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THE NIGHT FLIGHT ORCHESTRA is back! The band that formed as an idea of friends from several well known rock/metal bands (SOILWORK, ARCH ENEMY, MEAN STREAK) back almost a decade ago and has been dropping jaws ever since. With 5 albums already under their belt, 2 nominations for the Swedish Grammies, countless live shows and praises from fans and media alike, TNFO have steadily upped their game when it comes to paying tribute to a decade that influences all sorts of people and even industries to this day - the 80s. With hits like ‘Domino’, ‘Lovers In The Rain’, ‘West Ruth Ave’, ‘Divinyls’ or ‘This Time’, the band manages to maintain a variety of vibes and emotions within every album. From hard rockers, poppy digressions to progressive epics, disco-esque songs and almost cheesy yet loveable ballads.

Enter 2020, TNFO had just released their recent record, ‘Aeromantic’, and kicked off their European tour in support of it, when the Covid-19 pandemic hit. Björn Strid, the AOR dictator helming this exceptional collective called NFO, recalls “We made it one week into the tour after some absolutely amazing shows and then it all went south and we had to go home. Just about everyone on the tour got sick when they came home, with varied conditions.”
The band didn’t step back and accept the situation but decided to do what they do best instead: “It was pretty clear after some months into the Covid madness, that it was here to stay and that we weren’t gonna be able to tour for quite some time. So we made the best out of it. The remedy was simply to hit the studio again as soon as everybody was well again. It ended up being an incredibly creative 1,5 years and so many amazing songs came out of it.”

That being said, the second part of the ‘Aeromantic’ saga really captures what this band is all about: being in motion and romanticizing traveling, sometimes even with a broken heart - accompanied by the good things in life. Namely with songs like ‘White Jeans’, yet another jaw dropping classic rock gem about hot young love, cramped with nostalgia, or ‘Change’, which encompasses all the vibes you know from your favorite decade: Urgency, emotion, warmth and excitement. But also groovy danceable songs like ‘Chardonnay Nights’, a groovy, dreamy, yet uplifting homage to parties and hot love, or ‘Burn For Me’, a true feel good anthem for the summer - driving people to dance in the streets, all worries aside, to a brighter future.

On the other hand there are tracks like the almost progressive ‘Amber Through A Window’. A little throwback (at least titular) to the NFO’s epic 2017 album ‘Amber Galactic’: “Amber is with us wherever we go and I think she’ll keep coming back. She’s our mascot of escapism. The song was very interesting to compose. It takes you on quite a journey with key changes and goes from minor to major when you least expect it and throws you between different set of emotions. At the same time it feels pretty direct and operates like a mini epos. Really happy with how it turned out“, cites Strid.

Besides all this, the band has also stepped up their game when it comes to music videos for their timeless anthems. “White Jeans” for instance features Swedish TV personality Fredrik Lexfors and is a sweet little homage to the LGBTQIA+ community. “Fredrik is a good friend of mine and has loads of experience in the musical/theatre world and is super creative. He created this character called ”Kantorn” (The Cantor) some years ago and became a hit on YouTube. He has a very twisted and unique way of singing and acting, which is very funny. He was a part of Sweden’s Got Talent TV Show and went really far and became a crowd favorite. Fredrik has a lot of friends in the LGBTQIA+ community and I also have quite a few. We saw it as a joyful tribute and we’ve only gotten really good response. It’s of course also humorous but has a very nice balance and a very positive message.”

The bold and jovial video for “Burn For Me” on the other hand maybe among the biggest and best productions, the NFO ever recorded for the depths of the internet: “I’ve had this idea to film a ”Dancing in the Streets” video, where curious people come out of the woodworks and join the party in the streets. It’s a very classic 80’s scenario and very common in videos back then. Sort of the video to IRENE CARA’s ”Fame”. You don’t see it very often these days. We felt that it was needed and after “Burn For Me” was done I immediately envisoned it being the perfect ”post corona dancing celebration in the streets-song”.”

Those two videos are by far not everything the band will have to offer visually, but we won’t tell any more just for now. To be continued…

With all that new greatness up their sleeves, NFO are ready to take the world by storm – again! Even though coming up with a setlist for their scheduled tour starting in September may prove to become problematic according to the AOR Dictator: “Making a setlist might end up being a nightmare haha… I would be up for doing only songs off »Aeromantic I« and »Aeromantic II« since that’s really where we’re at right now, but I think most of our the Midnight Flyers would like to hear some old stuff, too. Maybe we could get away with it as long as we play “West Ruth Ave” as the ending song and create the good old conga train?”

The Frank OST LP made its debut on transparent green vinyl for Record Store Day 2015 and quickly sold out.

The album comprises Stephen Rennicks's song based soundtrack to Leonard Abrahamson's fantastical black comedy featuring Michael Fassbender as the masked leader of doomed avant-rock group, The Soronprfbs.

The music press were quick to laud FRANK as one of their top soundtracks of 2014, with Mojo placing it at No.3 in their

Top Ten for the year and Record Collector giving it 5*, while public fascination with its Beefheart-esque sound has ensured cult status. The songs, sung mainly by Fassbender, veer from manic comedy to heart-breaking pathos and the

vinyl release was specially recompiled to feature all the songs, most of the incidental music

and an exclusive for vinyl version of 'Frank's Most Likeable Song.... Ever'.

Tape

Pauline Oliveros' Tara's Room has long been a favorite in the Imprec office and it's a great honor to be able to release it on LP for the very first time. Tara's Room was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing. Originally released on cassette in 1987 following the 1986 release of "Sounding / Way" with Guy Klucevsek which is also available on LP via Imprec.

"Both pieces are intended to aid the listener in times of spiritual change, but are just fine for 'everyday' use as well. Highly recommended." Charles S. Russell, Ear Magazine

This LP features two long sides of infinite depth and sensitivity. Oliveros performs these pieces using a Just Intonation accordion and her Expanded Instrument System in order to bend both time and pitch.

Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." John Cage

Produced by Benny Yurco (Michael Nau, Grace Potter & the Nocturnals), mixed by Dan Molad (Lucius, Emily King) and recorded live at Little Jamaica Recordings in Burlington, VT, Liz Cooper’s highly anticipated sophomore album Hot Sass marks multiple departures—from her nine-year home of Nashville, from her band addendum of the Stampede, and from the genre-based expectations she’s accumulated throughout her career. With these twelve new songs, Cooper comes into her own—both musically and as a person—embracing a newfound sense of independence, honesty, maturity and creativity. In addition to Cooper and Yurco, Hot Sass also features Cooper’s longtime bandmates and collaborators Joe Bisirri (bass), Ryan Usher (drums, percussion) and Michael Libramento (guitar, synthesizer). Reflecting on the album, Cooper shares, “It’s me learning about what kind of woman I am and it’s not pretty all the time…I’m still processing these songs. Still reflecting. And I think that’s the thing—Hot Sass is just a stamp in time of what was happening in my life. I just want to continue making art that displays myself, the moments, and the people around me.” The new record follows Cooper’s 2018 full-length debut album, Window Flowers, which was released to widespread critical acclaim. Of the album, NPR Music praised, “a gorgeously arranged and performed bouquet of psychedelia-tinged folk-rock,” while Rolling Stone hailed, “Cooper pushes her strand of folk rock deep into psychedelic territory by merging her idiosyncratic vocal style with swirling, droning guitar effects and lacerating solos that feel dusted with otherworldly magic,” and Paste declared, “If we’re lucky, we are going to hear a lot more artists in the future like Liz Cooper.” Originally from Baltimore and now based in Brooklyn, Cooper has continued to tour consistently since her debut, performing alongside artists such as Dr. Dog, Shakey Graves, Bermuda Triangle, Lord Huron and Phosphorescent as well as special festival performances at Austin City Limits, Newport Folk Festival, BottleRock Music Festival, Lockn’ and more.

