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Documented during peak isolation times in Los Angeles, between December 2020 and January 2021. These pieces were performed as Live AV pieces from 2017-2019, at Coaxial Arts, Zebulon and Desert Daze 2019, but not documented in a release until later. Signal processing and sequencing frameworks built in Max 8 with signals generated from Prophet '08, a broken AW16G, 0-coast, Max, and a MC-909. With the context of the electromagnetic medium, the absence of live performance and moving visuals and the new "spirit" of the pestilent times, "Cutting Them All Off" should barely be represented as reworks of the originally performed pieces. What was once pulsing and blasting out of PA speakers live is now referenced as a distant past document. These pieces (for better or for worse) have been removed and cut-off from their contextual source and can only be presented in their displaced/liberated state. Like a fish out of water gasping for air, or the only drunk survivor of a car crash that was his fault.

Christopher Reid Martin started Rotary ECT in 2016. The project focuses on highly active signal processes on synchronized Audio -> Visual signals, with many signals being constructed to self-generate. Much like a rotary machine's rotation, the process is consistent and signalled when turned on. Much like electroconvulsive therapy, a human need to be there to actively monitor and attend to the process and generation of the signals being emitted.

Christopher currently works for Cycling '74, is a curatorial/programmer at Coaxial Arts Foundation and ⅓ of curators (alongside J.Prey and J. Rivera) behind the ephemeral stream Cathode TV/Cathode Cinema. Christopher continues to show gallery works, both virtual and physical, digital and video works and performs in other numerous events and projects such as Bailouts, CGRSM (with Gabie Strong), Shelter Death, Gate (with Michael Morley) and Via Injection. He has performed and collaborated with artists Joseph Hammer, Bryce Loy (RIP), Tetuzi Akiyama, Christopher Thompson, James Roemer, Andrew Scott, Gabie Strong, Michael Morley, Lev Abramov and many others.

Spoken word version of Steve Von Till's first poetry book. Limited, one-sided + etched.
Intimate voice recordings with hallucinatory textures and treatments.
Harvestman: 23 Poems Poems & Collected lyrics received wide acclaim establishing Von Till as a poet in his own right.
Side B LP etching artwork by Matzatl
Features stunning linocut artwork by Matzatl on the cover.
In 2020 Steve Von Till published his first book of poetry, Harvestman: 23 Untitled Poems and Collected Lyrics. Published by the University of South Dakota’s Astrophil Press, the book established Von Till as a formidable and thoughtful author of verse—a fact that Neurosis fans knew all along, but the wider world was only just becoming aware of.
“There is a depth of hope, acceptance and loss that permeates these poems,” Joseph Haeger said in his review for The Inlander. “Like any great piece of art, Harvestman contains multitudes, and that’s exactly what I was hoping for when I cracked it open. Von Till has already established himself as a great musician, and he’s about to put his stake into the ground proving himself to be a damn good writer.”
For 2021, Von Till has reimagined Harvestman in a new format, delivering an intimate and captivating reading of the collection with sound enhancements. “Being a constant sound-seeker, I thought it would be more interesting to have some textures and treatments to break up the intimate voice recordings,” Von Till says of his decision to add some atmosphere to the spoken-word version of Harvestman. “The background sounds used on some of the tracks were pieces related to No Wilderness Deep Enough that were either not used or repurposed to interweave further connections between my artistic output at this time of my life.”

A unique new album of poetry and music featuring Marianne Faithfull set to the music of Warren Ellis, and featuring Nick Cave, Brian Eno and Vincent Ségal
With She Walks in Beauty, Marianne Faithfull with composer and multi-instrumentalist Warren Ellis releases one of the most distinctive and singular albums of her long, extraordinary life and career. It was recorded just before and during the first Covid-19 lockdown – during which the singer herself became infected and almost died of the disease – with musical friends and family including not only composer Warren Ellis but Nick Cave, Brian Eno, cellist Vincent Ségal and producer-engineer Head. She Walks in Beauty fulfils Faithfull’s long-held ambition to record an album of poetry with music.
It’s a record that draws on her passion for the English Romantic poets, a passion she fostered in her A Level studies with one Mrs Simpson at St Joseph's Convent School in Reading. From there she entered the world of As Tears Go By, of Mick Jagger and the Rolling Stones, Top of the Pops and the left-hand path of pop and stage stardom. Sixties iconography and outrage followed, as did her subsequent battles with addiction before her 1979 return to powerful female and artistic autonomy with Broken English, an album which featured her setting to music Heathcote Williams’ poem of eviscerating rage, Why D’Ya Do It?
Drawing deep on the poetry of Shelley, Keats, Byron, Wordsworth, Tennyson and Thomas Hood, Faithfull’s vocal performances set to Ellis’s subtle collages of sound draw out the heart, the quick, the vibrant living matter in all these great poems, making them fresh, renewing them with the complex, lived-in timbres of her voice, and set to a subtle palette of ambient musical settings. It’s both a radical departure and a return to her original inspirations as an artist and performer.
The greatest poetry is best heard, and Faithfull’s accounts of some of the greatest lyric poetry in our language – Keats’ Ode To A Nightingale and Ode To Autumn – are spine-tingling in their deep understanding of the poetry’s powerful currents of meaning and identification. On Nightingale, her voice opens up like an epic landscape, while in Shelley’s miniature masterpiece, To The Moon, she sounds otherworldly, as if calling down from another medium, and the atonal, otherworldly sound textures provided by Eno on Bridge of Sighs and La Belle Dame Sans Merci become a compelling foil for Faithfull’s haunting interpretations of these rich, dark poems.
“They’ve have been with her her whole life,” says Ellis. “She believes in these texts. That world, she inhabits it, embodies it, and that really comes through. There’s just something about the way she can deliver that is incredibly affecting.”
“Eventually I always end up where I was meant to be,” says Faithfull. “I’ve noticed that. It may take a long time, but I get there. I never forget these things. After all these years, I’ve drawn the strands back and they still mean something and they resonate more, actually, because I now have life experience. Life and near-death experience. Many times! Not just once.” She Walks in Beauty is scheduled for release April 30th, with artwork created for the album by British artist and lifelong friend, Colin Self, and with the full texts of the poems, and commentary, included in the liner notes. While Faithfull continues to recover from the after-effects of Covid-19, and the world around us continues to struggle with the impact of the worldwide pandemic, these are poems and performances to steady and lift the spirit.

