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Bongos, bouzouki and Farfisa organ galore ! The explosive cocktail of rock'n'roll and traditional Tsifteteli hailing from 1960's Greece is still alive thanks to Deli Teli : the Marseille-based quartet performs a string of forgotten hits that once set Athens on fire, with a contagious energy and a subtle dose of Mediterranean drama.

Half a century ago, while French seasiders would dance to « Yéyé » sounds and dig the Beatles or Pink Floyd, a whole other scene was happening further along the coastline. Notably, Greek artists were a huge influence beyond the Mediterranean cradle ; Aris San's version of « Boum Pam » (a.k.a. « Bros Gremos Kai Piso Rema »), brilliantly interpreted by Deli Teli on this record, was a n°1 hit from Southern Europe to the tip of India ! Far from being an exclusive Greek sound, Tsifteteli music has travelled through borders for centuries and means « double string » in Turkish. In the 1960's, it mixed with rock'n'roll, surf and Latin-american influences, and gave birth to the typical « Laïko » sound.

With their powerful electric bouzouki (Greek lute) and the distinctive sound of the Farfisa organ, Deli Teli have carved their style while digging through the incredible goldmine of the late 60's and early 70's Tsifteteli/Laïko singles. The 4 musicians met in 2019 with a burning desire to dive into electric sensations – bassist Christos Karypidis used to play oud and keyboardist Arthur Bacon played accordion in most of his former projects – and made the most of 2020's « lockdowns » by building their repertoire and thinking up Deli Teli.

On this mini-album, they also interpret Koko's « Chily Chily », a groovy belly-dance mover ; « Ekso Dertia Kai Kaïmi », an intoxicating and frenetic floor shaker ; « Tsiftetelli 1969 », a cool organ-lead surfing instrumental ; and 2 slightly freer and more psychedelic numbers, « Taksim Deli » (improvisation) and « Bournelis », a creative re-arrangement of 2 tracks by Leonardos Bournelis.

Deli Teli preach a collective, sensual and solar hip-wiggling across the continents and beyond ; they are ready to shake our minds and bodies until we all gel together... Join the « Tsifteteli Club » now !

Brandneues Studioalbum des früheren This Lizzy-Gitarristen, der auch oft im Hintergrund bei Pink Floyd ('The Wall'-Tour) und später Roger Waters agierte.

Snowy White hat seinen ganz eigenen, 'englischen' Bluesstil entwickelt, der sich durch klare, schnörkellose Bluesphrasen auszeichnet, die er mit härteren Riffs veredelt. Die Songs wirken dadurch sehr direkt, menschlich und authentisch - als ob er jeden Hörer ganz persönlich ansprechen wolle. Diese Kunst beherrschen nur wenige so gut wie der britische Gitarrist und Sänger.

Wegen der großen Nachfrage gibt es nun nochmals eine weitere Clear Vinyl-Version in kleiner Auflage (500 weltweit).

red/clear splatter vinyl

Shake Chain will also be performing at Marina Abramovic’s private view at Modern Art Oxford on September 23rd.

Shake Chain have been busy demolishing audiences and expectations for the best part of three years. Vocalist Kate Mahony sets that standard by starting each live performance by crawling from the back of the room through a disbelieving crowd’s legs in a shiny yellow raincoat. The resulting questions that frantically arise of ‘what’s going on?’, ‘am I hallucinating?’ and ‘is this part of the show?’ are hallmarks of how Shake Chain approach making their unruly, lyric-bespattered rock music.

The four-piece from London are completed by Robert Syres (guitar, synth), Chris Hopkins (bass, synth) and Joe Fergey (drums), all artists hailing from Goldsmiths College, Nottingham Trent and Wimbledon, University of the Arts. A mutual love of thought-provoking performance art and a yearning for disruption have helped Shake Chain lock into their wayward sound. Twitchy guitar lines jolt and jerk, synths burble noisily and tack-sharp drums pin things down for Kate’s reeling vocal to vault and slur. Kate’s singing has drawn comparisons with Yoko Ono, Su Tissue and even a seance with it’s unique embrace of flights of atonal fancy, head-first repetition and ecstatic frenzy. Opinion-dividing arguably, but singular in making Shake Chain dauntingly brilliant.

Shake Chain’s debut album ‘Snake Chain’ was recorded in the New Forest’s Chuckalumba Studios early in 2022. The tranquil setting only slightly skewed by the intense extratropical cyclone occuring outside. When asked to sum up the album the group collectively settled on it sounding like “crying in a Catholic sex dungeon with Eastenders on”, perhaps only half tongue in cheek given the soapy dramatics of opening track ‘Stace’. ‘RU’ is a stompy triumph of ad lib monotony, heavy and wonky, its vocal slowly unwinding into residual sense. Shake Chain’s songs are populated with cowboys, cherry-pickers, content-addicts, private investments, a careless driver called Mike, architects and by much lamentation at the state of our confusing existencies. This last point underlined in luminous marker pen with slow-building vortex ‘Highly Conpeptual’ and whispered closer ‘Duck’.

‘Copy Me’ races along with radiant headbangs of dynamic abandon, one part tumble, two parts pummel, “hold your breath til something changes” commands Kate whilst everything of course is in hammering flux. ‘Second Home’ is similarly coruscating yet bouyant, whilst ‘Arthur’ feels like it could tear inside in two amid sobbing wails and the twining of its disparate parts. Throughout all the unhinged freakouts, found sounds and blasting rhythms though is Kate’s questioning, resilient presence, anchoring everything. On bruising creeper ‘Birthday’ she asks most tellingly “Do we speak language or does language speak us? Is there a mouth in the middle of the desert? Do you ask how cups are designed? Would you say yes when you really mean I don’t know”? Shake Chain are cathartic and absurd, humorous and deadly serious yet always inspired. Its this tightrope walk which makes their album such a thrilling, vital listen.

Black Vinyl

Zum 20. Jubiläum des Original Spider-Man Films mit Tobey Maguire in der Hauptrolle erscheint der Soundtrack von Danny Elfman erstmals in drei Varianten auf Vinyl: als Black Vinyl, Silver und Gold Edition.

• Sony Masterworks is happy to announce the vinyl release of the Netflix live-action series Cowboy Bebop which premiered in November 2021 and is available on Netflix.

• Yoko Kanno and the band SEATBELTS, the artists behind the music in the original anime series of Cowboy Bebop, have returned to bring their signature dynamic, jazzy sound to the Netflix live-action show. The resulting compositions are characters themselves - constant companions to the crew of the Bebop and brimming with just as much personality.

• Cowboy Bebop (Soundtrack from the Netflix Original Series) is a treat for Bebop fans in an additional way - it features over twenty new tracks only available on vinyl! This wide release is pressed on red marble vinyl discs in a gatefold jacket with printed inner sleeves.