The music that would become Conversation Peace began with a trip to KPM’s London HQ in late January of 2020. I had just finished wrapping up post production on my album Ocean Bridges with Archie Shepp and Raw Poetic. I actually received the invitation during the summer of 2019 during studio sessions for Ocean Bridges and scheduling for the top of 2020 made the most sense. So I packed up a few records and a few drum machines then embarked on my first trip to England. We had a quick meeting about expectations, then it was time to see the archive. As a record collector, I’m very familiar with the legacy of the KPM brand. I had been lucky enough to find a few over the past decade during my digging trips up and down the east coast, but looking at the complete vinyl catalogue was a great privilege. I anxiously began combing through records from morning to night looking for the right sounds. The whole experience was surreal.



Listening to the entire catalogue was a history lesson and the amount of great composers and compositions in the recordings was endless. I’d be lying if I said it wasn’t somewhat overwhelming. As a producer looking for textures, inspiration and grooves, the abundance of those things made it extremely difficult to narrow down what I wanted to use. From drums to sound fx to orchestras to small rhythm sections to ambient noises, I heard a wide variety of things and they were all so well produced and recorded. Every instrument you can think of was there! I spent a little over a week capturing sounds knowing that my work was cut out for me when I returned to my home in DC. Once I got home, I got to work. I captured so much, that it took me about a month just to organize all those ideas. Little did I know the world would drastically change in the next month following my return. My flight to and from London would indefinitely be my last time traveling for a while. I worked diligently with the material and took my time making sure I had strong ideas. The history of KPM and the opportunity to collaborate with the prestigious lineage made the stakes very high for me and I knew I needed to deliver a quality product. It’s an honor to be the first artist to release a KPM Crate Diggers title. - Earl Davis (Damu the Fudgemunk)

In the most literal sense, globally renowned whistler Molly Lewis makes her gorgeous
and curious compositions out of thin air.
New entrees into the Exotica canon; sprawling, would-be Spaghetti Western scores;
and a dash of Old Hollywood glamour - the whistle-led songs on her debut EP ‘The
Forgotten Edge’ are as complex, delicate and indelible as anything performed with
viola or piano.
“Whistling is like a human theremin,” said Lewis, an Australian native who’s spent the
last several years in LA and whose performances there and around the world are
changing any preconceived notions of whistling by the room-full.
That’s not to say Lewis is all serious and snooty about the craft. Quite the contrary.
Her sense of humour is witty, self-deprecating and zany. She’s as likely to reference
the slapstick Leslie Nielsen film series ‘Naked Gun’ for music video concepts as she
is a classic piece of noir cinema.
Look no further than the equatorial and breezy opening cut ‘Oceanic Feeling’, a
lovely walk across the flotsam-sprinkled sands in the rum-pumping vein of Les
Baxter. Meanwhile, the title track - and really, the entire collection here - is a loving,
albeit rather haunting, salute to one of Lewis’s heroes, the Italian composer and
musician Alessandro Alessandroni, whose whistle and guitar you hear on the title
theme of Ennio Morricone’s ‘A Fistful of Dollars’. Lewis and her ensemble create
classic cinema for your mind.
Her own love for the artform began when, around the age of twelve she was given
the CD ‘Steve ‘The Whistler’ Herbst Whistles Broadway’. Something contained in it
clicked. “It wasn’t that I was immediately obsessed, but I knew it was something I
could do well,” Lewis said.
The daughter of a musician mother and a documentary filmmaker father who often
focused his films on niche communities and topics, Lewis recalls watching a
television documentary with her parents about The International Whistlers
Convention in Louisburg, North Carolina. “My dad said, ‘If you ever make it into the
competition, I’ll take you there’,” Lewis said. Turns out, there was no bar to entry, just
a small fee. And so, several years later, she and her father travelled to the
convention. New to the form, Lewis didn’t take home one of the bigger prizes but they
were awarded the prize for Whistler Who Traveled The Greatest Distance. “We really
just used the trip to drive around the United States,” she said.
After studying film in Australia, Lewis moved to Los Angeles to be close to the film
industry. There, her circle of artist friends grew naturally and with providence - her
unique talent drawing more and more recognition. And over the last few years,
Lewis’s Café Molly events at LA spots like Zebulon, Non Plus Ultra and The Natural
History Museum have become fabled, elegant happenings with appearances from
guests like John C. Reilly, Karen O and Mac DeMarco.
Recorded with a crack team of friends and musicians during 2020’s quarantine, ‘The
Forgotten Edge’ is rife with incredible performances from Thomas Brenneck (Sharon
Jones & The Dap-Kings / Budos Band), Joe Harrison (Charles Bradley, Lee Fields),
Eric Hagstrom (Brainstory), Abe Rounds (Meshell Ndegeocello, Andrew Bird, Blake
Mills), Leon Michels (El Michels Affair), Gabriel Rowland and Dave Guy.

Gold Vinyl

Though the hallowed halls of Berlin’s nightlife excess now sit cold, the sounds that once haunted their depths beat ever onward, and colder still. Birthed in these hushed plaguelands, XTR HUMAN’s new full-length G.O.L.D evokes the frozen melancholy of a post-pandemic city, driven ever onward by the impetus of night’s primary currencies: sweat, release and change. The latest full-length from Johannes Stabel, G.O.L.D finds the German producer evolving as much as the rest of the world has had to. Taking his political and socially conscious lyrics into his native tongue brings a deeper and more powerful thrust to their weight—particularly at a time when Germany is weighing its own social consciousness after years of being seen as a leading world figure. Across G.O.L.D’s ten tracks, Stable brings our zeitgeist into a new realm, where the anger and frustration at our current existence is refined into the energy that fuels our engines, that primal desire always amplified during times of social upheaval—the desire to move your body. Many of the songs delve into Stabel’s own experiences as a German, from explorations of the Deutsch mentality of persistent fear to tackling the fake news, jingoism, racists and coronavirus deniers on hypnotic bangers ‘Dark Germany’ and ‘Dieser Klang’; issues just as prevalent in Germany as in the USA and UK. Yet each song carries just as much weight on to the dance floor, melding driving EBM bass with soaring synthlines and coldwave atmospheres that dispel the tenseness that such heavy topics imbue, in favor of intensity and beauty. Influenced by the pop hooks of Austrian New Wave legend Falco, G.O.L.D never neglects its danceability and HD club accessibility, no matter how heady the lyricism. ‘Starker Junge’, a dissection of toxic masculinity, drops down onto the listener with sparkling synths and razor-sharp guitar, while capitalist critique ‘Fleisch’ is a pogo synthpop anthem that could send any floor into a twirling frenzy. Wrapped in darkened beats and political ideals, G.O.L.D can’t hide the light that emanates from within its glistening, imminently catchy hooks and groove-laden rhythms. In a time where the dance floor sometimes seems like a distant memory, it’s the perfect philosopher’s metal to transmogrify your existence. All songs written and recorded by Johannes Stabel Mixing by Andrew Wiseman Arwork by Nicolas Zupfer Mastering at Dadub Studio

Ipek Yolu is the Turkish name for the Silk Road which connected the East and the West. This band does not deal in silk but they connect flavors, smells and sounds from different corners of the globe, connecting the world.

