkly funny portrait of love and sex with left-field hip-hop and instrumentals as only he can do.

Nach dem Erfolg seines Debüt-Albums „Kid Krow“ (2020), veröffentlicht Conan Gray jetzt sein zweites
Studioalbum „Superache“. Der 23-Jährige gilt mittlerweile als eine der interessantesten Stimmen der
amerikanischen Gen-Z Pop-Kultur.
Fans können sich auf einiges gefasst machen. Conan selbst sagt über sein neues Album: „‘Kid Krow‘ was
just the introduction“. Mit „Superache“ beginnt für Conan ein neues Kapitel seiner Karriere, hier möchte
er jetzt all das sagen, dass er sich vorher nicht getraut hat.
Einen Vorgeschmack lieferte schon seine Single „Memories“, die das Thema des Albums gut einfängt. Conan sagt: „(The Album is) just about that ache of being young and sometimes dramatic about the way that
you deal with pain and heartbreak and mourning.” Zusätzlich zu seinem neuen Album, können Fans seine
ausgefallenen Bühnenoutfits jetzt auch weltweit live bestaunen. Conan ist 2022 auf Welttournee, 4 Konzerte davon sind in Deutschland. Neben der digitalen Variante gibt es das Album als CD und Vinyl zu kaufen

Vinyl is limited to 500 copies on black vinyl, no download card. Sunzoom have been making a stir from their Liverpool base and this highly anticipated debut is not to be missed. Lo-fi and DIY in equal measure, the record was only conceived of 4 weeks into the first lockdown when songwriter Greg McVeigh decided that recording music was the only way to stay sane. Building a makeshift studio in the kitchen of his North Liverpool home (and deciding to name the new project SUNZOOM after a favourite Captain Beefheart track) Greg set about learning the processes of home recording from the ground up. The album theme draws upon the peculiar aspects of lockdown; isolation, spiritual introspection, longing to be somewhere else, weird dreams, drinking too much and takes the listener on a journey of escape. The songs move the record through fields, countries, time, space, memories and longings to finally end back at home in the reality of the four walls. Digging into some past unreleased recordings, poems, unfinished snippets of tunes and writing new songs (usually sung into his phone during months of daily beach walks with his dog) Greg began to build a record within the claustrophobic environment of summer 2020. Friends were able to collaborate (by the magic of old recordings and new parts sent via email) and in early 2021 Sunzoom entered ARK Recording Studios in Liverpool to add live drums and vocal parts subsequently spending a month mixing the record back home in the familiar surroundings of the kitchen where the concept first began. The result is a snapshot of the period that magically transforms personal and public strife into glorious pop-folk psychedelia.

Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound.

Clear Vinyl

I met Thomas Roussel in 2017 at a Pigalle fashion show in Paris. As always with Stéphane Ashpool, the designer of Pigalle, casting is perfect and the clothes are modern and groundbreaking. But my eyes and ears were intrigued by this retro-futuristic instrument next to me, the Cristal Baschet. French composer and conductor Thomas Roussel wrote the soundtrack of the show.
He add this magnificent instrument in his "not very classical" orchestra, this is what I immediately loved with him!
He invited us into his world of classical music with a fresh twist, simplicity and audacity.
At the same time I was scratching my head to find something different to celebrate the 15th anniversary of Ed Banger records.
For a long time I had this idea of mixing both electronic and classical music together. Exactly like my heroes Metallica did in 1999 with the Symphonic orchestra of San Francisco! Thomas Roussel seems the perfect man for this crazy idea. We did Ed Banger 15 together and we became friends.
Thomas Roussel grew up in Dijon, spent his days at the conservatory and his nights at L’An-Fer, one of the most respected Techno club in France. Probably the reason why he ended up working with Jeff Mills, on two projects mixing Jeff’s 909 and a classical orchestra.
By experimenting new ways of using an orchestra, by creating state-of-the-art scenography and producing more ambitious music he quickly became the man in charge of everything "classica". The list of his collaborations is too long and will ruin this little introduction.
It could sounds like this : Chanel, Apple, Cartier, Kenzo, Nike, Dior…
Performing from Paris to Macau, from Monte Carlo to Dubai and from New York to Beijing!
In 2017 Thomas Roussel released his first album as Prequell with Universal Music.
A successful collaboration that really allows Thomas Roussel to become an artist.
In 2022 Ed Banger records is proud to release Thomas Roussel "LATE METAL" a 3 tracks EP.
Where uplifting orchestration and electronic music composing collide. The perfect soundtrack of a block buster movie mixing George Lucas & Christopher Nolan generations. It’s also a marker of our time, music boundaries are explosing. It’s time to hear the London Symphony Orchestra’s strings battling with a Drum’n’Bass beat, a way to DEIFIED classical music.
It’s also a record for your eyes. Art director Andy Picci created an algorthym and gave life to a mercury abstract form. This collaboration
marks the need for Thomas Roussel to always push the boundaries and take his project to another LEVEL.

Classic 2001 collection from Detroit's ADULT. 20th anniversary of the original release, 10th anniversary of the first vinyl pressing. Available for the first time in red & black marbled vinyl. "We've wanted to re-release this album for some time," says ADULT.'s Adam Lee Miller, "but we weren't ready until now. We have some new material in the pipeline, and we thought this would be a nice way to reintroduce ourselves." It is indeed a nice way for the hugely respected Detroit duo to herald their return to the world of music, especially for anyone who missed out on Resuscitation the first time around _ the album was never available digitally until the 2012 re-release and vinyl pressing on Ghostly International. The reissue thus presented the chance to own one of the more influential records of the early 2000s: either on double 12" LP or, for the first time, as a digital release. Now, in 2022, the vinyl is available for the first time in a new red and black marble colorway. When it first dropped in 2001, Resuscitation served as a de facto introduction to the duo, collecting a bunch of songs on CD that had only previously been available on hard-to-find singles and EPs. Eleven years later, it does the same thing, except this time around, we can see just how influential its creators' work has been _ and ADULT.'s music only sounds more remarkable with the benefit of hindsight. At the time, Resuscitation's combination of crisp beats, squelch-laden synths and Nicola Kuperus' detached monotone sounded like a broadcast from the future, steeped in the analog synth sounds of forebears like Kraftwerk but possessed of an ultramodern sheen all its own. The duo's visual aestheticwas just as important _ Kuperus' photography adorned all their album packaging (including this re-release), and their liveshows drew on a sense of what a reviewer once called "detached intrigue." Echoes of ADULT.'s aesthetic can be heard today in everythingfrom today's surfeit of analog synth-toting minimal wave bands to the highly stylized divas who dominate the pop charts. But really, in 2022 Resuscitation still sounds like no-one else.

repressed !

The original version of 'Angel' needs no further introduction as its
already been a big club smasher since released in mid March.
The remixes are now about to hit the clubs and of course we got
something special everyone. Ripperton is behind the haunting and techno driven remix which definitely up there with his best work to date and Hot Since 82 does his thing and delivers a phat driving tech house remix sure to pack the floors around the globe.
To round the package of singer/songwriter Hayze has given us his wonderfull deephouse interpretation of the song and this will go down well for the early hours we reckon.