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American blues guitarist Buddy Guy released his eighth studio album Feels Like Rain in 1993. It was produced by John Porter, whom had previously worked with The Smiths, Bryan Ferry and Killing Joke. The album features Guy’s take on songs written by the likes of John Hiatt, John Fogerty, James Brown, Ray Charles and Guy’s frequent collaborator Junior Wells. He also collaborated with some renowned musicians: John Mayall, Bonnie Raitt, Paul Rodgers and Travis Tritt can all be heard on this album.

If there’s ever been a way to describe David Allan Coe, it’s got to be his ability to defy categorization. With over six decades of following his musical muse wherever it’s led, this craggy voiced outlaw has crossed the panorama of American roots music. As well as being a singer, guitarist, songwriter, David is also a magician and a ventriloquist, deep sea treasure hunter, and movie star. His movies included Stagecoach, The Last Days Of Frank and Jesse James, Lady Grey, Buckstone County Prison, Take This Job and Shove It, to mention a few. David signed with Sun Records in 1968 and recorded his first album Penitentiary Blues, all songs that David had written in prison. In 1973, Columbia Records bought David’s contract from Sun Records and he recorded his first Columbia album, titled “The Mysterious Rhinestone Cowboy”, several years before Glen Campbell had a hit with the song, “Rhinestone Cowboy.” Much has been written about David’s past and his lifestyle, but not much about his achievements over the years. From performing on Farm Aid to touring with Neil Young, Kid Rock and Willie Nelson. David’s song, “Take This Job and Shove It” has received multi-million airplays certificate from BMI. His “Greatest Hits” album is multi-platinum and his “First Ten Years” album is gold. David has had sixty three songs on the Billboard Singles Charts, including, “Mona Lisa Lost Her Smile”, “The Ride”, “Please Come To Boston”, “Willie, Waylon and Me”, “Jack Daniels If You Please” and “You Never Even Called Me By My Name” to name a few. David has written songs for Johnny Paycheck, Tanya Tucker, George Jones, Willie Nelson, Leon Russell, Charlie Louvin, Del Reeves, Tamy Wynette, Melba Montgomery, Stoney Edwards, The Oak Ridge Boys and Kid Rock. Both “Would You Lay With Me” and “Take This Job and Shove It” are multi- million seller songs penned by David. Johnny Cash has also recorded David’s songs including “Would You Lay With Me” on his chart topping album entitled, Cash. David has been through a lot in his life but has managed to put his past behind him and move forward with his life. This album was recorded in 2001 live from the Iron Horse Saloon in Daytona, Beach Florida and includes the only recorded version of, I’m An Ohio Boy.

Conrad Clipper is the pseudonym of an anonymous composer and multi-instrumentalist, with a focus on prepared,
programmed & played piano. He lives and records in Berlin.

His debut album, Cycle of Liminal Rites, was released on Emily Elhaj’s Love Lion label (Angel Olsen). He is set to releasehis follow-up release, Heron’s Book of Dreams, on Luau Records (Theo Alexander, Sontag Shogun, Segal) on March 26th 2021. It was recorded in Arizona and Berlin, and was mixed and mastered by Deerhoof’s John Dieterich.


Conrad on the recording of Heron’s Book of Dreams:

Through the window at Arcosanti, I could see the desert, vast and transformative. Inside the room was an upright piano, a Fender

Rhodes, and several synths. For five days - every morning, afternoon and evening - I sat in this room with the circular window and wrote the music you can hear on this record. Outside, intimate crowds gathered to watch some of the world’s best musicians play unique and unrepeatable sets.

“Arcosanti, AZ is a prototype arcology designed by Paolo Soleri. Picture, if you can, moonbase architecture inspired by late-60s sustainable ideologies. Concrete atriums screened with poplar and olive trees. Shady, calm apses to keep the desert sun off. The low roar of the iron forge, casting the famous Arcosanti bells that are shipped around the world.”

