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Comprehensive box of 6 LPs / EPs and the band's first rare 7inch.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986) contributing to the music.

Box Set includes: Gorilla Dans De Samba 7" (1983), Voor De Dood 12" (1984), Koude Oorlog LP (1984), De Sfeer Van Grote Dagen 12" (1985), Zonder Omzien 12" (1986), Harde Feiten LP (1986), Koudvuur LP (1987)

First-time reissue of Aroma Di Amore's debut album, originally released in 1984.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 2nd album, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 3rd album, originally released in 1987.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 3rd EP, originally released in 1985.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music

First-time reissue of Aroma Di Amore's 4th EP, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

Fresh third release for Sub Authority, with Reale & Vincent XXI and the always good Franck Roger, that adds some house inflections and a dose of wiggly acid with a stunning remix. A classic synth basslines and robust drums make this an essential 3am choice for the more decerning D.J.

"Black Screen Records has once again teamed up with Tumult Kollektiv to release their soundtrack to Hundred Days, a game of choice, nostalgia and winemaking.Departing from the folkloristic orchestral sounds of Pine, the music for Hundred Days strives for an intimate setting, prominently featuring a small ensemble of synthesizers, cello and guitar. The compositions are lush and intricate, creating a soothing and light-hearted score, tinged with a sense of melancholy.""We are really proud to be releasing our second soundtrack with Black Screen Records and would like to thank everyone that has been supporting our music.Working on the music for Hundred Days was a wonderful experience and a great opportunity to taste some wines (and learn about winemaking).Thanks to Weinhof Lindicke for allowing us to record sounds on their vineyard, and Lawrence Herlyn for showing us around.Furthermore, our deepest gratitude to the wonderful musicians we got to work with on this project. Thanks for borrowing us your talent, near infinite patience, and making the music sing."" - Alexander van der Kruijf, Jonathan Howe & Leonhard van Voorst"

Originally released in 2014, “Instruction Booklet N. 1232” marks the first cassette release on Dauw for Tatersall under his The Humble Bee moniker. Taking advantage of the format, each side on “Instruction Booklet N. 1232” is reserved for a single piece nearing the 20-minute mark.

“Exploding View” (aka Side A) swells into existence with a very grand sounding synth-driven melody. Of course the other thing that’s present is the decaying sound of the tape loop that’s working to bring that music to life. At first, the melody grows and grows, fairly undisturbed, but eventually the sound of so-much tape warble threatens the rising nature of the piece until it sounds as though it is one loop away from total decay and simply fluttering out of existence.

But of course that’s the point. There’s a tension between that grand melody that opens these moments and that warble. It’s a lesson in opposites: the mechanics of a tape loop, guaranteed to break down, placed in contrast with those signature Tatersall melodies, which somehow seem eternal. And just as that tension seems too much to bear — the melody dies to be replaced by something altogether new. What comes next is something much quieter, driven by a sub-aquatic bassline, some rhythmic tape hiss and some gentle piano.

It’s a very dramatic and sudden break. The technical elements of that could be attributed to Tattersall’s understanding of how far a melody can be pushed before it succumbs to the abuse of being processed out of existence — perhaps the tape had been looped and processed to its breaking point. Regardless of whether it was a technical or artistic choice, that hard break serves an important narrative function. Frequently in instrumental music, musicians play with opposites (quiet-loud, clean-distorted) to create a narrative to their work since they don’t have words/lyrics as a tool. In the case of The Humble Bee’s use of tape loops, one set of opposites in tension is always driven by the fragility of the melodies and the limitations of a machine guaranteed to inevitably decay the media it is designed to support. And where one thrives, the other takes a backseat. As side A winds down, the melodies are much more sparse — appropriate for en ending, yes; but it also gives more space for those hisses and crackles to claim their moment.