NYC legend Pal Joey is back, offering up new versions of some classic tracks alongside fresh material on his revered Loop D’Loop label.

Seven deep house grooves that capture the essence of the NYC scene blending jazz pianos, hypnotic trumpet riffs and lush strings over the top of driving basslines, crunchy drum machine hits and soulful vocals written by Joseph Longo himself.

Live at Alexandra Palace, London, England, October 5th 2019

Recorded by our sound crew:
Sam Joseph, Stacey Wilson, Gaspard De Meulemeester

Drums: Michael Cavanagh
Guitar / Keys: Cook Craig
Harmonica / Vocals / Keys / Percussion: Ambrose Kenny-Smith
Vocals / Guitar / Keys: Stu Mackenzie
Drums: Eric Moore
Bass: Lucas Harwood
Guitar / Vocals: Joey Walker

Mixed by Stu Mackenzie
Cover design by Jason Galea

Live at L'Olympia, Paris, France, October 14, 2019.

Recorded by our sound crew:
Sam Joseph, Stacey Wilson, Gaspard De Meulemeester

Drums: Michael Cavanagh
Guitar / Keys: Cook Craig
Harmonica / Vocals / Keys / Percussion: Ambrose Kenny-Smith
Vocals / Guitar / Keys: Stu Mackenzie
Drums: Eric Moore
Bass: Lucas Harwood
Guitar / Vocals: Joey Walker

Mixed by Stu Mackenzie
Cover design by Jason Galea

Previously unissued 1999 live set from Alex Chilton (The Box Tops/Big Star) and Hi Rhythm Section Hi Rhythm Section has performed on seminal recordings from Ann Peebles, Ike & Tina Turner, O. V. Wright, Otis Clay, and Al Green Packaging contains liner notes from Memphis Mayhem author and Producer David Less “I never saw him have so much fun on stage. Without rehearsal, Alex called songs and the band locked in. The horn section consists of top Memphis session guys who huddled together when each song was called creating parts on the fly. The pure joy of playing this music so freely with such legendary musicians comes across in every groove of the record.” —David Less, from his liner notes Memphis is a city with music in its blood. When Fred Ford, co-founder of the Beale Street Music Festival, was diagnosed with cancer, David Less organized Fredstock, a fund raiser to help with his medical bills. Less contacted Memphis legend Alex Chilton (The Box Tops, Big Star), who was living in New Orleans, to ask him to participate. Alex said he didn’t have any musicians to play with in Memphis, so Less suggested the Hi Rhythm Section (the band behind classics from artists including Ann Peebles, Ike & Tina Turner, O. V. Wright, Otis Clay, and Al Green). Alex replied, “That will work.” This previously unissued live set contains versions of soul classics from The Supremes and Otis Clay, rock numbers from Chuck Berry and Little Richard, and even a cover of the KC & The Sunshine Band title track. Available on CD, Digital, and LP

500 copies on MAGENTA NEON VINYL

Live at Alexandra Palace, London, England, October 5th 2019

Recorded by our sound crew:
Sam Joseph, Stacey Wilson, Gaspard De Meulemeester

Drums: Michael Cavanagh
Guitar / Keys: Cook Craig
Harmonica / Vocals / Keys / Percussion: Ambrose Kenny-Smith
Vocals / Guitar / Keys: Stu Mackenzie
Drums: Eric Moore
Bass: Lucas Harwood
Guitar / Vocals: Joey Walker

Mixed by Stu Mackenzie
Cover design by Jason Galea

500 copies on VIOLET NEON VINYL

Live at Ancienne Belgique, Brussels, Belgium, October 8th and 9th 2019

Tracks 1-9 recorded on October 8th
Tracks 10-17 recorded on October 9th

Recorded by our sound crew: Sam Joseph, Stacey Wilson, Gaspard De Meulemeester

Drums: Michael Cavanagh
Guitar / Keys / Vocals: Cook Craig
Harmonica / Vocals / Keys / Percussion: Ambrose Kenny-Smith
Vocals / Guitar / Keys: Stu Mackenzie
Drums: Eric Moore
Bass: Lucas Harwood
Guitar / Vocals: Joey Walker

Mixed by Stu Mackenzie
Cover design by Jason Galea

500 DOUBLE LPS ON YELLOW NEON VINYL!

Live at L'Olympia, Paris, France, October 14, 2019.

Recorded by our sound crew:
Sam Joseph, Stacey Wilson, Gaspard De Meulemeester

Drums: Michael Cavanagh
Guitar / Keys: Cook Craig
Harmonica / Vocals / Keys / Percussion: Ambrose Kenny-Smith
Vocals / Guitar / Keys: Stu Mackenzie
Drums: Eric Moore
Bass: Lucas Harwood
Guitar / Vocals: Joey Walker

Mixed by Stu Mackenzie
Cover design by Jason Galea

180 gram Vinyl LP Producer - Jah Thomas Toyan aka Ranking Toyan (born Byron Letts, died 1991) was a Jamaican reggae deejay active since the mid-1970s and best known for his early 1980s recordings.
Toyan began his career in 1974, deejaying on Kingston’s sound systems, such as Socialist Roots and Romantic HiFi. He recorded his debut single, “Disco Pants” in the late 1970s for producer Don Mais. He went on to work extensively with Joseph Hoo Kim and Jah Thomas, resulting in a string of hits including “Girls
Nowadays”, “Kill No Man”, “John Tom”, and “Talk of the Town”, as well as combination hits with The Mighty Diamonds (“Pretty Woman”), Badoo (“Rocking the 5000”), and Freddie McGregor (“Roots Man Skanking”).
In 1981 he joined Henry “Junjo” Lawes’ Volcano Sound system, and toured Canada. With Lawes, he recorded the album How the West Was Won, and went on to produce his own work and that of others such as Billy Boyo and Anthony Johnson. He toured the United Kingdom with the Jah Prophecy band and performed in Jamaica alongside Dennis Brown. He was murdered in Jamaica in 1991.
Mailout to relevant music press and radio. Promotion across social media platforms Advertising in Riddim, Black Echoes and Record Collector Magazine

eon Vynehall veröffentlicht den Nachfolger seines von der Kritik gefeierten Debütalbums auf Ninja Tune!