Never underestimate the power of a woman with her back to the wall. In March 2020, as Covid blew across the planet, the shutters came down on live venues and recording studios, and the music scene fell suddenly silent, Ghalia Volt faced the same dilemma as every other artist.
What now? The answer was One Woman Band. Having joined with the cream of the US roots scene for two acclaimed albums, 2017’s Let The Demons Out and 2019’s Mississppi Blend, Volt’s rebirth as a solo performer wasn’t a decision made lightly. But if an apprenticeship busking in her native Brussels taught Volt anything, it’s that she already had everything she needed to make magic.
“In March, I started playing on a real drum set,” she recalls.
“Playing a kick, snare and hi-hat plus a tambourine with my two feet, while playing slide/guitar and singing at the same time.” After road-testing the new format at shows across Mississippi, Volt realised that one was the magic number.
In August, she committed to the project, embarking on a month-long Amtrak train trip that became an intensive writing session, the shifting landscapes beyond the window inspiring her pen to scratch as never before. Tracked live in November at Memphis’s legendary Royal Sound Studios, One
Woman Band is Volt’s most lyrically honest and groove-driven material to date.
You can feel the turn of those train wheels in the addictive stomp of songs like
Reap What You Sow, while the rattle-and-shiver slide guitar of Espiritu Papago
evokes the scream of a locomotive whistle.
“Imagine John Lee Hooker on mushrooms, lost in the desert of Arizona, on a hot
summer day,” says Volt. “That’s the vibe of that song.” The Covid-19 pandemic
is an unprecedented chapter of human history, with no clear end in sight.
But Ghalia Volt has given us the soundtrack to better times ahead, and the
songs we’ll still be singing when we meet on the other side. This might be a
One Woman Band - but you’re always welcome to ride shotgun.

Since her crowning in 2009 at the Blues sur Seine Festival, the young guitar prodigy Nina Attal, with a powerful soul voice, has imposed herself to the public, recording 2 EPs, 3 albums and performing more
than 600 concerts.
‘Pieces of Soul’, is Attal’s fourth album and shows her return to the blues, rhythm ‘n’ blues and rock. Written and composed in the wake of a road trip on the West Coast of the United States, ‘Pieces of Soul’ is eagerly awaited.
These 12 tracks, to which is added a cover of “You’re No Good” popularized by Linda Ronstadt, put the guitar back at the heart of her creative process, through a range of sunny sounds, discreetly and respectfully tinted by various Californian influences (Ben Harper, Lenny Kravitz, John Mayer...).
The riffs with rock distortions are next to great blues-soul ballads, folk, or rhythm ‘n’ blues. Her lyrics, very personal, translate as many doubts as to her desire for emancipation. Inspired by her incompressible love for the music she has in her skin, just like her tattoos, ‘Pieces of Soul’ undoubtedly offers Nina Attal a new dimension.

Deep spiritual jazz recorded in Germany, performed by Jamaican born saxophone player Fitz Gore and his international group The Talismen, featuring a.o. bassist Gérard Ebbo from Morocco and drummer Philippe Zobda-Quitman from Martinique. This is the first reissue of their second album, released in 1976 by the small private label GorBra from Bonn, including "Delilah" and "Requiem For Julian Cannonball Adderley". The rare LP comes in a newly mastered version with original cover design and sleeve notes. Fitz Gore's music is full of tremendous tension and movement between deep seriousness, inwardness and humility; it affects your life, it liberates and heals.

Original sleeve notes from 1976:

"Soundmagnificat" is the successor to "Soundnitia" (GorBra Records F 665 532), the first release from the Talismen, an international group with Jamaican Tenor saxophonist Fitz Gore (born1935) as founder, spiritual and musical leader, main soloist. "Soundnitia" contained concert performances of June, 1975, including compositions by John Coltrane, Horace Silver and one by Gérard "Prof. Dr. Splüm" Ebbo, bassist of the Talismen.

This second offering from the Talismen is more varied. It has four tracks recorded at four different occasions. It presents Fitz Gore as a singer, a composer, as well as, a tenor saxophonist. The opener, Requiem for Julian "Cannonball" Adderley, is a moving tribute to a great American artist, the late alto saxophonist "Cannonball" Adderley. On this track, Hungarian drummer Janos Sudy is heard with the Talismen, for the first time. The playing by the quartet on this slow lament very adequately illustrates the mood of the composition

For the next piece, a concert performance, Gore selected a gem from the American Negro Song Tradition and he displays a mighty, masculine and soulful voice in Steal Away. An example of a modern artist using an old traditional to express his own inner feelings. Delilah is taken from another concert performance, the same concert as the music on "Soundnitia". It has extensive playing by Gore, a bass solo by Gérard Ebbo, leading into some exciting conga playing by Lamont Hampton.