Side B is filled out by “Manual with Foot Pedal” and it begins as gently as its predecessor ended. Slowly eking outing it existence – it’s as if watching Tatersall set the board, showing his players on opposite sides of the table before really setting them in motion to do their thing. By the piece’s midpoint, melody has taken centre stage as a glitchy, piano-led rhythm marches its way forward, clearly carving out its space and claiming its territory. And almost immediately following that: the decay takes over again and those tape loops seem processed to near death — the melody almost barely decipherable as it flutters under the weight of the history of being looped/played ad nauseum. And in the very final moments, the melodies are sparse again, giving the tape hiss room to play its part — it’s as if Tatersall is giving both players enough space to take their final bows.

TwoStep2 aka DJ Relay and Jo Public have been known for their superlative but distinctly old skool sounds, but lead track on this three cut 12" is rather a subtle departure. The beat is a little more wonderfully wonky than you might expect and the bassline bigger and more adventurous, with pleasingly original results. 'Starlight' plays off its abrasive backspins with fluttering harps that are more Luke Vibert than Sticky or Noodles, true genius, and a bubbling beat to boot. 'Weapon of Choice' plunders ravier elements but again, it's no museum piece with its off kilter piano and slowed down, drowsy atmospherics. If you're looking for memorable tunes that stick out rather than fit in, make this your destination.

LTD 500 - My two favourite tracks from the Unreleased Raw Soul Express LP (released last month) on our format of choice, blink and they will have disappeared into collections, no repress.

The story about the lost recordings of Ghia continues: Following the recently released "At The Hilton" single, our label is extremely proud to present "Curaçao Blue", the band's first full-length album. And it is simply mind-blowing, to say the least! The LP features 10 unreleased tracks in a similar Balearic vein as featured on the single.

Incredibly, it was only just a few months ago that these tracks were rediscovered on some old tapes by band members Lutz Boberg and Frank Simon. Could anyone imagine that two physics students from a small German town could create such beautiful, thrilling music in their home studio? Although the technical aspects in the creation of the band's earliest tracks may have been straightforward, the outcome is high-quality, creative, modern jazz-funk, with one step in the electro-funk genre due to the use of a drum machine and synthesizer basslines. The album features mostly 4-track recordings, based mainly on the musicians' weapons of choice: a DX21 keyboard (later updated to the legendary DX7) and a guitar. Many things had to be done live in just one take, though the artists were unafraid of using overdubbing techniques to weave their instrumental journeys. The DIY aesthetics just add more beauty and uniqueness to the songs and compositions, and the result is an extremely harmonic work of undeniable musicality. Ghia delivers Balearic jazz-funk at its finest.

Though the music was recorded in Germany, Ghia had a true relationship with the Balearic region and effortlessly applied the vibes to their compositions. As a side note, one track on their earliest demo tapes was called "3 AM at Moëf Gaga" and we did not know what it meant. The band explained that Moëf Gaga is a nightclub on the Spanish coast that is actually still active today. Boberg and Simon, the two original band members of Ghia, visited the club in the early 80s and spent their holiday close to the sea. With their music, they intended to create a summery vibe, capturing a relaxed and soulful view of the seashore, likely with a drink in hand... Perhaps a Blue Curaçao?

The album starts with a revised version of the title track. The drums in this take are much punchier, and we thought that it would fit just perfectly as an introduction. We continue with the already classic "Down At The Hilton" that was featured on the single, but like us, we are sure you could happily listen to this track on repeat. Next up, "Jump In The Water" opens with a catchy delayed melody, which develops into another perfect jazz-funk piece with an extended guitar solo. Another remarkable song might be "In The Fast Lane". As the name suggests, an uptempo number, now with an electro-funk beat combined with speedy keyboard solos that almost sounds like a marimba. On side B, the album keeps the relaxed seaside vibes flowing. To round out the album, we are treated to two pieces that originated after the return home, with memories of the Spanish coast fading but still lingering, likely recorded between 1986 and 1988. Both are instrumental versions of songs to be used later for studio sessions with their new band member, singer Lisa Ohm (who you will hear on Ghia's next album!). On "Crystal Silence In Dub" we get a perfect downtempo groove, positively reminding us of the sound of the 1980s UK funk scene. The album ends with "Keep Your House In Disorder", here as an earlier, rougher, and funkier take than on the final vocal version, which could be found on the B-side of the "What's Your Voodoo" single.