• COWBOY BEBOP is an action-packed space Western about three bounty hunters, aka “cowboys,” all trying to outrun the past. As different as they are deadly, Spike Spiegel (John Cho), Jet Black (Mustafa Shakir), and Faye Valentine (Daniella Pineda) form a scrappy, snarky crew ready to hunt down the solar system’s most dangerous criminals — for the right price. But they can only kick and quip their way out of so many scuffles before their pasts finally catch up with them.

• Original anime series director Shinichirō Watanabe is a consultant on the series, and original composer Yoko Kanno returns for the live-action adaptation. The series also stars Alex Hassell and Elena Satine.


• Yoko Kanno is a Japanese composer, arranger and musician best known for her work on the soundtracks of anime films, television series, live-action films, video games, and advertisements. She has written scores for Cowboy Bebop and its live-action adaptation, Darker than Black, Macross Plus, Turn A Gundam, The Vision of Escaflowne, Ghost in the Shell: Stand Alone Complex, Wolf's Rain, Kids on the Slope, Genesis of Aquarion and Terror in Resonance, and has worked with the directors Hirokazu Kore-eda, Yoshiyuki Tomino, Shinichirō Watanabe and Shōji Kawamori. Kanno has also composed music for pop artists Maaya Sakamoto and Kyōko Koizumi. She is also a keyboardist and is the frontwoman for the SEATBELTS, who perform many of Kanno's compositions and soundtracks.

Teno Afrika's 2020 debut Amapiano Selections drew an international wave of support sparked by the producer's deftly minimal take on the emergent style. Amapiano combines the South African predilection for deep house alongside a melange of endemic influences like kwaito, jazz and gqom. The 20-year-old's new crop of songs Where You Are expands on his rhythmic subtlety hooded in warm bass adorned by amapiano's telltale shakers, hi-hats and mid-tempo shuffle. Lutendo Raduvha hails from Pretoria, South Africa, where he produces music incessantly and DJ's parties around Gauteng province. He hangs with a crowd of musical friends, many of whom join him on Where You Are. For his second album Teno Afrika brings more vocalists into the sonic picture, unlocking an emotive and timbral escalation to his rapidly mushrooming catalog of work. Singers Leyla and KayCee feature on the title track and "Fall In Love," respectively. Regular cohort Diego Don joins for two driving, pad-propelled works of significant vibrancy, "SK Love" and "AK Love." The album's dramatic closer "Duma ICU" features another returning collaborator, Stylo MusiQ, who helps bring an icy, almost cinematic conclusion to a slice of the sound Teno Afrika is pushing at the moment. There's a palpable feeling of not knowing where the young producer might go next.

To those who embraced 2000’s Nixon—Lambchop’s fifth album, whose luscious country soul grooves provided the sprawling Nashville collective with a significant British breakthrough that even found them selling out London’s 2,500-capacity Royal Festival Hall—the deceptively gentle Is a Woman, delivered two years later, administered a quiet but compelling shock. Gone almost entirely was frontman Kurt Wagner’s euphoric, Curtis Mayfield-esque falsetto, replaced by a tranquil, contemplative vocal style; and instead of the joyfully warm brass arrangements that had encouraged Zero 7 to remix “Up With People,” one of Nixon’s standouts, pianist Tony Crow now took center stage, teasing out gentle, ingenious melodies. The contrast was acute.

To discover the true spirit of Is a Woman, however, one need only listen to the remarkable “My Blue Wave,” one of the band’s finest recordings to date. Here, Wagner depicts a world of helpless tragedy in which comfort can nonetheless be found in the smallest of gestures, as he journeys from the contented sight of his pets—“You lay around the house… Just bones and squirrels inside your head”—to recollections of a devastating phone call from friend and bandmate William Tyler: “And William called and tried to tell me /

That his sister’s boyfriend has just died / He’s not sure what to do / And I’m not sure what to tell him he should do / Sometimes William, we’re just screwed / In my blue wave.”

James Taylor's best-selling record since 1970's hallmark Sweet Baby James, the triple-platinum JT takes its permanent place as one of the singer's most enduring albums — an affair that gorges on country, blues, and rock styles as well as incisive songwriting. As the pre-eminent singer-songwriter's Columbia debut, it catapulted Taylor back into the limelight and re-established his place as the era's leading-edge folk-rock troubadour.

Sourced from the original analog master tapes and pressed at RTI, Mobile Fidelity's numbered-edition 180g LP possesses a warmth, immediacy, and intimacy absent from other pressings. The singer's comforting voice, breath control, and enchanting guitar lines sound as if they pour right out of the studio control room. Similarly, the splendid array of backing instrumentation is balanced, vivid, and dynamic. Taylor should always sound this realistic, warm, and lively.

More than any other of his records, JT features all sides of Taylor's lyrical persona. Optimistic, content material fills half of the 1977 set while Taylor reveals a darker, moodier identity on a number of songs that keep the 12-track set alternating between shade and light, shadow and sun. He turns romantic and blissful on the touching ballad "There We Are," praises the power of love on "Your Smiling Face," and enchants with the graceful "Secret O'Life."

In addition to channeling domestic bliss, Taylor expresses surprise and cynicism on "Honey Don't Leave L.A.," delves into despair on "Another Grey Morning," and invites sardonic tones on "Bartender's Blues." The result is a complete picture of an extraordinary songwriter and an accurate sketch of the mixed emotions many of us feel when it comes to romance. Taylor's ability to capture deep-seated feelings and set them to lyrical and musical poetry explains why we relate to him on such a meta-level. It's also why his music, including JT, remains timeless.

Taylor doesn't do it all alone. JT benefits from an all-star support cast. Carly Simon and Linda Ronstadt supply background vocals, saxophone great David Sanborn plays the horn, Russ Kunkel mans the percussion, and arranger David Campbell oversees the strings and woodwinds. It's no wonder why many fans consider this gorgeous collection of Laurel Canyon pop-rock Taylor's finest.

Whether you've never heard this record or know it inside and out, this reissue will open your ears to previously hidden details ranging from pedal-steel guitar accents to honky-tonk tonalities. Taylor's funky rhythms, too, gain in stature, as does his command of pace and tempo.