The final track, A Sinner Kissed An Angel, was recorded by another tenor player, Wardell Gray, in 1950, but this version is all Gore's. After the piano introduction, Gore delivers the melody with authority and with an expressive use especially of the high register of his instrument. In his improvisation, Gore's playing becomes more dissonant. Some of his playing here causes me to think of the way the late Albert Ayler sounded on his first recordings done in Sweden, in the beginning of the 60s. No drums here, but nice accompaniment and solo work of Jochen Paul on vibes.

I met Fitz Gore in Copenhagen in the fall of 1975. We were both listening to the trumpet playing of Harry "Sweets" Edison at the now defunct Café Montmartre. Prior to that time, I did not know Gore and his music, but listening to his playing on this album and the earlier one, has once more widened my musical horizon. His music has struck some chords within me. "Music is communication", John Coltrane once said. I feel sure that as you listen to the music of Fitz Gore and his Talismen, you will get the message.

In these notes, I have mentioned a couple of jazz artists and another one ought to be named primarily, because he has meant a lot to Gore: Sonny Rollins. The two met in Paris in 1966. Gore says of Rollins: "He openend my eyes ...big man … phenomenon … my man". As Sonny Rollins's artistry, the music of Fitz Gore holds many aspects, some being aggressive and even hysterical, others being those of beauty and peace. As life itself … (Roland Baggenaes, June 1976)

The music of Fitz Gore, rooted in the blues, is full of tremendous tension and movement between deep seriousness, inwardness, humility and humor, hardness and tenderness; it affects your life, it liberates and heals - a hopeful, a truly groundbreaking, a timeless, a new music - Newsic!
(Gisela Braasch, 1976)

In memory of Fitz Gore.
Mastered 2020 by Roskow Kretschmann at Audiomoto,
kindly supported by Tom Sky. Vinyl cut at SST.
Producer for reissue: Ekkehart Fleischhammer,
reproduction of original cover design by Gisela Gore:
Patrick Haase aka rab.bit.

Orange and black. Fire and ebony. Fury and pride. Wearing its signature colors proudly and raising its exclamation point high, Impulse! Records was the go-to label for music that harnessed the searching and political stand-taking of the Sixties. Launched in 1961, Impulse grew to become an inherent part of the era’s velocity as well as its volume, pulling jazz into the age of Black Power, Afrocentricity, and Spiritual Expansion. In its balance of tradition and transition, it bridged the golden age of jazz, that brief window from the late Fifties to the Seventies when players representing every jazz era were alive and active—from Louis Armstrong to Albert Ayler, from the legends of lore to a new generation of energy players. Impulse treated all its musicians as innovators, revolutionaries even—from swing and bebop, to free and Afrofuturist. The performances on Impulse Records: Music, Message and the Moment draw their staying power from a wide embrace of styles and sounds, as well as a tight focus on a historic moment when the promise of change was in the air and the message of racial harmony was in the music. Today that music has lost none of its relevance: the promise still deferred, the message still on time.

Demon Records is proud to present a new series of vinyl reissues from American singer-songwriter Black Francis / Frank Black
• First released in 2006, Fast Man Raider Man is the eleventh studio album by Frank Black. Recorded as a follow up to 2005’s
Honeycomb, Black returned to Nashville to work with a team of all star musicians including Al Kooper, Bob Babbitt, Levon Helm,
Lyle Workman, Steve Cropper, Jim Keltner, Rich Gilbert, Simon Kirke, Ian McClagan, Chester Thomspon, Dave Phillips and
Spooner Oldham.
• Album highlights include ‘Johnny Barleycorn’, ‘In The Time Of My Ruin’ and ‘If Your Poison Gets You’.
• Now available on vinyl for the very first time, this reissue features the complete album pressed on two 140g translucent vinyl.