We hope you love this album as much as we do! Nothing like this has yet been released out of Germany. We hardly can recall any privately produced, home recorded jazz-funk/fusion from the 1980s as free, creative, and uninhibited as Ghia's Curaçao Blue. The playful and creative approach, coupled with those nostalgic tones should make this LP an essential pick for any record collection, whether you are a DJ, a home listener, a music lover, or a modern jazz-funk/synth-funk aficionado.

The album is out now on The Outer Edge, the new label by record collector DJ Scientist, aka John Raincoatman. We also want to thank Frederic Stader for his awesome work mastering and sound restoration of the material on this LP.

"A new force, LEAGUE OF DISTORTION, unite to defeat the shadows cast upon the music scene with their fresh sound and style! Back in 2017, Anna Brunner celebrated remarkable international success with her symphonic metal band Exit Eden, and now, teams up with notorious guitarist Jim Müller - known from his famous heavy metal band Kissin’ Dynamite. Together, they’ve formed one of the hottest modern metal upstart bands of the year, combining their signature sounds to create a powerful soundscape. Now, having recently signed with Napalm Records, they are ready to fight the darkness yet again with their 2022 full-length, self-titled debut album, League of Distortion. Lifting the dark veil of stagnation caused by the pandemic, LEAGUE OF DISTORTION introduce a new sound that resonates with the uncertainty of this period. “Wolf or Lamb” - the addictive first stand-alone single that introduced the band as a force to be reckoned with - ushered in a completely new era by serving modern, melodic rhythms and technical prowess, igniting the fire of the full album, League Of Distortion. “Rebel By Choice” and “The Bitter End” show the band’s burning passion and dedication to the genre, while “My Revenge” convinces with a catchy hook and bashing guitar riffs. The elemental force of Anna “Ace” Brunner’s distorted, powerful voice merged with chunky riffs played by Jim “Arro” Müller, steady and strong beats delivered by Tino “Aeon” Calmbach and edgy bass by Felix “Ax” Rehmann unifies them, forming a strong blast of an album that cannot be missed! LEAGUE OF DISTORTION showcase the individual musical expertise of its members without ever becoming stagnant or pretentious - unabashedly distorting the order and launching a new age of metal. Songs like “I’m A Bitch” and “It Hurts So Good” abandon all rules, while catchy hooks like in “L.O.D.” mark anthems to claim their new reign. With songs like “Solitary Confinement” and “Sin”, the band shows their lyrical depth by turning their sadness into a powerful war cry, providing expressive pieces and hymns for the lost. LEAGUE OF DISTORTION convince with classic pieces featuring strong instrumentals, on-the-nose lyrics and energetic vocals, proving their penchant to stand out from the pack. They’ve transformed their frustration into a musical statement beyond compare. With “Do You Really Think I Fucking Care”, the band lands the final punch of the album to make the message clear: LEAGUE OF DISTORTION are here to set the scene ablaze! "

Before Southside Johnny and the Asbury Jukes even had an album on the shelves, they were being played on the radio in Cleveland. That’s how far back the New Jersey band’s relationship goes with the city. As the “Jukes” part of their name would suggest, Southside Johnny and his group were spiritually a band from another time. They had a big sound (and a full horn section, courtesy of The Miami Horns) that conjured a vision of a large band, jammed together on the bandstand. Which was hardly far from the truth on a number of nights. Mixing carefully chosen blues and soul covers with their own originals (and some choice songwriting contributions from Bruce Springsteen), they had a live show that was even more potent than w hat had been laid to tape in the studio. This 1977 performance at the Cleveland Agora was the group’s second outing at the legendary venue in less than a year. Live in Cleveland ‘77, the recorded evidence of that night, presented here for the first time by Cleveland International Records, shows exactly why they would become frequent visitors and really, honorary Clevelanders. Songs like “I Don’t Want to Go Home,” Springsteen’s “The Fever,” “Havin’ a Party” and “Without Love” were already well-loved favorites with the local audience, thanks to frequent airplay on WMMS long before they even had an album. Cleveland got a special bonus round that other cities would have killed for. Ronnie Spector had joined the group in the studio as they recorded that debut and came to Cleveland to share the stage with the Jukes, sharing her soon-to-be-legendary take on Billy Joel’s “Say Goodbye to Hollywood” with the Agora crowd. As she did with so many songs, Spector made it her own. Southside Johnny and the Jukes continue to thrill audiences with their live performances worldwide to this day. Now, thanks to the release of Live in Cleveland ‘77, you can be in the audience to hear a bit of the early magic as they were on their way to the top.

