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When Air’s Nicolas Godin released his debut solo album, Contrepoint (2015), he channelled the influence of Bach into a rich, resonant and hugely rewarding spread of musical explorations. One soundtrack (A Very Secret Service) later, Godin builds on equally fertile conceptual foundations for the follow-up. Released through Because Music on 24th January, Concrete and Glass is an exquisitely crafted set of variations on architectural reference points: mounted with minimalist precision and delivered with an abundance of pop warmth, it finds Godin in his element, working seductive wonders with poise and style to spare.

For Godin, the album circles back to his formative work as half of ground-breaking French electronic group Air. Revered modern architect Le Corbusier was an influence on the young architecture graduate’s music, notably on his 1997 debut “Modular Mix”. Twenty-plus years later, Le Corbusier featured on a list of modernist architects Godin was invited to compose tributes for, tributes intended to be heard as the soundtrack to site-specific installations around the world.

In its soft ambient pulse and melting minimalism, lead track “The Border” is a perfect entry-point to Godin’s hymns to buildings, arranged and co-produced with Pierre Rousseau. Its levitating synths, vocoder vocals and scudding bass hove into view with understated elegance, all the better to accommodate the discreet slow-build of delicate details within. As with Air, Godin makes gorgeously light work of every angle: this is music that seems entirely unperturbed by gravity, occupying an elevated atmosphere of its own.

Elsewhere, the title-track’s clean synth lines, crisply apportioned arrangements and tender timpani offer another inviting entry-point, sculpted with architectural clarity. While Godin’s vocoder vocals also hark back to Air’s early work, the album accommodates a diverse spread of guest vocalists elsewhere. Hot Chip’s Alexis Taylor guests on the falsetto-soul dream-pop of “Catch Yourself Falling”, one of Godin’s sweetest melodies yet. Oxnard singer/activist Cola Boyy brings soul to the righteously engaged “The Foundation”; the squelchy synths and buoyant grooves burn slow, allowing the stealthy arrangements and message room to resonate. Psychedelic soul singer Kadhja Bonet sings with measured serenity over tremulous synths on “We Forgot Love”, while Russian experi-pop artist Kate NV brings a gracefully aching romanticism to the blissful swoon-pop of “Back to Your Heart”.

Additionally, Australian conceptual provocateur Kirin J Callinan contributes a vocal of restrained drama to “Time on My Hands”, a midnight-drift soft-pop ballad with a silky allure. One of the quickest tracks to record for the album, it emerged in collaborations between Los Angeles (”During some lively sessions in Mac DeMarco’s studio,” notes Godin) and Paris. After he missed his flight home, Callinan stayed in France for a day as the guitar solos were recorded, complementing the song's air of sleek luxuriousness.

Between its title-track and the sultry, smoky jazz stylings of closer “Cité Radieuse”, Concrete and Glass is an album that truly travels, in tune with its global pitch. For Godin, it marks another milestone in a musical journey that began when Air’s 1998 debut album, Moon Safari, became the sublimely weightless soundtrack of its time. For Concrete and Glass, Godin builds on his storied past with tremendous finesse, charm and fluency, opening fresh windows of perspective at every lovingly executed turn.

"Glenn Jones" needs no introduction, he's one of the finest soul vocalists still making music and started in gospel with 'The Modulations' - came to the fore in the early 80's as a featured vocalist with Norman Connors, and recorded also classic albums for RCA, Jive and Atlantic.
Glenn is currently completing a new album “Love By Design” from which “You & Me” is the first single. Limited edition vinyl is released to coincide with Glenn’s appearance at the January, 2020, Luxury Soul Weekender.

Andras’Joyful is a cornucopic vision rooted in the decay of dance music from one of Australia’s most distinct yet understated voices. Cutting a path through an overgrowth of nostalgia around 70's acid folk and 90's acid house, Joyful is an invitation to till a n old garden in a glistening new light.

A thirteen year old Andrew Wilson sits in the back of his parents’ sedan, driving down the coast from Melbourne. Headphones covering his awkwardly aged ears and connected to a jam-packed mp3 player, he experiences an intense synchronicity when the car careens over a mountain crest in the Otway Ranges right as the track in his ears peaks. A momentary vision of a “first rave rush,” in which Australia’s lauded party history dances tellingly with this dreamer’s destiny.