Throughout his vast career, the New York based Australian composer JG Thirlwell has adopted many masks as a means of infiltrating and subsequently subverting a wide range of pop cultural forms. His work under the Foetus moniker has taken on everything from big band to opera to noise-rock. Steroid Maximus embraced exotica and the world of soundtracks, while his Manorexia project continued his quest to the outer limits of contemporary composition and musique concrete. Thirlwell has also carved out a significant output in the field of the soundtrack via the large body of work created for the animated television shows Archer and The Venture Bros. In addition he has been commissioned to create compositions by such notables as Kronos Quartet, Bang On A Can, Alarm Will Sound, String Orchestra of Brooklyn and many others.

Now we have ‘Omniverse’, the second release under the moniker Xordox. Xordox is a synthesizer-based project, and on this evocative album we see the project branch into many new avenues. The science fiction element brushes up against crime noir, even veering into areas that could well fit in the video game soundtrack genre. With an audacious attitude and an arsenal of machines Thirlwell serves up a selection of thrilling retro-future mind capsules. This is music made from a life saturated in culture, both underground and mainstream, high and low. Tense sequencing and noir tinged keyboard lines invoke a powerful visual image of films and memory, of screens and speakers, of sound and space, all entering the cosmos and the subsequent galactic race. Thirlwell’s decades long exploration of sampling and sequencing, composing and ingesting a daunting amount of audio and visual artworks speaks volumes for the bold assimilations exposed here. ‘Between Dimensions’ lays out a tense theme which starts off like a score to a a crime thriller before morphing into a simulacra of Kraftwerk scoring a video game. The living ghosts of Giorgio Moroder and John Carpenter haunt ‘Oil Slick’ as it permeates wormholes, updating lifeforms with its stealth sequencing and tense momentum.

‘Omniverse' is a synthesised soundtrack journey, one which embraces past forms whilst reshaping them for the new unknown. ‘Omniverse' is a thrilling liquid ride through fear and hope, and like all the best of Thirlwell’s output, is simply one hell of an enjoyable journey to take.

The Black Keys release their tenth studio album, Delta Kream, via Nonesuch Records. The record celebrates the band’s roots, featuring eleven Mississippi hill country blues standards that they have loved since they were teenagers, before they were a band, including songs by R. L. Burnside and Junior Kimbrough, among others. Dan Auerbach and Patrick Carney recorded Delta Kream at Auerbach’s Easy Eye Sound studio in Nashville; they were joined by musicians Kenny Brown and Eric Deaton, long-time members of the bands of blues legends including R. L. Burnside and Junior Kimbrough. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Auerbach says of the album, “We made this record to honor the Mississippi hill country blues tradition that influenced us starting out. These songs are still as important to us today as they were the first day Pat and I started playing together and picked up our instruments. It was a very inspiring session with Pat and me along with Kenny Brown and Eric Deaton in a circle, playing these songs. It felt so natural.”

Carney concurs, “The session was planned only days in advance and nothing was rehearsed. We recorded the entire album in about ten hours, over two afternoons, at the end of the “Let’s Rock” tour.”

Auerbach says of Delta Kream’s first single ‘Crawling Kingsnake’: “I first heard John Lee Hooker’s version in high school. My uncle Tim would have given me that record. But our version is definitely Junior Kimbrough’s take on it. It’s almost a disco riff!” Carney adds, "We fell into this drum intro; it's kind of accidental. The ultimate goal was to highlight the interplay between the guitars. My role with Eric was to create a deeper groove."

The music from northern Mississippi, which came to life in juke joints, has long left an imprint on the band’s music, from their cover of R.L. Burnide’s ‘Busted’ and Junior Kimbrough’s ‘Do The Romp’ on their debut album, The Big Come Up; to their subsequent signing to Fat Possum Records, home to many of their musical heroes; and to their EP of Junior Kimbrough covers, Chulahoma.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

