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Once again a work by Patrick Campbell-Lyons without Alex Spyropoulos, this time Songs Of Love And Praise showed a return to a more classic Nirvana sound. Campbell-Lyons revisited two of the most loved songs by the band, Pentecost Hotel from their debut LP and Rainbow Chaser from their second one. The album opens precisely with the amazing uptempo beat of Rainbow Chaser, which while sounding faithful to the original recording, it comes with a totally different approach on the arrangements. Campbell-Lyons states on the liners that he went for a step further in that field, and looked for a jazzy atmosphere. It sets the tone of the album: upbeat good vibrations songs that differ from the dark mood of the previous Local Anaesthetic LP and that besides these two songs revisited presents all new material.



Uplifted and positive, Songs Of Love And Praise gives what the title promises to take the classic Nirvana sound from their first three albums one step further with the collaboration of Bobby Harrison (Procol Harum, Snafu) Lesley Duncan, Maggie Bell and Sylvia Schuster (who had already played live with Nirvana at the time of their debut album).

We couldn't be happier to announce the first Mapache Records compilation after all these years. ONE MILE FROM HEAVEN is a dreamy travel through the 70's and beyond private singer songwriters scene.

There have always been privately-pressed records. Such a "private" LP is an album that has been composed, performed, recorded and edited usually very-DIY style by the very artist or by an amateur label. A private press record is, above all, an act of the artistic urge. It's an act that takes place outiside of the industry out of need, out of a lack of knowledge, out of love, out of a drive, out of ambition... you can choose among the many reasons.

Depending on their genre, origins, time, and above all, quality, some of these efforts have become valuable pieces for the music collector. Having been created behind the "canonical history of music" written by the industry, every now and then an archaeologist will bring to the surface an artifact they have found in some basement or flea market, or that was kept covered in dust in the shell of some old recording studio soon to be torn down.

All these records have their own story, and some are still especially relevant, and others are but small footnotes in the encyclopedia of music that made their way into the margins of the mainstream world. These are the most limited of editions (and mostly locally made ones) of largely unsociable and mostly unobtainable records--and when found, they are often exorbitantly priced. Many of these marginalized and onscure artists have stayed alive only through the wonderful work of tireless song rescuers, music lovers, vocational archivists, collectors, and record labels with an idealistic drive. These romantics have been rescuing and indexing a form of music that very few have showed interest in until recent years. This record is a tribute to all of those who managed to make these songs not be lost to time. Above all, this release is a tribute to all those artists who recorded their songs on their own, mostly because they couldn't keep the music inside themselves.

12" + 7" !

Mind Maze is, amazingly, Trees Speak’s fifth album to be released on Soul Jazz Records in the space of little over two years– an output matched only by the intensity of their music created during this short time.

The first pressing only of the album comes with a bonus seven-inch single containing two tracks that are not available on vinyl anywhere else.
As with all their previous releases, ‘Mind Maze’ is a mind-boggling tightrope walk across an array of musical influences that seamlessly create the unique present-day world of Trees Speak.

The band’s sound is characterized by a combination of German krautrock motoric-beat rhythms, angular New York post-punk attitude, 60s spy soundtracks, psych, rock, jazz, and 70s synthesizers and vocoders. There is also a cosmic spatial awareness to their sound; both personal inner space and galactic outer space, as well as a wilful pushing of sonic boundaries.

Trees Speak are a musical duo based in Tucson, Arizona, composed of Daniel Martin Diaz and Damian Diaz. Their music is heavily influenced by the cosmic magic of the natural desert landscapes of Arizona, creating a unique and captivating sound that is both experimental and innovative.

Here you will find the myriad sounds of 1970s German electronic music (everything from Can to Cluster, Popul Vuh to Tangerine Dream); 1980s New York post-punk and synthcore (from No Wave to Suicide); John Barry’s 1960s movies, John Carpenter’s 1970s horror. You will also hear the influences of French and Italian progressive rock (Magma, Goblin) as well as cosmic, new age and experimental space soundscapes …. an almost endless list of diverse influences that ebb and flow like an ocean of sound, in the process creating a truly unique soundscape that Trees Speak have made wholly their own.

The name Trees Speak reflects their interest in the concept of using future technologies to store information and data in trees and plants, with the idea that trees communicate collectively. This interest in nature and technology, combined with their passion for experimentation, has led Trees Speak to create a truly one-of-a-kind listening experience that is both unique and engaging.

If you ever wanted to hear Can, Neu!, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band - then this is it! Trees Speak are a band that defies categorization and offer an eclectic listening experience, both exciting and memorable.

The two bonus tracks (‘Seraphim’ and ‘Orpheus’) included with the album give us a further window into the complex mind maze of the group - two stunning acoustic tracks that explore a distinct early 70s sound of Yes, Argent and other progressive rock accolytes.