The band merges bass-heavy electro-tinged cumbia grooves, saz riffs and surf guitar into a multicultural melting pot of South American rhythms, Anatolian folk music and 60s psychedelic rock. A unique universe of sound that bridges the tropical jungles and the dusty deserts in a kaleidoscopic blend of music. Ipek Yolu has used 2020 to write their debut album Tropical Anatolia and are ready to hit the venues and festivals.

The members of Ipek Yolu first got together for an improvised jam session during the Aarhus Roots & Hybrid Festival in 2018. The show was set up as a special one-time-only show merging members from the bands Hudna & Junglelyd. The show ended up lasting for almost three hours. It didn’t take them long to discover they were onto something special. If you know any of these bands mentioned you know you’re in for a body-shaking party, characterized by musical curiosity and improvisation.

The three members of Ipek Yolu have all been part of the Danish music scene for several years. The band leader, Orhan Özgür Turan, is a well-known and respected saz player all over Denmark, and has made a name for himself through his efforts in the Anatolian Folk band Hudna. In 2018 he won an award as Global Roots Artist of the year at The Danish World Music Awards. Olaf Brinch and Lasse Aagaard have worked together for many years making high energy cumbia with their band Junglelyd and Afrobeat with their band African Connection. Olaf is also an integral part of the Danish band AddisAbabaBand. In addition, Olaf and Lasse have toured and recorded with great musicians such as CC Yoyo, former drummer of Fela Kuti, in both Ghana and Denmark. All of the past experiences collided to create Ipek Yolu.

Paint A Picture are incredibly pleased to announce news of their first release: a fully
remastered, licensed reissue of rediscovered British 7” Funny Situation recorded by Reflex - a
band put together by drummer David Humphrey (Public Image Ltd., Sparks, Mike Oldfield) and
privately released on his Star Records back in 1981. With the original record now changing hands
for in excess of £200 and just in time for a 40th anniversary release the reissue - remastered and
cut by Frank Merritt at The Carvery - will include updated original artwork whilst also containing an
insert providing further details and context on the release.
Recorded a few months after seminal Britfunk tune "Southern Freeez" at the very same Vine
Yard Studios and with the same engineer Simon Sullivan - the release unfortunately suffered from
a lack of marketing and proper distribution but almost forty years later the record is now receiving
the attention it deserves and with a price tag to match.
The A side presents a beautiful mesh of funk and soul styles with influence from other Britfunk
bands of the time but with a more overt jazz and rock feel fusing a tight rhythm section with smooth
vocals and climaxing in a guitar and saxophone duel.
The instrumental Version Two provides a fresh approach with the addition of dub FX and
Indian percussion with the use of a tabla added to the mix.

Cressida has carved a space in the hollows between UK bass culture and Berlin's techno heritage, skilfully siphoning the finer side of breakbeat, garage, grime without ever falling into lanes of predictability. This sonic identity he's built has firmly levelled up with "Can You Sleep Like This" - his most personal record to date. This is Cressida not just paying an ode to UK electronic music lineage, but cementing a place within it.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 Series 1 proved to be the last of their collaborations. For Series 2, composer Derek Wadsworth took over the reins to provide a more contemporary sound.
The Year 2 album contains Wadsworth’s score, specially selected cues to provide a driving and exciting narrative to convey the new adventures. Record Collector perfectly describes it as “classic 1976 period stuff: fast, furious and occasionally over the top in a dramatic way; nicely atmospheric for Sci-Fi and a touch funky every now and again.”
Derek Wadsworth enjoyed a long and successful career as a composer, trombonist and session musician. For over half-a-century he played, arranged, and conducted for some of the biggest names in music including Dusty Springfield, George Harrison, Judy Garland, Dionne Warwick and many more.

Hammer Films has long held a special place in the hearts of horror fans, defining the British genre during the 1950’s with classics such as Dracula and The Curse of Frankenstein. Composer James Bernard scored both and went on to compose the music to a host of horror films for Hammer during the Sixties and Seventies. His distinctive clashing harmonies, often doubling the musical theme a tone higher, raise the on-screen action to a frenzied pitch, terrifying 20th Century cinema goers to the degree that his scores have become synonymous with the titular monsters.

The Wicker Man soundtrack has achieved huge cult status over the years, it has certainly proved to be a major influence on neofolk and psychedelic folk artists ever since the film first appeared in cinemas in 1973.

The soundtrack’s songs were performed by the band Magnet. The band was assembled by musician Gary Carpenter (the film's associate musical director) to perform songs composed by

New York songwriter Paul Giovanni. Giovanni had always planned to release the songs recorded for his soundtrack, firmly believing them to be worthy of existing as an album in their own right.

Of course, this never happened, mostly due to the film’s troubled past, and consequently all of the existing soundtrack albums that have been previously released have included extra incidental music from the film.

So, this edition is the final word in the long history of this influential soundtrack, the songs recorded with Paul Giovanni by Magnet are presented here as an album,

just as Giovanni himself intended. This definitive version of The Wicker Man has only previously been available as a special edition released in 2013 to celebrate the

40th Anniversary of the release of the film. For that release Silva Screen commissioned artist Richey Beckett to create a brand new image for the cover of a one-off pressing on vinyl,

and that edition is long sold out and has become sought after.

This newly put together Silva Screen release features new artwork, extended notes, a gatefold sleeve and is pressed on yellow vinyl.

Children of Silk, originally released in 2015 is the second EP by Sevdaliza, who cited textures such as skin, glass, and silk as the main inspiration behind the EP. “Marilyn Monroe” served as the lead single from the EP and gained critical acclaim. ”Men of Glass” features Atlantic rapper Rome Fortune.

In just a few years time Sevdaliza established herself as an iconic, highly creative, versatile and independent artist who has landed on many celebrity moodboards. Her stunning visual for HUMAN of her debut album ISON has collected over 25 million YouTube views to date and masterpiece Shahmaran about mental slavery, won 2 UK Music Video Awards. Sevdaliza toured 35 countries in the last 5 years and amassed thousands of fans globally (Spotify
200.000, Youtube, 300.000, IG 230.000). In 2020 Sevdaliza returned with her
follow up album Shabrang.