Riley Downing (The Deslondes) sat down one day and decided he wanted to record a song or two for a simple 45. The Deslondes had been on a hiatus for a while and Downing had the creative itch to put something down on record. He had been in contact with his bandmate John James Tourville and they decided to work on a split 7” with a friend.
The recording session felt like a breath of fresh air and the communion of talented musicians produced more songs than expected. Downing left the session energized and continued to record and trade demos with Tourville. Downing and Tourville decided that there were enough ideas to make an album. There were not going to be any rules and nothing would be discarded. All notes and lyrics would be considered. ‘Start It Over’ is the result of that creative effort. An album where each song was crafted with a different idea in mind. Some of the songs are more nostalgic than others and some were just written for good oldfashioned fun. There is a romantic quality in each song. One song might help someone get through a hard time while one song might contribute to a good time. One song might bring up memories of a better time or just get you far enough down the road to start over.
LP pressed on Sea Glass & Turquoise coloured vinyl

Yellow Vinyl

Includes postcard and poster.
Part of the Optic Sevens 3.0 Reissue Series.
Formed in Olympia, Washington in 1982 by Calvin Johnson, Heather Lewis and Bret Lunsford. This 4 track single was originally released in 1987 on 53rd & 3rd records and appears here for the first time on 7”

This first volume of Wagram's Wanted: Jazz series is a high quality mix of the great Jazz artists. Including Charles Mingus, Dizzy Gilespie, Art Blakey and more!

Black heavyweight vinyl pressing The third album / first live album from the British rock band, Dr. Feelgood.
Originally released in 1976, it was the first live album to ever hit number 1 on the UK charts in its first week.
Stupidity captures the relentless, hard-driving energy of Dr. Feelgood at their peak. Comprised of recordings taken from 1975 tours, the music is presented raw and without overdubs, making it clear that the dynamic friction between guitarist Wilko Johnson and vocalist Lee Brilleaux could propel the band toward greatness

Cuernavaca / Stateville / Frankincense And Myrrh / Apsara / Ancestral / Spin / Zincali


