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vinyl only, Losoul remix

Prolific punk pioneers Penny Rimbaud and Youth proudly present their collaboration album ‘Corpus Mei’, out November 19th via One Little Independent Records, with limited edition grey vinyl available from January. Vinyl edition is limited to 500 units. Recorded and mixed over the year 2011 and then remixed in 2019 (it took all that time to see the depths), 'Corpus Mei' brings together two disparate elements and makes them as one – Penny Rimbaud and Youth. Rimbaud is perhaps best known as a founder member, drummer, and lyricist of the seminal anarchist punk band Crass. Since those times, he has dedicated his life to the headier pursuits of poetics and philosophy. Youth, whose post punk band, Killing Joke, remains a vibrant musical force, has at the same time become one of the most sought-after record producers of today. Realising from the outset that they shared an interest in the creation and promotion of “matters spiritual”, these two now legendary

From the deep depths of Noord Brabant (NL), high school friends and long term collaborators Klont and Whistle aka Wessel and Luuk join forces once again. Growing up a mere few towns away from each other and even appearing in the same punk band albeit at different times, the meeting of minds occurred over their shared persuasion for absurdist humour and a fairly unconventional music taste.

They knew they had something special in their pursuit of gnarly breaks, textures and all things on the curveball spectrum, as Klont the ultra music nerd approached with a desire to sculpt sound whilst the breaks disrupter and club-goer-outer Whistle brought his all-around disruptive energy to the table. Separated by the pandemic they practiced their musical efforts away from each other with lots of late night video call jam sessions fiddling with ableton to produce a certified booty shaking masterpiece for ANUS Records.

This spring Gymnasty is debuting with his release Yugoslavian Space Program. Alongside satellites, rockets and asteroids you will get a chance to discover a country that was once a bright star itself. Get ready for a nostalgic journey from ambient scapes to electro club slappers.

Alex Cameron has always been a great storyteller,
finding his ways into the depths of the places where not
many others are looking, and ‘Oxy Music’ continues on
that trajectory. It’s filled with stories of people who fall
outside the system and exist in the grey areas of life.
 And much like 2017’s ‘Forced Witness’, ‘Oxy Music’ is a
work of fiction. In its design - its music, lyrics and
tracklist - lies the journey a person can take, if the
circumstances present themselves - down the road of
heavy drug and alcohol abuse. Initially inspired by Nico
Walker’s ‘Cherry’, Cameron was spurred into yet another
commentary on American Life, this time about the opioid
crisis that has taken over the country.
 Alex says about ‘Oxy Music’: “The album is a story, a
work of fiction, mostly from the perspective of a man.
Starved of meaningful purpose, confused about the state
of the world, and in dire need of a reason to live - a
person can, and according to the latest statistics,
increasingly will, turn to opioids. This is one of those
people.”
 While ‘Oxy Music’ could be dark, it’s instead brighter and
more buoyant than much of Cameron’s previous work, a
shift in mood first seen across 2019’s ‘Miami Memory’.
It’s told from a place of optimism and through the lens of
Cameron, in the way that only he can tell it.
 Co-mixed by Mount Kimbie’s Kai Campos.
 Past collaborators include Angel Olsen, Brandon
Flowers (The Killers), Jason Williamson (Sleaford
Mods), Kirin J Callinan and Roan Yellowthorn.

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 If you like Benediction, Bolt Thrower, Grave and
general stumping, old school, aggressive, ultraheavy and raw down-tuned, straight to your face
death metal, this one can’t fail in your collection.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.

Reissue of George Duke's classic 1976 jazz-funk-fusion album 'Liberate Fantasies'

This 1976 album, the last one of the MPS fusion series, continues George Duke's tendency to couple his fusion world with accessible R&B songs. Once again, he shows a discernible vocal development. In "Tryin' And Cryin" the Californian together with rock singer Napoleon Brock overlays multiple vocal tracks.
On "Seeing You" Duke lays on a glaze of soulful tenderness, whereas "What The…" is 30 seconds of frivolous funning around. "Back to Where We Never Left" is a witty gem in which Duke bundles his pool of synthesizers into a united groove, whereas "I C'n Hear That" shows off synth and marimba tonal colors in dialogue, with the bass riffing on the bottom.

The album flows into the final bend carrying along the sonorous richness of Brazil. "After the Love" plays with the languorous erotic colours of the tropics, whereas all the band members are allowed to shine on the epic circa ten minute title track with its hot samba flair: the rhythm section with "Ndugu", Al Johnson, and Airto Moreira's percussion arsenal, Daryl Stuermer with his rock interludes on guitar, and Duke himself with inspired virtuosity on all sorts of synths and
keyboards.

Long-awaited vinyl edition of Adia’s 2021 album. UK live dates due in the summer (announced soon!).

In Adia’s words: "This album is the culmination of years spent digging for the subtext of southern identity, and the bones of belonging down in Dixie. it was the challenge issued forth by Skip James, Victoria Spivey, Bessie Smith, Jessie Mae Hemphill, Junior Kimbrough to keep on contextualizing the blues."

With A Southern Gothic Adia continues her journey through the conflicts of the American South and the troubling resonance of its past. Sonically, the album is full of frequent juxtaposition. It is equal parts historical montage and modern prophesy, dark and light, love and loathing. The 14 tracks are the musical embodiment of the relationship that so many people, especially Black women, have with the South.

A Southern Gothic, was executive produced by T Bone Burnett, and features guest contributions from Jason Isbell, Margo Price, and Matt Berninger.

Proper Grounds was an alternative rap-metal band from Los Angeles that first formed in 1988. After being discovered by Madonna and signing to Maverick Records, they released their first and last studio album Downtown Circus Gang in 1993. Proper Grounds was able to merge the gritty realities of life on the street with the intensity and velocity of heavy metal. Formed by frontman The Sandman (who is also on the cover of the album) and bass player/producer Danny Saber, they had a deep-rooted social consciousness that neatly subverted the mindless violence and material worship that engulfed rap in the Nineties. They called their particular brand of noise “anguish rap metal”. Soon after the release of Downtown Circus Gang, Proper Grounds disbanded and rap-metal moved to the suburbs where iconic bands such as System Of A Down and Papa Roach found their origin.

Ferris & Sylvester release their debut album, ‘Superhuman’, a
body of work highlighting the very best of the duo’s timeless
songwriting.
 The British pair have evolved their sound into a distinct
combination of Blues, Americana and Rock ‘n’ Roll, sitting them
somewhere between Alabama Shakes, Jack White and First Aid
Kit.
 Their twelve track album, recorded in Seattle, USA and
Cornwall, is available on white double vinyl, standard black
double vinyl and CD.
 With the artwork shot entirely on film in Iceland, this album is
both an expansive yet deeply personal record to collect and
takes the listener on a journey through the duo’s world where
genres intertwine and emotions are stripped down to the core.

Ferris & Sylvester release their debut album, ‘Superhuman’, a
body of work highlighting the very best of the duo’s timeless
songwriting.
 The British pair have evolved their sound into a distinct
combination of Blues, Americana and Rock ‘n’ Roll, sitting them
somewhere between Alabama Shakes, Jack White and First Aid
Kit.
 Their twelve track album, recorded in Seattle, USA and
Cornwall, is available on white double vinyl, standard black
double vinyl and CD.
 With the artwork shot entirely on film in Iceland, this album is
both an expansive yet deeply personal record to collect and
takes the listener on a journey through the duo’s world where
genres intertwine and emotions are stripped down to the core.

Produced by Kelly Finnigan of The Monophonics. Album comes with INSTRUMENTALS on the B-Side. Comes with full color insert with lyrics.

Alanna Royale, for fans of Sharon Jones, Lady Wray, and The Monophonics. Come drop the needle on this Kelly Finnigan produced album that comes complete with INSTRUMENTALS on the B-Side. Alanna's voice takes center stage while being supported by blaring horns and a thumping rhythm section. Everything you could want in a SOUL record, you will find on this LP. Pick it up, drop the needle, and discover one of Soul music's emerging talents.

40 minutes of superb Jazz-Beats by one of Hamburgs nicest and kindest beat producers out there. This is some art-stuff with a beautiful Gatefold Cover designed by Robert Winter and Jeremias Diekmann.

‘Primordial Waters’ is Jamael Dean’s debut album on Stones Throw, following ‘Black Space Tapes’ (2019) and ‘Oblivion’ (2020).

Gatefold double LP. Cover photo by renowned photographer B+ (Brian Cross).

‘Primordial Waters’ sees the prodigiously talented young musician take his explorations in jazz and hip-hop to new heights. Inspired by Orisha stories and Jamael’s Los Angeles roots, the album is heavily infused with Yoruba spirituality and celestial themes. Several of the
tracks interpolate traditional Yoruba songs and feature vocals from frequent collaborator Sharada Shashidhar.


The album was mixed by Leaving Records’ Zeroh and mastered by Grammy Award-winning audio engineer and Low End Theory founder Daddy Kev.

Jamael performed on Kamasi Washington’s 2018 album ‘Heaven and Earth’ and has toured with Thundercat,

Miguel Atwood-Ferguson and Carlos Niño. Extensive touring is planned for 2021 and 2022, including a residency at LA’s Gold Diggers, a double headline bill with Mndsgn at the Jazz Cafe, and several European jazz festivals and club shows in November 2021.

For fans of Sun Ra, The Comet is Coming, Kamasi Washington, Moses Boyd, Joe Armon-Jones, Nubya Garcia, Sons of Kemet, Alice Coltrane.

For their next reissue, Parisian crew Discomatin picked one of the rarest and sought-after releases of the French Boogie scene, Lot'Vie / Y'a Du Blues by Marché Noir. The original 12" from 1984 gets a proper remastering and delivers its powerful mixture of Boogie, Jazz-Funk and West Indies influences. Two amazing titles finally reissued with a loud sound!

"Lot'Vie" is a perfect blend of powerful funky rhythms with tons of percussion, second to none slap bass and dope synths leads. With its infectious chorus ("son a bip bip!"), the track seems to irresistibly make you move your feet. Sung in creole, the track speaks about everyone going their own way, knowing that past, present and future are only one.

"Y'a Du Blues (Tant Pis, C'est La Vie)" is based on a monstrous boogie bassline. the song talks about melancholy and hope, but with joy. In these troubled times, lyrics surely get a special meaning: whatever happens, keep smiling because after all "c'est la vie" ("that's life").

Marché Noir brought together friends and family around keyboardist Max Marolany living in the south of France, with the band starting in the second part of the seventies. Excited by the new funky sound coming from the USA, they wanted to create Marché Noir to compose and sing their own French songs. With a full range of references, from Zouk to Soul, from Disco to Funk, Reggae and Pop, their first goal was to have fun! The band was playing in clubs and festivals around Marseille, Nice, Aix-en-Provence and Fréjus. With this local fame, they ended up doing the first parts of Touré Kunda and french rockstar Johny Halliday. Without a doubt, their live shows were a truly funky experience.

Thanks to Discomatin, the EP is now available to the real connoisseurs with an exclusive insert that contains lyrics, again with fantastic illustrations from French artist Camille de Cussac.