Not so much later but perhaps more worldly and certainly more aware, Wilson returns home from touring, now a “veteran” of the dance world, to realize a different synchronicity in his record collection. Finding Ian Van Dahl nestled next to John Fahey, William Orbit spine-to-spine with Shira Small, the harmony between folk music of the early 70's and dance music from the 90s becomes perfectly audible in unimaginable ways.

Through an afterglow from both summers of love seeped in shared sonic soil, on Joyful, Wilson cultivates melodic drama and tenderness, memorable hooks and rapturous arpeggios; sentimental strings summon both joyful aspirations and the shadows of faded dreams. Using folk songs as fodder—lyrics, samples, note progressions—each entry of Wilson’s debut album under his Andras moniker is a return to a different springtime of the mind.

Many artists working in Australia can relate to the feeling of “not quite being there,” as Wilson describes it. Always a couple years behind trend. Turning up at the party as it’s winding down. Fearing that in many ways the culture is looking backwards, confirming the narrow outlook of a parochialism that many have worked tirelessly to disprove. Using this disconnect as an invitation to dream another dream, Joyful becomes the soundtrack of early teen Andrew’s fantasy of Utopic parties past, specifically the late discovery of a bygone warehouse rave scene, as well as a return to a guileless chapter of personal history as heard through plain, sane, and simple folk melodies. Joyful is a homecoming, a testament to the evolving euphoria of a flower garden rooted in earth’s tender rot, of birds and bees flying free but not without a changing landscape in sight.

Andras’Joyful is available on LP and digital formats on January 31, 2020 via Beats In Space. On behalf of Andras, a portion of proceeds from this release will benefit the Invasive Species Council on the recommendation of Tim Low, author of the book Feral Future and Where Song Began.

Twelve years have passed since eedl released their masterpiece “Everse” spa.RK, 2007 and in that time the duo -formed by Miguel Ángel Martínez and Joan Duat- have shied away from the spotlight and stage. Despite this apparent lethargy, their previous two works - "Parallemped EP" spa.RK, 2003 and the aforementioned "Everse"- provided them with cult national scene status, while raising more than a few eyebrows among European “headz”. Both works continue to sound overwhelmingly modern and
undated, an obvious signal that eedl is a special breed of cutting edge electronic music.

Although creatively silent for a number of years they have remained musically active. As well as his career as a product designer, Miguel Ángel has applied his musical experience to the technology sector, and since 2016 has fully immersed himself in “modular”–Winter Modular, Plankton Electronics and Patching Panda–; Meanwhile, Joan, office programmer and classically trained pianist, has found his equilibrium with work and building a family life.

"Unstored" is their long awaited return to the fray and their second studio album. It is comprised of eight songs, some of which have been have been slow cooked since 2002, with others gestating more recently. Maybe such a long hiatus seems excessive, but the meticulousness nature and obsessive love for detail found in "Unstored" more than justifies the wait, which at times felt like a long goodbye.

This collection of songs navigates between perfectionist electronica, new generation electro, noisy harmonies, glitch and deconstructed rhythms; a sonic memoire with strong roots in British experimental electronic music -reminiscent of Autechre or Plaid-, another reason in understanding the longing produced by their extended absence.

It is therefore with great honour that in early January 2020, Lapsus will release the new album from the elusive eedl project in a luxury edition format.

Velvet May returns on “Tears on Waves” with his third and latest EP “Phoebe’s White Skin” to be released on January 2020. The new record comes out with a new touch and research of new sounds, making this EP a well done bond among.

Phoebe is the venal muse, her hollow eyes are full of nocturnal visions. In this record she takes part of a story of pain and pleasure, horror and madness where the passion burns all thru the night, taking her to the edge of the daylight. She screams and, with heavy breathing and not bold enough, tries to connect her state of mind to something that got stolen already, causing an immense sense of drowning.

Picture by Alex Aptsiauri Design by Jacopo Severitano.