Children Of Silk is now available on vinyl for the first time. This is a limited
edition of 2000 individually numbered copies on gold coloured vinyl.

The Suspended Kid is Sevdaliza’s debut EP, originally released in 2015 via her own record label Twisted Elegance. When asked about the meaning behind the EP’s title, Sevdaliza responded:

“The title is how people responded to me in social situations. I realized that those things that deflect me from social situations — not getting along with your coach or your boss or whatever — it made me realize I had to choose a different path.”

In just a few years time Sevdaliza established herself as an iconic, highly creative, versatile and independent artist who has landed on many celebrity moodboards. Her stunning visual for HUMAN of her debut album ISON has collected over 25 million YouTube views to date and masterpiece Shahmaran about mental slavery, won 2 UK Music Video Awards. Sevdaliza toured 35 countries in the last 5 years and amassed thousands of fans globally (Spotify
200.000, Youtube, 300.000, IG 230.000). In 2020 Sevdaliza returned with her follow up album Shabrang.

Before joining vibraphonist Terry Gibbs’ quartet in 1962, Detroit-born pianist Alice McLeod
played intermissions at the Paris Blue Note and appeared on French TV with saxophonist
Lucky Thompson, reaching Gibbs’ attention in a duo with vibraphonist Terry Pollard; in the
quartet, she became the perfect foil for Gibbs, her understated piano making room for his
intense improvisation, stepping up with her own expression when needed. El Nutto, their
third LP, captures Alice at her best in this setting, as heard on the reveries of ‘El Flippo’ and
the title track, this solid set of Gibbs originals showing her virtuosity, composure and
curiousness, which would soon reach more cosmic highs, once she became Alice Coltrane.

Following their critically well received debut album, Seekers, in 2017 - Our Kingdom Undone sees BEYOND GRACE refining and redefining their sound into something that’s simultaneously more intricate and more intense than ever before, combining conceptually ambitious songwriting and high octane heaviness in equal measure. Our Kingdom Undone’s gestation period took place under a pall of social unrest and political uncertainty the world over, so it’s perhaps no surprise that each of these eight songs is a cathartic scream of raw emotion and primal poetry. Full to the brim with lyrics that rage with unfettered fury and unbound frustration against the rise of isolationism, exploitation, rampant militarism, and religious indoctrination. Recorded at Stuck On A Name studio by Ian Boult and Bookhouse studio by Tom Hill, before being mixed and mastered by Charles Elliott (Tastemaker Audio / Abysmal Dawn), Our Kingdom Undone (whose stunning artwork was provided by in-demand UK artist Shindy Reehal) is both a crushing statement of intent and a vital reminder that the personal is political, that the ends do not justify the means, and that we must not let our fear divide us and drive us into an age of unreason.

Blending screamo and metalcore seamlessly, the three-piece drop their debut full length filled with blistering hardcore as well as slower, expansive and epic post-hardcore. Misery Never Forgets is a crimson slice of emotional violence, whose attack is both frenetic and draining, a maelstrom of vulnerability frought with pain and aggression that calls to mind such stalwarts as Pg. 99, Majority Rule and Zao. Born as an outlet for trauma, Wristmeetrazor toes the duplicitous line of suffering and salvation. This paradigm flickers brighter than ever through the cloak of darkness that is the band’s debut LP “Misery Never Forgets”, nine tracks of blinding, chaotic emotion. Conceived in the bedroom of guitarist and vocalist, Jonah Thorne, Wristmeetrazor started as a solo project influenced by the likes of screamo bands Neil Perry and Kodan Armada in Spring of 2017. Shortly after releasing a demo, Thorne enlisted help from bassist and vocalist, Justin Fornof. After releasing two EPs in the Fall of 2017, and touring across the southeast, the band rounded out their line up by adding drummer and vocalist, Bryan Prosser.

Bad Waitress’ antsy art punk revels in fits of fury and ego. It spits in your face and winks, ferocious and playful. The Toronto-based four-piece play like they’re conspiring or casting a spell, each member wielding a different power, howls and erratic drum fills and fiery riffs fueling one another.
That improvisation spirit doesn’t stop at their music. Katelyn Molgard, Nicole Cain, Kali-Ann Butala, and Moon finish each other’s sentences. Their conversations flow like free jazz. When asked to describe Bad Waitress’ sound, they agree on one word: conviction. “We play with conviction. There's nothing apologetic about it,” Kateyln says. “Even with our bizarre song structures, we don't hide anything in our music. It's just very...I don't like the word raw, it’s overused, but...raw.” The band fidget between genres, instead honing a distinct energy. “It's energetic. It's electric,” Moon adds. “It's whatever word that we can think of later that's better than raw.” Nicole suggests, “Honest?” Katelyn jumps in, “Rawnest.”
Bad Waitress’ debut full-length album, No Taste, finds strength in mood swings, from upbeat “groovin down the street” songs like “Strawberry Milkshake” to “I'm gonna fucking punch everyone” songs like “Lacerate,” as Nicole puts it. “It’s good to listen to when you're walking alone at night. I get really anxious, but I feel powerful when I listen to this album, like I’m fucking untouchable. It’s basically a self-defense album.”
Traces of Sonic Youth, Fugazi, Yeah Yeah Yeahs, and The Stooges can be heard throughout No Taste. The band also cite jazz as an inspiration. Moon’s background playing improv jazz, blues and swing makes it an essential force, at the core of Bad Waitress’ music and collaborative process. “Moon usually has a weird drumbeat that they’ll play spontaneously, then Nicole will jump in with her wack ass music sensibility on bass, and then Kali will play something that’s super wrong in a good way,” Katelyn says. “And then I’ll make sense of it and find where the chords are. It’s bizarre.”

Swedish Producer Petter Eldh announces his new album “Projekt Drums vol. 1” which embraces his love of heavy beats, psychedelic sounds and musical collaboration. This first volume is made of six diverse tracks from some of the most exciting drummers working on the scene today: Savannah Harris, Eric Harland, Nate Wood, James Maddren, Gard Nilssen and Richard Spaven. The music is hard-hitting and mesmerising, it’s full of complexity and sonority but at the heart are the drums: the beat and groove alongside a kaleidoscope of sounds and effects. The arrangements include a total of sixteen instrumental collaborators comprising Harpists, French horn and marimba players and a plethora of keyboards and unique synths. It’s original and highly engaging. No single listen will do it justice!

In the fleeting moments between the state of being awake and reaching the doors of dreamworld lies a borderland whence comes the mood music of ancient stories told – the celestial unison of three creative souls known as AURI.
Originally born in 2011 from the special connection of Johanna Kurkela, Tuomas Holopainen and Troy Donockley, AURI was first introduced to the world as late as 2018. Now complemented by the dynamic percussive talents of Kai Hahto, the threesome carves fantastical worlds entirely their own.