"Now comes Analogue Productions' 180-gram double 45 RPM reissue sourced from the original Island master tapes sent over from the U.K., cut by Kevin Gray at Cohearent Audio, pressed at RTI and housed in a laminated gatefold "Tip on" jacket complete with "pop up" band. The packaging is exquisite! Only word for it. AP couldn't get permission to use the pink label so it uses the green Chrysalis one. ... if the goal was to duplicate the original pink label Island sound, this reissue misses that, which is good because this new double 45 reissue is far superior to the original in every possible way. The tape was in great shape, that's for sure. Clarity, transparency, high frequency extension and especially transient precision are all far superior to the original. Bass is honest, not hyped up and the mastering delivers full dynamics that are somewhat (but only slightly), compressed on the original. Ian Anderson's vocals are naturally present as if you are on the other side of the microphone. Most importantly, the overall timbral balance sounds honest and correct. But especially great is the transient clarity on top and bottom. ... Best of all, as the title suggests this album "stands up" to time. It hasn't lost a thing musically, lyrically or sonically. Highly recommended!" — Music = 9/11; Sound = 9/11 — Michael Fremer.

Jethro Tull's second album, Stand Up, marked an early turning point for the band with the addition of guitarist Martin Barre along with Ian Anderson's introduction of folk-rock influences to the group's blues-based sound.

Released in the summer of 1969, Stand Up rose quickly to the top of the U.K. Albums Chart, and eventually earned gold certification in the U.S.

Stand Up was the first album where Anderson controlled the music and lyrics, resulting in a group of diverse songs that ranged from the swirling blues of "A New Day Yesterday" and the mandolin-fueled rave-up of "Fat Man," to the group's spirited re-working of Johann Sebastian Bach's "Bouree in E Minor." In a recent interview, Anderson picked Stand Up as his favorite Jethro Tull album, "because that was my first album of first really original music. It has a special place in my heart."

Now with our 45 RPM release, plated at QRP and pressed at RTI, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Clean, balanced, richly detailed. Just the way an Analogue Productions reissue should sound. You'll experience Jethro Tull classics such as "Bouree," "A New Day Yesterday," "Look Into The Sun," "We Used To Know," "Fat Man" and the rest with a new appreciation for the Grammy-winning progressive act's musical skill and innovation.

Mit ihrem zweiten Album beweist die norwegische Band erneut ihr Geschick für Verschmelzung: eine wilde Mischung als Punk, Hardcore, Noise-Gitarren und Indie Rock. In limitierter Auflage erscheint das Album als Clear Vinyl.

Exemplarisch präsentieren sie das brandneue Video zu 'Into My Arms'.

'Where The Viaduct Looms' enthält neun Nick Cave Coverversionen mit Gesang und Instrumentierung der mittlerweile 15-jährigen Nell Smith, die sich für das bizarre und außergewöhnliche Experiment mit Wayne Coyne und seinen The Flaming Lips zusammengeschlossen hat. Gemastert wurde das Album von Dave Fridmann in den Tarbox Road Studios.

Diese inspirierende und herzerwärmende Geschichte begann, als Nell Wayne Coyne 2018 zum ersten Mal im Alter von 12 Jahren bei der Headline-Show auf dem Sled Island Festival traf. Nell hatte bereits mehrere Lips-Shows besucht und stand regelmäßig in einem Papageienkostüm vor der Bühne, um die Songs der Band mitzuschreien. Coyne wurde schon bald auf das Kind im Papageienkostüm aufmerksam und sang ihr bei der Show in Calgary direkt ein David Bowie-Cover vor, wobei die Teenagerin jedes Wort mitsang. Die musikalische Verbindung blieb auch über den Abend hinaus bestehen - auch als Nell begann, an Covern und eigenen Songs zu arbeiten.

- LP: (140g Blue Vinyl)

Kaizers Orchestra präsentieren eine komprimierte, aber dennoch umfangreiche Sammlung ihres facettenreichen und charismatischen, musikalischen Universums. Das norwegische Sextett, geliebt für seine kathartischen Rocksongs zwischen New Yorker Jazzmelodien und osteuropäischer Volksmusik, mischte mit seinem Debütalbum 2001 (das meistverkaufte Rockdebüt in norwegischer Sprache) die norwegische Szene auf, erreichte mit jedem Album die #1, gewann haufenweise norwegische Grammies, feierte Erfolge und tourte in und durch Europa, u.a. bespielte es dreimal die Roskilder Hauptbühne. Die 21 Songs repräsentieren die Kaizers Orchestra-Essenz und das Beste aus 21 Jahren 'Ompa-Rock'. Derzeit geht ihr 2010er Hit 'Hjerteknuser' auf TikTok viral und beschert der Band ungeahnte, neue Aufmerksamkeit passend zu ihrer 'Greatest Hits' LP.

Das Debütalbum der selbstbetitelten Retrofuturisten zeigt eine dynamische Gruppe sehr talentierter, positiver und ehrgeiziger Musiker, die mit perfekten Indie-Pop-Hooks neue Wege beschreiten und sich auf gewagte Experimente einlassen. Der norwegische Indie Sound für Fans von Two Door Cinema Club, Everything Everything oder The Flaming Lips.

Produziert von Cato Salsa Thomassen (Madrugada), erschafft die norwegische Singer/Songerwriterin auf ihrem dritten Album mit ihrer unverwechselbarer Stimme und den Synth-Pop Klängen eine Indielandschaft mit weichen Kanten.

Svart Records proudly presents: Finnish prog-psych quintet Sammal sheds skin and changes into a power trio, new album announced Sammal have since their 2013 debut cemented their reputation as one of the leaders of the Fenno-Ugrian neoprogressive and psychedelic scene and also raised some waves internationally, performing at the well-respected Roadburn Festival in 2015 and garnering a series of raving reviews around the world of psychedelia and progressive rock fandom, such as “Truly amazing and otherworldy music” or “Earnest, vibrant music specked with impressive nuance”. A few years have passed since the successful Suuliekki album, and since then two of their five members have left the fold. Guitarist and songwriter Jura Salmi decided, however, that Sammal must continue in some form or another. “During the spring of 2020 I would spend time alone recording new demos with the guitar. The remaining three Sammal members had already decided that if the band was to continue, we would not seek another keyboard player.I had bought a guitar pedal that can simulate keyboard sounds and it opened a new world to me. I realized we can perform fine as a power trio without a bass or a keyboard player”, comments Jura Salmi. “Sammal has always been a melting pot of all music we like. If in the past we used to be heavily into bands lke Camel, Dungen and Opeth, when working on this album we’d liste to everything from Bo Hansson and Iron Butterfly to Type O Negative and Whitesnake”, laughs Salmi and continues, “We’d also pick the language of a song’s lyrics based on what we felt would fit the mood of the song. This album has songs in Finnish, Swedish and English.” Sammal’s unexpected prog-psych-boogie epic Aika laulaa will be released on November 18th on all platforms as well as on CD and LP.