In the 1990s, Malka Family landed from the planet Kif to convert France to their vibrant and crazy madness made of euphoric riffs and glittering suits. Direct heirs of George Clinton and his cosmic P-Funk, they quickly burned stages around the world with this communicative energy which only large ensembles have the secret to. France, Europe, Japan, Africa, Canada… They will be forced to stop in the early 2000s replaced by DJs and computers.

2021. June 5th. Three years after the reformation of the band, Ground Control received a message from "Major Thom" - the astronaut Thomas Pesquet himself. The post is clear! Le Retour du Kif produced in 2018 is played in space… @Thom_astro and all the crew members of the ISS are totally fans of the Malka Family’s Music!

A new era begins, the Jedi of Funk have swept away the machines and their logarithmic music, groove and heavyweight Funk reign in the galaxy once again. The Malka Family is releasing a new 14 track album, SuperLune, a crazy and heavenly funk combo!

This time, back to Malka Family’s old recipes. They spend hours, nights in the studio, writing songs, arranging horns, recording vocals, slapping the bass guitar… "SuperLune is a more introspective album, we did everything without any restrictions, and our funk is more accomplished than ever…" says Jo Mannix fresh out from mixing the album. French Radio Nova tells: "In their spaceship, the bass is definitely queen. From your head to your feet and (especially) through your buttocks, “Blue Funk” will awaken your senses. Without even realizing it, you've already been swept up in the crazy storm of the Malka Family. All the ingredients are there: the dance, the music and an atmosphere that only they have the secret to…" Last but not least, to accompany the interplanetary release of SuperLune, Malka re-embark in their spaceship for the next cosmic tour. Let’s go to the Moon! The SuperLune!

After a string of diverse EPs on Swiss labels Light of Other Days & Subject To Restrictions Ethimm returns in winter 21/22 with his debut album. The record delivers snapshots of a hopeless romantic’s life packed into an eccentric mix of genres, all in the spirit of balearic. Fever dreams of Disco, New Wave, Dub and Leftfield Pop echo throughout the 32 minutes. Tales from the jet set, delusions of grandeur and the hangover that comes after, long gone love affairs and one’s raison d’être are among the many subjects Ethimm touches. Distinctly nodding towards the 80ies without falling into cliché references, the album feels familiar yet uniquely contemporary.

The cover art features a bust of producer Elisabeth Thimm’s head, as interpreted by artist Paa Joe. The 12 inch comes complete with a 180g, heavyweight white vinyl with a beautifully printed inner sleeve revealing the albums lyrics.

re-release Find the Greatest Movie Scores selected by CINEZIK in an new Wagram Vinyl Collection!

Reissue of this trance classic from 2001, remastered for 2021!

Calibro 35, the legendary crime funk combo sampled by Dr.Dre and Jay-Z, announce the reissue of "Traitors", their iconic fourth album, on Crystal Red vinyl and digital deluxe edition with bonus tracks.

Record Kicks proudly presents the reissue of CALIBRO 35's fourth legendary long-time sold out album "Traditori Di Tutti" (Traitors) on March 04thon limited edition crystal red vinyl and digital "deluxe" edition with bonus tracks.The publication is part of "The Record Kicks Trilogy" that follows the reissue of the first three albums of the band, released in 2020. This time, Milan label Record Kicks will repress on wax of three different colours and on digital deluxe edition, the fourth, fifth and sixth legendary studio albums of the Italian cinematic-funk cult band. The digital deluxe edition of"Traditori Di Tutti" includes 2 bonus tracks: a crime funk cover of "Get Carter", originally released as a b-side of the "Butcher's Bride" 45 vinyl, and the unreleased funky stormer "Milan, Michigan".

"Traditori Di Tutti" is the fourth album by Milan's combo, inspired by noir masterpiece novel "Betrayers"published by the father of Italian noir, award-winning crime fiction author Giorgio Scerbanenco. The album contains only band's original recordings, from floor-shaking first single "Giulia Mon Amour" to groovy "The Butcher's Bride", from deep funky "Filthy Bastards" to the dancefloor jazz madness of "Mescalina 6". The five-piece pays homage to "I Maestri" such as Morricone, Micalizzi and Bacalov with 12 tracks full of funky beats, heavy guitars, groovy bass lines and fuzzy organs.

There's one thing that Italians do better than others: funky soundtracks. Quentin Tarantino knows best: soundtracks from Italian movies of the '60s and the '70s are the THING! "Calibro 35 does with music what Tarantino does with films". They borrow what they love and they make it their own. With Rolling Stone magazine words "Calibro 35 are the most fascinating, "retro-maniac" and genuine thing that happened to Italy".

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their fourteen-year career, they were sampled by Dr. Dre on his Compton album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

Composer, bassist and producer Horatio Luna is a musician
intrinsically interwoven into the fabric of Melbourne’s (and indeed the
global) jazz scene. Following his 2020 LP “Boom Boom” (Which won
support from the likes of Jamz Supernova, Lefto, Bradley Zero,
Earmilk and OkayPlayer) Horatio returns to Jitwam’s The Jazz Diaries
imprint, inviting several of his all time favourite producers to
reimagine some of his standout tracks.

The ‘Reworks EP’ kicks off with Horatio’s interpretation of ‘Milestones’ (a cover of the incredible Miles Davis track), while enigmatic UK producer Zepherin Saint takes to the boards with his remix of ‘Bumps’, giving the track a new lease of life with scattered drums and jazzy progressions. Next up Detroit’s Patrice Scott turns in his emotive remix of Horatio’s LP title track ‘Boom Boom’ - featuring moody pads, piano flourishes and an ominous bassline, he adds some Mo-town seasoning into the original. Last but not least the one and only Kai Alcé also turns his gaze to ‘Boom Boom’ opting for a more uplifting approach, and his Wurlitzer notes stretch into the ether, to be joined by a driving rhythm section to keep the dancers moving.
With these incredible remixes, Horatio’s infectious and groove-soaked
driving bassline and astral textures are given a soulful injection from some of the finest in the game.

FOR FANS OF
Miles Davis, Kai Alce, Patrice Scott, Glenn Underground, Kaidi Tatham, Kamaal Williams, 30/70

KEY POINTS
Remixes of 'Boom Boom' and 'Bumps' from Horatio Luna's 2020 studio album on The Jazz Diaries Featuring remixes from house
heavyweights Kai Alce and Patrice Scott! Title track 'Milestones' is a
blistering jazzy house cover of the seminal Miles Davis song of the same name Milestones featured on Spotify's All New Jazz playlist

Always hot on the steel-hard plates and murky subterranean atmospheres, Public System turns in a haunted double package from the crypt. Spanning hi-octane indus bullets, half-baked mutant salvos and shadow-clad juicers from a host of reputed names and rabid underdogs, this new comp collates ruff’n’tuff joints from gritty techno don Container, genre-unbound explorer E-Saggila, Berlin’s electro arsonist Privacy, acid-spitting hydra DJ Loser x Penelopes Fiance, basement guerillero Yabboq Penuel alias Le Syndicat Electronique, neo-punk beat thrasher Crave, Yves Tumor collaborator and sine-wave crusher Anthem, expert circuit dissector Beau Wanzer, Liquid G as remixed by Mick Wills, Night Gaunt’s Lower Tar, occult machine funk preacher Maenad Veyl, DJ Chupacabras under new guise 110, soundwaves cross-pollinator DJ Richard, vibrant mood-scapist Gavil�n Rayna Russom, as well as label boss Myn going ubiquitous with studio fellows Kluentah as Myntha, and R Gamble as Fade Accompli. A much desirable feast of raw, unhinged, all-round spine-tingling jams for the club and not.

Ransom Note stalwart Bawrut presents his debut album "In The Middle", featuring vocalists Liberato, GlitterU¥U¥, Cosmo and Chico Blanco. The LP is a striking eleven-track journey through sunset pop, electronic melancholia and delusive migrations taking place around the Mediterranean.

Tape

Limited to 100 CASSETTES Fairground of Tears’ ‘Execution’ is a 10 track EP of heavy, noisy techno, containing 5 original tracks and 5 remixes from Melania., Phin, Pre Silent, Antechamber and Tomohiko Sagae. Conceptually, the release explores the multi-perspectival facets of the serial killer phenomenon, both the victim and the killer, but also the role of the voyeur, which in this instance, the listener becomes. Fairground Of Tears is a London based producer, resident DJ at Noise Orchestra and the founder and curator of the London event series, Exiled. credits Mastered by Joe Farr Artwork by Hila Angelica Mazzocco

After a quarter century of nearly nonstop activity, dystopian Detroit synth-punk institution ADULT. have perfected a strain of stylistic cohesion in the album format, "but for this we wanted something that's falling apart." Becoming Undone, the 9th official full-length by cofounders Nicola Kuperus and Adam Lee Miller, explicitly succeeds in this aim, simultaneously rejecting and reflecting the planetary discord that inspired it. Begun in the latter half of 2020 against a backdrop of unprecedented flux and seismic isolation, the duo kickstarted their muse by sourcing fresh additions to the rig: a vocal loop pedal for Kuperus and Roland percussion pads for Miller. Reconnecting with legacy influences like the politicized industrial percussion of Test Department and the queasy miscreant synthetics of TG's 20 Jazz Funk Greats sparked a series of fruitfully frenetic sessions, centered on themes of impermanence and dissonance. Miller's rationale is blunt: "We weren't interested in melody or harmony since we didn't see the world having that." From the tense technoid blitz of "Undoing / Undone" to the twitchy EBM of "Fools (We Are_)" and "I Am Nothing," the sides bristle with strident acidic revolt and black leather sequential circuits, unhinged and unforgiving. Elsewhere, slower tempos of purgatorial unraveling ("Normative Sludge," "She's Nice Looking") showcase a breadth of vocal FX, Kuperus sounding alternately indignant and possessed, decrying the crimes, fears, and failings of a deluded world. Throughout, the band's chemistry crackles with revulsion and strobe-lit dissent, equal parts exorcism and denunciation. "Humans have always been pretty terrible," Kuperus explains. "But every year the compromises of culture just accelerate." Becoming Undone is also freighted with a more personal pain, as Kuperus' father passed away during the height of the pandemic, just before the album took root. As his hospice caretakers, she and Miller faced the banality of finality, surrounded by objects drained of meaning, "the joy of having a body, but also the drudgery of having one." The record's bewitching closing track, "Teeth Out Pt. II" - which happens to be the first ADULT. song in the group's history without drums - speaks to this sense of doomed corporeal mass and the looming, lightless unknown that binds us all. A seasick haze swells and subsides in slow, low waves, flickering with ring modulation, above which Kuperus sings in a dazed, brooding, transcendent state, as if having finally glimpsed beyond the pale: "Some day / some day I will be silent and free / of this relentless gravity."

Arriving 6 years after the release of his breakout EP, El Búho returns to Wonderwheel with a very special Deluxe Version of said Cenotes EP including 3 previously unreleased tracks: "Manana Tepotzlan (feat. Gotopo) Vocal Version," "Tecolotin (Chancha Via Circuito Remix)," and "Tecolotin (Dub Version)." The EP is also set to be pressed to vinyl for the first time with a special splatter 12" invoking the cover art.