Edinburgh born Chris Braun, otherwise known as Duellist, is set to drop a hard-hitting new release on the immersive Wunderblock’s sub label Folgsamkeitfaktor, in partnership with Berlin-based Ready Made Distribution. Duellist has already surpassed a dedicated following with his forward-thinking industrial sound.

Known for breaking boundaries within the techno sphere, the primarily industrial and EBM influenced Folgsamkeitfaktor choose wisely with Duellist as the deliverer on their third release, a swarming industrial 7" EP titled Hereditary.

The Original Mix ‘Hereditary’ is energetic from the start, real industrial techno to sink your teeth into, the producer clearly pulling some unique textures from his love of grunge and metal. Truly powerful, the track takes you into another dimension from it's smoky beginning until locking you into a frenzy of kick drums and pounding bass.

The track is given an atmospheric remix by fellow friend and producer Swarm Intelligence, lowering the BPM and increasing the distortion on this dark and tense banger of a remix.

Not to be missed among the industrial underworld, the handle-with-care EP will be delivered on 27th of January; via Folgsamkeitfaktor.

'Active Imagination' is a result of the bringing together of musicians for a day in the studio, with minimal rehearsal, to collectively experiment and improvise in the moment - in contrast to the more composed and structured recordings of the Paradox Ensemble album 'Awakening' from January 2019. All musicians contributed their distinctive individual voices, creating a united force of spiritual, freeform jazz. Each composition is based on a different mode, all with their own distinctive flavour: "So Long Chef" nod's to Coltrane with its chords jumping by major thirds, before a more static middle section,offering a chance for Walters and Jeff Guntren (tenor sax) to explore the Lydian mode."Ahimsa" is a meditative reflection and group improvisation, based around a simple theme in the mixolydian mode, resulting in a spiritual journey steered by Rebecca Nash's hypnotic piano solo. "Gordian Knot" was conceived as a vehicle for Ed Cawthorne (aka Tenderlonious) to cut loose on soprano sax in the phrygian mode, which he achieves with devastating effect, backed up by Nim Sadot's infectious bass hook and complimented by an equally striking trumpet solo from the band leader. Finally, "Dansoman Last Stop" uses the dorian mode to channel the spirit of a bustling travel interchange in southern Accra, Ghana, conceived further by another exquisite trumpet solo from Walters.

SOL DISCOS is extremely happy to introduce the second volume of their Message In Our Music compilation series, selected by WAXIST. This album is the result of more than two years of work in researching the original recordings, the artists involved & licensing the different songs. Focusing once again on the Modern-Soul genre, the album brings back to light eight extremely rare songs from the mid-70's to the mid-80's, all officially licensed. From the heavy synth Gospel Boogie of Sharnell Morton's "You Are My Shining Star", to
the magnificent Network & Co private Disco "Spirit Of The Boogie", most of these songs are highly difficult to find on their original format, not to mention at a decent price. Direct Connect Shun’s "He's No Good" records have been destroyed in a flood, and the few
copies which have sold on the Internet reach the 3 figures price tags for example. Also, the album is proud to introduce to a wider audience some lesser known but exceptional recordings such as Janice "Nikki" Harrison's "Magic of Love", which is taken from a Broadway musical produced & composed by Ted Wortham - who also composed for
Philadelphia International Recordings artists such as Teddy Pendergrass, Anthony White or Jean Carn. Message In Our Music Vol.2 has been fully remastered, and features interview based liner
notes, along with never seen before pictures of the artists selected

Arandel's new opus, 'InBach', released 24th January 2020 by French label InFiné, pays a poetic, infinitely respectful and innovative homage to Bach's sacred workings.

Arandel was granted limitless access to the galerie of (sometime rare and ancient) instruments, as a well as a countless recordings of the prestigious Musée de la Musique in Paris with a view to sounddesign his brand new creation. He performed a few months after at Philharmonie Paris a hybrid live performance/DJ set 'Switched on Bach', named in acknowledgement to the legendary 1968 by American composer Wendy Carlos (Tron, A Clockwork Orange, The Shining).