Svart Records proudly presents: Finnish prog-psych quintet Sammal sheds skin and changes into a power trio, new album announced Sammal have since their 2013 debut cemented their reputation as one of the leaders of the Fenno-Ugrian neoprogressive and psychedelic scene and also raised some waves internationally, performing at the well-respected Roadburn Festival in 2015 and garnering a series of raving reviews around the world of psychedelia and progressive rock fandom, such as “Truly amazing and otherworldy music” or “Earnest, vibrant music specked with impressive nuance”. A few years have passed since the successful Suuliekki album, and since then two of their five members have left the fold. Guitarist and songwriter Jura Salmi decided, however, that Sammal must continue in some form or another. “During the spring of 2020 I would spend time alone recording new demos with the guitar. The remaining three Sammal members had already decided that if the band was to continue, we would not seek another keyboard player.I had bought a guitar pedal that can simulate keyboard sounds and it opened a new world to me. I realized we can perform fine as a power trio without a bass or a keyboard player”, comments Jura Salmi. “Sammal has always been a melting pot of all music we like. If in the past we used to be heavily into bands lke Camel, Dungen and Opeth, when working on this album we’d liste to everything from Bo Hansson and Iron Butterfly to Type O Negative and Whitesnake”, laughs Salmi and continues, “We’d also pick the language of a song’s lyrics based on what we felt would fit the mood of the song. This album has songs in Finnish, Swedish and English.” Sammal’s unexpected prog-psych-boogie epic Aika laulaa will be released on November 18th on all platforms as well as on CD and LP.

The original creators of Psychobilly Music, The Meteors began as a reaction against soft neo-rockabilly music of the late 70’s rock revival era. Since then the loud, sneering lovers of horror, perversion and death have released a few dozen records and are still going strong, 40 years into their career of evil. Svart Records are hellishly excited to bring you an official reissue of The Meteors’ 2007 album Hymns For The Hellbound. Long out of print on physical formats, this authorised reissue comes with a secret bonus track, all pressed on pitch black or blood-dripping red vinyl and wrapped in a gatefold jacket.

The original creators of Psychobilly Music, The Meteors began as a reaction against soft neo-rockabilly music of the late 70’s rock revival era. Since then the loud, sneering lovers of horror, perversion and death have released a few dozen records and are still going strong, 40 years into their career of evil. Svart Records are overwhelmed with psychotic joy to present an official reissue of The Meteors’ 2003 album Psychobilly. Long out of print on physical formats, this authorised reissue comes with a secret bonus track, all pressed on pitch black or poisonous green vinyl and wrapped in a gatefold jacket.

On December 2th Svart Records will release the slowly gestated second album by the mystical Finnish progressive rock group Getsemane, who describe themselves as performing music "molded from the jawbones of a pike", in reference to the Kalevala where Väinämöinen built his first kantele The group first got together in 2009 in the Tampere area to perform live music for a fire theatre. After the shows they decided to continue as a band finding ever more polyrythmic and progressive ideas still drawing from the Kalevala mythos and eccentric psychedelic visions. Getsemane self-released their eponymous debut album in 2015, and the follow-up Viimaa is due for release this December. Best known for their dynamic live shows, the group's new album is full of unusual time signatures, meandering melodic lines and ethereal landscapes, not forgetting hard rocking in the best 70s style. Those that are into classic prog rock in the lines of Haikara, Tabula Rasa or King Crimson will feel immediately at home. The first single off the album, Varma kuolema ("Certain death") is a good representative of the entire album. According to the band, the song gives "A gruesomely honest but a cradling, positive vibe of the meaninglessness of life."

This Is For You, John is an album by saxophonist/composer
Benny Golson, recorded at Vanguard Studio, New York City in
1983 and released the year after. For the recordings, Golson was accompanied by Pharoah Sanders on tenor sax, Cedar Walton on piano, Ron Carter on bass and Jack DeJohnette on drums. The album features tunes associated with, or inspired by the famous American Jazz saxophonist John Coltrane, including “Times Past (This Is For You, John)”. “Origin” is an original, composed by Pharoah Sanders.

This Is For You, John is available as a limited edition of 1000 individually numbered copies on green coloured vinyl. The back of the sleeve contains extensive liner notes by Benny Golson, reflecting meetings with John Coltrane and the inspirations behind the songs.

Lavinia Meijer is a pioneering and exciting musician and composer, and one of the most important harpists of her generation. Known for her passion in broadening the possibilities of the harp – both in terms of sound and appeal
– she’s garnered worldwide critical acclaim for her intelligent, inventive interpretations of both orchestral repertoire and more contemporary music, playing alongside the likes of Philip Glass and Ólafur Arnalds, and performing works by Radiohead in classical venues.

Four years in the making,AreYou Still Somewhere? sees Meijer combine original compositions with her long stated dream of interpreting modern composers and musicians for harp. Works by Ryuichi Sakamoto, Ólafur Arnalds, and Alexandra Streliski all feature, as do collaborations with Dutch pianist Pieter de Graaf and punk legend Iggy Pop.

Are You Still Somewhere? concerns self-reflection and inner growth, topics that have come to the fore over the last couple of years. Family too; looking back, longing, and living with one’s regrets are raked over in ‘Mom & Dad’, a track that features spoken word poetry from Iggy Pop. The 2022 Edison Award-winning album Are You Still Somewhere? includes a 4-page booklet.

The Outsert carves some cold IDM/Breakbeat work outs for the first piece of wax on his elusive Intrasert Sound imprint”

Tip for fans of Objekt, Batu and classic Skam 12's

Basierend auf dem Roman von Michael Faber folgt der Film von Jonathan Glazer der Reise einer sinnlichen Frau (Scarlett Johansson) unbekannter Herkunft, die auf den Autobahnen nach einsamen oder verlassenen Männern sucht. Sie werden verführt, ihrer Menschlichkeit beraubt und man hört nie wieder etwas von ihnen. Die Musik, die eine wesentliche Rolle im Film spielt und in den Kritiken mehrfach positiv erwähnt wurde, stammt von der in Großbritannien geborenen Mica Levi, die unter ihrem Künstlernamen Micachu bekannt ist. Sie hat eine klassische Ausbildung absolviert und ist vor allem für ihre Band Micachu & The Shapes und ihre experimentelle Musik in einer Vielzahl von Genres bekannt