Auf „Rare, Forever“ erforscht Vynehall zum ersten Mal, wer er als Mensch und Künstler im einzelnen, jeweiligen Moment ist, anstatt in die Vergangenheit zu schauen, um herauszufinden, was und wer ihn geprägt hat. Das Ergebnis enthält dann zwar mehrere Seiten von ihm, aber Abwechslung ist etwas, an das Vynehall in seiner Kunst gewöhnt ist, so beschrieb er in seinem Resident Advisor Podcast 2018, dass er den Dancefloor „links und rechts, oben und unten“ mitnimmt. Auf „Rare, Forever“ begibt er sich auf eine Sieger-Runde. Das Album ist eine wunderbare Mischung aus allem, was er bisher gemacht hat, und bleibt dabei wirklich progressiv; das Endergebnis klingt wie „Nothing Is Still“, nur, dass die Erzählung abgeschwächt und der Dancefloor aufgedreht wurde. „Rare, Forever“ wird sich für Fans von Vynehalls DJ-Kicks-Mix oder seinen eklektischen Ausflügen beim weltbekannten Community-Radio NTS vertraut anfühlen, während es gleichzeitig anders klingt als alles, was er bisher gemacht hat. Auch wenn es viele Dancefloor-Erinnerungen und -Momente gibt, ist es keineswegs eine reine Dance-Platte - stattdessen ist „Rare, Forever“ die klarste Repräsentation des breiten Spektrums an Musik, die er bisher gemacht hat. Zuletzt hat Vynehall mit dem „Studio Ooze“ einen neuen Aufnahmeraum eingerichtet, um seine Kollaborationen zu erweitern und hat für Leute wie Kam-Bu, Wesley Joseph, Kenzie TTH und Jeshi geschrieben und produziert, die in naher Zukunft ihre jeweiligen Tracks veröffentlichen werden.

December 4th, 2020 -- THE LICKERISH QUARTET — Band members of Noel Gallagher's High Flying Birds, Slash’s Snake Pit, Finn Brothers, Alice Cooper, Air Beck – and all formerly of Jellyfish – reunite for 2 nd EP with their first official UK release. Roger Joseph Manning Jr., Tim Smith and Eric Dover are excited to announce their highly anticipated THREESOME VOL.2 EP, to be released 8 th January 2021, will be their first on British indie label Lojinx. The first single, “Snollygoster Goon,” is out now. Of “Snollygoster Goon” Eric Dover says “The music is Adderall-based, in theory, to reflect the absolute breakneck speed at which the corruption flourishes. A frenetic forensic foray into classic old-as-civilization themes involving greed, graft and corruption as applied to any political sphere. The snake oil salesman kissing babies, the saccharine unimaginative public image.” The new release is, naturally, the follow-up to their debut EP, THREESOME VOL.1 - lauded by critics as “a masterpiece” - which was released in May 2020 in the US. With song titles “Snollygoster Goon,” “The Dream That Took Me Over,” “Sovereignty Blues,” and “Do You Feel Better?” Manning, Smith, and Dover’s undeniable chemistry can once again be found throughout THREESOME VOL.2. The songs formed from the same sessions that begun in 2017 offer a slinky and feisty landscape of temptation, freedom of thought, hope and dreams, and a shout out to all who game the systems. An edgy second round of soaring vocals, angular guitars, and pulsing drums, enveloped by timeless keyboard arrangements requires multiple listens to appreciate fully. Manning, Dover and Smith ruminate on the other 3 new songs: “Do You Feel Better?” as told by Tim Smith: A romp along the primrose path of temptations, internal and external, real or imagined, the tiny demons we dance with throughout our lives. A pulsing bass and hypnotic guitar rhythm plays like the backing band to a striptease you’ve sneaked into, and don’t know where to sit, but all are welcome! Some things are more dangerous than others, of course, but this song is sort of a combination of letting your guard down, because of preconceived notions of what’s right or wrong, and justification of actions you think you understand to have under control. Who knows? Experiences do give us perspective, and this song tries to play between the id and superego - a Screwtape letter demon, and an Angel of Mercy. “Sovereignty Blues” as told by Roger Joseph Manning Jr.: “Fears fire’s all they’re fanning, but I won’t light up their fuse.” A tale as old as humanity. Group control over another through the tried and true tactic of fear. And always partnered with a fatal dose of “divide and conquer.” But who’s actually pulling the levers and pushing the buttons of the propaganda machine behind the Wizard of Oz’ curtain of crowd control, so to speak? “THREESOME VOL.2 finds our threesome in fine form, with four new songs to get you through COVID times and beyond!”