"Her voice is a mesmerizing thing, deep and plummy enough to shake
trees and stir hearts" " PitchforkThis wildly acclaimed Istanbul-based
artist, delivers an unforgettable 4th album Anadolu Ejderi (Anatolian
Dragon)
Building upon her mellange of Turkish psychedelia, empowered commentary and
retro-futurist sonics, her vision is more personal and uncompromising than ever
before.Courage. Bravery. Daring. Those are the watch words that guided Turkey's
Gaye Su Akyol when she was making Anadolu Ejderi, her first full-length release in
four years. Already lauded for her startling, innovative mix of Turkish psychedelia
and folk song, surf music and E 90s Western rock, a global sweet spot where
Anatolian music heroine Selda Ba can rubbed shoulders with Kurt Cobain, Akyol
was ready to expand her vision after a relentless period on the road.
ONLINE. LondonJazz News - Album review due PRINT
Mojo magazine - Album review due (should be a half-page) + Album included with
a photo in the "Coming Next Month …" section at the end of their reviews pages
(December 2022) / Uncut magazine Album review due (January 2023 issue) +
Album mentioned in 'Coming next month' box in review section (December 2022)
+ pitched her for a 'I'm New Here' feature, is being considered / The Wire
magazine - Want her to do the 'Inner Sleeve' column + still considering her for a
feature at a later stage + might be included in a possible Istanbul feature + is
being considered for an album review / Songlines magazine - 'Spotlight' (1 page)
feature due (issue out December 2022) + album review due (issue out December
2022) / New Internationalist magazine - Considering her for a 'Spotlight' feature +
Might review the album / Hi-Fi Choice magazine Album review due (January 2023
issue, out 1 December 2022))

Whilst most of the North swung to the right in the 2019 General UK Election, the North West held onto their hope and long standing heritage of voting for what imagines itself to still be the ‘Left’. It’s 2022 and there are no political choices left, but to rise up and revolt to Stop the Rot. T.S. Warspite channel their message through a unique musical recipe that answers the question no one asked: What if Bad Religion grew up in Manchester in the 2000s? Made up of some long standing and productive members of the local scene, this sounds like friendship and experience, and some refreshing as fuck hardcore. Singer Marco Abbatiello weaves expertly through scenes of pulp reality where everything is fleeting and only some things stick. What’s left is a farcical montage of things that have rushed past you with no real sense of direction. Personally and politically, it’s all the same wretched soup of societal collapse and the rise of the technocracies. Do yourself a favour, and play this through your Tesla microchip whilst throwing a molotov at No.10. Members of Violent Reaction, Payday, Firearm, Arms Race, Rated X. T.S. Warspite is Paul Morgan, Tom Howard, Marco Abbatiello, Tom Pimlott and Miles Livingstone-Todd. Recorded and Mixed by James ‘Atko’ Atkinson at The Stationhouse. Mastered by Will Killingsworth at Dead Air Studios. Art by Chio. Photos by Meline Gharibyan

URBAN WARFARE

Music has always been a common means to deal with global events – so does this new release on Snork Enterprises by Lee Holman. Having actually performed in Ukraine shortly before the war, Lee Holman clearly has chosen the title of his new release by purpose. “Urban Warfare” dedicates for titles, all of them bearing names with military connotation, to the recent events in Ukraine and beyond.
The musical means of his choice to process the happenings are raw, straight forward electronic sounds echoing from the underground. His combination of beeping, roaring and crooked tunes creates a dystopian atmosphere in each track – yet, each in its unique way. This makes the release a diverse collection of four tracks of unadorned urban club sounds dashing through present day history.