I'm talkin' about Beatmasters, but not the late 80s crew that saw collaborations with the Cookie Crew etc, I'm talking about the legendary Bristol beatmaster Boca 45 who has mastered, honed and polished his creative techniques and his distillation of beat making over the last 25+ years. Born out of hip hop and rooted firmly in the Bristol scene of Massive, Wild Bunch, and Portishead, Boca 45 aka Scott Hendy has successfully navigated an ever changing musical landscape with an unwavering connection and honest adherence to those very roots and ethics. It's what makes Bristol such a special place for art of all forms in the city, a DIY, earthy and passionate sound and vision that runs through all the artists that call Bristol home.
And so it continues with Boca's only 45 release this year in ‘22. It’s strictly Limited to 300 copies on High Quality Yellow wax with each copy stamped & numbered.
On this Bomb Donut he teams up with NYC Native Tongue OG Bam of The Jungle Brothers on hype vocals duties for 2 dancefloor burners.
The A side '(Do It) Fluid' goes straight for the jugular with an immediate phat rubbery bassline that precedes a beat that charges and swings between 4 to the floor and wild breaks. Everything else within the track is supporting that drum & bass, heaping bucket loads of flavour into the mix. And to make it even more tasty, the arrangement is a clear 'DJs Choice', eminently cut-able, mixable, and double up-able! The intention of this (and the flip) is most definitely to stick 'nasty faces' on everyone on the dancefloor.
So if you weren't already bleeding from a torn jugular from the A side, then the B side is going to do some serious damage to what is left of your vascular system. Picking up the tempo with a heavy-duty breakbeat that drives ever forward, 'Another Dimension' is peppered with fuzzed up riffs, Bam's hype vocals, and spacy flourishes. The result is a blistering dancefloor nugget heavily laden with urgency and vigour that DJs, dancers and breakdancers alike will be seriously wigging and poppin' out to. Ultimately these are classic Boca productions, full of the energy and verve we all know and love, honest, funky, raw, they have it all.
Both tracks are a step up from cut-and-paste, yet that ethic is loud and proud throughout (and has been a trademark of Boca's beats over the years).
It's perfectly reasonable to predict that this 45 will be going straight into the play crates of DJs across the world. And you can quote me on that.

All compositions by Christian Wallumrod. Trondheim Voices is a groundbreaking Norwegian ensemble of improvising vocalists, constantly challenging and changing the framework for how a vocal ensemble can produce sound art. Each singer's individuality, and her timbre combined with the other voices, are in focus, resulting in a unique quality to the groups collective sound. Through their many collaborations with cutting edge composers like Christian Wallumrod, Marilyn Mazur, Jon Balke, Mats Gustavsson and Maja Ratkje, they have made solid statements as developers within vocal and improvised music. Trondheim Voices are exploring and developing new music in the interaction between the singers, the audience, their surroundings and new technology. Christian Wallumrod has worked as a musician and composer since 1992, and he is considered one of the most prominent and influential musicians of his generation in Norway. Following his debut on ECM Records ("No Birch", 1996), he has released a string of albums with Christian Wallumrod Ensemble (CWE) on the same label, all to considerable critical acclaim. The album "Outstairs" (2013) was awarded the Norwegian Grammy's (Spellemannprisen). Brutter (2012), Christian's collaboration with drummer brother Fredrik, has released three albums (Hubro). Hubro is also the home for albums with CWE and Dans Les Arbres, as well as Wallumrod's solo piano records Pianokammer (2015) and Speaksome (2021). Wallumrod has written commissioned works for Ensemble Allegria, Håkon Stene, Oslo Strykekvartett, BOA and Trondheim Jazz Orchestra

Repress of this 2014 single. First time that we have had this one. “City Heights” is a breezy walk through the neighborhood on a Summer’s day. Light and easy, the intro guitars give way to magnificent horns. Some sweet Soul Jazz at its finest. Reminiscent of George Benson meeting the Memphis Horns while Herbie Mann gets down, this side is soulful and funky at the same time. By the time the flute comes in and give way to more drums that knock, you’ve not just circled the neighborhood, you’ve walked the city and back nodding your head the whole way. This track is another winner from SFSE and a sure shot for Colemine Records. On point as usual, they are once again highlighting some of the newest and best bands out there. The flip, “Strollin’ Adams” picks up where “City Heights” left off. A little more jazzy, a little bit funkier but with that breezy feel still, this track brings you back to those mid 60’s early 70’s Blue Note / Prestige / Verve Soul Jazz moments. A time when the players clicked and gave us this genre that has wooed listeners for decades moving forward. The old sound is new again, and preserved just right. Aces high, this is a winner on both sides. - Flea Market Funk.

Repress of this 2014 single. First time that we have had this one. “City Heights” is a breezy walk through the neighborhood on a Summer’s day. Light and easy, the intro guitars give way to magnificent horns. Some sweet Soul Jazz at its finest. Reminiscent of George Benson meeting the Memphis Horns while Herbie Mann gets down, this side is soulful and funky at the same time. By the time the flute comes in and give way to more drums that knock, you’ve not just circled the neighborhood, you’ve walked the city and back nodding your head the whole way. This track is another winner from SFSE and a sure shot for Colemine Records. On point as usual, they are once again highlighting some of the newest and best bands out there. The flip, “Strollin’ Adams” picks up where “City Heights” left off. A little more jazzy, a little bit funkier but with that breezy feel still, this track brings you back to those mid 60’s early 70’s Blue Note / Prestige / Verve Soul Jazz moments. A time when the players clicked and gave us this genre that has wooed listeners for decades moving forward. The old sound is new again, and preserved just right. Aces high, this is a winner on both sides. - Flea Market Funk.

Teno Afrika's 2020 debut "Amapiano Selections" drew an international wave of support sparked by the producer's deftly minimal take on the emergent style. Amapiano combines the South African predilection for deep house alongside a melange of endemic influences like kwaito, jazz and gqom. The 20-year-old's new crop of songs "Where You Are" expands on his rhythmic subtlety hooded in warm bass adorned by amapiano's telltale shakers, hi-hats and mid-tempo shuffle. Lutendo Raduvha hails from Pretoria, South Africa, where he produces music incessantly and DJ's parties around Gauteng province. He hangs with a crowd of musical friends, many of whom join him on "Where You Are." For his second album Teno Afrika brings more vocalists into the sonic picture, unlocking an emotive and timbral escalation to his rapidly mushrooming catalog of work. Singers Leyla and Kaycee feature on the title track and "Fall In Love," respectively. Regular cohort Diego Don joins for two driving, pad-propelled works of significant vibrancy, "SK Love" and "AK Love." The album's dramatic closer "Duma ICU" features another returning collaborator, Stylo Musiq, who helps bring an icy, almost cinematic conclusion to a slice of the sound Teno Afrika is pushing at the moment. There's a palpable feeling of not knowing where the young producer might go next. Also Available From Teno Afrika: Amapiano Selections LP/CD. Track listing: 1 Teno Afrika ft Leyla “Where You Are” 2. Teno Afrika & Diego Don “SK Love” 3. Teno Afrika “Bells” 4. Teno Afrika ft KayCee “Fall in Love” 5. Teno Afrika “Gomora Groove” 6. Teno Afrika “Halaal Flavour” 7. Teno Afrika & Diego Don “AK Love” 8. Teno Afrika ft Stylo MusiQ “Duma ICU”