From candles to LEDs, from DJ sets to museums, from historical instruments to machines, from Bach's themes that have entered the collective unconscious and inspired contemporary flesh and blood musicians… 'InBach' was a foregone conclusion.

In the immensity of Bach's oeuvre, in the company of his fellow wanderers, within the constraints of his-torical instruments, emboldened by the delightful, sometimes technically dangerous friction between acoustics and electronics: Without a net, Arandel walks a tightrope without a faux pas.

Vital Sales Points:

- Strong French environment including institutional support from Philharmonie / Musée de la Musique in Paris with a big shows' scheduled.
- A hybrid album with a mix of rare instrument sounds, synthesizers and innovative creative bias.

'TENEBRE' is the 1982 Giallo masterpiece from Director Dario Argento. Although his frequent musical collaborators Goblin had disbanded while he was filming, Argento managed to convince three members of the group to reform and record the score to TENEBRE.

Claudio Simonetti, Fabio Pignatelli & Massimo Morante re-assembled in their studio and managed to deliver one of the greatest soundtracks of the 80's, Simonetti brought with him his love of Italio disco and the mixture of solid disco grooves and their intense, tight Prog Rock stylings is nothing short of astonishing.

The lead track is a vocoder lead freakout that mixes disco, rock with church organs, and screeching synth leads and that pretty much sets the tone for the entire record.
'TENEBRE' is far more electronic based than the majority of the bands scores for Argento and it really shines alongside other classic such as SUSPIRIA and DEEP RED.

After taking time out to search for the right blend of carefully curated tracks, Bristol-based dancefloor futurists Innate return with a third multi-artist EP - shot through with melody, warmth and soul.

A quartet of timeless-sounding tracks full of stargazing sounds, undulating acid lines, far-sighted electronics and crackling beats, the A side kicks off with Perseus Traxx's "Drifting In Space": a loose-limbed exercise in analogue house deepness that wraps slowly shifting pads, meandering melodies and pulsating TB-303 motifs around broken house drums.

Welcoming Australian scene stalwart Ewan Jansen to the fray with "Sinders", he effortlessly blurs the boundaries between far-sighted, Motor City style techno and the kind of head-in-the-clouds analogue sounds that have always been his forte.

On the flip, Reedale Rise adds his touch with "Coral". In keeping with the brilliance of his 2018 debut album "Luminous Air", he drops a colourful, picturesque voyage into deep electro territory rich in ear-catching melodies, engaging chord sequences and crunchy machine percussion. To round, label co-founder Owain K returns with "Teifi", another ultra-deep treat: an enveloping, dancefloor excursion rich in fluttering lead lines, slowly expanding chords, vintage bass and punchy drums. A fitting conclusion to Innate's latest immaculate, eyes-closed voyage."

Holy Fuck have today announced details of new album 'Deleter', which will be released on January 17th and is further previewed with the video for acclaimed latest single 'Luxe' (ft. Alexis Taylor). Having just concluded a US tour alongside Hot Chip, the seminal Canadian band will play a selection of European headline dates later this month (with a London show at Moth Club on October 23rd selling out immediately).

Arriving at a moment where attention spans are shot and anxieties are going into overdrive, 'Deleter', Holy Fuck’s fifth studio LP, is a defiantly full-bodied affair. Polyrhythmic and pleasure- focused, 'Deleter' sees Brian Borcherdt, Graham Walsh, Matt Schulz, and Matt “Punchy” McQuaid utilises their signature sound - seamlessly fusing the gauzy drive of krautrock and deep house’s dreamy ineffability, expertly blending purring motorik percussion with the sort of fuggy synthetic fizz and tang they are renowned for.

From the thrusting minimalism of opener ‘Luxe’ through to the triumphant chug of closing track ‘Ruby’, via club-ready rollocker ‘Free Gloss’ and the cosmic clatter of ‘San Sebastian’, Deleter is a record that joins the Holy Fuck dots within their widescreen, technicolour, crescendo- heavy sound.

New Zealand juggernaut Fat Freddy’s Drop return with a new studio album, ‘Special Edition Part 1’, due for digital release on 15th November, with 2LP Vinyl and CD following up on 10th January. The 45rpm vinyl edition is produced with
a different track order across four sides and promises to deliver super fat loud audio.

Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and
‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other
tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.
Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect
Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live
shows.

‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next
journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2. The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in
2005.
The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the its first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’. Fat Freddy’s Drop have been performing and recording together for more than 15 years, establishing themselves as one of New Zealand's most internationally successful acts. Considered one of the best live experiences in the world, they will embark on their biggest European and UK tour since they sold out a double hitter at London’s 02 Academy Brixton in 2018. Including an already sold out show in Dublin, the band will headline Cardiff’s Motorpoint Arena on 29th April 2020, Liverpool’s Invisible Wind Factory on 30th April, returning back to London’s Alexandra Palace on 1st May – the palace was the scene of two triumphant sold out headline concerts in 2014 and 2017 - before heading north to Glasgow’s Barrowland on 3rd May.

Edmony Krater's work gets 3 remixes for this release! Also comes with the original version of  ''An Ba Jouk''... Check.

'All We Are' & 'Alex Kapranos' Both Have History With Speedy Wunderground. Label Boss 'Dan Carey' Produced Awa's Shimmering Self-titled Debut Album & Also Franz Ferdinand's Third Long-player Tonight: Franz Ferdinand. For The Latter Carey Also Created A Dub Remix Version Of The Entire Album Called Blood, Tapping Into His Love Of Dub And Earlier Work With Artists Like Lee Scratch Perry And Mad Professor.

In True Speedy Style This New Collaboration Came About Completely Off The Cuff. Kapranos Came To The Speedy Wunderground Stage At London's Label Mates Festival At Moth Club In Late Jan To See An Artist He Had Been Working With Play. All We Are Were Also On The Bill, And After Chatting With The Band And Dan They Invited Alex To Come To The Speedy Session They Had Planned With The Band Two Days Later At Dan's Studio In Streatham.

Once In A Room Together The Music Came Fast. The Remainder Of The Day Was Spent Forming Lyrical Ideas. All Present Including Carey Contributed, Jotting Down Ideas, Excerpts Of The Days Phrases And Conversations And Putting Them Together In True William Burroughs Cut-ups Style. 'It Was A Way To Detach From Conventional Song Subject-matter' Says Kapranos. All We Are Agreed, 'The Writing Process Was A Lot Of Fun And For Us A Completely Fresh Way Of Looking At It.'

... The Resulting Track 'Heart Attack' Is A Skittering Disco-post-punk Jam. Equal Parts Of All Their Day Jobs Form Something Fresh, With Echoes Of Talking Heads And Alex's Unmistakable Vocal Delivery Over The Top. 'The Speedy Tracks Are Always Such A Good Vibe And The Studio Is Such A Special Place' Say All We Are. Kapranos Adds, 'as I Think Is Typical For The Label, Nothing Existed In The Morning When We Got Together, And Then Suddenly Everything Was Completed And Recorded By The Time We Went For A Pizza In The Evening.'

- Get Out Of The K-hole. Get On To The Beach.

repress

2LP 140G VINYL + 12 PAGE BOOKLET.

"Space Echo - The mystery behind the "Cosmic Sound" of Cabo Verde finally revealed!" is the 20th release by the fabulous Analog Africa Label.

In the spring of 1968 a cargo ship was preparing to leave the port of Baltimore with an important shipment of musical instruments. Its final destination was Rio De Janeiro, where the EMSE Exhibition (Exposição Mundial Do Son Eletrônico) was going to be held.

It was the first expo of its kind to take place in the Southern Hemisphere and many of the leading companies in were all eager to present their newest synthesisers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia.

The ship with the goods set sail on the 20th of March on a calm morning and mysteriously disappeared from the radar on the very same day.

One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields, in the middle of nowhere, 8 km from any coastline.

After consulting with the village elders, the locals had decided to open the containers to see what was inside - however gossip as scintillating as this travels fast and colonial police had already arrived and secured the area.