Montreal duo Bas Relief present a collection of rough-cut IDM and pitch-corrected emo on Insulary, a five-song EP out June 2023 on Brooklyn imprint Quiet Time. Written and compiled long distance from threads of bass music-inspired alt pop and guitar recorded in isolation, Insulary is the duo’s first substantial release since 2018. Granulated microglitches fill out the digital drum arrangements, calling on influences Baths and Loraine James, overlaid with warm piano progressions, melancholic guitar loops, and collaged vocal production.

These self-reckoning, forlorn vocals form a patchwork narrative, hazed like a shapeshifted memory, long reconfigured with each conjuring, coherence inconsistent but still there. Recurring dreams find home among recursive passages, self-referencing lyrically and with samples churned through plugins, recorded on loop until you fall upon the most satisfying aha! moment and lock it to the grid. At certain moments all the pieces combine to reminisce in sentimental shards of Porter Robinson or The Postal Service, while never straying from Bas Relief’s own vernacular.

Visiting the past in person simply by walking the routes you took in a life long past, that reenactment of memory, that attempt to capture that which you can’t – it might even be a future – is a central bolt of Insulary’s lyrical content. It’s sentimental, it longs for some past which might not even have existed, and it’s hopeful too, never capitulating to traditional structures in its embrace of unusual stylistic combinations. Insulary – brim-packed with fragments of drum and bass, uptempo electronica, and emo – is but a preview of Bas Relief’s exciting near future

It is during the 2018 harvest of a winery near Bordeaux that Italian producer and multi-instrumentalist Fabio Bordignon decided to create his project Allez Kiki, an affectionate nickname given by his colleagues. 3 singles followed, produced behind Fabio's computer until he took out his double bass and gathered a drummer, a keyboardist and a vibraphonist to create his backing band Fermentation.
Their first album is titled Gusto di Luce (taste of light) and refers to the taste wine takes when left too long in the sun. It contains 8 neat and electrifying jazz-funk instrumentals as tasteful as a glass of good wine in the summertime.

Eternally Frozen consists of a series of canon based compositions for brass ensemble, percussion and synthesizer by Andrea Belfi. The canon is an ancient compositional technique in which an initial melody is imitated at a specified time interval by one or more parts, creating illusionary never-ending musical journeys.

The work is inspired by the evocative image of the Deprong Mori, a mythological bat with the alleged ability to fly through solid matter by bending atoms by its natural skill of audio echolocation. The myth suggests that one of these bats had been “eternally frozen” in a wall of solid lead in 1952 by the researcher of the Rockefeller University, Donald R. Griffith. This story is exhibited in a display at the Museum of Jurassic Technology in Los Angeles, an institution renowned for both speculative, fantastical reinforcement of mythology and playful and beguiling distortions of mysterious could-be truths.

Both the canon and the “frozen” Deprong Mori are man-made illusory simulations of eternity. Their attempt is to create mirages, where the insinuation of facts is more meaningful than the reality.

After many years of sonic explorations with percussion, drums, and electronics, Belfi is here projecting himself as a composer through the direction of an astonishing brass ensemble in the realization of these canonic works. There are evident echoes of the works of Arthur Russell, Miles Davis, Moondog, William Basinski, and the Italian soundtrack tradition of Ennio Morricone and Egisto Macchi.

Tracks are mixed together.

"In this album, Akira Umeda mixes 42 recordings, dated between 1988 and 2018, which, in a sense, reflect the incredible range of his creative work: from songs, to ambient music; from field recordings to prank calls. The cassette tapes, whose contents make up this double-LP, had been stored in Umeda’s house in São José dos Campos, in São Paulo, Brazil.

Restless, and easily bored, Akira moved seamlessly from one activity to another – he was a little bit of everything (and nothing at all). Such people usually go unnoticed and unrecognized, something which Umeda found perfectly acceptable. Nevertheless, unlike most people, he had no right to see himself in this light – in the light of ephemerality and anonymity –, for in everything he tried his hand at, he inevitably left an impressive and distinctive mark.

The term cruising refers to the practice of seeking and obtaining instant, no-strings-attached sexual gratification with strangers. Akira Umeda was well-acquainted with this term, but his practice of it was not restricted to the aforementioned context. Rather it extended into all spheres of his life and work. A historian by training, he later became a ceramicist, a photographer, a visual artist, a draftsman, a graphic designer, a DJ, a musician, an audio technician, a writer, a researcher... He made forays into a myriad of artistic and academic fields – with a single intention: to achieve a specific objective and promptly exit stage left, as it were."

Groundbreaking release from the early 80's produced with rather primitive synthesizers with as result "A Dog in the Night" a track with a thick sound, unusual for its time. Credited as "the sound of the future" in those days and sounding reevant today. The piece produced by Stefano Zito and arranged by Stefano Galante is after 40 years among the favorites of collectors and followers of Italo-Disco, being noted among the songs to be re-edited by Danilo Braca, the New York based Italian Dj known for his creativity! He manages to create wonderful reconstructions, often considered "works of art". Such as the version he remixed and revisited, with the strings played and recorded by Layer Bows, but above all with the additional lyrics written and performed by the superlative SuperJaimie (aka Charlotte Balibar); with her voice she gives a completely different air to this Italo-Disco jewel, now worthy of being brought to the attention of the new generations. Such a gem, made available again on high quality vinyl!