"Cenotes" was originally released in 2015 to widespread fan acclaim, firmly planting El Búho in the upper echelons of the Latin Electronic pantheon. Recorded in Mexico City after relocating from Amsterdam, "Cenotes" marries his influence of Dub, IDM and Electronic vibes with the rhythms, traditions and melodies of Latin American & Andean folk and the organic sound of waterfalls, birdsongs and crackling leaves, resulting in a dreamy, deep, melodic journey that entrances as much through headphones as it does on the dancefloor. Having studied Latin American Studies in Glasgow, El Búho (aka Robin Perkins) spent time living, studying and working in Argentina and travelling throughout the continent. Alongside his music, El Búho is also an environmental activist, having worked for over eight years at Greenpeace, being a member of DJs For Climate Action and coordinating the non-profit project "A Guide to the Birdsong" a series of albums that raise funds and awareness for endangered bird species through electronic music.

"Cenotes (Deluxe Version)" hits all digital streaming services December 3rd, with the vinyl 12" to follow shortly after.

Repressed !

Hear & Now's Story Is One Of Friendship And A Shared Passion For Music. It Began With A Chance Meeting On The Dancefoor At Red Zone In Perugia, One Of Italy's Most Legendary Clubs
Of The 1990s. Nearly Three Decades On, These Glassy-eyed Clubbers Have Joined Forces To Deliver One Of The Most Magical And Sun-kissed Albums That Claremont 56 Has Ever Released. By The Time Ricky L And Marcoradi Frst Joined Forces In The Studio In 2016, Both Had Become Established Producers Within Italy's Vibrant Deep House Scene. Between Them, They'd Released Records And Remixes On Such Labels As Ibadan, Uomo, Reincarnation, Top Tracks, Restricted
Tracks And Vega. Keen To Step Away From The Dancefoor, They Decided To Simply Create Beautiful Music For Bleary-eyed After-hours Sofa Sessions, Lazy Summer Afternoons And Early
Mornings Spent Blinking At The Rising Sun.
Aurora Baleare, Their Debut Album, Follows On From A Fantastic Double A-side 12' For Claremont 56 In February 2017. Those Two Tracks Take Pride Of Place Amongst An Eight-track Selection Simply Brimming With Evocative Workouts, Gentle Soundscapes And Noon-bright Sonic Bliss. While You'll Fnd Luscious Instrumental Cuts Designed To Inspire Baggy, Glassy-eyed Shuffing - See The Mid-tempo, Spine-tingling Brilliance Of salsedine', Mind-massaging hirundo' And Dreamy Slow-house Treat sabbia Magica' - It's The Effortless Brilliance Of Marcoradi's Improvised Guitar Playing And The Duo's tmospheric Approach That Really Catches The Ear.
Check, For Example, The Heady Horizontal Shuffe Of trasimeno', Where Poignant Ambient Chords, Jazzy Electric Guitar Solos And Deep Space Electronics Tumble Down Over Shuffing Beats And A Squeezable Synthesizer Bassline, And The Sun-down Adriatic Wonder Of stella Dei Venti', A Track So Effortlessly Loved-up And Blissful That You Might Be Overcome By Emotion (it Certainly Had Us Daydreaming Of Days Spent Exploring The Intense Natural Beauty Of Italy's Adriatic Coast).
Moments Like This, Where The Duo's Dreamy Electronics And Smile-inducing Melodies Seemingly Shimmer Across The Sound Spectrum, Can Be Found Dotted Throughout Aurora Baleare. There's The Darting Digital Synthesizer Motifs, Sparse Hand Percussion And Ricocheting Solos Of airone', The Italo-disco-inspired Chugging Positivity Of la Marsa' And The Title Track's Humid Beachside Breeze, Where Intertwined Electronic And Acoustic Lead Lines Seemingly Glimmer Like Rays Of Sunshine Bouncing Off The Surface Of A Becalmed, Crystal Clear Ocean. Their Roots May Be On The Dancefoor, But Hear & Now Are Fast Becoming Down Tempo Masters. You Can Dance If You Want To, But You May Just Want To Hug A Stranger Instead.

In February of 1976 Eddie Carmichael left the group “The Voshays” after catching the bandleader/manager stealing from the band. Derry Shepherd and Duncan Bethel left at that time also. About a week later I asked Derry if he would be interested in starting another band and he said sure. At that point Duncan Bethel agreed to participate and he recruited his friend Flynn Emanuel to play trombone. Derry was the manager of the cafeteria at Sears Department Stores in The Pompano Fashion Square Mall and he met Sandy Ficca who was the manager at Chess King Men’s Clothing Store in the same mall. Sandy also agreed to join the group and we auditioned bass players and chose Dave Segal and only one keyboard player auditioned and that was Bob Groszer. We now had all of the personnel for the group and we commenced rehearsing in the recreation center in Pompano Beach, FL at Westside Park. We did a few “Chitlin’ Circuit“ gigs to fine tune the band and music and then moved over to the beach circuit. While there we would perform spring and summer months at “The Ocean Mist” on the Strip in Fort Lauderdale, FL and for the fall and winter months the Big Daddy’s 8600 Club on Miami Beach. After 18 months of constant gigging I suggested that the band go into the studio and record some original music. Now all we needed was some serious financial support and songs. I met a man by the name of Jerry Bullard and convinced him to back the project. We formed our own independent label “Get Off Records” and publishing company “Situated Music”. At that point Dave Segal and Sandy Ficca left the group and Bruce Saddler who was the drummer for The Voshays joined us on the drums for the first two recordings. Sandy Ficca returned as drummer and brought in his old friend and bandmate Daryl Walker to play Bass on five of the six remaining songs. We recorded the entire album in five days at SRS Studios and Triad Studios both in Fort Lauderdale, FL in August of 1977. The first single “Give It Up (Let Yo Funk Fly Free) was a winner released only in the New York tri state area where in two weeks it reached number 16 in the top 100 and was poised to go number one nationwide on the R&B charts in the next two weeks. Henry Stone, owner of TK Records in Hialeah, FL wanted to sign the group as did many other major record labels including Maurice White of Earth, Wind & Fire. But the usual problems of the music business reared its ugly head and the record was pulled from all radio airplay and the group who became disenfranchised with the business of the industry decided to call it quits. Derry Shephard went into Gospel Music production, Sandy Ficca went on to become the drummer for the Pop/Rock recording artists “Firefall”. Daryl Walker is a session player and music teacher, I did studio sessions and played in several cover bands and toured internationally. Bob Groszer toured with Sly Stone and other legendary recording artists. Dave Segal went on to start New York Bass Works in New York. Flynn Manuel became a music teacher in The Broward County School District and Bruce Saddler and Duncan Bethel left the Music industry completely. We were young and not good business people at that time and did not understand the rules of do’s and don’ts of the music industry. But we had three talented songwriters, a great arranger, a killer band and all the financial support that we needed. Looking back if we only had an experienced manager I truly believe Mirror would have gone on to create some great music over the years that followed.
Peace and love all the time,

Special Edition Double Vinyl LP - Pressed at Optimal

Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall is one of the rising stars of the UK jazz scene. His unique sound was brilliantly described as "Rain-streaked spiritual jazz from Manchester" by the Independent On Sunday and as a label-boss he has nurtured the careers of Mammal Hands and GoGo Penguin via his Gondwana Records imprint, while his own recordings have explored modal and spiritual jazz, string-laden minimalism and hard-bop. ON THE GO was Halsall's 2011 breakthrough disc, drawing inspiration from the late 60s hard-bop sounds of Max Roach and Art Blakey as well as the Strata-East and Black Jazz labels. it's Halsall's punchiest recording and won Jazz Album Of The Year at Gilles Peterson's Worldwide Awards while the tracks Music For A Dancing Mind and Song For Charlie have proved amongst Halsall's most requested compositions.

Re-mixed and re-mastered at Gondwana's home from home, 80 Hertz studios in Manchester and reissued here due to popular demand, ON THE GO appears here in an extended format that adds three new tracks alongside the original album and appears on vinyl for the first time. Halsall explains the decision to reissue On The Go,

"I have always loved this album, and when fans kept asking me for a vinyl version I decided to make a special edition release, so I remixed and remastered the whole album with George Atkins at 80 Hertz Studios and in the process decided to include three bonus tracks that were recorded around the same time and took inspiration from one of my favourite jazz records, Miles Davis's Lift To The Scaffold "

The Equations Collective is an experimental sound project formed by a multi-disciplinary group of artists, active in the fields of music, photography, sound design & software development.

In 2018, the collective set up a temporary outdoor recording studio, 1130 meters above sea level, on the slopes of Mount Helicon in Greece, with the ambition of recording their work in a natural environment. A 'mobile and modular' construction, fully powered by solar panels, the design of the studio showcases the possibilities of a progressive, environmentally sustainable future through renewable energy.

Embodying ecological incentives, and representing an immersive engagement with the landscape, the 'Helicon Sessions' document this extraordinary residency, capturing a profound dialogue with the eponymous mountain region.

Situated in Boeotia, Central Greece, Mount Helicon has a prominent archaic significance. A historic location where stories of sacred springs and the epic origins of the Muses and Narcissus converge. Steeped in the heritage of ancient narratives, Helicon is seen as a principal symbol of poetic inspiration.

On the 'Helicon Sessions' the collective draw upon the inspiring topography and fabled mythological resonances of the area, unfurling an expansive, hypnotic suite of abstract electronics. Liberated by an open-ended, improvisational dynamic, the collective move through a mysterious, elemental cycle that mirrors the imposing scale and dramatic atmospheres of the setting.

Across an entrancing, fluid sequence of five designated 'cuts', the collective traverse the borderlands of drone, techno, dub, and acid, amplifying the acoustic traces of Helicon by integrating field recordings collected at the site into this arresting body of work. With these recordings, the collective delineate an odyssey of subverted 303s, sputtering drum machines and formidable, oscillating low end that drifts and coalesces like an amorphous mirage; a spellbinding sound world of clarity and shadow.

The 'Helicon Sessions' signify a symbiosis (between the terrestrial and the engineered, between wildlife and futurism, between the intrinsic and the synthetic, between the innate and the manmade) And with their conception of a portable, eco-friendly studio The Equations Collective focalize valuable ideas centred on ingenuity and evolution. The outcome of this project illustrates a unique collaborative exchange which acknowledges the deep nuances of environment and the enduring echoes of history.

The Equations Collective is a collaboration between Artefakt, Aroma Pitch, Aphelion and Sphera De Noumenon across Berlin, Amsterdam, Cologne and Hamburg. Together they have established an all night long live event in Berlin, starting at Sameheads and Acud Macht Neu, which eventually lead to their residency at OHM (Tresor).

For this format they have collaborated with the following artists: Alex The Fairy, Anna Z, D-IX, Eliad Wagner, Jón Friđgeir Sigurđsson, Orson Wells, Phillip Jondo, Philipp Matalla, PRSMC, Rabih Beaini, Sabrina Gricourt, Sébastien Robert, and Vida Vojić.