Approaching his eighty-fifth birthday, sharp and lean, Phil Cohran lives a couple of blocks from the lake on the north side of Chicago. His modest apartment is filled with a palpable richness. His cornet and trumpets, zithers, French horn, harp and frankiphones (an electric kalimba of his own invention); his beloved telescope; African art; a mural of the Chinese monastery where Muslim monks bestowed on him the name Kelan ('holy scripture'); hand-printed posters from the culture wars of 1960s Chicago; all reflect a life dedicated not just to music, but also to science and astronomy, to history and activism. In its range of subject matter the track-list of Kelan Philip Cohran & The Hypnotic Brass Ensemble embodies this invigorating and all-embracing curiosity: a Mexican hill-town filled with perfume and flowers... an Illinois state prison where Cohran taught inmates in the 1960s... heavenly dancers in the temples of Cambodia... a tribute to a sixteenth-century Venetian musicologist. Welcome to the musical world of Kelan Philip Cohran.
Cohran was born in Mississippi and grew up in St Louis. In the immediate post-war years St Louis was a jazz heartland, home of stalwarts like Clark Terry and Oliver Nelson (both of whom he played with), not to mention a genius called Miles Davis. In 1950 Cohran moved to another heartland, Kansas City, where he played trumpet in one of the hardest swinging swing-groups, led by Jay McShann (who famously had given Charlie Parker his first job). With McShann he spent 'the best year of my life', touring as far as Mexico and playing proto-rock'n'roll in Texas with the likes of Big Mama Thornton on vocals. Back in St Louis Cohran led his own group, the Rajas Of Swing, whose show involved wearing red jackets, grey slacks, blue suede shoes and turbans.
Then in the mid-50s he moved to Chicago. He had a small group with a friend, the legendary tenor saxophonist John Gilmore, whose regular gig was to play at Sarah Vaughan's weekly 'birthday' parties, an excuse for the Sassy One to splash the cash and have some fun. ('What, Sarah Vaughan would sing with you and John Gilmore' 'No way, Sarah didn't sing, she was too busy partying.') And in 1959, through Gilmore, he was invited to join Sun Ra's Arkestra, at a crucial period in the evolution of that extraordinary group. Effortlessly wrapping traditions as divergent as boogie-woogie and electronica in an Afro-centric, intergalactic mythology of his own making, Sun Ra casts a huge shadow across conventional narratives of jazz history. 'With Sunny', Cohran simply says, 'I found my own voice'.
You can hear the emergence of this voice on the LP Angels And Demons At Play, recorded in 1960 - Sun Ra's masterpiece from the period. On the track Music From The World Tomorrow, against the urgent whipped and chopped percussion of the Arkestra, it is Cohran's zither, initially bowed and then plucked and strummed, which is the track's magic ingredient. More profoundly it was Sun Ra's example - his defiant self-confidence and sense of purpose - that set Cohran on his own (to quote another Ra composition) 'pathway to unknown worlds'. Indeed this spirit of self-belief led Cohran to turn down the invitation to accompany the Arkestra when Sun Ra moved east in 1961.
Staying in Chicago, Cohran founded the Affro-Arts Theater and performed with the Artistic Heritage Ensemble, recording the group for his own Zulu Records imprint. (Co-members went on to become Earth Wind & Fire; Cohran taught the group's leader Maurice White the mysteries of the frankiphone). The AACM, a musicians' collective of immense influence and importance, had its first meeting in Cohran's front room. With Oscar Brown Jr and Gene Page he wrote and performed in a show celebrating the nineteenth-century Afro-American poet Paul Lawrence Dunbar. He taught music tirelessly in schools and prisons. His studies into music theory and history led him to the discovery of a key book in his life, Gioseffo Zarlino's treatise on harmony, published in Venice in1558. Astronomy is another passion and another area of expertise. One of the gems of the Cohran discography is African Skies, with its lovely harp playing, commissioned by the Chicago Planetarium in 1993.
In Chicago he also raised a large family. Many of his children have gone on to become professional musicians; eight of them are the Hypnotic Brass Ensemble. For each of them, their first teacher was their father, who famously insisted on giving them music lessons not just for several hours after school, but for several hours before school as well. Their father's music was all around them as children; they all vividly remember lying in bed at night not being able to sleep because their father was rehearsing with the Jazz Workshop downstairs.
For the Hypnotic Brass Ensemble, the voyage to where they are now - whether tearing up festivals from Glastonbury to Melbourne, or touring with Gorillaz, or recording their first album on Honest Jon's - has involved a necessary stepping away from their father's shadow. Phil Cohran is the first to recognise this, happily allowing their sound - heavy on the funk, with the urgency of hip hop never far away - to blossom.
But likewise this album is for all of them a natural step. Recorded in Chicago in June 2011, the idea was beautifully simple - 'my music and their band' as Phil puts it, 'we don't have to rattle on more than that'. Only to point out perhaps that here - in the majestic surge of Zincali, for instance, or in the sheer verve and bounce of Cuernevaca - is music not just filled with the warmth of home. This is music that plumbs the depths and rings with joy.

'Cuernevaca is a town in the mountains south of Mexico City. I was there in 1950 when I was on the road with Jay McShann's band. It's a place close to paradise, a city filled with the fragrance of flowers. I always wanted to go back... In 1974 I taught workshops at the prison in Stateville, the Big House where Al Capone spent time. There's a huge wall around the prison, and once I took Hypnotic there - ha - to see what the future holds for them... Makeda, the Queen of Sheba, sent a caravan of gifts to King Solomon - a caravan that took more than a day to pass one point - and the main gifts were Frankincense And Myrrh... I wrote Apsara in 1967, when Jackie Kennedy was in the news with her visit to the temple of Angkor Wat in Cambodia. Apsara were celestial beings, dancers who brought forth the civilization of ancient Cambodia, by dancing in the holy nectar called Amrita... Ancestral is a meditation drone written for my Friday-night residence at the Ethiopian Diamond Restaurant in Chicago's Rogers Park... Spin is the latest of these compositions. Everything in the cosmos spins, from the smallest objects we can see in a microscope to the largest galaxies. Spin is the motion of all things whether it looks like it or not... Zincali is a name Spanish gypsies call themselves. 'Zin', East Africa; 'cali', the people. One of the offshoots in my research into Moorish Spain has led me to Gioseffo Zarlino, the sixteenth-century master of music at St Mark's in Venice. It's said that Bach lost his sight reading Zarlino's treatise on counterpoint. His greatest composition is his setting of the Song of Songs - 'Nigra Sum', 'I am black'. This is my tribute to Zarlino and to the zincali.'