Back in 2011 when I was tentatively looking for a second release for my fledging record label Clay Pipe Music, I stumbled upon a mysterious MySpace page by a group called ‘Tyneham House’, the page was decorated with artwork by Rena Gardiner (who was unknown to me at that time) and the music was an otherworldly mix of field recordings, Mellotron and acoustic guitar. It turned out that Tyneham was promised to Glen Johnson’s Second Language label, so I offered to do the artwork, and in January 2012 the two labels co-released it on tape and CD in a cardboard box with a handmade booklet of my illustrations.

In 2016 Clay Pipe reissued it on 10” vinyl, in an edition of just 300, which has since become sort after. The new 2023 pressing is on blue and transparent marbled vinyl, with a reverse board cover and inner sleeve, and the booklet of illustrations has been given a complete redesign. Frances Castle 2023

The pastoral, wistful yet ineffably disquieting music of Tyneham House is made by artists who wish to remain anonymous here, save for their eponymous title. The musicians are happy, however, to let it be known that these recordings have been around for some years (many of them complied from old cassettes) and that they take inspiration from the 1960s/’70s/’80s work of the Children’s Film Foundation – a body who really ought to have made a film about this mysterious West Country curio. At least now we have its endlessly poignant soundtrack.

The small village of Tyneham, on the beautiful Isle of Purbeck, in Dorset, was once a thriving little community – that is until the British Government requisitioned it for training manoeuvres and other ‘strategic purposes’ in the run up to WWII. This was supposed to be a temporary measure, but the area remained in military possession long after hostilities had ceased, causing distress among former inhabitants, many of whom were farmed out to prefabs in nearby Wareham and Swanage.

Tyneham was characterised by its red telephone box, a tiny parade of shops – Post Office Row – and a grand country pile which stood about half a mile away from the village: Tyneham House. The army removed the building’s oak panelling and ornate decorative details and promptly set about using it for target practice. So great was the shame expressed locally about the damage inflicted upon one of Dorset’s grandest houses that the powers that be decided to grow a copse around the remains of the structure to give the impression that it was no longer there. Despite this, a substantial part of the structure remains intact, including its Saxon hall.

Land access around Tyneham was opened up in the 1970s, but admission to the house remains strictly verboten. Those who’ve been found around the premises, especially anyone wielding a camera, have felt the full weight of military trespass law. Tyneham today is regarded as a nature reserve by some – as a national embarrassment by others. It’s still a political hot potato, in Dorset at least.

"Don't DJ is back with his new album sampler to teach the imitators how it is done.

Leftfield tribalism at it's best, with a pinch of Martin Denny and Les Baxter exotica for some flavour and a little bit of Zoviet France fourth world voodoo for the 5am crew that wants to get hazy in the dance. Florian knows how to incorporate percussion sounds that at first you think that they wouldn't work but it always works and this is only a taste of what is gonna come with the release of his album (soon come).

Morgan Buckley of the mighty Wah Wah Wino crew, takes this deep and intense trip and he goes ballistic while he is playing a live Bodhran to invoke the ancient spirits of Ireland. If the essence of a remix is to keep the original vibe of the tune and add a different flavour to it then Morgan Buckley nailed it in a big way.

Two drum wizards at their best and it's an honour to have them together in one record."

Illustrations by Non Yung Hoon.
Design by NMR.

Acclaimed Stirling-based group Constant Follower, led by Stephen McAll, and renowned folk guitarist Scott William Urquhart have today announced their forthcoming collaborative album, ‘Even Days Dissolve’, which will be released on 14 April 2023.

The album follows on from Constant Follower’s lauded debut long-player ‘Neither Is, Nor Ever Was’, which was released in 2021 and nominated for the 2022 Scottish Album of the Year (SAY) Award.

‘Even Days Dissolve’ is an enchanting, deeply absorbing, and meditative album, the product of a musical affinity between two thoughtful and uniquely talented Scottish songwriters and musicians.

The songs that make up ‘‘Even Days Dissolve’ were inspired by ‘the grand old man of Scottish poetry’, Norman MacCaig (1910-1996), whose work is characterised by its gentle humour, precise observation and love for the natural world, which forms another key theme for the album.

MacCaig’s poetry holds great significance to McAll, as it formed a major source of comfort and support to him during a long period of recovery following a violent and unprovoked attack that left him with catastrophic head injuries, partially paralysed and unable to write or play guitar.

‘Even Days Dissolve’ is McAll’s nod of respect to McCaig, and the great man’s unmistakable words and inimitable voice feature on two of the tracks - single ‘Wildlife Cameraman’, and ‘Comes A Silence (Basking Shark)’ – sensitively set over the backdrop of beautiful and exquisitely crafted songs.