Portuguese scientists and physicians were ordered to the scene and after weeks of thorough studies and research, it was concluded that the ship had fallen from the sky. One of the less plausible theories was that it might have fallen from a Russian military air carrier. The locals joked that again the government had wasted their tax money on a useless exercise, as a simple look at the crater generated by the impact could explain the phenomena. "No need for Portuguese rocket scientists to explain this!" they laughed.

What the villagers didn't know, was that traces of cosmic particles were discovered on the boat. The bow of the ship showed traces of extreme heat, very similar to traces found on meteors, suggesting that the ship had penetrated the hemisphere at high speed. That theory also didn't make sense as such an impact would have reduced the ship to dust. Mystery permeated the event.

Finally, a team of welders arrived to open the containers and the whole village waited impatiently.

The atmosphere, which had been filled with joy and excitement, quickly gave way to astonishment. Hundreds of boxes conjured, all containing keyboards and other instruments which they had never seen before: and all useless in an area devoid of electricity. Disappointment was palpable. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass.

It is said that charismatic anti-colonial leader Amílcar Cabral had ordered for the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools.

This distribution was best thing that could have happened - keyboards found fertile grounds in the hands of curious children, born with an innate sense of rhythm who picked up the ready-to-use instruments. This in turn facilitated the modernisation of local rhythms such as Mornas, Coladeras and the highly danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality!

The observation was made that the children who came into contact with the instruments found on the ship inherited prodigious capabilities to understand music and learn instruments. One of them was the musical genius Paulino Vieira, who by the end of the 70s would become the country´s most important music arranger. 8 out of the 15 songs presented in this compilation had been recorded with the backing of the band Voz de Cabo Verde, lead by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as "The Cosmic Sound of Cabo Verde".

The field of electronic music were involved. Rhodes, Moog, Farfisa, Hammond and Korg, just to name a few.

“Lugar Alto presents their very first release: the incredibly rare and absolutely stunning “Homenagem”, by Leonardo V. Boccia. This is a forgotten gem from the eighties that examines traditional Brazilian themes such as choro, northeastern folk, and capoeira with touches of eighties electronics and new age.

Leonardo Boccia is a musician, multi-instrumentalist, composer, researcher and university professor of Culture and Society at the Federal University of Bahia, whose interests include sound studies, manipulation of sound media, audiosphere and aesthetics, musical theatre, audio culture and neuromusic.

Born in Italy, this respected academic studied music in Berlin, moved to Rio de Janeiro and established himself in Salvador where he was invited to research the northeastern music of Bahia. There he created the experimental group Macchina Naturale, an eclectic combo that performed regularly during his stay. In November 1980, Boccia participated in the first Instrumental Music Festival of Bahia as a soloist where he performed works of his own.

But it was in 1983 that Professor Boccia composed, directed and produced the LP Homenagem. With photos by renowned photographer and artist Mario Cravo Neto for the front and back cover of the booklet, the album presents new and original compositions for instrumental ensembles, such as: Choro Fantasia – for guitar and berimbau -, Canção para Iracema, Homenagem and Lenda do Sertão. The LP was originally released on January 3rd, 1984, with a live performance in the main hall of the Castro Alves Theatre under the title Tribute to Brazilian Music, with the participation of vocalist Sueli Sodré, who contributes to the album, instrumentalists Zeno Millet and Onias Camardelli, accompanied by choreography and visuals.

Much of Homenagem examines the genre of Brazilian music known as Choro, or Chorinho, a genre which appeared in Rio de Janeiro in the 19th century. Choro is regarded as the first typically Brazilian urban music and, over the years, it has come to be considered one of the most prestigious genres of national popular music. Stylistically, it originates from Lundu, a percussion-based rhythm of African inspiration but also influenced by European genres. The instrumental composition of choro was based on the trinca flute, guitar and cavaquinho. Over time, other wind and string instruments were incorporated.

Here, in Homenagem, Professor Boccia deliberately mixes the old and the new, the traditional and the innovative; the album is the environment of Chorinho reconsidered and recontextualized, and its melodies and harmonies still capable of surprises. Just listen to “Terra e Povo” – it has an almost proto-acid-house quality to it, while the synth washes on “Mãe Natureza” with the ethereal vocal stylings of Sueli Sodré ushering in the progressive quality of the album.