Comprised by Tuomas’ keys and infinite imagination, Troy’s arsenal of flutes, other folk instruments and magical touch, and Kurkela’s youthful and tender voice full of childlike wonder – fragile and gossamer, yet powerful and moving beyond words – the flow of AURI’s celestial, uplifting mood music captures from the first notes and does not let go.

To its key members AURI is a creative outlet unconfined by the preconceptions caused by their other bands and their respective audiences. Leaning to Celtic folk and cinematic pop yet not shackled by any specific genre, AURI isn’t the kind of music that can be described by words alone. No, an equal effort of the enchanted three, AURI runs a lane of completely their own. Unburdened by anyone’s expectations but their own. This is the sort of music that taps directly into emotions.

Embrace the atmospheric auditory imagery of fantastical valleys of other fairytale dimensions and soon gone fireside bards. Dwell for just a moment in treasuries of dreamlands and ponderings that see mundane things turning into otherworldly miracles.Feel welcomed to embark on endless adventures on long roads untrodden and ships never sailed.
As if frozen in time, you’ll be captivated by heart-burstingly elating fare-thee-wells for those dearly departed.
Hear the soft words that empower those feeling inadequate and reassurance to others fearing death.AURI’s are the keys to a dimension of awe no one else sees. Only theirs to offer are the mystical, soundscapes and ethereal vocals.
Theirs to hold are the magical powers that can melt the steeliest of hearts and make grown men cry. AURI invites the listener along for journeys no other band can provide.

Come, my love – now it‘s calm enough to go.

Priya Ragu’s story is just as fascinating as her music. She was born and raised in Switzerland following her parents' escape from the Sri Lankan civil war in the early eighties. As she grew older, the Swiss and Sri Lankan cultures began to clash. Although they are now fully supportive of their daughter, Priya’s parents were initially strict, she wasn’t encouraged to listen to Western music or hang out at the mall after school. However, her musical ambitions soon began to take root.

At the age of 16, she performed Alicia Keys’ ‘Fallin’’ to her brother, who insisted she perform at a show he was doing with his rap group. Her father discovered their plans and stopped her from performing, but Priya wasn’t deterred. She instead made her ambitions more covert, sneaking out to jam sessions and open mic nights, before decided to fully pursue her ambitions by moving to America with the help of her friend, the rapper Oddisee. Working remotely with Japhna, the pair created several tracks which would provide the launchpad for where she is today.
‘damnshestamil’ Priya Ragu’s debut mixtape is a result of her highly productive creative partnership with her producer and brother Japhna Gold, featuring all Priya’s singles to date, including the international sensation ‘Chicken Lemon Rice’, ‘Good Love 2.0’, ‘Forgot About’ as well as her most recent single ‘Kamali’ which launched with a BBC Radio 1 ‘first play’ – with Annie Mac, and most recently A-Listed with the BBC Asian Network – showing no signs of slowing down.
Priya has coined the term ‘Raguwavy’ for her vibrant sound which defies standard genre definitions. It signposts the next era of forward-thinking R&B and electro-pop by tapping into the sonic accents of her Sri Lankan roots.
The current single ‘Kamali’ was inspired by a short BAFTA nominated film of the same name. It explores the story of Suganthi a single mother living in a small village in India, who was raised in a culture in which gender roles are clearly structured and as a result she stayed at home until she was old enough to marry. Suffering through abuse– she escaped to create a better future for herself and her daughter – Kamali. Musically and visually Priya connected to the story of Kamali and brought her world to life through song, placing emphasis on the important of motherhood and the circle of life.
As the road to the mixtape approaches - Priya fulfilled a lifetime ambition when she played a sold-out show as part of the Montreux Jazz Festival in Switzerland. Later Latitude Festival in July, and scheduled to perform at All Points East in August, where she begins to peel back the layers of her first body of work, to a live audience.
She will end the year on a high by embarking upon her long awaited debut UK & European headline tour. Consisting of nine shows spanning six countries, the tour includes a London show at the Jazz Café which is now sold out and will culminate with a homecoming show in Zurich a week later.

The fifth studio album from Welsh quintet Super Furry Animals was their most commercially successful to date. A musically eclectic record, incorporating pop, prog, punk, jungle, electronica, techno and death metal, the album was shortlisted for the Mercury Music Prize in 2001 and named as Mojo’s best album in the same year. Their major label debut album peaked at #3 on the UK album chart on release, supported by singles ‘(Running) Rings Around The World’, ‘It’s Not The End of the World’ and ‘Juxtapozed With You’. Paul McCartney and John Cale make cameo appearances on the album too.

This 20th anniversary reissued has been remastered from the original master tapes. The double-LP format is on heavyweight vinyl, while the 3CD set boasts 33 previously unreleased tracks including remixes, demos, other curios, as well as sleeve notes from Keith Cameron.







[f] B3

Was zur Hölle ist Country Funk? Eine berechtigte Frage. Die Antwort ist kompliziert, was zum Teil daran liegt, das Country Funk ein trotziges Genre ist, das sich allen Bemühungen einer Klassifizierung erfolgreich entzieht. Der Stil umfasst die positive Attitüde des Gospel und vereint sie mit der sexuellen Forschheit des Blues; die Harmonie des Ländlichen (=Country) trifft auf die harten Seite des Urbanen. Country Funk ist abwechselnd spielerisch und melancholisch, zwischen langsamen Jams und zündenden Arschwacklern. Er ist zugleich im Studio poliert und an der Theke gegrölt. Und während diese Kombinationen unmöglich erscheinen, macht bei näherem Hinhören alles Sinn. Light In The Attic präsentert ,Country Funk 1969-1975", einem Schmelztiegel mit der Musik von Dale Hawkins, John Randolph Marr, Cherokee, Johnny Adams, Mac Davis, Bob Darin, Jim Ford, Gray Fox, Link Wray, Bobby Charles, Tony Joe White, Dennis The Fox, Larry Jon Wilson, Bobbie Gentry, Gritz und Johnny Jenkins. Dazu gesellen sich extensive Linernotes von Jessica Hundley (MOJO, The New York Times, Vogue), Originalartwork der ursprünglichen Alben und neue Illustrationen von Jess Rotter. Dieses Paket ist nicht nur Balsam für die Ohren, sondern auch ein Fest für die Augen. Stellt Euch ein Wunderland vor, in dem die METERS aus der Josie-Ära die Backing Band eines jungen ELVIS sind, der von KRIS KRISTOFFERSON geschriebene Melodien über das bäuerliche Leben in Amerika singt. Hier beginnt das Territorium des Country Funk. Alle Tracks sind neu gemastert. Mit 24-seitigem Booklet und raren Tracks von Bob Darin, Gray Fox, Dennis The Fox, Cherokee, Gritz und vielen anderen.