Scott William Urquhart’s masterful acoustic guitar playing is a stunning centrepiece of the album, imbuing the songs with a moving sense of atmosphere, and sounding at once both elegant and robust. Urquhart’s unassuming yet compelling vocals also feature throughout ‘Even Days Dissolve’.

Speaking about ‘‘Even Days Dissolve’, Stephen McAll said: “The magic in music for me is all about collaboration. Finding people who inspire me to make better music, then working with them and creating something between us that’s better than what either of us could have made alone. It’s been an honour to work so closely with Scott William Urquhart on this album. He’s someone whom I’ve admired for some time - unquestionably up there with the best acoustic guitarists at the moment in Scotland, and such a beautiful writer of songs.

“Bringing two of these songs together with the voice of our beloved Norman MacCaig has been a real highlight of this project. His poetry was introduced to me by my high school teacher Mrs Tatarkowski, and it was the first prose I was able to read and understand when I was recovering from a traumatic head injury. So his work holds a deep space in my heart. I don’t think any poet or songwriter has matched his ability to capture the space and wonder of the natural beauty of Scotland.”

This debut album is the work of London based producer, sound artist and composer, Paul Cousins. Paul works with meticulously maintained reel to reel tape machines to transform and alter his electronic compositions. His prepared tape loops form the basis of ‘Vanishing Artefacts’ 12 intricate compositions. The original ideas processed through 1/4” tape become a hazy facsimile of their former state as tape is manipulated and effected to mould something new.

“There is great freedom in limitations. The sonic limitations of tape, at least in the lo-fi way I use it, are also a factor. Being able to physically touch and manipulate the sound is a very important and visceral part of this. Opposed to a lot of ambient music I have written, I want this music to be tactile, and very tangible. Yes, it can float away, but I also want to show the string tied to the balloon. For this reason many of the tracks contain the sound of the room, and the wonderful noises these machines make."

The new Hunter Complex album Airports and Ports arrives today Friday 2 September 2022 on Burning Witches Records and features contributions from Aquiles Navarro (trumpet, Irreversible Entanglements), new age legend Kat Epple (flute, Emerald Web), Alexander Hawkins (piano, Louis Moholo-Moholo), Justin Sweatt (aka Xander Harris, guitar) and Coen Oscar Polack (field recordings). Airports and Ports is the follow-up to the critically acclaimed synth albums Dead Calm and Zero Degrees (Burning Witches, 2020) and Open Sea (Death Waltz, 2019) and takes a new direction with influences from new age, ethereal jazz and krautrock.The gorgeous artwork was created by Luke Insect.For Airports and Ports,

Lars Meijer of Hunter Complex invited musicians from all around the globe to contribute to the album.Meijer: ‘I wanted to know what they would come up with, what new sounds and styles they would bring to my music. My previous album Dead Calm and Zero Degrees came out at the beginning of the Covid crisis in March 2020. I didn’t create music for months, it felt like time stood still. I missed the energy I got from being around people, from seeing concerts, from traveling. Those musicians gave that back to me and inspired me to create and discover new grounds.

James Adrian Brown is a British-born songwriter and former lead guitarist from the alternative rock band ‘Pulled Apart By Horses’. After studying art for six years in Leeds (UK), Brown set up his own independent record label in the city and would soon begin carving out a career as a professional musician. After achieving chart success, touring the world and releasing four critically acclaimed studio albums with PABH, James has begun paving a pathway into the world of instrumental electronic music and composing.

Brown's solo work is heavily electronica-based utilising analogue synths alongside tape machines, piano, strings and walls of ambient atmospherics. His work focuses on the analogue side of capturing and creating sound in the real world with physical hardware.

He’s received support from the likes of Gideon Coe at BBC 6music and also Chris Hawkins who championed him as creating ‘Massive electronic soundscapes in a Mogwai kind of world’. James was also featured on BBC Radio 3’s ‘Unclassified’ show by the show host Elizabeth Alker.

Taking inspiration from influences such as Boards Of Canada, Rival Consoles, Floating Points & Thom Yorke. Brown is discovering, advancing, and pushing his songwriting into new sonic domains.

“There is Space Under Your Seat” is a beautifully constructed piece of electronica which is inspired by a longing to create mental space and pause emotions when things become overwhelming. The title was penned after James found himself on a sold out air-flight with disgruntled passengers complaining of little to no space for their luggage.

James recorded the tracks at *ICP Studios in Belgium after crafting the demos in his own studio in the Yorkshire Dales where the compositions were tracked to his tape machines. It was decided by (Producer) James Mottershead they’d breathe new life and space into the tracks in a new environment/studio, which saw them head to Brussels to complete the recordings.

The 7” is released as a deluxe red vinyl single with numbered photo/inserts selected and created by James. The single is issued in a limited edition of 200 copies.

Contagion Vapors was recorded between May 2020 and March 2021, in tandem with 'Transgressive Transmissions'. Both albums have been released by Castles in Space, however they feature completely different sonic energies.