Die GRAMMY-nominierte Band CHA WA veröffentlicht mit ,My People" eine neue Song-Kollektion, die aus der reichen und lebendigen Straßenkultur von New Orleans schöpft. ,My People" vereint zeitgenössische Klänge mit der Musik von Straßenparaden und der Mardi Gras Indianer-Gemeinschaft - einer Gruppe schwarzer New Orleaner, die mit ihrer Kleidung, ihrer Musik und ihrem Dialekt den indianischen Stämmen Respekt zollen. Vollgepackt mit einer lebendigen Ansammlung von New Orleans-Klängen und -Geschichten, schöpft diese Sammlung neuer Originalsongs aus den Grooves von New Orleans-Funkbands der 70er Jahre wie The Meters (besonders bei Stücken wie ,Wildman" und ,Bow Down") und nimmt deutliche Einflüsse aus der Geschichte der Stadt mit Brass-Band-Musik, Jazz, R&B, Hip-Hop, Rock, Soul und afrikanisch inspirierten Arrangements (einschließlich einer relaxten Coverversion von Bob Dylans ,Masters Of War" in diesem Stil). Cha Wa wurde von Bandleader Joe Gelini kurz vor der Veröffentlichung des 2018 erschienenen Debütalbums ,Spyboy" gegründet, das 2020 bei den GRAMMYs mit einer Nominierung für das beste regionale Roots-Album ausgezeichnet wurde. ENG The next generation of New Orleans music shares a bold vision for the future with a reverence for the past. It builds upon tradition to bring something unique to the world. The future of New Orleans music is Cha Wa, a Mardi Gras Indian funk band that takes the music of the streets into the 21st century, with guests like Alvin Youngblood Hart and Anjelika Jelly Joseph. On "My People", the band tries to "take the influence of Monk and Bo and Willie Tee [from the original Wild Magnolias] back in the day, when they were interpreting the music of their time - the deep funk, disco, Afrobeat and tinges of reggae," says drummer & bandleader Joe Gelini. "And we're also trying to interpret and write new music that we're inspired to play that's relevant to our generation, and our current social environment." "My People" feels like pure joy, a distillation of generations of New Orleans expression, but it also never fails to remind us how hard-won that joy was and still is: not least in the tense, funky and explosive title track, with its declaration "My people, we're still here." "Mardi Gras Indian songs are inherently songs about freedom," Gelini says. "And that struggle is as relevant today as it's ever been."

Cool Ghouls - a band fledged in San Francisco on house shows, minimum wage jobs, BBQ's in Golden Gate Park and the romance of a city’s psychedelic history turns 10 this year. What better a decennial celebration than the release of their fourth album, At George's Zoo!

How did San Francisco's fab four arrive at George's Zoo? The teenage friendship of complimentary spirits Pat McDonald (Guitar/Vox) and Pat Thomas (Bass/Vox) serves as square one. The Patricks were munching on Eggo-waffle-sandwiches and downing warm vokda in suburban Benicia (San Francisco bay) years before McDonald would hear George Clinton address his fans as "Cool Ghouls". The boys played their debut gig as Cool Ghouls at San Francisco's legendary The Stud in 2011, but there's no doubt the musical moment cementing the band's trajectory was much earlier at the 18th birthday party for boy-wonder Ryan Wong (Guitar/Vox) - at the Wong household.

You might remember the Ghouls' earliest days... McDonald’s hair hung luxuriously past his waist, Thomas dreamt of no longer having to crash on friends' couches to call SF home and Wong looked forward to turning 21. Cool Ghouls' Pete Best, Cody Voorhees, thrashed wildly – but briefly - on the drums and Alex Fleshman (Drums), who still claims he's not really "a drummer", turned out to be a really good drummer. Thomas would sleep pee on tour. Those were golden days!

Flash forward to today and everything is up in flames. No shows, parties or bars. Cool people are streaming out of SF. It's been 2 years since the last time Cool Ghouls have even played. The STUD is gone, The Eagle Tavern is for sale and The Hemlock has been demolished for condos. Your boss is an app. Fascism is no-knocking down the door. There's a pandemic.

Fortunately for us, the Ghouls got an album in before it all went to shit, and they made it count. At George's Zoo includes 15 of the 27 tunes they managed to eke out while simultaneously working through major life moves. It was a 5-month, all out, final sprint down the homestretch (to Ryan's moving day) with affable engineer Robby Joseph, at his makeshift garage studio in the Outer Sunset (pictured on the cover). Instead of recording the entire album over a few consecutive days - like they'd done with Tim Cohen, Sonny Smith and Kelley Stoltz for the first three LPs - the band took it slow by working through a few songs each weekend after rehearsing them the week before. Robby would cue up the tape, McDonald would throw some steaks on the grill and they'd get to work - much to the neighbor, George's, chagrin.

These guys have a real commitment to elevating as songwriters, musicians and ensemble players. It's always been for the music with Cool Ghouls and this long-awaited self-produced outing is a track by track display of the ground they've covered and heights they can achieve. Their vocals and trademark harmonies are front and center and out-of-control-good. Ryan's guitar solos are incredible. The horns by Danny Brown (sax) and Andrew Stephens (trumpet) hit in all the right places. Maestro, Henry Baker (Pat Thomas Band / Tino Drima), plays keys throughout. There's even a mesmerizing string section ("Land Song") by sonic polyglot, Dylan Edrich.

None of this growth is to the detriment of the fun, natural, feeling that fans have come to expect from the band. This is a fully realized Cool Ghouls album. It paints a remarkable portrait of SF's homegrown heroes and the many corners they've explored over the last decade. The songwriting, harmony and playing are nothing if not solid. The lyrics are keen. Robby's recording and mixing sound great start to finish and even better after mastering by Mikey Young. It's a triumphant addition to their catalogue. Recommended for Stooges and Beach Boys fans alike. Listen and see!

Yes, many things have changed since 2011. Who knows what the 20's will have in store for life on Earth, let alone the Cool Ghouls? We at least know that 2021 has At George's Zoo for us, a beautiful keepsake from the Before Times when we used to stand in living rooms together while bands played.

William The Conqueror have paid their damn dues.
Like the sportsman cutting chipped teeth in the
lower leagues before shooting to the very top, this
band have lugged all the amps, placated the inhouse sound guy for an easier life, their nails dirty,
their hair unkempt. Enough.
Except it’s never enough, because despite their
slinky, swampy, razor-sharp, blues-drenched, guitar
thrashed alt. rock songs that form new album
‘Maverick Thinker’ and suggest that the door is
opening for bigger rooms and broader audiences,
it’s those sticky basement bar stages where the
songs have always shed a skin and come alive.
The record put the three piece behind the glass at
Sound City Studios in LA, treading the same carpet
as the likes of Nirvana, Johnny Cash, Neil Young,
and Fleetwood Mac and they might well have
inhaled the spirit of them all.
William The Conqueror’s protagonist is Ruarri
Joseph who knows his way around a melody and a
verse. Joseph’s wryness suggests life just ain’t
plain sailin’ and he fizzes that sigh and lament into
something that breathes heavy with heart and with
soul.
Vinyl format comes in a gatefold sleeve with
printed inner sleeve and digital download card.