Robert Jon & The Wreck are back and ready to tear up the UK and Europe
all over again with their new record, Shine A Light On Me Brother.
The impressive new album, written and recorded during the COVID pandemic,
and self-produced by Robert Jon & The Wreck, is set to release 3 September,
2021. Robert Jon & The Wreck is comprised of Robert Jon Burrison (lead vocals
and guitar), Andrew Espantman (drums and background vocals), Steve Maggiora (keyboards and background vocals), Henry James (lead guitar and background vocals), and Warren Murrel(bass and background vocals). They will take
the new album on tour in September/October 2021 AND February/April/May/
June/July 2022.
Robert Jon & The Wreck has been writing songs and releasing albums since the
band’s conception in 2011. During this time, this quintet of follicular proficient
gentlemen has been busy fine-tuning their sound playing to packed houses
across Europe and the United States.
The band has been received with accolades and raving reviews for years now,
from nominations of “Best Rock” and “Best Blues” and winning the title of
“Best Live Band” at the Orange County Music Awards in 2013, to numerous top
10 chart placement on Southern Rock Brazil’s Top 20 Albums to being praised
as “Classic and fresh at the same time” by Rock The Best Music, “Raising the
bar for the Southern genre” by Blues Rock Review, and “keeping the history
of classic 60’s and 70’s rock alive for newer generations” by Blues legend Joe
Bonamassa.
“A classy re-bore of well-trodden southern rock tropes by an Orange County
quintet with impeccably realised contemporary commerciality. Born of Allmans
and Skynyrd, but box fresh for 2000.” - Classic Rock Magazine
“Full of Eagles like guitar riffs and on infectious groove.” - Blues in Britain

Over the past 16 years, Rebelution has had nearly everything a band could
ask for: chart-topping albums, hundreds of millions of streams, a GRAMMY
nomination, even their own festival in Jamaica.The only thing they haven’t
had, it seems, is time.
“When COVID hit, we found ourselves in uncharted territory,” says frontman
Eric Rachmany. “Suddenly we were just sitting still, which was a completely
new experience for us.”
Difficult as it was to leave the road behind, pressing pause proved to be a blessing in disguise for a band that has emerged from lockdown with their most
captivating, eclectic record to date: ‘In The Moment’. Recorded remotely in the
midst of the coronavirus pandemic, the collection is deliberate and wide-ranging, infusing the quartet’s soulful, exhilarating brand of modern reggae with
addictive pop hooks, alt-rock grit, and hip-hop grooves.
The performances here are bold and self-assured, and the production is equally ambitious, drawing on swirling reverb and trippy delay to create an immersive sonic universe that’s both futuristic and vintage all at once. Strip away the
intoxicating atmospherics, though, and what remains is a work of profound
reflection, a probing, revelatory meditation that balances joy and introspection
in equal measure as it contemplates the meaning of time and invites us to sit
back, slow down, and live ‘In The Moment’.
Includes guest appearances by Busy Signal, Kabaka Pyramid, Durand Jones, and
Keznamdi.
coverage out in reggaeville worldareggae niceup Print: Rock at
Night Magazine
Radio plays for “Old School Feeling” on BBC Radio 2 David Rodigan, The Random Reggae Show Swindon 105.5 Swindown FM and Vibes FM Reggae My
Limits

Un Singe En Hiver (“A Monkey in Winter”) starred the greatest name of the
time in French Cinema, Jean Gabin and a “rising newcomer”,
Jean-Paul Belmondo.
This is popular early 60s mainstream French cinema, with a certain ‘quality’
that would not be to the taste of the nouvelle vague aficionados. In fact this
film is nothing less than the reflection of a certain Gaullist spirit of rebellion,
fiercely individualistic and disabused of all ideologies.
The music of Michel Magne outlines the nostalgic wanders of Albert Quentin
(Jean Gabin) who after an adventurous youth on the Yang-Tse-Kiang now lives
a quiet life with Suzanne (Suzanne Flon) whom he met at the Bourboule and
manages the Stella hotel at Tigreville (actually Villerville in the Normand Calvados) and takes care of Gabriel Fouquet (Jean-Paul Belmondo), a young adman
whose heart was broken in Madrid.
The genius of Magne is found in his evocations of Spain and China not as they
were at the time but as the two main characters picture them with the help
of not just a few drinks. Here is a jolly good record you will want to go back to
every time the right-minded ones try to mess with your basic rights.

Alice Cooper perfected shock rock with his 1975 concept album WELCOME TO MY NIGHTMARE. The stage show is justifiably legendary, replete with boa constrictors, guillotines and other Grand Guignol theatrics, and this 1975 Atlantic collection is its aural equivalent - a loosely conceptual set exploring a child's dark dreams. With guitarists Dick Wagner and Steve Hunter supplying the firepower, this NIGHTMARE features plenty of hard rock (“Cold Ethyl,” “The Black Widow”), but there are also quieter moments like the hit ballad “Only Women Bleed,” and thanks to Bob Ezrin's elaborate production it all flows together perfectly. WELCOME TO MY NIGHTMARE will be pressed on clear vinyl.

The soulful and elegant pianist Sonny Clark brings his A-game to My Conception, a program of all-Clark originals recorded in 1959 but not released until 1979. Joining the pianist are a cast of hard bop masters including Hank Mobley on tenor saxophone, Donald Byrd on trumpet, Paul Chambers on bass, and Art Blakey on drums. Highlights from this session include the lead-off track “Junka,” the fiery brilliance of “Minor Meeting,” and Hank Mobley’s sublime soloing on “Royal Flush. Blue Note Records’ Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tapes, 180g audiophile vinyl reissues in deluxe packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI).

LTD Edition!

Wenn ein Großteil von DJ Seinfelds früherer Arbeit von sepiafarbenem Dunst geprägt war - ein Ergebnis der absichtlichen Lo-Fi-Produktionstechniken des Produzenten - dann rückt seine Musik auf dem brandneuen Album, „Mirrors“, fest in den Fokus.Aufgenommen zwischen Berlin und Malmö, ist „Mirrors“ der Nachfolger von DJ Seinfelds von der Kritik gefeiertem Debütalbum, „Time Spent Away From U“, von 2017 und sein erstes für Ninja Tune. Benannt nach einem Zitat von Armands Lieblingsschriftsteller, dem argentinischen Romancier Julio Cortázar, findet sich der Produzent auf dem Album in einer ruhigeren und geerdeten Stimmung wieder, nachdem ein unglücklicher Vorfall in seiner Familie ihn in den letzten Jahren dazu zwang, mehr Zeit zu Hause in seiner Heimat Schwedenzu verbringen.

2016 als Teil der Lo-Fi-House-Szene neben Produzenten wie Ross From Friends und Mall Grab bekannt geworden, veröffentlichte DJ Seinfeld (dessen Name auf ausgedehnte Sessions beim Schauen der klassischen US-Sitcom nach einer Trennung und einem Umzug nach Barcelona zurückgeht) 2017 sein Debütalbum, das unter anderem vom internationalen Rolling Stone und Pitchfork gelobt wurde. Es erregte auch die Aufmerksamkeit von Zeitgenossen wie Flume, Flying Lotus, Bonobo und Martin Garrix und führte dazu, dass DJ Seinfeld zu einem weltweit gefragten DJ wurde, der überall von Glastonbury bis Coachella, Warehouse Project, Sónar By Night und MoMaPS1 Sets spielte und die Bühne mit zahllosen Künstler*innen teilte, von Jeff Mills bis Stormzy, Underworld und Bicep, außerdem begleitete er Disclosure auf einigen Terminen ihrer US-Tour. Im Jahr 2018 erschien seine DJ-Kicks, wodurch er zu einer auserwählten Gruppe von DJs und Produzent*innen katapultiert wurde, zu der auch Moodymann, DJ Koze oder Nina Kraviz gehören. Um das Ganze abzurunden, eröffnete Aphex Twin seine Live-Shows mit dem DJ Seinfeld-Track, „Sakura“.