Classic Black Vinyl repress in soon note new price. LP with DL card. “a songwriter testing the limits of her sound and redefining herself in the process” - Pitchfork // “Rundle’s voice floats above the seething morass, graceful and triumphant, an angel welcoming the apocalypse” Stereogum // The cover to Emma Ruth Rundle’s fourth solo record, On Dark Horses, bears a blurry photo of the songwriter obscuring her face with a large toy horse with broken legs. The photo suggests something candid but also hidden, graceful but also fractured a fitting portrait for an artist who has established a career by vacillating between shrouding herself in mystery and exposing her wounds to the world. The first peek behind the curtain came with her Sargent House debut Some Heavy Ocean, where layers of distortion were excised in favor of acoustic guitar and Rundle’s beguiling vocals. There was a distinct difference by the time Rundle released Marked For Death, a stark and deeply personal meditation on mortality and self-destructive behavior. Her entire musical trajectory from the cinematic instrumentals of Red Sparowes to the lush haze of Marriages and onward through her solo career seems like a gradual disclosure of intimate secrets. With On Dark Horses, Rundle doesn’t shy away from uncomfortable realities or retreat into a private world, but it does capture an artist who has survived their personal nadir and come out stronger on the other side. Taking the full arrangements of Marked For Death on the road demanded a backing band, which Rundle pieced together from tour companions first Dylan Nadon from Wovenhand and Git Some and later Evan Patterson and Todd Cook from Jaye Jayle. Rundle’s budding romance with Patterson prompted a move to Louisville, Kentucky, which not only amplified the equestrian themes of the record but also yielded a new writing process. “This the first time I haven’t played all the guitars on my own record,” Rundle says of Patterson’s contributions to the writing process. “It was stressful letting go but it was also rewarding.” The collaboration worked both ways, with Rundle contributing to Jaye Jayle’s No Trails and Other Unholy Paths. That album’s “Marry Us” mirrors On Dark Horses’ “Light Song”, with the union of Rundle’s siren vocals and Patterson’s poised baritone conjuring a dizzying and feverish update on the duets of Johnny Cash and June Carter. The eight tracks of On Dark Horses capture the evolution of Rundle as an artist, with vestigial traces of the savvy guitar work of Electric Guitar: One, the siren song beauty of Some Heavy Ocean, and the amplified urgency of Marked For Death all factoring into the album’s rich tapestry. Rundle arrives at the end of the album with an ode to a traumatized and heartbroken friend on the grand and triumphant “You Don’t Have To Cry”. After laboring over the majority of the material for the album, she wrote the finale in one sitting, describing its easy birth as a gift from the gods. It’s a fitting closer, a song announcing Rundle’s newfound hope and reminding us to take control during our darkest moments instead of succumbing to them. Track Listing: 1 Fever Dreams 2 Control 3 Darkhorse 4 Races 5 Dead Set Eyes 6 Light Song 7 Apathy on the Indiana Border 8 You Don’t Have to Cry

NOT EXPORTABLE TO France, Italy, Spain, Benelux, Greece, Balkans. "Center. The name may define the furtive action of search engines, but it says plenty about the music made by this trio, whose members reside in New Haven, Connecticut. Stefan Christensen, Ian McColm, and Dave Shapiro make music so weighty that it generates its own gravity, and yet transparent enough to see straight through to its center. They have arrived at a sound located within a matrix of possibilities suggested by their many shared and separate ventures. It is the sonic orb around which Christensen's post-Xpressway analog alchemy; Shapiro's expositions of acoustic guitar expressivity under the name Alexander and as an accompanist for Kath Bloom, McColm's generation of pulsing freedom as the drummer for Heart of the Ghost and diverse improvisational ensembles, Shapiro and Christensen's unification of historically sound psychedelic practices from either side of the Pacific Ocean as part of Headroom, and McColm and Shapiro's explorations of electric guitar turbulence in Nagual all turn. If you were to search for Center's generative root, you'd find it in Nagual. Christensen first joined the duo in 2016, first as a deputy, and ultimately a full member. Their improvisations acquired a quieter, more spacious character. This transformation necessitated a new name, and they have been working towards completing this LP ever since. While all of the music on Over The Stations originated spontaneously, it has been subjected to centrifugal forces of evaluation and collective debate in order to distill the trio's essence. Modulated chimes, squeezebox respirations, strategic drum beats, humid reeds, and pond-dwelling synth voices augment what is essentially a stringed instrument trio. Listen in, and listen deep. - Bill Meyer" TRACKLIST: "A1 Over The Stations A2 The Empty Gesture A3 10 / 10 Sky A4 White Pine Oval A5 Modern Heights A6 Birds Fall From The Dam B1 Door 5-4 B2 Pysyvä"

Repressed, note new price!! This young four-piece from Colorado roamed the basements and punk houses of America for a couple years as the band 10-4 Eleanor, and after building quite a following among the sweaty/bearded segment of the underground, they opted for a new band name and a fresh start in 2011. Thus ushered in the era of Elway, and along with it comes their Red Scare debut, Delusions. It marks an ambitious step up for the band as they ditched their home recordings and enlisted audio guru Matt Allison at Atlas Studios (Alkaline Trio, Lawrence Arms, LTJ, Smoke or Fire, etc). Rest assured, this one retains all the guts and grime that these guys are known for, but with more intricacy and nuance than you'd expect from your average "beardo" punk band. Delusions is thematically inspired by two things: our society's regard for God and having to deal with maniacal loved ones; and these brainy rockers from the Rocky Mountains are sure to capture plenty of attention with this impressive beginning. 01. 3/4 Eleanor 02. Passing Days 03. Spent So Long 04. Whispers in a Shot Glass 05. San Mateo 06. Song for Eric Solomon to Sing 07. Kristina's Last Song 08. The Tired Old Whore's Bedside Book 09. Aphorisms 10. It's Alive! 11. Tapout Endorsement: The Musical