Too long out of print, new label Lugar Alto now offers you the chance to reappraise this fascinating reissue of yet another forgotten chapter in Brazilian music.”

They Say: “Composite themes and incidental cues for dramatic application”.

We say: Well, it’s definitely dramatic. No wonder this LP was mined by a multitude of 70s and 80s crime shows. Much like Beat Incidental, this true gem includes a raft of enjoyable sub-ten second incidental cues alongside satisfyingly stretched out, hard-knocking sleuth-funk.

The Hunter (Drama Suite) / Adventure Story is a real library-head’s library album. We’re treated to some of the best works of no less than five different heavyweights of the genre: drummer Brian Bennett, guitarist Clive Hicks (of The Gentle Rain), saxophonist Duncan Lamont, rock bassist Dave Richmond and keyboard session giant Steve Gary! Something of a dream line-up, they each contributed stellar efforts to create one of the most sought-after of the legendary KPM albums.

Both sides of this LP are dripping with insidious grooves and dramatic spy-score themes, bursting with heavy guitars, swirling flutes, creeping piano-funk and drum breaks galore. Originally released in 1975, it’s clear that these library heroes were heavily influenced by the tough funk and street soul sonics emerging from the cutting edge Blaxploitation soundtracks.

Dave Richmond’s taut swagger and wah-wah guitar licks of “Nightwatch”, Steve Gray’s sleazy horn and clav-funk on the A-side opener “Theme For A Hunter” and Brian Bennett’s rolling strut of “The Investigator” are just three of the highlights here. That last one being sampled by Jeff Jank under his Captain Funkaho guise on “My 2600” for Stones Throw back in 1999.

As with all of our KPM re-issues, the audio for The Hunter (Drama Suite) / Adventure Story comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

ALTA’s debut release, 'Reasons' is the product of many long nights making music together in a back room at Hannah and Julius’ Brunswick home. It was self-recorded over 10 months, from January 2018 to November 2018, using midnight sessions, tape delay effects and a literal room full of wall to wall synths to carve out a world all their very own. "It's a collection of songs written together in our home studio - No cowriters or anything, just us two experimenting making the music,” says the band.

The album was later mixed by Seekae’s George Nicholas in Sydney and mastered by Grammy-winning engineer Chris Gehringer at Sterling Sound (Rihanna, Janelle Monae, Chvrches).

Thematically, the album’s title alludes to the sense of complacency that often sets in when people start making excuses for themselves.
“It’s this internal thing,” Julius explains, ‘always coming up with reasons why things did or didn’t happen, or reasons why someone else did something. Often it’s self-preservation but it’s also bullshit.”

‘Push’ follows on from previous singles ‘Figured Out’, ‘Back On It’ and ‘Twisted’, which have just under 2 million streams on Spotify since their release and are receiving global attention, with spins on BBC Radio 1 and praise from the likes of The Line of Best Fit and CLASH.

At streaming, ALTA have seen huge support locally and internationally, with their 2019 releases featuring in Spotify’s New Music Fridays, Indie Arrivals, The Local List, Just Chill, Front Left, New Dance Beats and The Office Stereo, plus Best Of The Week on Apple Music.

Melbourne fans will witness ALTA performing tracks from Reasons for the first time ever at Northcote Social Club on Saturday 5 October. Tickets are on sale now via Northcote Social Club’s website.

Reasons is an intricate and emotional body of work that will see ALTA step out from Melbourne’s underground scene, and into the international limelight. Pre-order your copy today.

Stating their influences range from Prince, The Weeknd, Janet Jackson to Frank Ocean, Secret Rendezvous call their sound 'Indie R&B' and their latest track - 'Back In The Day' is a sentimental slow jam that showcases flashes of these elements set against bedroom and lofi styles.

Lyrically Morsch reminisces over the 90's, conjuring up imagery of baggy clothes, listening to Tupac on the basketball court, and going cruising with a bottle of Bacardi at night.
Her silky delivery and sing-along chorus is perfectly suited for the 808-led backdrop from Lauw.