Hot Creations continues its 2021 release schedule this February with a four-track EP from Josh Hvaal. Getting Better sees the UK talent return to the label, fresh from releasing his maiden EP, The Sound, on the imprint in March last year.

Basic leads the charge and takes no prisoners as it goes, pairing rapid kick-hat combos against layered vocal tones to create Josh’s signature late-night sound. Getting Better comes next, blending a retro acid vibe with an up-tempo lead bassline before the near six-
minute Oi takes the form of a heavyweight techno number. Tiptoe brings things to an emotive close, showcasing Josh’s eclectic style with drawn-out chords and percussion- laden breaks.

Josh Hvaal has become a household name in the contemporary house sphere in recent times. It was in March that the young UK-native achieved a remarkable feat: releasing his debut EP on Hot Creations. Such an achievement didn’t go unnoticed, with industry heavyweights soon playing his music in the form of Joseph Capriati, Andrea Oliva and many more. Releases have since followed on Yousef’s Circus Recordings, Malgado’s Distortion and Hot Creations’ offshoot Hottrax, standing him in good stead for another successful year in 2021.

180 gram reissue of Rita Lee's (Os Mutantes) debut solo album, originally issued in Brazil in 1970. Orchestral arrangements by Rogerio Duprat and production by Arnaldo Baptista, with a cover of The Beatles' "And I Love Her."

On her third album Welsh Music Prize winner Georgia Ruth returns to her roots. Having moved back to her native Aberystwyth ‘Mai’ was recorded in the town’s Grade-II listed Joseph Parry Hall over the course of one week in Spring 2019. Named after the renowned composer and professor, the room was used as a venue for chamber concerts throughout the twentieth century and offered musicians a view of the sun setting over the castle as they worked.

But despite this setting Mai (meaning May) is an intimate collection of songs written from within the depths of a house during stolen moments. At its heart sits a beautiful and simple setting of Eifion Wyn’s poem – ‘Gwn ei ddyfod, fis y Mel’ (I know it’s coming, month-of-honey).
Mai is a meditation on finding hope and renewal in the seasons, in a world where the certainty of Spring feels increasingly fragile.

The album was produced with Iwan Morgan (Meilyr Jones, Cate Le Bon, Richard James) who also engineered mixed and mastered. Additional parts were recorded at his studio in Liverpool. With improvised strings, pedal steel and saxophone sitting alongside harp, the album presents a sound which is both lush and sparse in turn.

Der in Kyoto geborene Multiinstrumentalist, Komponist und rappende Songschreiber Sen Morimoto veröffentlicht sein selbstbetiteltes zweites Album. Zu hören ist darauf nicht nur er, sondern ebenso die Hauptakteure der Indie-Szene seiner aktuellen Heimatstadt Chicago: Lala Lala, Nnamdï, Kaina, Joseph Chilliams, Qari sowie die nationale Youth Poet-Preisträgerin Kara Jackson als auch die japanische Elektro-Musikerin Aaamyyy. Die gesamte Produktion und Instrumentierung des Albums stammt von Morimoto selbst, das mit rhythmischen Verschiebungen, unerwarteten Harmonien, Arpeggios und schnell gleitenden Saxophon-Leads so reichhaltig wie eine Jon Brion-Produktion klingt. Seit der Veröffentlichung seines introspektiven Jazz-Rap-Debüts "Cannonball!" vor zwei Jahren war Morimoto sehr beschäftigt. Er tourte gleichermaßen mit seiner eigenen Musik als auch als Mitglied des hochgelobten Chicagoer Jazz-Kollektivs Reservoir durch die Welt und war außerdem mit Lala Lala und Kaina unterwegs. Zusammen mit ähnlich gesinnten Musikern wie Nnamdï und Glenn Curran betreibt SEN MORIMOTO seit 2016 das Chicagoer Label Sooper Records, das mit Veröffentlichungen wie Kainas Debüt "Next To The Sun" und Nnamdïs "Brat" im letzten Jahr auf sich aufmerksam machte.

Dafuniks is a full live band based on a core of samples and Breakbeats plus various vocal appearances. It will blow your mind with references to the cradle of hip-hop and inspiration from the 60’s and 70’s Funk and Soul.

A new collaborative EP from Dwayne Parris and Joseph Richmond Seaton, a.k.a. Call Super

I took a trip to see something sublime. There was no need to satisfy, nothing to fill. I just wanted to look. If only you knew what these forms meant to me, we could fill this dead room with talk. They’ve been there for so long, floating, bending the space, sculptural hymns to colour a vacant spirit. In some time, like you and me, they will be lost.

With music from a mix of talented producers, ISSUES is about to release their first ever VA vinyl only limited edition compilation. Each quarter there will be a VA which will contain the best selling tracks of each release and it will also be a way to showcase the sound of the label and promote the artists.

On the A side artists there is Joseph Edmund “It’s ON” track which has Josephs trademark sound with trippy breakdowns, strong buildups and heavy basslines and also Spanish producer Alvaro Am “Activate” reflecting his new renovate sound, offering an infectious vocal hook and a heavy bassline.

Side B includes Kabbina’s “Amnesia” which effectively reflects the trio’s unique style. Using an unmistakable synth shot, prolific vocal and a wobbly bass line that complete the dynamic track and Campbell Fryer’s “Moody” which is a unique groovy tech house track that has appeared in many sets including Michael Bibi, Detlef, Steve Lawler to name a few.

'Kind of Strange' is taken from Edinburgh super group, Out of the Ordinary's debut album, 'Stranger Things Have Happened'. The original version is an eerily, atmospheric track with a classic film noir vibe, underscored with beats provided by Joseph Malik on the ones and twos, in collaboration with Check Masses members Vic Galloway, Saleem Andrew McGroarty and Philly Collins. Vocal powerhouses, Rosanne Erskine and Philly Collins will have you looking over your shoulder with their edgy, unsettling vocal delivery – was that a ghostly outline or just a curtain blowing in the breeze?