Clear / Orange Vinyl
Factory Benelux presents a remastered 2xLP coloured vinyl edition of Circuses and Bread, the seventh studio album by Manchester ensemble The Durutti Column. Originally released by Factory Benelux and Factory in 1986, the original 9 tracks have now been expanded with 6 bonus pieces.

The cover art retains the original design by 8vo. The remastered limited edition CLEAR+ORANGE vinyl set is housed in gatefold sleeve, with liner notes and rare band images. A CD version is also available (FBN 154 CD).

Self-produced by Vini Reilly at Strawberry and Revolution studios, the album saw Durutti playing as a quartet, with Reilly on guitar, vocals and keyboards, Bruce Mitchell in drums and percussion, John Metcalfe (viola) and Tim Kellett (trumpet).

‘The music ends up being very simple,’ Vini told NME. ‘People can dismiss it as being very simplistic, easy listening or whatever. It’s very honest, it’s very personal. People say it’s ambient, and it’s like Eno. I don’t like that, because the music’s made to be listened to, it’s not wallpaper.’

Of extended piece Blind Elevator Girl – Osaka, Vini adds: ‘The music really writes itself. For example, we’re in Osaka, in Japan, getting in this elevator. It’s very crowded with all these Japanese businessmen talking about distribution deals, and going on and on. On this lift was a beautiful Japanese girl, in an immaculate uniform. Each floor we arrived at, she’s starting talking Japanese, obviously saying what was on each floor. We went higher and higher, and finally we get to the top. And then, sort of walking out of the elevator, I suddenly realised she was blind... It got to me, this girl. It was incredible. So maybe a day later, I was thinking about that, and the whole tune came out. And every single piece of music is like that.’

Bonus tracks include Italian-only EP Greetings Three, scarce compilation track The Aftermath, and a previously unreleased working version of 1987 single Our Lady of the Angels produced by the late Stuart ‘Jammer’ James.

GREEN VINYL

The long-awaited 3rd and final part of Data 3’s ’Matter’ series is here. ‘Atomic’ contains four incredible tracks from the dynamic trio based in Manchester and it comes after the global success of their remix of arguably the biggest drum and bass tune of all time ‘Up All Night’ by John B on Metalheadz earlier this year.

Limited edition to 500 copies vinyl + 16 pages comic.

Record Kicks presents the reissue of the rare and in-demand Calibro 35 EP Dalla Bovisa a Brooklyn on vinyl. The EP includes an original Calibro 35's comic and is limited to 500 copies, which makes it an instant collector's item.

Originally recorded in 2012 in Brooklyn during the sessions for their third studio album Any Resemblance, Dalla Bovisa a Brooklyn (literally 'from Milan's district Bovisa to Brooklyn') came out in that same year as a limited edition 10". The EP contained an original comic by Italian gurus Gianfranco Enrietto and Marco Philopat that tells, between reality and fiction, the experience of Calibro 35 in the Big Apple. Rapidly gone out of stock, the original copies are rare to find and change hands for big money amongst record collectors and Calibro fans. Following the re-release of the first 3 Calibro 35 studio albums, now also Dalla Bovisa A Brooklyn sees the light again on the superior 12" format that includes a restored colored version of the original 16 pages comic. From the opening "Broccolino funk" to the last track, the 6 minutes of the afro-funk winner "Bushwick, Nigeria", on the six tracks on the EP the band sounds as groovy as ever, serving another funk-filled journey, full of fuzz guitars, distorted organs and brooding bass lines.

Active since 2008, Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their thirteen-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, 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 aficionadosin every corner of the planet.

Duke Ellington once said that there are 2 kinds of music: the good one and the bad one. With the compilation series “Shaolin Soul” we are always certain to be on the right side of the line since its 1st episode released in 1998 and which compiled two dozens of tracks sampled by RZA and the Wu-Tang Clan. Following a second episode in 2001 and a third one in 2014, the famous curator Uncle O is back to celebrate the 20th anniversary of the Shaolin Soul series with a fourth episode compiling 22 tracks among the rarest and finest treats of soul music, because “everybody’s talking about the good ol’ days !”.