Caught up in the first wave of pandemic doom/gloom which resulted in a bizarre creative bloom for Patrick, both albums have unique sounds anchored in the immense Patrick R Pärk/Kösmonaut discographies. This one is definitely a Kösmonaut record, however.

Patrick’s Contagion Vapors is a vaporwave sonic adventure which
soothes the worn soul like an icy balm with its motorik repetitions and sonic patterns and swirls.

Uncharacteristically upbeat and always positive, the album was a personal exercise in not becoming consumed by COVID isolation and misery. Major influences were Patrick Cowley, Cybotron, Automat, Cluster, and Harmonia and the entire album was recorded / mixed in the midnight witching hours over the course of only 2-3 days.

Ever prolific, Patrick is currently deep diving hard into post Y2K New Age conjurations with his massive Galactic Mirage project which should see another CD box set later this year. There's also some forthcoming Teeth Of Glass vinyl coming from Library Of the Occult later this year and plenty of Patrick’s self released "chrome sonic babies" in between.

Welcome back to sublabel Trix Trax, our series dedicated to sharing the Techno side of things.

After a little hiatus Trix Trax is back with a stacked four track VA, Technotations Vol. 1. Blending techno, IDM and breaks this releases showcases some of the many styles and energies the genre has to offer.

Starting off the VA, we have the track ‘Losing’ from Japanese producer MAGPOST. This loopy, hypnotic groover will add a layer of intrigue and mystery to your deep and moody sets!

Next up we have ‘Rise’ from JD Typo who’s debut EP, started off the Trix Trax series. This speedy techno cut will cause mayhem on the dance floors, nourishing souls in its wake with ethereal lush pads and vocal chops that creep in as the track progresses!

On the flip side we have a sobering track from Ukrainian producer Taras Vinnichenko called 24.02.22. Created the day Russia invaded Ukraine, t’s an auditory diary of Taras’ reaction to the unfolding of events. The crunch of the bass and breaks audate the panic and disarray on the ground.

Closing off the EP we have a unique groover from US producer Mr. Projectile who recently released an album on Wex sub label, La Luna. This crunchy and jittery cut takes you on a bass heavy, boom-filled journey of speedy techno and IDM!

On the sleeve, Sonia Malpeso delivers another whacky custom design on the front sleeve as well as a beautiful typographic showcase on the back and inner sleeve!

The Belgian vibraphonist Guy Cabay has played with Toots Thielemans, Philip Caherine or Raoul Faisant. Composer, arranger, musicologist and singer, he also wrote and recorded two extraordinary albums in Liege Walloon. Tricatel is happy to make them available at last, 46 years after their publication.

"Gravity kills us. Perhaps that is the meaning of Adam's Fall. We are condemned to be Newton's apple, not the balloon carried away by the wind. But it happens nevertheless that, by the grace of music in particular, we escape gravity, that time escapes time, that another breath inflates our lungs, so much lighter than the one that usually suffocates us.

We don't take light music seriously, and that's good. Only serious music deserves to be treated so badly. Guy Cabay's music flows from a purer source and speaks to us in a more tender voice. One can obviously describe it as one labels export product. Origin: Belgium. Ingredients: jazz, bossa nova, tropicalism, song - proportions may vary. Calorific value: none.

Non-perishable product. But this would say as much about what this music really is as if, in. order to evoke what the foggy blue of a Norman sky inspires, one were to take note of the variations in the percentage of humidity in the atmosphere at Etretat and make a learned presentation on the laws of refraction.

Guy Cabay did pass through Brazil and still lives there a little, a Brazil that is not the one ofcartographers or travel agencies, a Brazil that is as real as the Far West in which Fenimore Cooper's child readers lived, as blurred and limpid as a dream. It is not the Amazon thatflows through this Brazil, but the Ourthe, a tributary of the Meuse, which makes it morefamiliar, stranger and even more poetic.

To let oneself be bathed in this melancholichappiness, to let oneself be carried by this river is sweet, as sweet as the fluid consonants of the Walloon language, this 'd' which becomes 'dj' in his mouth, as in Portuguese, by the way. To know how to create melodies that hold on a note like Jobim's samba, like a fildeferist above a waterfall of chords, is not given to everyone. It is a gift. Knowing how to lace others on dozens of points, as on Tot a-fet rote cou d'zeur cou d'zos, a poignant encounter between Randy Newman and Robert Wyatt, is another. These are not the only ones that the fairies offered to Guy Cabay and that, by an almost miracle, he offers us again today. Hearts up."

Bertrand Burgalat

Sampled by Jay-Z and Dr Dre, Italian band Calibro 35 announces the release of the new album NOUVELLES AVENTURES. The album will be available abroad on limited edition Crystal Clear vinyl next June 30th via Record Kicks.

Italian cult cinematic combo Calibro 35 are back with their new studio album NOUVELLES AVENTURES. The new album will be available abroad on a limited edition Crystal Clear Gatefold LP on June 30th, distributed worldwide via Record Kicks. The crystal clear vinyl edition is a Record Kicks exclusive and is limited to 1000 copies, which makes it an instant collector's item.