LEE HOLMAN

An uncompromising underground ethos, Lee Holman has garnered support from a host of Techno's brightest names.
Performing in clubs since the late nineties, he has travelled throughout Europe, North America, South America, Asia and everywhere inbetween, compounding a reputation for his unique vision on Techno. Playing a fusion of deep, raw and energetic electronics, his sound creates a myriad of tension, constructing the perfect combination of musicality for club appearances.
Performances both as a live act and as a DJ have unlocked opportunities to share hallowed ground with Techno’s elite, appearing in prestigious underground venues such as TRESOR Berlin, Corsica Studios London, 8Bahn Arnhem, Sub-Scape Antwerp, Move Medellin, Tag Chengdu, Arkham Shanghai, Nechto events Kyiv + many more.
Production has earned him international recognition, leaving his mark at the forefront, building a reputation for consistency, originality and delivering his dynamic sound on both cutting edge and classic Techno Labels. Generating consistent support, he has remixed for high profile artists such as Aubrey and Gary Beck and has himself been remixed by leading Techno mainstays ranging from Orlando Voorn to Mike Dehnert.
Founding the Kawl Imprint, the label’s aim was to provide diversity in Techno and this formula was immediately picked up on and amounted to rave reviews and impressive charts and plays by leading connoisseurs of the underground.
This year, his releases have been frequent and in demand, with his production skills confirmed for Knotweed Records, Science Cult, Shaded Music, Nechto and more, adding to an already excellent discography.
With an ever expanding release schedule, combining remixes and a new label project called Demarcation, Lee Holman promises to be unrelenting in his definition of essential timeless Techno.

Bill Nace"s Through a Room represents a seismic progression from Both, his startling 2020 debut solo LP for Drag City. Nace"s career has been defined by a relentless probing of ways to frame the complex menu of human emotions, and that the guitar has been his primary tool for exploring this terrain is of little consequence. On this new release, he also employs tapes, hurdy gurdy, doughnut pipe, quelle est belle, as well as his latest instrument of choice, taishogoto. This is also, ultimately, insignificant. What matters is the discerning spirit which animates his work. The tracks are carefully built from loops and phrases that talk to each other, subsume one another, overlapping and crashing and diving and expanding and emerging into unimagined vistas. On the whole, the record offers a fascinating and engrossing chronicle - a sequence of interrelated stories told by a temporally dislodged narrator. You think you"re here, then you"re there, and then you go through trapdoors and along tunnels, into cellars and secret rooms, and you find that actually you"re back where you started. But it"s not hard to follow. Trust me. Nothing this enticing can be hard to follow. The record was recorded and edited in Philadelphia during the uncertain summer of 2021 with engineer and co-producer Cooper Crain. Where Both was a chiseling down of spontaneous live performance, Through a Room, while obviously the work of the same artist, treats its sounds as building blocks, combining them to mesmerizing effect. What"s striking is the poise, the degree of authorial intensity. The false dichotomy of composition and improvisation is thoroughly and rightfully abolished. Bill"s interests range from post-punk to post-industrial to hip-hop to free jazz to avant-garde composition, and every area between such unhelpful labels. From the inscrutable, evocative track titles to the enticingly baffling cover art by his longtime compatriot Daniel Higgs, Nace is guided by an ineffable, internal muse, a persistently personal stormcloud of ideas that, ultimately, comprise that thing we call art. Here"s the real deal. - Matt Krefting, Holyoke, 2022

The essential series from the ’80s has been rebuilt, remastered, and carefully portioned onto a five disc set of 7-inch singles, including all the classic vocal bits that became iconic samples, and more than a few new additions to bring things up to date.