Combine all of these elements with the mighty Steven Christie's keyboard, Paulo ‘Brother’ Riddle’s anchoring percussion and Saleem Andrew McGroarty at the production controls, something rather special comes out of the speakers.

To prepare for their ‘North Street’ remixes, Jo Wallace and Darren Morris immersed themselves in continuous re-runs of iconic TV series, ‘Randall + Hopkirk Deceased’ and ‘Tales of the Unexpected’ enabling them to channel their inner John Barry. Throughout the track, Darren provides swirling, cinematic vamps and lush string arrangements echoing the Warsaw Concerto whilst Chris Greive’s haunting trombone and Vic Galloway, on his electric guitar, beautifully underpin the melody, transporting the listener back to a world of Black and White mystery and suspense.

2024 Repress

KMRU is the moniker of Joseph Kamaru, a sound artist, and producer based in Nairobi. One of the leading exponents of the burgeoning experimental music scene in Nairobi and beyond he was listed by Resident Advisor as one of '15 East African Artists You Need To Hear' in 2018 and is a regular performer at the fabled Nyegenyege Festival having also presented live performances at CTM festival and Gamma Festival. Peel is KMRU's first release for Editions Mego. exquisite mix of field recordings and electronics unravelling at a repetitive and leisurely pace to expose a rich tapestry of sound that has been revered for it's ability to cross bordear with the sheer undertow of emotional content. The subtle calming atmosphere within Peel belies the compositional prowess as layers of delicate sounds wrap around each other creating a hybrid new form ambient musics both captivating through it's textural depth and kaleidoscopic patterns. The track titles lend themselves to the themes and mood set within: Why are you here, Well, Solace, Klang, Insubstantial and the title track. This is a deep heartfelt journey with a new strong voice being expressed through the means of organically presented electronic ambient sounds, one which reveals further layers on repeat listens.

Lamunai Records presents Curiouser and Curiouser, a treasure trove of millennial music era from a duo pop group called Santamonica from Jakarta, Indonesia.

The concept of this album is making music from a trip to the adventures of Alice In Wonderland, an eclectic mix of pop, bossanova, electronics, waltz and shoegaze. From Astrud Gilberto and Antonio Jobim, Pizzicato Five meets My Bloody Valentine or Stereolab's 60s sensitivity to Broadcast. A collection of multi-layered analog audio sets, the noise of Joseph Iyup's noisy guitar combined with Anindita's fairy voice melodious lines of strange lyrics wrapped in curling beats, very dynamic, very rich. Listening to the album, on several tracks, we can hear French Pop's acrobatic 5/4 beats until the roar of the wall of
sound becomes a combination that is difficult to imagine at the time and is still very relevant to listen to now.

Now, for the first time ever, one of the phenomenal albums of the 2000's Indonesia wave is now available in a limited format in 2xLP-Gatefold-Marble colors vinyl with an additional 1 song that has never been released before.

Post lockdown does not mean we need to fall back into the same patterns like we did before. This EP contains a smooth transition to a new reality. ULTRATERRENO is TAGLIABUE`s (@josephtagliabue) newest EP on the Berlin and Zurich based micro Label Lustpoderosa.
The celestial sounds from the italian producer Tagliabue is a healing process of well tempered analog synthesizers. The cure is in the mix of pre dancefoor and ambient tracks inlcuding a slow trancy chug from well known and apreciated selector @AnatolianWeapons.
Tagliabue is not just inspired by the afro cosmic heritage of Beppe Loda and Daniele Baldelli, but also from post-folk, rock, prog and kraut infuences of 70’s and early 80’s, passing through New Wave and Synth Pop ofGaznevada or The Stupid Set and not to forget italians rave culture of the 90s with Franceso Farfa and MarcoDionigi just to mention a few.
This very intimate EP is a meditative and transcendental journey to another world. Literally

Chicago based DJ/producer ANDREW JOSEPH drops his 2nd EP under his PTO alias (following the “DRINKS/CASUAL FRIDAY” 12″ released in 2018). The record is a celebration of the 808 and its renowned ability to get the party started. The 4 track house EP feats an electro remix of the title track from living legend EGYPTIAN LOVER! Italian producer NICO LAHS of ADEEN RECORDS fame gives it a smooth but dark and moody deep house remix followed by the electro jam “WAY OUT".

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world.

Having conducted the first and set of major interviews with David Mancuso of the New York City Loft, Lawrence started to host Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In February 2004 he published the first of three published three pioneering histories that have excavated and championed the previously overlooked foundations of contemporary party culture: Love Saves the Day: A History of American Dance Music (1970-79), Hold on to Your Dreams: Arthur Russell and the Downtown Music Scene (1973-92), and Life and Death on the New York Dance Floor (1980-83). Since 2018 Lawrence has hosted and DJed at the community audiophile party "All Our Friends. Paper Magazine describes him as the “reigning authority on the history of dance music in New York”.

With knowledge to share, and a readership as well as a dance floor to feed, Lawrence released Life and Death on the New York Dance Floor as the debut imprint on Reappearing Records. A year in the making, a compilation featuring rare and iconic tracks that appear in his much-loved and heavily-thumbed classic Love Saves the Day amounts to the follow-up. The collection features several tracks selected regularly by Mancuso, the party host who exerted a prophetic and unparalleled influence on New York City party culture, as charted by Lawrence. It also includes choice picks from groundbreaking DJs such as Michael Cappello, Steve D’Acquisto, Francis Grasso, Richie Kaczor, Larry Levan and Nicky Siano, whose expressive contributions are faithfully recorded in Love Saves the Day. The compilation traces how disco grew out of the record collections and intuitive sensibility of these and other DJs, offering a unique survey of the era’s expansive sonic palette.