The respective members of The Equations Collective have released a range of output on the likes of Field Records, Delsin, Semantica Records, De Stijl, & Soul People Music.

Since 2018 their visual identity has been shaped by Elias Hanzer.

The 'Helicon Sessions' is their debut release.

For the first time ever, here is the soundtrack from the 1983 post-apocalyptic flick directed by Joe D'Amato, Endgame - Bronx Lotta Finale. A compelling Carlo Maria Cordio's mighty Vangelis-meets-John Carpenter score. With hangovers from previous Giallo-based outings, Endgame's themes are more gentle and introspective than, say, Claudio Simonetti's muscular work for The New Barbarians and Hands of Steel but also, arguably, musically more diverse. In particular, the opening title track 'Atomic Contamination" is genuinely chilling when set against the stock footage of a nuclear bomb going off.

While liberally pinching the vibe of Blade Runner's more symphonic textures, Cordio's synthesizers also do bombast, melancholy and menace when required, whilst the pretty pieces for Lilith are like semi precious jewels shining out of the murk and machismo.

Diego el Cigala is, with any doubt, one of the greatest flamenco geniuses of our times. Not only because of his voice and charisma, but also for recording such vast and wide discography singing with majesty and no complex any style he could be challenged to perform. At Flamencoenvinilo we wanted to re-catch one of his early works back to his flamenco roots: "Entre Vareta y Canasta" (18 Chulos) was originally published in the year 2000 and, as many of his works, this album has proved the test of time and it has become a true classic. This will be the first time this album comes out on 12". Limited to 500 copies. Accompanied by Niño Josele (guitar) and a large group of percussionists, "Entre Vareta y Canasta" the second album by Diego El Cigala made him known among many people outside the traditional nucleus of flamenco for his simplicity, purity and mastery. The unique voice of this artist moves with naturalness and feeling in styles as different as martinete, bulería or fandangos.

Solo acts of Paula Rebellato (RAKTA) and Douglas Leal (DEAFKIDS), members of two of the most thriving and groundbreaking bands coming out of Brazil to the world lately. The fusion of traditional and acoustic instruments with electronic and processed sounds highlights the strong characteristics of both projects, melted into a journey within timeless soundscapes. Buh Records presents "Gnose", the joint full-length by the solo acts of Paula Rebellato (RAKTA) and Douglas Leal (DEAFKIDS), members of two of the most thriving and groundbreaking bands coming out of Brazil to the world lately. Produced between 2019 and 2020 in Sao Paulo, Brazil, some of the compositions were first conceived for a live performance in late 2019 and then expanded into a full-length album, part recorded in studio and part at home during the first months of the pandemic. Inspired by the ritualistic potentials of music, "Gnose" offers a vertical and circular narrative throughout its 7 themes, exploring atmospheres that may contribute to experiences of displacement and inner silence. The fusion of traditional and acoustic instruments with electronic and processed sounds highlights the strong characteristics of both projects, melted into a journey within timeless soundscapes. Paula Rebellato is an artist based in Sao Paulo, Brazil. Her journey with music and sound started at young age and became a more consistent path when she co-founded the genre-bending group Rakta.

The long awaited third volume of our "Algo salvaje" series, featuring untamed 1960s beat and garage nuggets from Spain. "Algo salvaje" is an anthology devoted to a rich period when hundreds of bands appeared all over Spain and, after paying attention to what their US and British contemporaries were doing, found their own way to vent their teenage rebellion through loud guitars. With amazing results! Many of the 28 tracks are reissued for the first time, including very hard-to-find records. This double LP gatefold package includes extensive notes by Vicente Fabuel featuring all the original record sleeves and artist photos. "Algo salvaje" ("Something Wild"), now reaching its third volume, celebrates the darkest, neglected and rebellious side of Spanish beat. Internationally labelled as nuggets (after the original compilation of the same name concocted by Jac Holzman and Lenny Kaye in 1972 for the Elektra label), the more common garage rock label has been used to place and describe one of the most fertile chapters of rock & roll history during its most creative years. An underground story which has luckily become known, with participants from all around the globe which included anonymous musicians, independent record labels with impossible names and ridiculously limited pressings, often not more than a few hundred copies. The tracks chosen for the occasion, a selection filtered strictly by their musical value, adhere to the rules of the classic nugget genre while demonstrating the permeability of garage sound and its inevitable evolution at the turn of the decade (1967-1974) through mixes that embraced psychedelia, soul and even prog rock. Epic and pretty wild. Just the kind of material that this record label usually handles. Many of the 28 tracks are reissued for the first time, including extremely hard-to-find records. This double-LP package includes extensive notes by genre-expert Vicente Fabuel featuring all the original record sleeves and artist photos. So let the band play...

John Illsley, Bassist der Dire Straits, meldet sich mit seinem 8. Studioalbum 'VIII' zurück, das nach Veröffentlichung seiner erfolgreichen Autobiographie 'My Life in Dire Straits' Ende 2021 ohne Umschweife an den legendären Sound der Band erinnert und alte und neue Fans begeistern wird. Das neue Werk enthält 8 brandneue Songs sowie eine neu aufgenommene Studioversion des Beatles-Klassikers 'I'm Only Sleeping', den John auf dem virtuellen 'Dear John' Konzert im Jahr 2020 anlässlich des 80. Geburtstags von John Lennon zum besten gab.

Red Vinyl

In 2021 Bristol Hip-Hop duo Ree-Vo released two singles from their forthcoming album ‘All Welcome On Planet Ree-Vo’. The first was the Electro-Hop, LFO-surfing ‘Combat’ with a remix by SURGEON. The second -dropped as a digital double A-side in December - was the dark, submersive ‘Groove With It’ remixed by New Jersey’s legendary Dälek and ‘Protein’ remixed by The Bug (who released what many considered to be 2021’s album of the year ‘Fire’). smartURL.it/EDDA56

Ree-Vo begin 2022 in contrast with this their hookiest track on their album, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.

“Lift off, blast off, shirt off, pants off, bra off, Dance off! Naked in the dance hall SPACE BOX!”
is the beamed mantra, rapper Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.

Helping them on this seven’s mission are two remixes, one by NØISE (the musical collective of Joe Cassidy, Shepard Fairey, Merritt Lear and John Goff) and BATBIRDS (the duo of Joe Cassidy and Aaron Miller). Common to both of course is Joe Cassidy who recorded for Dell’Orso (as well as Rough Trade and Dedicated) as Butterfly Child. These mixes were made at the end of 2020, the record sent off to print in February 2021, five months before Joe’s incredibly sad departure from this planet, at least physically. So for all of us involved it’s a very bittersweet release, but another piece of art that Joe was undoubtedly thrilled to be involved with.

Back in stock! Ghanaian Afro-Rock From Producer/Composer JJ Whitefield, Inspired By His Karl Hector & The Malcouns And Whitefield Brothers Projects JJ Whitefield, who in the early ‘90s revived the gritty, analogue Funk sounds of the ‘60s and ‘70s with his Poets Of Rhythm, has been working with Now-Again Records for over decade, releasing a flock of acclaimed projects with Karl Hector & The Malcouns, Whitefield Brothers, Rodinia and the Original Raw Soul anthology. He first started exploring African rhythms with the Whitefield Brothers in the late ‘90s, continuing in the ‘00s with Karl Hector & The Malcouns. He’s been instrumental in launching Ghanaian Afro Beat/Funk legend Ebo Taylor´s international career, decades after the maestro recorded the landmark albums that have inspired thousands. Whitefield recorded two new studio albums with Taylor and toured in his band between 2009 and 2013, where he met Taylor’s son Henry and percussionist/Singer Eric Owusu. The trio now front the Johnny! band and find inspiration not only in Ghana’s hypnotic grooves, but also the full frontal fuzz guitar assault heard on the legion of 70s Zambian Zamrock albums reissued by Now-Again. Indeed, Whitefield credits his tours with Zamrock godfathers Rikki Ililonga and WITCH’s Jagari Chanda as instrumental in creating the Johnny’s sonic backdrop. The band is rounded out by Turkish drummer Bernd Oezsevim (Woima Collective, Rodinia) and Indonesian bassist/multi instrumentalist Tomi Simatupang (Whitefield Brothers). This is what was oft-called “Afro Rock” at the core, with the possibilities to stretch out into swinging highlife, sweet soul or psychedelia . The results, point at a new direction for the music inspired by the Great Continent. One that takes a direction once mocked as derivative and asserts its importance on the globe’s current musical stage.

Paris Brightledge returns on Clone Club Series. With remixes from no less than Joe Smooth, K'Alexi & Russoul and Gerd!

"Black Vinyl 2022 edition, gatefold sleeve. Huge star in her native France, Christine and the Queens (partially) rerecorded her radiant debut album in English. The language shift has diluted nothing from the LP’s allure.
“The French sensation taking to the world stage with grace and apparent ease” - Vogue “Owing as much to Weimar cabaret as 1970s-era David Bowie - beguiling” - Sunday Times Culture “Empowering, bold, and vulnerable, and made for dancing” - Pitchfork “Jonathan is an implausibly beautiful ballad” - The Guardian ""The charismatic French pop sensation on the verge of international stardom” - i-D"

With songs that run the gamut from heart-breaking to satirical and a host of unforgettable film scores, Randy Newman has used his many talents to create musical masterpieces widely recognized by generations of audiences. After starting his song writing career as a teenager, Newman launched into recording as a singer and pianist in 1968 with his self-titled album Randy Newman. Throughout the 1970s, 80s, and 90s he released several acclaimed albums: 12 Songs, Sail Away, Good Old Boys, Little Criminals, Born Again, Trouble in Paradise, Land of Dreams, and Bad Love.
Good Old Boys is the fourth studio album by Randy Newman, released September 10, 1974 on Reprise Records. It was Newman’s first album to obtain major commercial success, peaking at #36 on the Billboard 200. Good Old Boys was initially envisioned as a concept album about a character named Johnny Cutler, an everyman of the Deep South. Newman made a demo of these songs on February 1, 1973; they were released as the bonus disc for the 2002 CD reissue, titled Johnny Cutler’s Birthday and are now being included on vinyl for the first time in this Run Out Groove deluxe edition.
In addition to his solo recordings and regular international touring, Newman began composing and scoring for films in the 1980s. The list of movies he has worked on since then includes The Natural, Awakenings, Ragtime, all four Toy Story pictures, Monsters Inc. and Monsters University, Seabiscuit, James and the Giant Peach, A Bug’s Life, and Meyerowitz Stories. Randy Newman’s many honors include 7 Grammys,® 3 Emmys,® and 2 Oscars,® as well as a star on the Hollywood Walk of Fame. He was inducted into the Songwriters Hall of Fame in 2002 and the Rock and Roll Hall of Fame in 2013—the same year he was given an Ivor Novello PRS for Music Special International Award. Newman was presented with a PEN New England Song Lyrics of Literary Excellence Award in 2014.