New Studio Album after long 8 years! Produced by Jack Endino in Chile and Mastered by Tony Cousins (The Verve, The Stone Roses) at Metropolis Studios U.K, Lacquer cut by Richard Simpson (Beck, Flamin’ Groovies, Lou Reed). After 8 long years The Ganjas returns with a new studio album, a joint production between Jack Endino and the band. Like the 2012 album ‘Resistance’, this LP combines sounds and styles that have marked the band since its inception; long space rock songs, neo grunge guitars, Manchester-reggae rhythms, and ballads with R&B vocal harmonies. For fans of: Sundial, Keith Richards, The Stone Roses, Swervedriver
A job that very well summarizes the more than 20 years of uninterrupted career. After the compilation album ́Ghost River ́ (2015) and having finished the European tour in September of the same year, the drummer changed, the long-lived founder Aldo Benincasa left and Nes entered, who had already replaced him on a couple of occasions. In March 2017 they embark on a trip to El Médano a mountain refuge that is on the border between Chile and Argentina, and in there for several days they shaped the songs that gave life to this album. Then, in 2018, Jack Endino, an old acquaintance of the group, travels from Seattle to Santiago to record 10 songs with different nuances and colors, lyrics in English and Spanish, radio cuts and long durations, rock, groovy and power ballads, at Estudios Lautaro. The album has songs like ‘America’ and ‘Ex-Pilot’ an opening and closing of almost 10 minutes in a cadenced and hypnotic groovy march, spatial and psychedelic in the purest style of The Verve's A Northern Soul album. While ‘Space Trees’ and ‘10.000 Años’ are short, powerful, fast and acid songs with the grunge and alternative rock stamp that sounded in the 90's, nothing to envy to Sundial and Swervedriver. There is room for Manchester-reggae moments in ‘New Berlin’, an instrumental dance song that was born in that city thanks to the collaboration with Andrés Bucci and ‘Listen To The Lion’, a trippy and deep Dub-Reggae cut. R&B ballads have always been part of the group's work and on this album they stand out with ‘Generation’, the title that gives the album its name, with a sound reminiscent of Keith Richards solo songs and the emotional nirvana-esque ‘Far Along The Way’. The mix was carried out in 2019 between Seattle and Santiago de Chile, during upheaval and social protests as a result of the October outbreak and was mastered in 2020 at the Metropolis studios in the U.K. by Tony Cousins, an engineer who had already worked with The Verve and The Stone Roses, influences recognized by The Ganjas. Due to the pandemic the release was postponed to the end of 2022. For the likes of: Sundial, Keith Richards, The Stone Roses, Swervedriver. Genre: Alternative / Indie

Recorded both in Spain and Finland, the 13-track album Myriadi documents Tatu Rönkkö and Raúl Pastor Medall's first standalone collaboration, entirely created, performed and mixed by the pair. With Myriadi, the two artists walk listeners into a world that somehow manages to feel ancient and modern at the same time. It is peaceful and dreamy but also raw, solemn and unsettling. Tatu's improvisational, crude and almost ritualistic sonic approach blends in seamlessly with Raúl's more melodic and melancholic schemes of composition. With its simplicity and clarity, Myriadi belongs in the realms of dark ambient and drone as much as it belongs to a tradition of minimal acoustic music. Myriadi embraces loose ends, harmonic freedom and even atonality; regardless of whether it involves the sound of glass-blowing water bottles, a small Finnish harp, bell-like sounding metal plates or piano strings played with paint brushes and sticks, the overall improv-based character of the project gives Myriadi a primal, unpredictable and meditative feel. This spontaneous study of form and timbre has room for bold rhythmic pieces played with a drum set consisting of six floor toms, but also for hypnotic chants of granular flute-like sounds and spoken word poetry (featuring voices by Raúl and Tatu's moms). The spontaneity and lack of premeditation that permeate through Myriadi paradoxically reinforce the cohesiveness of the record, reminding us that sometimes creativity really benefits from avoiding too much analysis and overthinking. Rauelsson (Raúl Pastor Medall's musical moniker) and Tatu Rönkkö met in 2015 through common friends. They both have released music on the Berlin-based label Sonic Pieces and have collaborated on stage and in the studio on a number of occasions. Tatu appeared as a guest musician on Rauelsson's Mirall (2018) and contributed significantly on some film and TV projects that Raúl has worked on for the last couple of years. For the recording sessions of the dystopian TV Series Anna (2021) Tatu travelled to Spain where they explored countless rhythmic ideas with relatively untraditional instrumentation. These free and relaxed creative meetings led to other recording sessions completely unconnected to any scoring project, planting the seed for what Myriadi would become. RIYL: Ben Salisbury and Geoff Barrow, Alva Noto and Ryuichi Sakamoto, Jefre Cantu-Ledesma, Rafael Anton Irisarri, Brian Eno TRACKLIST: A1 Rombo A2 Vidre A3 T A4 Keinu A5 Ryminä A6 Ö B1 K B2 Silta B3 Golondrina B4 U B5 Kuvakudos B6 Pont B7 Muinoin

Repress!

European version of the long overdue LOS CRUDOS Discography collection. LOS CRUDOS, formed in Chicago's Pilsen neighbourhood in the early 90's, are a Latino punk band with a strong socio-political message and an extremely militant DIY attitude. During their first incarnation, spanning the years 1991 to 1998 the band self-released their own records, printed their own merch, booked their own shows and toured relentlessly around the world. From South America to Japan including a 3 month European tour in the winter of 1996. They spoke to the freaks the outsiders and the minorities and were not afraid of confronting the white middle class punk who reigned supreme during the terrible 90's. A time which will not be remembered for their hardcore output except for a few exceptions, in which CRUDOS are surely included. Their sound, far from being a copycat of whatever flavour of the month was reigning at the time was heavy rooted in the golden years of European and Latino American ferocious hardcore punk. With bands as IMPACT, WRETCHED, OLHO SECO, TERVEET KADET or MASACRE 68 as obvious influences in a time when the simple mention of any of those bands (or any non English speaking bands really) was usually met with a laugh or a joke. They sang in Spanish, with aggression and conviction and that made their message spread out widely, reaching thousands of Spanish speaking punks both in Latino America and Spain as well as inside USA where third generation Latino kids surely were missing a voice within the punk scene. The band split up in 1998 after a really intense year of touring and reformed in 2008. The band will be undertaking their first ever Scandinavian tour in July/ Agust 2016. This collection, originally released as a benefit for MRR magazine last year, includes all the LOS CRUDOS output plus compilation tracks as well as a couple demo tracks and an unreleased song. The European version comes in a gatefold sleeve and brings a 40 page booklet with flyers and the lyrics of all songs.