Where would dance music be without Acapellas Anonymous? Although many records claim to have changed the game, the arrival of the Acapellas Anonymous series in the mid/late ’80s actually did just that. A hugely popular, multi-volume set of vocal tracks sourced from a wide variety of dance classics, AA was used extensively at the dawn of sampled music to provide hooks for numerous hits. “I’ve Got the Power,” “Ride On Time,” multiple Clivillés and Cole tracks, Pal Joey’s “Party Time,” ’90s Italo house and rave cuts, and untold others all found their choruses among the many acapellas collected on the series. As Ultimate Breaks & Beats was for funk and hip-hop sampling, so was AA for dance music, both for producers and as a must-have for the creative DJ. Sure, before these records came along, DJs had their own choice vocal bits that they used in sets or layered into edits. But suddenly, much like Ultimate Breaks, these carefully guarded secret sources were available easily, and in convenient form, for the first time. And the response, from DJs and a new generation of producers, was immediate.

That part of the story is widely known, and indeed, was widely experienced by anyone paying attention to music of the time. But the questions linger: who was it that found these acapellas, many of them only existing on promo singles, or as tiny fragments buried on obscure B-sides? Who edited and put them together? By now, you may have guessed that once again we owe an enormous debt to the maestro of edits and our hometown hero, Danny Krivit. And it’s to him we must tip our collective caps for this latest release, a carefully revised, fully remastered, and immaculately executed update to the series — this time on 7-inch.

All of the classics are here, rinsed but still powerful: “Let No Man Put Asunder,” “Weekend,” “Don’t Make Me Wait,” “You Don’t Know,” and dozens more. New additions make a few clever appearances as well, with Roland Clark’s “I Get Deep” (used for Fatboy Slim’s “Star 69”), and Rickie Lee Jones’s stoned rambling known as “Little Fluffy Clouds” showing up for the first time. This is no nostalgia trip — Acapellas Anonymous was recently tapped for a Cardi B megahit, and naturally you’ll find that source, Frank-Ski’s “Whores In This House,” included. All in all, an astounding 80 high-quality acapellas and vocal hooks are spread across the five 7-inch, 33RPM singles, which have each been sequenced thematically with attention paid to timings and tempos to provide maximum utility for the working DJ. And if the past is any indicator, we will likely see a new crop of tracks spring up as these find their way into the production toolkits of the world’s track-makers.

Berlin electronic duo Donna Regina recorded two songs for the 10th edition of the Snowflakes Christmas Singles Club. In ‘Weihnachten Woanders’ (‘Christmas Somewhere Else’), singer Regina Janssen reflects on how it feels to spend Christmas away from home. Somewhere else, in a strange town where nobody knows your name and no one is waiting for you. You miss the familiar sounds of Christmas, like the child that sings ‘Stille Nacht’ and you dream of being home again. It’s a feeling many people can relate to. Especially this year, a year in which so many people were forced to flee from their homes. Günter Janssen, the other half of Donna Regina and Regina’s husband, lays down a minimalistic tapestry of synths and drum rolls. A loop of street sounds, a sample taken from sound artist Paula Schopf’s 2021 album ‘Especios En Soledad’, forces its way into the song, and in the end overpowers voice and other instruments. ‘Weihnachten Woanders’ very much captures the year 2022 and the worrying times we are living in, in both lyrics and music.

‘Christmas With You’, the B-side of the single, was originally written and recorded by Polish indie band Old Time Radio for their 2009 Christmas album 'Sketches For Another Christmas Songbook'. Donna Regina again goes for a minimalistic electronic sound, but also adds a certain melancholy to the song. Partly due to the synths that in places resemble the sound of an organ, an instrument that appeared on so many Christmas recordings from the 1950s and early 1960s. The love-hate relationship many people have with Christmas is perfectly laid down in the lyrics: “We watch the cartoons / We sing out of tune / Kiss by the fireplace / Listen to those horrible songs / Do we know / It’s Christmas time at all?”.