After last year's Scacco Al Maestro, the 2 tribute-albums dedicated to "il maestro" Ennio Morricone, followed by the "Calibro 35 plays Morricone" tour and the releasing of the ost of TV drama series Blanca, Calibro 35 are back with NOUVELLES AVENTURES, a new studio album of original material. NOUVELLES AVENTURES was recorded in Naples at Auditorium Novecento, the former Phonotype Records, one of the most legendary and fascinating Italian recording studios. The new LP sees the group making full use of their knowledge and resources, refined and enriched over the years, back to making "Calibro's music": a unique mix of funk, progressive rock, alternative jazz and wide-spectrum cinematic music the public has known them for in fifteen years of career.

"After a couple of intense and stimulating years playing Morricone and writing music for the TV drama Blanca", Calibro 35 said, "we had a great desire to make new inspired music. To do so, we left home and we shut ourselves up in the splendid space-time capsule that is the Auditorium Novecento studio. The result is a series of musical voyages in which we concentrated all our artistic and human experiences. As in Verne's imaginary and extraordinary journeys, we explored distant places where we had never been before. We then happened to return to more familiar shores and discover them with new eyes without realizing it. We borrowed the title NOUVELLES AVENTURES from György Ligeti, precisely because after fifteen years of building ourselves, we are ready for new adventures".

NOUVELLES AVENTURES was anticipated by the first extract "EXTRAORDINAIRE", an almost 6-minute song that once again confirms the band's aptitude for the exploration of unpredictable sound territories: a music that, on one hand sounds liquid and abstract, while on the other, it cuts through the psychedelic mists, with a complex architecture.

Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years", Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. Active since 2007, during their long career they were sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day") and Demigodz ("The Summer Of Sam"). They played major venues and festivals all over Europe and as unique musicians they collaborated with, amongst others: PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Rokia Traoré.

Bollywood rarities handpicked and remastered on a double LP release with laminate gatefold and multi-layered flower petal foldout. Featuring rare, overlooked or not-previously-on-vinyl music from Bappi Lahiri, R. D. Burman, Ilaiyaraaja, Kalyanji-Anandji, Anand Milind, Raamlaxman and Kirti Anuraag released between 1982 and 1986. Mastered for and cut to vinyl by multi Grammy-nominated Frank Merritt at his mastering studio The Carvery.

Naya Beat is incredibly proud to present the first in our series of ‘Awaaz’ (‘sound’ in Hindi) archival projects focused on uncovering the sounds of 1980s Bollywood Original Soundtrack Recordings (OSTs). Series 1 focuses exclusively on the musical output of CBS Gramophone Records & Tapes (India) Ltd. Active during India’s peak disco era – a time when synthesisers and drum machines became a mainstay in Indian popular music – CBS India became a home for established composers to be experimental, up-and-coming composers to get their start, B-movie soundtracks, and straight-to-VHS releases.

Expertly curated by Naya Beat co-founders Turbotito and Ragz, who were given unprecedented access to the original label archives, this compilation is not just a collection of four-to-the-floor Bollywood disco (although there are plenty of those). ‘Awaaz’ is designed to take listeners on a musical journey that includes everything from leftfield electronic and mood music to outrageous proto house.

Be it classic and hard to find cuts like Ilaiyaraaja's "Aye Zindagi Gale Lagaa Le" and “Mere Jaisi Mehbooba” (Bappi Lahiri’s Hindi remake of Herbie Hancock's “Rockit”), or the instrumental mood music of Kirti Anuraag’s VHS movie soundtracks, to the proto house of Raamlaxman’s “Dil Gadbad Jhala” and Kalyanji-Anandji’s “Aage Bhi Dushman,” or the synth and guitar drenched breakdance madness of R. D. Burman’s “Dekho Idhar Jano Jigar,” the music on this compilation captures the output of a label that was unique as it was unconventional.

An homage to the genre, every detail in this stunning release has been lovingly crafted. From the laminate cover to the absolutely incredible foldout, to the cut-out and collage design, to the font type and layout, there are countless authentic details and nods to classic Bollywood releases of the era. As much of the album has been made in India as is possible. The sleeves have been handmade in New Delhi. The liner notes have been compiled by music archivist Nishant Mittal (aka Digging In India).

"We entered the shadowy mouth of a new space, descending into a realm that precedes the underworld, the arcane, far from our time. We met beasts that gave us lessons about their language which we started learning without grammar."


'The animal world is a constant in the work of Milan improvisational duo Rosso Polare. If Cani Lenti was guided by the diaphanous birdsong integrated into their sparkling mix of folklore, ambiences and occasional humming, on Bocca D’ombra the themes go darker, textures are harder to pin down and the animal presence takes on new connotations.

Instead of an anonymous, patchworked outdoors we enter a cavernous space that invokes the collective unconscious with bestial and funereal undertones, as the animals take on the role of the psychopomps, ancient guides through the shadow realm.