Previously issued on three rare cassette-only editions, Joanna Brouk's 1980 sophomore album The Space Between has finally been given spacious LP quarters. The side-long title track, performed by Brouk's Mills College instructor and sometime-lover Bill Maraldo is among the deepest and most distinctive pieces in the new age canon, while side B's three cuts expand the theme in hypnotic new directions.

External Combustion – the second album and first as band leader of the Dirty Knobs – is proof that lightning can strike twice. His first record, Wreckless Abandon, was released in November 2020 to a great reception, gaining attention from Broken Record, Vulture, WTF with Marc Maron podcast, LA Times, Rolling Stone, American Songwriter, Billboard and many more.

The Dirty Knobs made External Combustion in three weeks over the summer of 2021, and "The band became this spontaneous type of combustion”, Campbell recalled, recounting how the band became more intuitive the longer they played.

Campbell claims he was never offered a solo deal in his four decades with Tom Petty and the Heartbreakers, despite also writing and producing for artists like Roy Orbison and Don Henley. "I wouldn't have known what to do with it," he adds quickly. "I was Tom's partner. Lyrics and singing – he could always do it much better. But I was writing and recording more music than Tom could deal with. That's when I got the Dirty Knobs, which gave me a chance to try singing. So I started woodshedding. And then when my life changed (with Petty's death in October 2017) it was, 'Time to do this now.'"

On their Dualtone Records debut 'Sticking With It', Seattle-based sevenpiece The Dip deliver the kind of unbridled soul/R&B that hits on every
emotional level, inciting everything from raw catharsis to heavy-hearted
reckoning to wildly exuberant joy
In a major breakthrough for the band, the self-produced album fully channels the
vitality of the freewheeling live show that's earned them an ardent following over
the last decade, expertly matching their sophisticated musicianship with a
fantastically loose energy. When met with The Dip's lyrical reflection on matters
both timely (the crush of late capitalism, the glaring need for true community)
and undeniably timeless (the vast complexities of love and loss), the resulting
body of work captures the mood of the current moment while offering immediate
escape into a more elevated state of mind.

For the third release of Captea, the Italian duo deliver a two tracker EP + remix. Vibra is a tech house joint with a hint of electro, a modern vision of club music that fit any DJ set. Saturnia brings you to another dimension with an acid sequence and voice playing over a badass groove. The B-side is curated by Nuances de Nuit's founder T. Jacques with his reinterpretation of Vibra.

Fine journey of Electronix with everything from Braindance, Breakbeat, Acid to Downtempo.. Dedicated to the memory of Antonio Semeraro

Heiko Voss has earned near mythical status as a torchbearer for the emotional, deeply felt and quietly radical style of electronic music. The blissed-out radiance of his Kompakt Pop single, “I Think About You” remains one of the label catalog highlights and a stellar run of collaborative singles as Schaeben & Voss; others might know him for his stewardship of the excellent, much-underrated Firm imprint. But with his new album, 3:30 Minutes To Live, released by Michael Mayer’s label Imara, Voss returns after a long silence with a beautiful collection of songs that hymn heartbreak with a lusciously melodic touch.

There is something definitive and newly confident in 3:30 Minutes To Live that has it feeling like a real statement of intent if compared to his earlier releases. “Although it’s not, 3:30 Minutes To Live feels like my debut album,” Voss reflects. “All releases before were more song sketches or electronic dance tracks.” Bunkering down in Teary Eyes Studio, Voss worked up somewhere between thirty and forty sketches of songs, which he whittled down to the twelve collected here, all of them situated in a unique space, but very much in accord with Voss’s defining aesthetic, which he describes as “indie pop music with a lot of guitar, electronic elements and a great love for melancholic ‘80s synth-lines.”

Voss is sensitive to both variety and consistency – 3:30 Minutes To Live sits together as an assured, vibrant collection of pop songs, but it’s marked by all kinds of surprising incident, like the guitar solo that erupts out of “This Is My Life”, or the acoustic guitar-led melancholy of the closing “This Summer”. It’s all borne of the alchemy of the studio process and the intimate romance of music-making. “If you constantly feel a little bit like you’re in love while writing and producing your music – simply because of the sound of the synth flowing warmly and gently through the room, or because the sequence of notes awakens something in you, or even a randomly arising groove in the loop of a guitar lick makes you shout, ‘Ha!!’ – then it usually becomes a beautiful song,” Voss nods. “Those moments make me happy.”

There’s also a delicious tension between the push of the music, its melodic lushness and gliding, ballerina-like movement, and the darker currents that pull through Voss’s lyrics, inspired by a “short, dramatic and toxic love affair.” This may read like familiar terrain for a pop album, but the way Voss weaves language through both the extra-linguistic joys of music and the inarticulate speech of the heart somehow allows for direct communication that is simultaneously plain-spoken and deeply profound. “Say It” is a simple, devastatingly effective plaint of alienation; “She Wasn’t Lonely” a simple portrait of everyday living set to chiming, clacking guitars, the music in the bridge taking astral flight as the titular character ‘lets herself go.’

A smart and sharp collection of songs that captures you with its gorgeous melodicism just as it blindsides you with its aching heart, 3:30 Minutes To Live is Heiko Voss at his most assured and open-hearted best.

Heiko Voss hat sich als Fackelträger einer emotionalen, von ganzem Herzen kommenden und nicht auf den ersten Blick radikalen Spielart von elektronischer Musik einen nahezu mythischen Status erarbeitet. Das schiere Glück, welches seine Kompakt Pop-Single "I Think About You" aus dem Jahr 2003 immer noch ausstrahlt, macht sie nach wie vor zu einem der Highlights des Label-Katalogs, wo sie neben einer ganzen Reihe hervorragender Singles als Schaeben & Voss steht; andere kennen Heiko vielleicht durch das tolle und vielfach unterschätzte Label Firm, für das er zusammen mit Thomas Schaeben verantwortlich war. Mit seinem neuen Album “3:30 Minutes To Live”, das am 4. März 2022 auf Michael Mayers Label Imara erscheint, kehrt Voss nun nach einer langen Pause mit einer wunderschönen Sammlung von Songs zurück, die den Herzschmerz – getragen auf den Schwingen unwiderstehlicher Melodien – ausgiebig besingen.

“3:30 Minutes To Live” kommt mit einer gehörigen Portion Überzeugung und Selbstbewusstsein daher, was im Vergleich zu seinen früheren Veröffentlichungen wie ein bewusstes Statement wirkt. "Obwohl es das nicht ist, fühlt sich ‘3:30 Minutes To Live’ wie mein Debütalbum an", meint Voss. "Alle meine vorherigen Veröffentlichungen waren eher Song-Skizzen oder elektronische Dance-Tracks."

Im Teary Eyes Studio arbeitete Voss zwischen dreißig und vierzig Songskizzen aus, die er auf die zwölf hier versammelten Songs reduzierte, die alle ihren eigenen Raum einnehmen, dabei aber sehr gut mit Voss' übergeordneter Ästhetik harmonieren, die er als "Indie-Pop-Musik mit viel Gitarre, elektronischen Elementen und einer großen Liebe für melancholische 80er-Jahre-Synthies" beschreibt.

Voss ist sowohl für Abwechslung als auch für Konsistenz empfänglich - “3:30 Minutes To Live“ ist eine selbstsichere, lebendige Sammlung von Popsongs, die aber auch von allerlei Überraschungen geprägt ist, wie dem Gitarrensolo, das aus “This Is My Life” herausbricht, oder die von einer Akustikgitarre getragene Melancholie des abschließenden “This Summer”.

Das alles ist entstanden aus der besonderen Alchemie des Studioprozesses und der intimen Romantik des Musikmachens. "Wenn du beim Schreiben und Produzieren deiner Musik ständig das Gefühl hast, ein bisschen verliebt zu sein – einfach weil der Klang des Synthesizers warm und sanft durch den Raum fließt, oder weil die Notenfolge etwas in dir weckt, oder sogar ein zufällig auftauchender Groove im Loop eines Gitarren-Licks dich ein 'Ha!' ausrufen lässt – dann wird daraus meist ein schöner Song", nickt Voss. "Diese Momente machen mich glücklich."

Es entsteht eine besondere Spannung zwischen dem positiven Elan der Musik, ihrer melodischen Verschwendungssucht, den gleitenden, Ballerina-artigen Bewegungen und den dunkleren Strömungen, die durch Voss' Texte ziehen, die von einer "kurzen, dramatischen und giftigen Liebesaffäre" inspiriert sind. Das mag sich wie ein vertrautes Terrain für ein Pop-Album anhören, aber die Art und Weise, wie Voss die Sprache sowohl durch die nonverbalen Elemente der Musik als auch durch den nicht artikulierten Ausdruck des Herzens verwebt, ermöglicht eine Art direkte Kommunikation, die gleichzeitig ausgesprochen klar und trotzdem tiefgründig ist. “Say It" ist eine erschütternd einprägsame Anklage von Entfremdung; "She Wasn't Lonely" ist ein einfaches Porträt des alltäglichen Lebens, untermalt von klappernden Gitarren, in dem die Musik einen astralen Flug unternimmt, während die Titelfigur sich "gehen lässt".

“3:30 Minutes To Live“ ist eine kluge und scharfsinnige Sammlung von Songs, die den Zuhörenden mit ihren wunderschönen Melodien fesseln, aber auch mit einer Menge schmerzenden Gefühlen konfrontiert. Ein Album, auf dem Heiko Voss ganz bei sich ist und Euch dabei mehr als nur sein Herz öffnet.

orange marbled vinyl

"How does it feel to reminisce? That was something I wanted to try to capture in soundwaves. I tend to reminisce a lot. About the good and bad parts in the past, and everything in between. I try to remember which specific parts in my life made me who I am today. Thinking about those events is going to make me feel a certain way, and i wanted to try to convert these feelings into songs.

Reminiscing to me, is also a very visual experience in my head. So I decided to take sounds that were close to me from the past and make something cinematic that still works as a full song. I've been using a lot of granulated sounds, which is almost like a shattered memory reconstructed into a new one, as your feelings can change recovering the same memory. So you can close your eyes and go on your own reminiscing journey, discovering loads of layers weaved through these soundwaves."
- Sam A La Bamalot

Munich quintet Fazer are set to release their third album ‘Plex’ on City Slang in 2022. Moving freely between composition and improvisation, the band’s spacious, organic sound pitches lyrical melodies from guitar and trumpet over double-drummer polyrhythmic grooves and dub-like basslines.

Coming from different musical backgrounds ranging from bebop to electronic, Fazer met while studying jazz at the Academy for Music and Theatre in Munich. The German city has a rich history of improvised music; home to labels ECM (Keith Jarrett, Chick Corea, the Art Ensemble of Chicago, Steve Reich) and Enja (Archie Shepp, Eric Dolphy, Freddie Hubbard, Elvin Jones) and Krautrock icons Embryo. Today much of the scene in Munich revolves around Radio 80000, an online community radio station located in the east of

the city. There, dedicated diggers like Karl Hector (Now-Again) or Marvin & Valentino of Public Possession are doing regular shows and it’s this diversity that drives the band’s DNA

Munich quintet Fazer are set to release their third album ‘Plex’ on City Slang in 2022. Moving freely between composition and improvisation, the band’s spacious, organic sound pitches lyrical melodies from guitar and trumpet over double-drummer polyrhythmic grooves and dub-like basslines.