An invitation to multi-cultural musics reunited around the Carribean Islands. From Haïti to the Bahamas, passing by the French West Indies this journey explores traditional rythms from Soca, Calypso or Biguine. Musicians as Gordon Henderson, Max Cilla or the band Skah Shah knew how to use Soul, Funk and Disco influences to create a unique groove with multiple faces.

In 1970, Kevin and David met whilst they were working in the Labour Exchange Office on Aytoun St, Manchester. Both played guitar and had been searching for other musicians who played atmospheric music. Kevin had been playing in small clubs in Manchester and David performed in a few local bands. One evening, they jammed together at Kevin’s family home, and quickly realized that their playing blended together to form the basis of the sound they had been looking for. In the late ‘70s, the music scene in Manchester was bursting with new bands and music.

However, Kevin and David had little in common with the local acts, being disciples of a more meditative approach. They followed a path of their own, reaching for an otherworldly sound that they heard from artists like John Martyn, David Crosby, Erik Satie, Terry Riley, Eberhard Weber, Alice Coltrane, and Ralph Towner. They experimented combining their acoustic guitars and David’s bass with various effects pedals and techniques to try and achieve a warm and expansive sound that rides the line between ambient, jazz, and psychedelic folk Music.

Towards 1981, they had written eleven songs and accompanied a few with Moog synthesizer laid down by Rob Baxter. All were recorded on cassette decks in their simple home studios. They named this collection of music “Light Patterns”, after a poem Kevin had written. With Light Patterns complete, they set out to find a label to represent their music. They started playing a few gigs in Manchester; Band On The Wall, the Gallery, and other venues, such as Rotters which local promoter Alan Wise had organized. They set up with small amps along with their effects and played as though they were back at home. As Kevin remarks, “It was unusual, to say the least, to play such venues in a low volume chilled out way. However, people listened, often in shocked curiosity, and some even asked for tapes.”

Peter Jenner, of Blackhill Enterprises, eventually picked up the album for his new label, “Sheet”. Peter had managed lots of experimental bands and solo artists, including Pink Floyd in their early Syd Barrett days. He always favored outsiders! The tapes were taken to Strawberry Recording Studios in Manchester, who were surprised when Kevin and David walked in with just a couple of home-produced cassette tapes. Fortunately, they liked them and agreed to master the album. It was then sent to Portland Recording Studios in London for final mastering to vinyl. George Peckham, aka “Porky”, did the pressing with a personal message in the deadwax; “Kaftans, Candles and be Cool Man”. The artwork for the album cover was done by the late Barney Bubbles, a truly visionary artist.

After the album’s release, the pair continued to play together regularly until David moved away from the city. Kevin still resides near Manchester in the rolling hills outside of the city. He continues to experiment with dreamy music in his loft, and we are set to share a selection of his ethereal archival and current compositions in the coming months. David lives a quiet life in a small coastal town in the South, he likes to sail and is an avid cricket fan. We’re excited to make Light Patterns accessible again for the first time in nearly 40 years, remastered from the original tapes. As the original press release said, “Put the album on, lie back and enter the land of no floors”.

New Yorker Singer-Songwriter entdeckt den Westcoast-Sound. Das 2019 erschienene Album "The Unseen In Between" etablierte den amerikanischen Musiker Steve Gunn als einen Großmeister des US-Songwritings - mit seinem neuen Album "Other You" unterstreicht er nun diesen Anspruch. Gunn, der ursprünglich aus Pennsylvania stammt und mittlerweile in Brooklyn lebt, ist für die Aufnahmen zu seinem neuen Album an die Westküste gereist. Das passt perfekt, denn seine Musik ist der ideale Soundtrack für Roadtrips von der Ostküste an die Westküste des Landes. Sein fein destillierter Sound lässt sich dabei zwischen Roots Rock, Americana, Folk und Jazz treiben. Steve Gunn ist Traditionalist und Suchender zugleich. Zumeist geht er nur mit losen Ideen ins Studio, bei denen er am Anfang nie so genau weiß, wo sie ihn am Ende hinführen werden. Ähnlich gestaltete sich das auch dieses Mal. Sein sechstes Studioalbum "Other You" nahm Steve Gunn zusammen mit Produzentenlegende Rob Schnapf (Beck, Elliott Smith, Kurt Vile) in dessen Mant Studios in Los Angeles Ende 2020 und Anfang 2021 auf. Schnapf hat großen Anteil an der Entstehung dieses Albums. Er schüttelte nicht nur das Soundbett auf, sondern mischte auch Steve Gunns Stimme in den Vordergrund, um den poetischen Lyrics des Songwriters die richtige Bühne zu bieten. Mit Hilfe von befreundeten Musikern wie Juliana Barwick, Mary Lattimore, Bridget St. John, Jeff Parker, Bill MacKay, Ben Bertrand und dem Schlagzeuger Ryan Sawyer (TV On The Radio, Thurston Moore, Gang Gang Dance) entstand mit "Other You" ein Album, mit dem Steve Gunn nicht nur die Grenzen von Genres auslotet, sondern auch seine eigenen.

Jimmy Tamborello returns with a collection of 10 pop-infused vocal hymns – simultaneously perfect dance floor fillers and lullabies. "Away" is the second of two Dntel albums to be released in 2021 by Morr Music in collaboration with Les Albums Claus. While "The Seas Trees See" showcased Tamborello's more intricate and quiet side, "Away" embraces his love for pop music. A genre which like no other has been resonating the advancements of technology from the very beginning. Songwriting was sequenced and computerized on such a large scale that it would change the sonic aesthetics of the charts forever.

Dntel is a musician who changed pop music forever – and still works in this never-ending labour of love, both effortless and highly focused, constantly tweaking the universe of our musical perception. Whether beatless or uncompromisingly embracing the limelight of collective ecstasy with one of his most remembered tunes "(This Is) The Dream Of Evan And Chan", his almost forgotten anthem "Don’t Get Your Hopes Up" or his work as James Figurine. "Away" features 10 of these extravaganzas – uniting his audience once more in hope and future-bound optimism.

"I grew up with 80s techno-pop – these influences always come through in my music", Jimmy writes from Los Angeles. For this album, though, "I was thinking more of 80s indie pop or labels like 4AD. It is a mix of those influences along with trying to figure out what elements of my own discography I still connect with. I wanted it to reflect old Dntel records as well as the techno-pop band Figurine I used to be in. I have always considered my music basically being techno-pop, but not referring to pop as popular music – I just like pretty melodies. But with the Dntel moniker, I never had the ambition to produce music for a really big audience.”