UK Dub pioneers Alpha & Omega (Greensleeves / Steppas Records) represent a major part of the foundation of soundsystem culture and bass music migration from Jamaica, via the UK, to the world. Formed in the 1980’s and with over 30 studio albums to their name, A&O deliver us their latest production. Shadrach, Meshach And Abednego is a remarkable return to the mystical UK dub sound introduced by A&O in the 1980s. A powerful album in both word and sound featuring some of the greatest conscious reggae vocalists of our time; Danny Red, Joseph Lalibela, Wellette Seyon, Ras Tinny and Nai-Jah.

Gentle waves lap the soft white sand. The limitless ocean fills the view as the sun slowly sinks below the horizon. As the day ends in blue and orange tones, the heat begins to subside, a sure sign that the slow evening migration from the beach will soon begin. A pleasant, yet formidable music comes from the radio tuned into a frequency transmitted from Paris. Maybe it was written and recorded in the 70s, or maybe it has simply soaked in that aesthetic all the way down to the pauses. It doesn't really matter. Delving deep to explore the roots of Brazil’s musical tradition, the Camarão Orkestra has tapped into Candomblé and its rhythms. Born on the drums of enslaved Africans in a ritual that invokes numerous deities, they lay the foundation for this new album, Nação África. The eleven musicians, guided by Amanda Roldan’s silky voice and guest appearance by Anthony Joseph (“Canto De Bahia”), explore and embrace the murmuring polyrhythm of Brazilian percussion instruments, vibrating berimbau and squeaking cuícas, pouring their tightlywound funk bass into the groove and letting their jazz fly free, together and solo. The seven nonchalant tracks get your hips swaying, whether you’re in a comfortable armchair or surrounded by other dancers. They take your mind far away, on a journey paved by analog synths with Fender Rhodes crystals to the horizon where the sun’s last glimmer has finally faded away. The brass section’s shiny bells, valves and keys reflect the images and ambiance of the soft Brazilian night air.

Killer 13-track compilation of 70's music from Mauritius that evolved from the original sega genre - the music of the slaves as well as their descendants, sung to protest against injustices in Mauritian society.

Created at the crossroads of Afro-Malagasy, the 70s strain fused Western and Indian cultures, pop, soul and funk arrangements, syncopated polyrhythms, saturated guitars, psychedelic organs and Creole vocals. Although the exact origins of sega remain unknown, it contains vocal and percussive practices that originated from Madagascar, Mozambique and East Africa. A social escape and a space for improvisation, satire and verbal jousting, it transcended everyday life and made room for the expression of conflicts and the transgression of taboos.

The main instrument of sega is the ravanne, a large tambourine-like drum made of a large wooden frame and goat skin. It is accompanied by the maravanne, a rectangular rattle filled with seeds, and other homemade forms of percussion. Eric Nelson a solo guitarist and arranger, set up the band Features Of Life which, in the mid 70’s, gave birth to a new sound. Fuzzy distorted guitars and funky beats invite each other to play over the unbridled beats created by fabulous drummer Raoul Lacariate.

The band accompanied a new wave of singers, including the atypical Joseph Roland Fatime aka Ti L’Afrique, a hyperbolic and hyperactive character, a fan of blues and James Brown who launched an explosive raw, and funky style of sega.

Eklo is starting 2020 with a new record from the owner Seuil, it will be released in 2 volumes, some lost unreleased tracks put together to build this 2 parts. Here is the first one, 4 tracker, Breaks, Acid, Deep , D3 Vibe, a panel of what he likes as a Dj, great for the floor. Essential 12”

After the successful first volume of their split collection, Lucretio
and Marieu a.k.a. The Analogue Cops come back on Memento with a
breathtaking four tracks E.P..
Lucretio delivers two cuts written and produced with the extraordinary
Kyma workstation: “Ghetto Stab” is an heavy DanceMania influenced
party banger while “Any Idea” is a deep techno journey into the realms of spectral manipulation.
Marieu brings in all the hardware horsepower romanticism with “Tab and Rub” and “The Restored Text”; the first being acid excursion into the memories of the earl From days, the second interpolating massive kick drums and saturated harmonics with frantic vocal samples.
A record not to be missed!

Supported by: Rhadoo, Ame (Kristian), Dj Ralf, Marco Faraone, Arnaud Le Texier, Ilario Alicante, The Wasp, Shlomi Aber, Richie Hawtin, Joseph Capriati, Maceo Plex, Marco Carola, Francesco Farfa..

It's been a long, winding road to Hailu Mergia's sixth decade of musical activity. From a young musician in the 60's starting out in Addis Ababa to the 70's golden age of dance bands to the new hope as an emigre in America to the drier period of the 90s and 2000s when he mainly played keyboard in his taxi while waiting in the airport queue or at home with friends. More recently, with reissue of his classic works and a re-assessment of his role in Ethiopian music history, Mergia has played to audiences big and small in some of the most cherished venues around the world. With 2018's critical breakthrough "Lala Belu" Mergia championed himself and consolidated his legacy, producing the album on his own and connecting with listeners through the sheer creative power of his version of modern Ethiopian music. His subsequent performances revealed an artist who is in no way stuck in the nostalgia for the "golden age" sound. The press agreed, including the New York Times, BBC and Pitchfork, calling his music "triumphantly in the present" in its Best 200 Albums of the 2010's list. Mergia's new album "Yene Mircha" ("My Choice" in Amharic) encapsulates many of the things that make the keyboardist, accordionist and composer-arranger remarkable_elements that have persisted to maintain his vitality all these years, through the ebb and flow of his career. The rock solid trio with whom he has toured the world most recently, DC-based Alemseged Kebede (bass) and Ken Joseph (drums), forms the nucleus around which an expanded band makes a potent response to the contemporary jazz future "Lala Belu" promised. "Yene Mircha" calcifies Mergia's prolific stream of creativity and his philosophy that there is a multitude of Ethiopian musical approaches, not just one sound. Enlisting the help of master mesenqo (traditional stringed instrument) player Setegn Atenaw, celebrated vocalist Tsehay Kassa and legendary saxophone player Moges Habte from his 70's outfit Walias Band, Mergia enhances his bright, electric band on this recording with an expanded line up on some songs. Mergia produced the album which features several of his original compositions along with songs by Asnakesh Worku and Teddy Afro. An artist still reinventing his sound every night on stage during his marathon live sets, this 74-year-old icon refuses to make the same album twice. The album feels as urgent and risky as his concerts can be, pushing the band to the outer limits of group improvisation and back with chord extensions during his exploratory solos. "Yene Mircha" captures this live experience and fosters an expansive view of what else could be in store for this tireless practitioner of Ethiopian music.