Track list: 1. Tiempos De La Miseria 2. Me Robaron 3. Crudo Soy 4. La Madres Lloran 5. Eliminación 6. Desde Afuera 7. Asesinos 8. Se Ve En Tu Cara 9. Cipayos, Traidores y Vendidos 10. Sin Caras 11. No Estoy Convencido 12. Curiosidad 13. ¿Por Qué? 14. Tú Lo Enseñaste 15. Lucha Para Que Te Escuchen 16. Corrido Jodido 17. Escaleras 18. Llegan Empujando 19. Nada Cambia 20. Achicados 21. En Mi Opinión 22. No Te Debo Nada 23. Levántate 24. La Caída De Latinoamérica 25. Nos Quieren Como Siempre 26. No Me Vengan A Salvar 27. Déjanos En Paz 28. Tierra De Libertad 29. Victorias y Ganancias 30. Unidad Prohibida 31. That's Right We're That Spic Band 32. Poco a Poco 33. Suéltalo 34. Migra Violencia 35. Viejos Patéticos 36. Del Pasado Al Presente 37. Esto No Trae Precio 38. A Los Inseguros 39. Tomando Los Golpes 40. No Existen Palomas Blancas En Mi Barrio 41. No Va A Haber Revolución 42. ¿Quién Es El Pendejo Más Grande? 43. ¿Qué Pasó Con La Paz? 44. Metiendo Sal En La Llaga 45. ¿Vas A Regresar? 46. Hardcoregoismo 47. Naciste Con Voz 48. Ilegal, ¿Y Qué? 50. Identidad Perdida 51. Vendedores De Dolor 52. 500 Anos 53. ¿Ahora Quién Se Queja? 54. Lengua Armada 55. ¿Qué Paso Con La Paz? (Alt. Version) 56. Peleamos 57. Escupiendo En Tu Propia Cara 58. Que Te Conviene 59. Me Lo Paso Por El Culo 60. Cobardes 61. Desde El Barrio 62. Sin Título 63. Somos Peligrosos 64. No Se Acabó 65. Lo Que Queremos 66. ¿Qué Me Importa? 67. Mediocre

Debut album from indie-folk four-piece, a beautiful study of harmony and
melody from two sisters and their partners
On eco vinyl.

Florence Cats is a poet, visual artist, sound composer, performer and acupuncturist. Born in Vilvoorde (Belgium) in 1985, she is currently living and working where Brussels merges with the Sonian forest.

Florence Cats’ working process involves things about to appear or disappear, and echo one another : air, light, wind, tone, print, voice, water, color, dust, junk, rumor… She creates eclectic pieces related to travel, porosity, natural energies and celestial events. Each proposal is in tune to a context, a space, an environment.

Ys is a generous debut. Raw, courageous.

Sunken Cathedral is Florence interpreting Claude Debussy’s La Cathédrale Engloutie (trans. the Sunken Cathedral). The track reminds me of one of those fabled Charles Ives home recordings. Where he records himself on Speak-O-Phone - an old brand of recordable aluminium phonograph discs - while practicing and composing his music. But unlike Charles Ives treating these home recordings as personal sketches, Florence Cats shares her captured moments as compositions for the public.

Similar to the Speak-O-Phone recordings, we now meet the piano as a physical expression - not as an archetype. We are together with Florence in a room. The pedal. The keys. The hiss of the room. Learn, repeat.

Trough Florence’s hands and feet, La Cathédrale Engloutie is brought out of its pupa stage to become a presence. Instead of being grounded in luxurious concert halls or on high end recordings, the piece is now natural. Sunken Cathedral is a template, an affirmation for amateurs.

The piece was originally created for the group exhibition "Here Comes the Wave” at Project(ion) room, Brussels, February 2020.

In Fall Call, we find ourselves at QO2, a sound art initiative in Brussels. This piece was captured during a residency Florence took over the summer of 2022. We listen to the moment when a summer storm just washed the city.

Fall Call is a testament to Florence’s magical - humanistic way of playing her custom-made theremin. By pushing the controls of the instruments so high, her whole body starts to control the instrument - instead of just her hands. So when she walks around in the room, the instrument answers in full color.

And then, a phone-call. Giving it a bit of a Poulenc vibe.

For the last piece, Drop Out, we find ourselves in Florence’s apartment. When Florence opens the windows, the ambience of the surrounding Sonian Forest seeps in. This is an adorable moment. It predicts new beginnings. The smell of wet dirt and dripping leaves in the air. The poetry of rain.

Reissued double vinyl album of first part of THIS IMMORTAL COIL's Coil homage in gatefold sleeve with new artwork! "Brilliantly versatile tribute album to British-based avant garde and experimental group, Coil." More than a tribute to cult dark ambient band COIL, This Immortal Coil is a project of re-interpretations by Ici d'Ailleurs' artists and more: Yael Naim, Bonnie Prince Billy, Matt Elliott, Yann Tiersen, DAUU, Christine Ott, Chapelier Fou, Sylvain Chauveau, Deadverse. Mixed by OKTOPUS of DÄLEK. Peter Christopherson himself immediately put it up for sale on the Coil website at the time, cherrishing the work as "The Most extra-ordinary, beautiful and moving re-interpretations of Coil I have ever heard." "On November 13th 2004, John Balance passed away, He was, along with Peter Christopherson, the founding member of the group Coil. His brutal death marked the end of over twenty years of activism and musical genius. I have then decided to work on a project that would pay tribute to them. I didn't want another compilation that would pile up pieces, without any link. My wish was to transpose this unique musical mood to another one, more classical and more accessible to everyone. The whole idea was to pay tribute to the music for what was beyond it, just the way COIL underlined it: « Coil is more than music »I got my inspiration from the project This Mortal Coil, started in the eighties by the English label 4AD. Its label manager had then grouped some of its own artists together in order to play some standards of rock and pop music. Most of those who participated in this work hardly knew COIL. My purpose wasn't to go towards those artists who had a conscious connection with the music of the group, let alone musicians who claimed to be the heirs to this seminal work.

Marco Donato/Italoboyz is back to black (vinyl) with his debut on Luca Piermattei and Gäbrø’s label Polarity Records. The Ep continues and fully represents the label concept, far from trends and the sound of the moment. A release that encapsulates many moments of a club adventure, from straight dance- floor actions to more ethereal/trippy moments among the 4 tracks. Luca Piermattei adds 2 remixes, an uncompromising floor killer and a modern twisting post-house swirl, that make this ep one of those records that won’t leave the bag for very long time.

For whatever reason, the new Detroit label Choose Better Friends is dropping three brand-new and red-hot EPs all at the same time. We're fine with that because this trio of 12"s is quality US house direct from the source. Gino is behind this one and serves up four tunes for heady dance floors. There is a sense of intrigue to the scurrying toms and muted chords of 'Rawhide'. They unfurl over pinging kicks and clouds of sub-bass to great effect. 'Gitteshouse' is more romantic, with jazzy motifs drifting up top over a slick deep house beat that pings back and forth, and 'Truffaut' then picks up the pace for an edgy mix of unique synth sounds and chunky drum funk. 'Frontandback' gets raw and to close down with rock-solid kicks set to rattle walls.