Coming from different musical backgrounds ranging from bebop to electronic, Fazer met while studying jazz at the Academy for Music and Theatre in Munich. The German city has a rich history of improvised music; home to labels ECM (Keith Jarrett, Chick Corea, the Art Ensemble of Chicago, Steve Reich) and Enja (Archie Shepp, Eric Dolphy, Freddie Hubbard, Elvin Jones) and Krautrock icons Embryo. Today much of the scene in Munich revolves around Radio 80000, an online community radio station located in the east of

the city. There, dedicated diggers like Karl Hector (Now-Again) or Marvin & Valentino of Public Possession are doing regular shows and it’s this diversity that drives the band’s DNA

Since the demise of his previous band, Ultimate
Painting, Jack Cooper - under his Modern Nature
guise - has never stopped looking ahead,
exploring and reaching for something further.
Since 2019, he’s released an EP, mini album
‘Annual’, one full length LP, one 7” and three live
cassettes - in the process mapping out astonishing
new terrain. ‘Island Of Noise’ presents an obvious
new peak in his discography.
 180g recycled vinyl in 3mm spined sleeve printed
on recycled board.
 “Mesmerising... A treasure trove of interesting
musical ideas, as well as a source of restorative
solace.” - The Guardian (****)
 “On ‘Island Of Noise’ Modern Nature’s Jack
Cooper folds together much of what he’s already
done - illuminated pop, exploratory improvisations,
post-Canterbury prog - and locates a common
thread, expanding outwards with the help of freemusic pioneers saxophonist Evan Parker and
bassist John Edwards.” - Uncut (9/10)
 “Jack Cooper captures a sense of mystery and
magic on his second album as Modern Nature,
using gentle folk rock as the base for a subtle
evocation of peacefulness.” - The Times (****)

Mercurial London artist Nilüfer Yanya announces her hugely anticipated second
album, ‘PAINLESS’, for release via ATO Records.
 ‘PAINLESS’ is the follow-up to Nilüfer Yanya’s renowned 2019 debut album, ‘Miss
Universe’, which fully established her as a singular artist and a distinctive voice that
simply has to be heard.
 The critically acclaimed ‘Miss Universe’ - a widescreen concept record that took a
tongue in cheek swipe at the most self-involved corners of the health and wellness
industry - was followed last year by the three song EP ‘Feeling Lucky?’, which further
explored Yanya’s fascination with ‘90s alt-rock melodies and drew on themes of
resentment, her fear of flying, and the concept of luck. Pitchfork summed up ‘Feeling
Lucky?’ and her now peerless songwriting aptitude best: “Nilüfer Yanya’s melodies
have a pull so strong they almost necessitate their own law of physics.”
 Yanya also re-released her early EPs on vinyl for the first time this year, on the
record ‘Inside Out’. The release is a fundraiser for Artists in Transit, a collaborative
not for profit group she founded with her sister Molly that delivers art workshops to
displaced people and communities in times of hardship.
 As the daughter of two visual artists (her Irish-Barbadian mother is a textile designer
and her Turkish-born father’s work is exhibited at the British Museum), creativity was
always destined for Nilüfer Yanya’s future. Now she enters the next stage of her
creative journey - Yanya is running head first into the depths of emotional
vulnerability on her sophomore record, ‘PAINLESS’. The album was recorded
between a basement studio in Stoke Newington and Riverfish Music in Penzance
with ‘Miss Universe’ collaborator and producer Wilma Archer, DEEK Recordings
founder Bullion, Big Thief producer Andrew Sarlo and musician Jazzi Bobbi.
 Where ‘Miss Universe’ stretched musical boundaries to include a litany of styles from
smooth jazz melodies to radio ready pop, ‘PAINLESS’ takes a more direct sonic
approach. By narrowing down her previously broad palette to a handful of robust
ideas that revolve around melancholy harmonies and looped industrial beats to mimic
the insular focus of the lyrics, Yanya has smoothed out the idiosyncrasies of previous
releases without losing what is essential to her.
 ‘PAINLESS’ is a record that forces the listener to sit with the discomfort that
accompanies so many of life’s biggest challenges whether it be relationship
breakdowns, coping with loneliness, or the search for our inner self. “It's a record
about emotion,” Yanya explains. “I think it's more open about that in a way that ‘Miss
Universe’ wasn't because there's so many cloaks and sleeves with the concept I built
around it.” Summing up the ethos of the new album, she adds, “I’m not as scared to
admit my feelings.”
 Should stock of ATO0594BI1 sell out, a different standard vinyl format will be made
available (ATO0594LP).
 “A distinctive new voice in indie rock, a deeply expressive singer and sharply
inventive guitarist” - Uncut
 “On a musical and human level, then, the world needs more people like Nilüfer
Yanya” - MOJO
 “A true original” - The Guardian

As a confluence of ideas and methods, WILD ROCKET endeavour to interpret the subtle signals of the universe - the interplanetary vibrations - and present them as brash manifestations of sound. Scientists and Shaman alike have endeavoured to interpret the universal whispers, to elucidate meaning from the measurable and the sensible. It is known that to measure and interpret is to alter and colour those signals and this is what drives the development of WILD ROCKET's sound and interpretation.
FORMLESS ABYSS showcases the band's unflinching pummelling style, drifting from repetitive blows to unhinged swirls of din yet always remaining innately infectious and perhaps surprisingly danceable. The record is presented as a continuous piece in three parts.
The title track A FORMLESS ABYSS appears here for the first time in recorded form – a behemoth of a tune which builds around a drone, joined by dual drums and minimal bass locked into a repetitive groove. A groove that is slowly expanded via multiple guitars and synthesis. Vocals eventually join at just the right moment imploring the listener to “leave your criticisms down” and realise “we're all equal now” in the formless abyss or the place between worlds where our earthly preoccupation with human differences are meaningless. We're all in it together, whether we realise it or not.
The second track INTERPLANETARY VIBRATIONS may seem familiar to some in a simpler form. The expanded line up and extended development of the core theme brings a new interpretation and experience that is more than worthwhile. The track's vocals juxtapose the hybrid Germanic language of English with the ancient native Irish language of Gaeilge. Both used to promote meaning and interpretation of the interplanetary vibrations felt by all. The track features large dynamic shifts and changes of pace as the message that “it's time to leave” propagated by the Earth itself becomes more frantic and more desperate. The track culminates in a wash of smashed gongs and distorted guitars, leaving the listener to interpret the message for themselves. Should we leave, to protect ourselves or the Earth itself?
The final track FUTURE ECHOES is a doom/kraut juggernaut coming in at just under twenty minutes. Only one question is asked and none answered, are we doomed to repeat the mistakes of previous civilisations over and over, or can we find the cracks of light that echo through and show us a new way forward? We're left in a swirling formless abyss to consider who we are and where we're headed. Will we ever reach the cosmic truth? Or will we be continuously mocked by the cosmic trout?
WILD ROCKET have proven themselves on the live circuit, playing with such visionaries as Ufomammut, Slomatics, Earth, Boris, The Cosmic Dead and old school rock legends Girlschool. One of the heaviest bands to emerge from the melting pot of talent in the Irish music scene, WILD ROCKET's reputation precedes them wherever they travel and audiences and venues alike are left to piece themselves together in the discombobulation.

KAWALA today announce their emotionally resplendent debut album ‘Better with You’. The album marks the culmination of years of work which has seen the band grow from humble begging’s to the world class act they are today. Along the way they have done everything from support Bombay Bicycle Club on their European tour, play socially distanced shows in UK parks (after the first easing of restrictions in 2020), appear on FIFA 2021, write and perform in their own YouTube sitcom (the mad-cap Paradise Heights) and become ambassadors for the Music Venue Trust. Each step on the journey has seen the band grow and expand on what KAWALA means to their community. Ahead of the album’s release, the band are about to head out on their biggest UK and Ireland tour to date – including a sold-out show at the O2 Kentish Town Forum. NME describes them "the Bombay Bicycle Club-approved indie heroes making bangers without borders"

The sole, full length album from Loney Hutchins's most productive era in
the 1970's- Tracked over 3 days in '79 at Lee Hazen's Studio by the Pond
by Jack 'Stack-a-Track' Grochmal - the resulting country rock album was
too folksy for LA and too electric for Nashville
Featuring a rhythm section from Dolly Parton's live band during her 'Jolene'
period, and searing hot country licks, this reissue is restored from the original 2"
multitrack tapes, including two never before heard tracks. CD comes in digipak
format.

Reissue of Oscar Peterson's 1969 album 'Motions & Emotions' pressed
on blue vinyl
On 'Motions & Emotions' Oscar Peterson presents jazz versions of popular pieces
from pop, easy listening and classic songwriters, as the quartet of long- time
companions are washed in rich orchestral colours. Arranged and conducted by a
magician of the guild, the great Claus Ogerman, who had previously worked for
Tom Jobim. The Brazilian is also represented with his standard "Wave", in which
the orchestra builds a luminous tropical backdrop for Peterson's fantastically
dragged phrasing. Peterson and Ogerman pay tribute to another great orchestra
leader, Henry Mancini, in "Sally's Tomato" with feather- light trilling brilliance.
Jimmy Webb's "By The Time I Get To Phoenix" experiences a metamorphosis
almost into the classical - Ogerman opens infinite sound spaces here with the
distantly indulging strings. Bobby Gentrys "Ode To Billy Joe" cleverly abducts
Countryfolk into Bigband Jazz by means of fiery keyboard playing.
Finally the hits: from soul comes Bobby Hebb's "Sunny", whose theme the pianist
here cleverly harmonises out to then decorate it bluesy in dialogue with the wind
instruments. Burt Bacharach's "This Guy's In Love With You" shines with a
leisurely late night mood and a pompous finale. Yesterday" is provided with a
sparkling bossa substructure, while the second Beatles homage "Eleanor Rigby"
oscillates between loose groove, deep melancholy and swing. Peterson plus
quartet plus orchestra: Enthusiastic detail work also in the popular sector.
"The question about favourite albums is basically not an easy one, except in my
case, because Motions & Emotions by Oscar Peterson is actually my absolute
favourite album. I think Motions & Emotions might even be the perfect
instrumental album." - Till Brönner (German Jazz trumpeter and professor)