Following their first 7" in 2018 Budabeats Records is proud the release the debut LP of pioneering Hungarian Afrobeat supergroup, the Mabon Dawud Republic.

The band started out as the Fela Kuti tribute band for the very first Felabration event in Budapest.
In the past two years they created an impressive repertoire of their own tunes. The rawness you can hear on their early recordings transformed into a more mature and sophisticated sound, still deeply rooted in the traditions of West-African music.
They even toured in Ghana where they had the chance to record with highlife legend Pat Thomas, as you can hear on 'Gyae Abrabi'.
On 'Na Lie' they are joined by Fela's original Egypt 80 band member, keyboard player and singer Dele Sosimi.
Other guest performances include Ghanaian vocalist and kologo player Stevo Atambire (on 'Mawadioh' and 'Talk to Me') and vocalist Abate Berihun (on 'Nanu Nanu Neye').

For this first volume of Musax Background Music Library, Farfalla Records continues exploring the maze of the french library music through one of its most discreet and prolific representatives: Jacky Giordano and one of his many projects, the Musax label. Farfalla Records carefully selected this tracklisting among LPs recorded between 1978 and 1979 of which the originals became particularly sought after by the collectors. Jacky Giordano who appears under his aliases Joachim Sherylee and José Pharos, is surrounded by qualified and renowned musicians such as Jean-Pierre Decerf, Jean-Claude
Pierric, Serge Planchon, Patrick Petitbon, Gérard Gesina, Jean-Charles Capon, Daniel Humair and also a band composed of members from the legendary Crazy Horse cabaret, namely Pedro Perea, Claude Brisset, Bruno Bompard, Jean-Claude Guselli, Claude Thirifays, Vincent Momplet and Joseph Gatineau. This selection mixing explosive jazz-funk, lascivious jazz and electronic music more spacey
or experimental, which could also be the soundtrack for a TV show, a porn movie or a car chase between cops and gangsters in the bad neighbourhoods of Paris. A fascinating slice of the French music scene of the late 70 is brought to life before our very eyes. (Erwann
Pacaud)

Award-winning bassist Daniel Casimir and vocalist Tess Hirst release their debut album via pioneering London-based record labe Jazz re:freshed. Following the success of Daniel Casimir's critically acclaimed debut EP 'Escapee' which featured Hirst on vocals and fellow rising stars on the scene Moses Boyd, Joe Armon-Jones and Shirley Tetteh, this album - 'These Days' is inspired by the duo's London surroundings, delivering thought-provoking lyricism, neo-soul and modern jazz

Casimir, a former Birmingham Conservatoire student, has collaborated with Julian Joseph, Jason Rebello, Benet McLean, Lonnie Liston Smith, Nathan Facey, Shane Forbes, Chihiro Yamanaka, Ashley Henry, David Lyttle, Nubya Garcia, The Tracey Quintet (Meantime Jubilation), Tom Harrison (Unfolding In Tempo), Jasmine Power (Stories And Rhymes), Camilla George and Art Blakey Jazz Messenger saxophonist, Jean Toussaint.

Named Young Jazz Musician of the Year by the Musicians' Company in 2016, Casimir has received plaudits for his arrangements and recital, while Hirst has made a name for herself with her vocals on the jazz circuit having moved between London, Leeds and LA to hone her craft. What sets Hirst apart as a musician is not only the originality of her music but her perspective of herself as an artist. She is an Ethnomusicology Graduate of SOAS and her writing style walks us through her upbringing in West London and down the halls of academia

Casimir and Hirst fuse traditional jazz sounds into beautiful compositions, narrating their way through a political and cultural landscape across these twelve tracks. The frenzied groove heavy'Security' addresses the need to trust one another and how we protect ourselves personally, while the rich atmospherics of 'Freedom' combined with Hirst's vocals, explore liberation and the rejection of duty - from a female perspective.

At the heart of 'These Days', Casimir plays with a passion and power that resonates throughout each composition. His knack for complex chord changes are highlighted in 'What Did I Do', bringing an energy and enthusiasm to the track while Hirst decries our changing capital. Elsewhere, references to John Agard's poem 'Listen Mr. Oxford Don' in 'The Magic Money Tree', explore the past and its relevance to now while a re-imagining of Charles Mingus' 'Fables Of Faubus' further ensures this theme remains central to the essence of the album.

Daniel Casimir and Tess Hirst have already received radio support from BBC Radio 3, BBC Music Introducing and Jazz FM, along with coverage in the London Evening Standard and Jazzwise Magazine

'Don't Let Them' interpolates elements of 'Fables Of Faubus' written by Charles Mingus (c) 1959. Published by Jazz Workshop Inc. Administered by BMG Rights Management (UK) Ltd. Used by permission. All rights reserved.

Denis Sulta - oder zu anderen Zeiten Hector Barbour - hat sich schnell zu einem der aufregendsten neuen Talente der stets fruchtbaren Glasgower Szene entwickelt. Seine Begeisterung und sein Musikwissen entwickelte er durch die Arbeit im international renommierten Plattenladen „Rubadub“, während er regelmäßig Sets im weltberühmten Sub Club spielte. Er hat Platten auf den einflussreichen Labels Dixon Avenue Basement Jams, Numbers und seinen eigenen Label, Sulta Selects, veröffentlicht. Die 44-minütige EP ist den Erinnerungen an die Menschen und Orte gewidmet, die die zutiefst persönliche und manchmal schwierige Reise an den Punkt geprägt haben, wo sich Sulta jetzt befindet.