The album is influenced by Timothy Morton’s Dark Ecology, a thinker who sees the constant exchange between the human and natural world as an ongoing dialogue, the two influencing each other, in a series of reverberating loops. This looping is also reflected in their compositions, where improvisations with traditional instruments like electric and acoustic guitars, monophonic synths, horns or flutes meet natural noise-making tools like branches, rocks or nuts that amount to lugubrious, often dissonant textures. Bocca D’ombra is built on a series of whispers, breaths, panting and rustling, creating a feeling of closeness sometimes verging on the claustrophobic, ingeniously set against sounds evoking space – fireworks crackling, crows echoing, church bells reverberating, indistinct cries from a children’s playground.

Distance and repetition are deeply ingrained in their own understanding of sound and their surroundings, becoming the building blocks of their practice. Just like Gregory Bateson in the ‘70s, the duo believes in a more romantic approach to ecology, seeking a porous border between self and environment, human and animal, internal monologue and external ambient hum.

If earlier releases were noisier and denser, Bocca D’ombra is tight and focused - every sound and melody is given room to breathe and develop on its own, enhancing the haunting, otherworldly aspect of the music. The result is heady, intoxicating mix which sublimates chaos into sparkling compositions of contemporary animism.'

What A Funky Night! Now officially remastered from the original analogue master tapes and pressed onto wax in its full length as a super sound single with the original artwork and extensive liner notes. Right in time for the 40th anniversary of this killer boogie funk tune straight outta Vienna.

On the flipside you got a previously unreleased version of Marihuana that surfaced during the reissue process. This earlier version was recorded during the 'Camera' LP sessions - slower than the familiar version on the 'Tight' LP.

Lolina went looking for Music...
Mastering, additional mixing by Amir Shoat

Legendary Memphis soul brothers William, Bertram and Randy Brown released an album under the group name TEN-63 entitled FACING THE MUSIC, it was published in 2009, but recorded sometime earlier. YOU AND ME was played out and initially covered up by Mike Ward circa 1989/90 receiving cult status.

YOU AND ME and our pick for the flip SAY WE’LL STAY are beautifully constructed songs with each of the Brown brothers serving up a solo part, it cannot be denied their contrasting vocal styles and harmonies are supreme in the extreme!

The Browns’ contribution to the Memphis music scene is etched in history. William, who sadly passed away in 2015 was a member of The Mad Lads. Randy and Bertram were members of The Newcomers, Bertram went on to be a part of soul funk group Kwick and of course Randy had a glittering solo career with LPs on Parachute, Chocolate City and Stax as well as numerous singles; he is regarded by many as being one of the finest vocalists of his genre.

Anyone who has followed Kniteforce and KFA for any length of time will know of Empyreal. His music is unlike anyone else's, being totally unique in sound and style.

Blending classical elements and unusual structure with a wide variety of old skool and banging kick drums, this is his first EP on vinyl, and it absolutely smashes it. A refined taste? Maybe. But there is nothing like this on the planet.

Forthcoming on Telephone Explosion. Bob Bell Necropolis. Canadian private press mega-rarity/ obscurity from the artistically schizophrenic Bob Bell.

Recorded in 1978, Bell splits the difference between his love of basement psych splatter/ pummel and squalling free jazz ramble, the former occupying side A with a stunning four part suite of wasted guitar scuzz and churning Krautrock-like drama with an akin to German Oak, Roland Kirk, Albert Ayler, DNA, Melt Banana (minus the vocals) and Guru Guru. The latter represents Bell as a saxophonist on side B, and the music itself translates into a 15-minute free-jazz exploration

Returning to Lisbon’s Light Channel Recordings, DJ Silver mines the rich seam of techno’s late-century flourishing into diverse forms – from stern 4/4 to reflective electro to gorgeous, cinematic ambient. ‘P World’ takes (and merits) the whole A-side: what starts as an unadorned piano solo unfurls into a mélange of sunburnt synth washes and hazy arpeggios, as if Detroit Escalator Co. went to the beach for a day. On the B, ‘Cell’ takes us on a nostalgic flight through Incunabula-era electro, here with a remarkable melodic lead line, while ‘Future Domination’ sheds the introspection and drops us straight into the ritual pressure of a packed techno floor. It’s a timely reminder that, even during a time of confinement, music can transport us to far-flung places.