Reissue of Oscar Peterson's 1969 album 'Motions & Emotions' pressed
on blue vinyl
On 'Motions & Emotions' Oscar Peterson presents jazz versions of popular pieces
from pop, easy listening and classic songwriters, as the quartet of long- time
companions are washed in rich orchestral colours. Arranged and conducted by a
magician of the guild, the great Claus Ogerman, who had previously worked for
Tom Jobim. The Brazilian is also represented with his standard "Wave", in which
the orchestra builds a luminous tropical backdrop for Peterson's fantastically
dragged phrasing. Peterson and Ogerman pay tribute to another great orchestra
leader, Henry Mancini, in "Sally's Tomato" with feather- light trilling brilliance.
Jimmy Webb's "By The Time I Get To Phoenix" experiences a metamorphosis
almost into the classical - Ogerman opens infinite sound spaces here with the
distantly indulging strings. Bobby Gentrys "Ode To Billy Joe" cleverly abducts
Countryfolk into Bigband Jazz by means of fiery keyboard playing.
Finally the hits: from soul comes Bobby Hebb's "Sunny", whose theme the pianist
here cleverly harmonises out to then decorate it bluesy in dialogue with the wind
instruments. Burt Bacharach's "This Guy's In Love With You" shines with a
leisurely late night mood and a pompous finale. Yesterday" is provided with a
sparkling bossa substructure, while the second Beatles homage "Eleanor Rigby"
oscillates between loose groove, deep melancholy and swing. Peterson plus
quartet plus orchestra: Enthusiastic detail work also in the popular sector.
"The question about favourite albums is basically not an easy one, except in my
case, because Motions & Emotions by Oscar Peterson is actually my absolute
favourite album. I think Motions & Emotions might even be the perfect
instrumental album." - Till Brönner (German Jazz trumpeter and professor)

Kris Barras Band return armed with towering anthems on the heaviest
album to date; 'Death Valley Paradise', available on CD, transparent red
vinyl and digitally
Produced by Dan Weller (Enter Shikari, Bury Tomorrow, SiKth) and recorded at
VADA Studios in Alcester, they return heavier, darker, more introspective but
enormous at the same time. Barras decided to remove all shackles and began
collaborating with songwriters, such as the heavyweights; Jonny Andrews (Three
Days Grace, Fozzy), Bob Marlette (Alice Cooper, Airbourne, Rob Zombie), Blair
Daly (Halestorm, Black Stone Cherry) and Zac Maloy (Shinedown, Tyler Bryant).
Death Valley Paradise started life as a song before it was dissected and spread
across the album. Death Valley is a place of extremes, where living things are
said to not be able to survive.
For 18 months the world stood still and the realisation set in that there was no
control of ourselves anymore. For the ex-MMA/cage fighter, there was only one
way out, to re-focus, and started with no preconceived plan for the album.
But now, Death Valley Paradise is ready to be unleashed upon the masses, who
are yearning to rock out, fist pumping in the air.

TRANSMISSION 2LP EDITION OF PORCUPINE TREE'S 1991 DEBUT
ALBUM
Having recently announced that Snapper Music will be representing
Porcupine Tree's Transmission label worldwide, new CD & LP reissues of
the band's extensive catalogue continue to roll out throughout 2021
Porcupine Tree's 1991 debut album 'On The Sunday Of Life' is an album that
stands up as a modern-day pop-psych classic.
With acid warped lyrics courtesy of Alan Duffy (the brains behind the late
lamented Imaginary Records label) the album is a surreal delight containing gems
such as "Jupiter Island" & "Linton Samuel Dawson" filled with quirky melodies,
effected vocals & trippy backwards guitar work. "Nine Cats", the undoubted
masterpiece of the album, is pure Edward Lear styled psychedelia.
'On The Sunday Of Life' also hints at the direction the band would later take with
more progressive influenced material such as the epic "Radioactive Toy".
Porcupine Tree released their last album, 'The Incident', in 2009, marking another
step forward in the incredible journey of the band that began as a solo studio
project created by Steven Wilson in the late eighties to a multi grammy nominated
act & one of the world's most revered live bands, selling out arenas across the
globe & wowing fans with their incredible performances.
"Refreshingly original – a wonderful musical adventure" Record Collector "A debut
disc of unearthly delights… deadly seducing stuff" NME 2LP 140g Gatefold
Edition

Highway Butterfly: The Songs of Neal Casal is a 5LP vinyl boxset
celebrating the prolific body of work Casal left behind over the course of
14 studio albums
Recording sessions for the project began in February 2020 led by co-producers
Dave Schools of Widespread Panic and seven time Grammy- Award winning
recording engineer/ producer Jim Scott at PLYRZ Studios in Valencia, CA.Over
forty artists appear on the tribute including Susan Tedeschi and Derek Trucks,
Jonathan Wilson, Phil Lesh and The Terrapin Family Band, Steve Earle, Warren
Haynes, Jaime Wyatt, and Shooter Jennings among numerous others. The first
single and video from the recording was captured during the initial sessions in
February 2020. It features Billy Strings with Circles Around the Sun performing
"All The Luck In The World.

Stereo's debut album ‘Together’: Deep Ethereal and Drone Beats with early 2000s TripHop reminiscences.

With the found sounds, raw samples and distorted drums, the author invites to follow his melancholic and sometimes heartbroken journey through different and yet similar emotional states: from recovering from an injury to contemplating about the human role in the universe.

Much is made of Detroit techno progenitors proximity to the auto plants. Similarly, overlooked electronic pioneer Jeff Phelps was raised just blocks from a Western Pennsylvania steel mill_close enough to smell the sulphur and hear the roaring blast furnace. When Tascam released their ground breaking Portastudio in 1984_allowing multi tracking on the far more financially inclusive cassette tape_Phelps purchased one immediately, and quickly added a Roland SH-101 monophonic synthesizer, Fender Rhodes suitcase piano, Roland drum machine, and a basic Radio Shack stereo mic. Those basic tools were employed on his first commercial productions for his own Engineered For Sound label: 1985's "Magnetic Eyes" LP and Antoinette's "Now You're Gone" 45. These DIY sketches generated few profits, and Phelps kept his day job in the energy business. Jeff Phelps eventually found his way back into performance and recording, starting with The Next Level Band near the end of the decade. Houston gourmands might have caught them at the opening of Texas's first Cheesecake Factory. "Magnetic Eyes" has already had a few lives, between TomLab's 2010 replica pressing and inclusion on Dante Carfagna's genre-defying Personal Space compilation. This 2021 edition features the heretofore un-re-released second mix, completed after discovering flaws in the initial 1985 pressing. Enjoy this technically perfect, artist-approved version of a visionary techno-adjacent masterwork.

Lemonheads’ seminal album ‘It’s A Shame About Ray’, lovingly reissued for it’s 30th Anniversary. The long overdue reissue includes a slew of extra material, including an unreleased ‘My Drug Buddy’ KCRW session track from 1992 featuring Juliana Hatfield, B-sides from singles ‘It’s A Shame About Ray’ and ‘Confetti’, a track from the ‘Mrs. Robinson/Being Round’ EP, alongside demos that will be released for the first time on vinyl. This reissue celebrates their prestigious fifth album, these deluxe bookback editions feature new liner notes and unseen photos.

Described by music journalist and author Everett True as “A 30-minute insight into what it’s like to live hard and fast and loose and happy with like-minded buddies, fuelled by a shared love for similar bands and drugs and booze and freedom.”. ‘It's A Shame About Ray’ had a considerable impact back in those heady, carefree days of '92, the record perfectly captures Dando’s ability to effortlessly encapsulate teenage longing and lust over the course of a two-minute pop song.

Singles such as 'My Drug Buddy' and the breezy perfect pop of the title track might stand out (plus the add-on of 'Mrs. Robinson' which later copies included), but the album's real strength lies in the tracks in-between; the truly fantastic 'Confetti' (written about Evan's parents' divorce), and the eye-wateringly casual acoustic cover of 'Frank Mills' (from the "hippie" musical Hair), a version that seems to resonate with every ounce of pathos and emotion felt for the lost 1960s generation. To hear Evan Dando sing lines like 'I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet' is to truly appreciate how wonderful and tantalising pop music can be. Then, there's the rush of insurgency and brattishness on the wonderfully truncated 'Bit Part'; the topsy-turvy 'Ceiling Fan In My Spoon'... this was male teenage skinny-tie pop music on a level of brilliance with The Kinks, early Undertones, Wipers.

Für Candlemass schließt sich ein Kreis: Ur-Sänger Johan Langquist, der 1986 das wegweisende Debüt Epicus Doomicus Metallicus einsang, kehrt endlich für ein komplettes Studioalbum zur Band zurück!
The Door To Doom setzt den roten Faden fort, den Mastermind, Songwriter und Bassist Leif Edling in den letzten Jahren für seine Band verfolgte: epischer Weltklasse-Doom-Metal, der sich auf
schleppendes Mammut-Riffing stützt. Mit Langquists dramatischen Vocals und viel Liebe zum Detail verfeinert die Band dieses Album und macht es zum nächsten - Epicus'. Gekrönt wird das Meisterwerk
von einem Gastauftritt von Black Sabbaths Gitarrenikone Tony Iommi auf 'Astorolus - The Great Octopus'- The Door To Doom ist die Doom-Metal-Offenbarung des 21. Jahrhunderts!

On a balmy Brazilian night in February, 1981, a crowd gathered in Rio de Janeiro's Gávea neighbourhood under the iconic dome of the city's Planetário (Planetarium). Alongside musicians like Helio Delmiro and Milton Nascimento (who were in the audience that night), they were there to see the great "Bruxo" (sorcerer) Hermeto Pascoal live in concert, with his new band formation which would become known simply as "O Grupo" (The Group).

Growing up on a farm in Brazil's northeastern state of Alagoas, Hermeto has always been deeply in tune with, and inspired by nature. In his youth he would make his own flutes to play call and response with the birds and frogs. He would build scrap-metal instruments in his blacksmith grandfather's forge, and sit for hours by the lake listening to the sounds of nature. On the Planetário Da Gávea recordings though, Hermeto is cast as the "sorcerer" or the "cosmic emissary" (as the great Brazilian guitarist Guinga once called him), exhibiting an intuitive sense of harmony and melody beyond that of our own world.

"Tudo e Som" (All is Sound). It's a phrase Hermeto regularly returns to, and it points to the fact that not only can music be made from anything, but also alludes to something much more profound. It's an understanding of the universe as being in a state of constant movement, forever vibrating at the quantum level, like the string of a guitar, or a saxophone's reed. "Tudo e Som" is a declaration of the mystical and spiritual power of sound, as a fundamentally vibrational force.

The series of concerts at the Planetário marked the birth of "O Grupo" which would last with the same line-up (apart from Zé Eduardo Nazário) for the next eleven years. Every member of O Grupo was a phenomenal musician in their own right. It was one of saxophonist/flautist Carlos Malta's first gigs with the group, and the concert unusually featured two drummers, Zé Eduardo Nazário and Marcio Bahia. Nazário, from São Paulo, had played with Hermeto during the mid-70s (as well as with Milton Nascimento, Egberto Gismonti and Toninho Horta, to name a few). Bahia though had just joined the group. Acclaimed keyboard player Jovino Santos Neto was on keyboards, piano and organ, and the great Itiberê Zwarg (who remains in Hermeto's band to this day), played bass. Rounding the group off was the percussionist Pernambuco. During this period (up until the early 90s) the group would rehearse for hours on end, virtually seven days a week, with a total dedication to music and Hermeto's musical vision.