It is exactly that looseness in approaching music which makes Tamborello’s style of composing so unique. On "Away" he combines a healthy dose of distortion with the most-sticking melodies, vocals and bitter-sweet lyrics he ever came up with – performing all vocals himself, with the help of technology. "My voice has a limited range. When I applied this vocal processing it seemed to bring out the emotions more. I don’t see it as the same as the more artificial, autotuned style of modern pop music. I think it still sounds like it could be a real person singing, just not me."

Using this technique, Dntel disembodies himself from his own art, welcoming all kinds of interpretations re. his current state as an artist. "Somehow this processed voice feels closer to how I see myself than my normal voice, for better or worse…", he writes. Pop music is a fragile entity, making its kingpins vulnerable. Many emotions reveal a lot of the originator’s personality –this is something one has to be prepared for. On "Away", Jimmy Tamborello finds the perfect way of marrying his unique musical personality with both the demands and possibilities of pop music. Just listen to "Connect" and you’ll know what we’re talking about. A perfect, yet timeless album for less than perfect times.

Liverpudlian Andy Ash is no stanger to the scene. Improving his production skills over many years, Andy has an impressive list of labels he released on: Stillove4music, Delusions of Grandeur, Dessous or Foto Recordings just to name but a few. After two compialtion tracks for Quintessentials, it’s time for his first full release! The „Lightbulb EP“ starts with „Lightbulb transaction“, a straight floating club track just perfect for these summer nights. The b-side goes deeper, focusing on slower beats yet keeping the „summer vibe“. Andy Ash is not only a master when it comes to the perfect blend of House, Disco and Techno, he is also a very talented painter, as you can see on his artwork! Hats off for the music and the design Andy!

Brian Leeds a.k.a. Huerco S' West Mineral label present a groggy Midwestern ambient doozy with Chat, the first collaborative release by Pontiac Streator and Ulla Straus
Pontiac Streator previously appeared as a guest on the first West Mineral LTD release, Pendant's Make Me Know You Sweet, while Ulla Straus is perhaps best known for her part on the cultishly adored bblisss compilation tape which introduced Huerco S.'s Pendant alias to the world at large.
Their first album together is a bedroom-crafted confection where drowsy blues and raga smudge with lounging exotica themes in a blunted style to properly heavy-lidded effect.
Chat was recorded on July 5th in Pilsen, Chicago on Ulla's bed after a long week spent dancing with friends, staying up all night typing in chatrooms, and hate-watching Fox news. The results channel that experience into four lop-sided creations that feel satisfyingly burned out and immersive, like the murmur of zonked chat between close friends.
In four parts; Chat One thru Chat Four, the record unfurls with a muggy mid-fi tension between its illusive fidelities, kindling a smoky atmosphere that colours listening spaces with seductive smells
and a muggy, keening tension that recalls the minutes before sundown
This balmy feel of the surreal comes out in a sylvan patina of sweetened cicadas and curling pads urged along by a stream of wooden drums, variously recalling Spencer Clark on some kind of
Aguirre soundtrack mission in the tropics, a heatsick Rainforest Spiritual Enslavement piece, or, in the dream-pop drift of the last part, like Leven Signs smudged by Muslimgauze.
Coolly serving to expand West Mineral LTD's remit after that spellbinding Pendant album and a 12" of ectoplasmic dubs from uon, the flux of arid/fluid textures and para-dimensional fidelities in
Chat feels somehow calming yet fraught with a somnambulant appeal that's dangerously easy to

In My Sleep is the debut vinyl release from French producer Margee. Having gained a loyal following last summer with a remix for Tommy Guerrero, released on Music For Dreams, this EP showcases his natural ability at creating low-slung, densely layered productions, perfectly aimed at the dancefloor.

The release also features two heavyweight remixes. The first of these comes courtesy of underground House legend DJ Nature, who takes the title track and gives it a completely new twist with his inimitable ‘ruff disco’ stylings. Hailing from Bristol (via New York), recent years have seen Nature release on Futureboogie, Golf Channel and Jazzy Sport.

The second remix on the release comes from Hardway Bros (AKA Sean Johnson). Having been an early champion of Margee’s work on his regular ALFOS streaming marathons, Sean took the second track on the release, Wrong Dream, and went into heavy-dub mode. The resulting remix clocks in at just over 11 minutes and is everything you’d expect from him, and more…

Margee said of the release ‘In My Sleep started while taking a shower. The bassline popped up in my mind and I ran out as quickly as possible to record it. From there, I got pulled into a deep emotional trip with groovy tones and dirty sounds. Wrong Dream is actually a lost project that I had to start over again. It turned out to be more fierce than the first one, experimenting with arps and fuzzy synths, while keeping a certain groove that was easier to reproduce.’

In My Sleep is the second release from London based label Other Goodness, following on from Bawrut’s ‘Divergent Emotions’ EP last year, which quickly became a mainstay of the live-streams and a DJs favourite.

Working his mellow magic on the Growing Bin, Sorcerer entertains your inner child with eight tracks of instrumental west coast pop suitable for dancing, dreaming and surfing a wave or two.
While Basso sat in a Teutonic treehouse, feeding his head with the sounds of the woodland, Dan Judd danced on the sands of San Francisco's Baker Beach. Stretching between them, like the world's longest tin can radio, was the Dream Chimney. This legendary forum, run by Ryan Bishop, better known as The Beat Broker, helped to launch a thousand labels, and the Growing Bin is one of them - all hail the Chim!
Here, Dan, naturally mystic in his Sorcerer guise, satisfies all our sensory needs with a Kinder Surprise of sweet melodies, coastal cool and playful rhythms inspired by his children's earliest responses to music. Following his feelings and avoiding overthinking, he creates open, enticing and accessible cuts; each living and breathing that mellow magic you only get on the West Coast.
'Kids World' kicks into gear with the spheric bass of '2000 Studio', a bouncy embodiment of that spacious San Francisco sound. There's a nod to nu disco but the dreamy dubiness takes the track much deeper, especially as those surf guitars start to detune in the summer heat. The breezy fretwork continues on 'Disco Drums', topping a wriggling groove tailor made for the terrace. Shades of rave refract through a healing crystal at the midpoint, encouraging al fresco dancing from sunrise to sunset. The A3 sees Sorcerer get into the groove of 'Bahia Brothers', rolling that rubberised B-line out of his own Paradise Garage before putting the top down for the carefree Balearic pop of 'Spray Paint.'
The B-side glides into being via the night dubbing grooves of 'Fire Feel', a reverb laden journey though glassy tones, off beat perx and gorgeous chord progressions. Next up, the new wave inspired 'Crunchy' translates Sheffield's daring synth pop into a wide eyed blast of psychedelic house, boosting our mana ahead of the loose limbed and light footed 'First Wave'. Ringing guitars reference Ghanaian highlife, shimmering in the heat haze as Dan funks up the drum kit ready for the broken beat and blissed out energy of sundowning set closer 'Escape Route'.