Following up on their accomplished first collaboration “Fever Dream” and its accompanying remix album “Parasomnia”, Snowbeasts & Solypsis head out on wax for the fantastic “Firelands” LP. The dependable industrial beats and synths of Snowbeasts programmer Robert Galbraith (also known to many as a superior mastering engineer), the haunting voice of Elizabeth Virosa, and the nefarious bass and electronics of the prolific Solypsis come together once again to produce a ride through a fiery terrain of slowed tempo, half-remembered nightmares, and cavernous low end. With vocals ranging from ethereal to evil, spooky grooves charting a pathway to inferno, and distortions applied at the perfect moments, Firelands is a memorable journey. Heavy on synthesizer funk, and intricate percussions to drive the beat, the album erupts with the black lava of downtempo destruction. Slow, driving horror and collaborative interplay make this a sophomore album worth taking home. For Fans Of: Scorn, Autechre, Insect Ark.drum

8 years almost to the day after releasing his unique re-interpretation album of his field recordings made in the late 90's in Tanzania, Kink Gong is back with another volume of bushmen madness. Here’s what Kink Gong aka Laurent Jean-neau has to say about his end of millennium trip:

‘’My experience in Tanzania is now over 20 years and most of the so called remix was started in Tanzania and left un-finished, then eventually retouched in Vienna, Paris, Shanghai, Kunming, Dali or Vientiane. 20 years later I searched my Tanzanian files and rediscovered unfinished tracks which are being now refreshed on this new record.

Back to the early days of the XXI century, when I lost my health trying to survive with the HADZAs, the last bushmen in northern Tanzania. In 1999 James Stephenson from NYC invited me to join his Hadzas friends. I would leave the bush to rest in a place with enough food and electricity and start to edit, loop and work on the original recordings, to trans-form them into organic abstract compositions, the only instrument I had recorded a lot with the Hadzas was the malimba and I bought different malimbas in Arusha to take back with me to Europe, I used either the original record-ings or me playing malimbas on some tracks and applied some electronic treatment to it, at that time I used Roland synths for some tracks.

The original recordings are related to scenes at night by the fire with the Hadzas, but also 3 different types of celebra-tions, Epeme Men was recorded on a moonless night with men and women singing and dancing in complete dark-ness in Mangola, an Hadza camp. Irawk Drum Under the Rain was recorded during daytime at a Multi ethnic gathering at the Franciscan Spanish catholic mission with a crowd dancing and singing under heavy rain while an IRAWK large (and wet) drum was being played, Northern Tanzania. Makonde Island was recorded in southern Tanzania at the boarder with Mozambique and is a pure scene of trance taking place on an island where the MAKONDE fishermen off the coast of Mtwara, get wild, hitting plastic containers for the sound, drunk and stoned men and women are hysterical-ly jumping and falling on each other, ending up with a few wounded.
Once again I'm responsible for this act of multicultural sabotage, but don’t forget that you can always listen to the origi-nal recordings on the Kink Gong recs collection. ‘’
Laurent Jeanneau, Berlin 2023

"Why "Bouncer"?
In Club Culture, the bouncer represents the image of determination, a
fundamental element that characterizes every produced track.

I imagined this album as a virtual club in the metaverse, where my
avatar is a BOUNCER.

Here, the music plays loud, the bar is open, and each track on the
tracklist carries a part of my soul and my influences.

For me, this project represents a meeting point between the roots of my eclecticism and the strength of the artists involved, creating a mix of sounds and styles that reflects my artistic and personal journey.

With this album, I want to celebrate Club Culture and all its influences
on my life and music, offering an authentic and deep sonic experience
for all fans of the genre.

G.Teixeira is an artist based in France and someone with a multi-faceted sound. His Almost Silent alias now turns out Undisclosed Fields Vol.1, a first release on Healing Sound Propagandist that takes the form of eight movements and six reworks. It's as dense as ambient gets, frankly, with heartbreaking melodies passing by and disappearing before your ears. Fizzing synth drones are layered up over crepuscular chords and the whole thing has you gazing off into the distance, your eyes glazing over as you happily get absorbed in the subtly shifting sounds, tones and timbres. This, then, is another high class album from both artist and label.

DONNA SUMMER gained prominence during the 1970s disco
era, propelled by her incessant and creative driving force
behind the genre’s global popularity, rightly earning the title
“Queen Of Disco” and becoming one of the most
successful recording artists of the entire decade, now
having sold more than 130 Million records worldwide

Donna’s ‘80s close-out album was 1989’s ‘ANOTHER PLACE AND TIME’, which paired her with multi-hit making,
multi-million-selling UK producers Stock Aitken Waterman. The album is widely regarded as the best album they
produced, and which was heavily featured in the recent two-part TV documentary Stock Aitken Waterman:
Legends of Pop.
• The album’s lead single ‘This Time I Know It’s For Real’ was an uplifting, club floorfiller and radio-friendly hit,
peaking at #3 in the UK (#7 on the US Billboard Hot 100), giving Donna her highest charting solo single for more
than a decade.
• Four further singles were released from the album including the two Top 20 hits, ‘I Don’t Wanna Get Hurt’ and
‘Love’s About To Change My Heart’, giving Donna back-to-back UK Top 10 hits for the first time since 1977, as
well as remixed versions of ‘When Love Takes Over You’ and ‘Breakaway’.
• This special Picture Disc edition has a zoetrope effect on Side 2 that incorporates elements from the ‘This Time I
Know It’s For Real’ promo video and which gives a continuous dancing effect. It is best experienced using a
smartphone running a third party stroboscope app.