Most of the compositions performed that night at the Planetário had never been recorded before, and many are unique to this album, including the wild 'Homônimo Sintróvio', the exaltant 'Samba Do Belaqua', 'Vou Pra Lá e Pra Cá' and 'Bombardino', which features Hermeto's wonderfully absurd call and response mouthpiece soliloquy. Then there's the stunning 7/4 Samba 'Jegue' which builds with inventive dissonance, before releasing yet another celestially colourful, celebratory refrain. The show also features the first recorded performances of 'Era Pra Ser e Não Foi' and 'Ilza na Feijoada' (inspired by Hermetos' wife Ilza's famed black bean and meat stew), which Hermeto later recorded on his 1984 studio album "Lagoa Da Canoa Município De Arapiraca".

Dubbed by Miles Davis as "one of the most important musicians on the planet", a Hermeto Pascoal live show was (and still is) an experience like no other. Across the recording of the Planetário concert, wild improvisation meets groovy, virtuosic vamping on progressive, extended psychedelic jams. The tracks are generally built around a beautiful, transcendent melody; instantly recognisable as being Hermeto's, and for the most part, the musicians then solo over extended two chord vamps. There's a plethora of powerfully delivered rhythms, wild solos and the performances are punctuated by Hermeto's unpredictable, at times comical sonic antics.

Over forty years since this historic happening, Far Out Recordings is overjoyed to release this magical recording of Hermeto Pascoal e Grupo Live at Planetário Da Gávea, on double vinyl LP, CD and digitally for a February 4th 2022 release.

Originally released in 2010 on their own label, Brooklyn nu-disco group Escort’s ‘Cocaine Blues’ is lovingly revisited by Glitterbox Recordings over a decade later, re-introducing the dancefloor essential to a new generation of disco fans. A loose remake of disco-reggae classic ‘Cocaine in My Brain’ by Jamaican DJ Dillinger, Escort’s ‘Cocaine Blues’ with its relaxed, disco approach and catchy vocal soon became a hit. Now arriving in a 12” package, up first, legend of NYC’s house and disco scene John Morales delivers his M+M Mix. A long-time friend of Glitterbox, this is John’s first release on the imprint, with the signature sparkling sound that brought him to prominence in the 80s sounding fresh as ever on this remix. Up next, original Escort member JKriv revisits the track on his funk-filled Disco Bumps Mix, before regular Roísín Murphy collaborator Crooked Man delivers his Crooked Line 1 and Crooked Line 2 versions, gloriously deep fuelled by bumping bass and attitude. Crooked Line 2 is exclusive to this 12”. Sounding just as good as it did when it first hit dancefloors, this unmissable vinyl remix package gives ‘Cocaine Blues’ another lease of life.

Breaking News! DJs Pareja and Matias Aguayo have joined to form the dance project MDM Factory!

Modern transcendental Techno music for those who know, and those who want to learn!

In a turmoil of events nightlife would change forever, and confined to their respective places - A flat in Buenos Aires and a house in the jungle Diego Irasusta, Mariano Caloso and Matias Aguayo joined forces to create new communication on distance via music.

Taking all their dance floor knowledge and dreaming of sound systems and togetherness in a better future, DJs Pareja & Aguayo put their minds, bodies and souls to work on this stunning EP that will please the forward thinking underground freaks as well as the big room techno pros.

Let’s dive into this divine mess of glorious dance floor jams from the future...

A1. Curvas Peligrosas

With the first track it becomes clear what this is all about: Wobbly metamorphous sounds from outer space jamming with stomping and bass driven techno beats of tomorrow, a new kind of rave, hypnotic and seductive, utterly strange but wonderfully catchy and contagious in a good sense, harsh shuffled hiatus and alternating kick drums, a relentless bassline and sophisticated electronic sounds in a a permanent evolution resembling and invoking altered states of consciousness.


A2. Love Boat

This new rave anthem seems like a classic you haven’t heard about. Muscle memories from dancefloor days trigger your body as you listen on your headphones, awaiting the chance to play it out soon, hopefully, as the dance floors slowly reopen. Alternating between parts of kickdrum, clap and snare awesomeness, and the mangled rave signals that slowly morph into a more concrete melody reminiscent of ancient dreams of the future, this track has it all for the club kids of today.

B1. La Vida Loca
The title track is a tech banger that will please those who dig Kenny Larkin, Claude Young, The Surgeon, Dave Clark or any other star in the nocturnal sky of Techno Techno, as well as the lovers of DJs Pareja’s classic Cómeme Clubbangers, or the more Techno side of Mr. Aguayo. Definitely has the potential to become a huge hit if enough djs that don’t rely on algorithms get their hands on it


B2. Las Llaves

The closer is hyper modern tech funk at its best. Percussive greatness as you can find it on many Cómeme releases is triggered in a different way, “sabroso” rhythms that are played in the light and purposeful way of an elegant jazz drummer, pave the way for an always evolving psychedelic lead synth sound, that will be a useful tool for the dj who knows when to keep the groove, prolonging those magic times between the risings...

Following Chari Chari and Rui Maia's albums, Organic Series releases another collection of beautiful music by funcionário, artistic alias of multitalented Pedro Tavares.

"Lisbon Dreams" is a conceptual album shaped by Pedro that evoques his travels between Setúbal and Lisbon, while studying Fine Arts at the portuguese capital city.

Music wise, "Lisbon Dreams" represents an unfolding new world, full of overwhelming feelings translated into musical landscapes and possibly inspired by contemporary producers like Nuno Canavarro or Susumu Yokota.

But when Pedro talks about his album he likes to quote John Cage: don't try to create and analyze at the same time. They're different processes.

- For fans of Susumu Yokota or Nuno Canavarro

Limited Edition Vinyl LP – 1971 album cover, thick tip-on sleeve, 700 copies only

Finally putting an end to a long wait for library music lovers, Four Flies Records is proud to present the first reissue of Piero Umiliani's Paesaggi – a record that, despite remaining for many years pretty obscure compared to other titles in the maestro's discography, is now regarded by collectors and experts as the gold standard in Italian library music.

Originally released in two versions with different sleeves, the first on Liuto Records in 1971 and the second on Ciak Record in 1980, the album features tracks composed by the maestro himself (under his alias Zalla) and performed by the legendary super-group of Italian session players I Marc 4, this time with Angelo Baroncini instead of Carlo Pes on guitars (which probably explains the name being spelled with a 'k' instead of a 'c' on the album cover).

The Italian word paesaggi means "landscapes", and that is exactly what the music in the album has been designed to evoke – a journey of moods and emotions, through exotic and pastoral scenery, with loungey sounds that caress your ears like the song of an enchanted nightingale. Mysterious yet captivating soundscapes transport you to a faraway and peaceful place, possibly somewhere in rural Asia. While listening to the record, you'll feel as if you are sitting under a pavilion, right in the middle of a tea plantation, enjoying a freshly brewed green tea and watching the calm sunset.

In addition, Paesaggi is paradigmatic of Italian library music and its genre-defying nature. By using a multitude of instruments, such as flute, vibraphone, harpsichord, sitar, gong and others, it brings together a variety of arrangements, styles, and genres spanning from bossa nova to jazz, easy listening to psychedelic, Latin, exotica, and many more.

Under Umiliani's brilliant direction, the pianos and keyboard instruments of Antonello Vannucchi, the guitars of Angelo Baroncini, the bass of Maurizio Majorana, and the drums of Roberto Podio dance together and – enriched by other instruments played by top session musicians like Bruno Battisti D'Amario (sitar), Franco De Gemini (harmonica), or Franco Chiari (vibraphone) – create the sound that makes Paesaggi so unique.

With the honour of reissuing this masterpiece so many decades since its release comes a responsibility to do full justice to one of the greatest Italian composers of the 20th century and his now celebrated legacy. Four Flies have done their best to put out a record that replicates as closely as possible the value of the original as a cultural artefact, providing Italian library connoisseurs and novices alike with an exquisite sonic, and tactile, experience.

Jimpster’s lockdown LP was made throughout 2020 and finally sees the light of day at the end of February 2022 having been delayed around 6 months due to the ongoing vinyl pressing hold ups. Birdhouse is the revered producers seventh full length LP and can be considered a full circle as he takes a step away from the dance floor to revisit his early inspirations of jazz, 70’s fusion, library music, ambient and sample-based downtempo electronica. With its soulful touches, vocal and live musician features and trademark warm Jimpster production, we also think it could be his most accomplished and accessible yet.

The opening title track sets the tone for what’s to come with rustling percussion, widescreen choral samples, dub FX and drifting pads all coming together to create a sense of optimism. The first of six vocal features comes next. Ascension with UK vocalist Oliver Night (featured on IG Culture’s recent Earthbound LP) is a simple soul jam with live bass from Nick Cohen and Jimpster’s beloved Fender Rhodes joining the lo-fi drum groove.

Next up we’re treated to Voodoo featuring brilliant young NYC MC/poet/producer who first grabbed Jimpster’s attention with his mind-melting track Signs, released in 2020 on Youngbloods. Yoh’s sung (not sung) vocal flow adds a new dimension to the Jimpster sound and is hopefully the first of many more collaborations to come with this perfect pairing. Still Believe takes us on a tripped-out journey into slo-mo, lopsided MPC beats punctuated with otherworldly vocal samples, live bass and Rhodes making for an immersive late night mood.

The first of two tracks on the LP featuring London vocalist and songwriter Cairo drops next entitled Beautiful Day. Another incredibly talented young artist introduced to Jimpster through a mutual friend, Cairo adds a deep and uplifting vibe making for a track you’ll come back to time and time again. A slow-burning nu-soul groove which will draw you in with its warm glow. Lazarusman is a Johannesburg-native poet and vocalist known for his collaborations with Stimming, Joris Voorn and Booka Shade. Here he delivers a poem called Heavy, perfectly punctuating the haunting reverb-drenched horn, Detroit-esque chord stabs and filtered drums.

Future Paradise drops the BPM's further still for a slow-stepping synth ride mixing up rising arpeggios, dubby flugel horn FX and the lushest of strings. It’s been 15 years since Jimpster and Capitol A last joined forces on Left n Right from Jimpster’s Amour LP. Known for his work with Jazzanova, King Britt, Mark De Clive-Lowe and 2008 club anthem Serve It Up on Mantis, the San Francisco native MC delivers his inimitable flow to a blunted jazzy hip hop groove making for one of the LP highlights.

Up next, Rain is an intimate and understated slice of contemporary soul music which pushes another spellbinding Cairo vocal front and centre, underpinned by loose, crunchy beats, dusty keys and moogy flourishes. Picking up the pace, Doors Of Your Heart sees Jimpster get busy chopping up a funk groove whilst Nick Cohen lays down another killer live bass line. Lush keys, modular synths and some crazy FX processing take this into the stratosphere and call to mind some of his earliest productions in the late 90’s on his seminal LP Messages From The Hub.

Winding things down, Jimpster continues to revisit some of the sounds and flavours of his earliest work on Tell You, which goes seriously deep with touches of cinematic big band horns and a looped up vocal sample. Closing out the LP we have the aptly titled Full Circle complete with sublime Metheny/Mays-style pads, muted synth arps and subtle FX to drift away to.