Regina and Donna Janssen debuted as Donna Regina in 1990 with the single 'Avec Le Temps' and released their debut album 'Lazing Away' in 1992 on Our Choice, a German sublabel of Rough Trade. In 1999, after four albums on Strange Ways Records, they signed to their current label Karaoke Kalk. Since then, they have released eight albums for the label. In 2015, Karaoke Kalk also released 'Dis Cover', a compilation of Donna Regina songs recorded by other artists like Dean & Britta, Bernard Burgalat, Mouse On Mars and many others. Donna Regina’s songs have been featured on compilations of labels like Rough Trade, Sonar Kollektiv, Klant Elektronik, Milan and Rolling Stone. Donna Regina was not Günther’s first band. In the early 1980s he was part of a Neue Deutsche Welle act with a very Christmas-related name: Heilige 3 Köninge ('Holy 3 Kings'). Their sole album, 1982's 'Zum Teufel Met Dem Kamel' has become very collectable. Günther was also featured as songwriter and musician on German singer Romie Singh's 1986 CBS album 'Masters' and later ventured into writing music for television and film. Regina Janssen also recorded as a vocalist with French musician Bertrand Burgalat, and sang several songs on his 2005 album ‘Portrait-Robot”.

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

Here lies a reissue of the first release from legendary long-running
Chicago group ONO, Kate Cincinnati
ONO originally self-released the music in an edition of 300 tapes, and it shares
several traits with the music of today's ONO. travis's singing moves effortlessly
between gospel, blues, opera and noise registers; Shannon Rose Riley plays a
maelstrom of music on her horn of choice, here saxophone; bandleader P.
Michael Grego quietly orchestrates bass, guitar and lap guitar, creating a musical
Jenga tower. If this is your first time with ONO, hop on board and see why Moor
Mother, Black Midi, Algiers and countless other acts love them so. If you're
already a fan: don't walk - run.

On the album Opening, Tord Gustavsen reveals a fresh angle to his
particularly unique trio investigations into Scandinavian folk hymns,
gospel, chorale and jazz, as he introduces a different voice on bass
With a new fellow- traveller on board and its recording premiere in Lugano's
Auditorio Stelio Molo, the trio discovers inspired new ways to interact with each
other, using innovative approaches to sound and technique in the process. Made
up in equal parts of intricately textured improvisations and understated melodic
hooks, the group's conversations bring an enticing unfamiliarity to the language
the Norwegian pianist has developed over almost two decades of collaboration
with ECM.
Tord Gustavsen: piano, electronics
Steinar Raknes: double bass, electronics
Jarle Vespestad: drums
Press:
"Vibrates between the introspective and the dramatic in rich and singular ways.
Scene-setting opener 'The Circle' sees Gustavsen exploring a modal melodic line
of beguiling simplicity, with the trio's sotto voce approach creating an atmosphere
of hushed intimacy." - **** Jazzwise (Editor's Choice)
"The focus of Opening remains the playing from Gustavsen and the rich
accompaniment from his fellow musicians, creating an atmosphere perfect for a
walk by a cabin at dawn, with the sun peeking in through the trees." - Pitchfork
"Norwegian piano star Tord Gustavsen's long-honed recipe of low-key folk songs,
gospel, classical music and jazz gets a graceful makeover on Opening - with new
bassist Steinar Raknes, a player of uncannily responsive precision alongside
regular percussionist Jarle Vespestad, while subtle electronics sometimes create
ghostly horn-player effects." - The Guardian
"For Gustavsen, pieces such as Floytelat and Vaer Sterk, Min Sjel are routes into
the sort of cerebral mysteries that the former church pianist has made his own.
The first is a funereal theme where the notes he sprinkles like raindrops build into
a fatalistic flood. The second, from the Norwegian Hymnal, is played with an
innocent simplicity. Both are equally powerful...Remarkable music, Norwegian
blues." - The Times
"Quietly beguiling release...With lesser artists the uniformity of mood and
reluctance to turn up the volume would pall. But there's an artistry to Gustavsen's
compositions, a skill in their execution, and a warmth to their spirit that keeps the
listener engaged." - LondonJazz News

** INITIAL 400 LPs CONTAIN A BONUS 7" OF A RARE XMAS SOUL 45! **

** THE 4th VOLUME OF RARE & HIP-SHAKING SEASONAL GROOVES!! **

Dear Santa, we just loved "Santa's Funk & Soul Christmas Party," Volumes 1-3 TRLP-9013, TRLP-9027, TRLP-9050, and we have really tried to be good this year! Please bring us a whole 'nother album's worth of rare and obscure Christmas-themed funk and soul!

When the third volume of "Santa's Funk & Soul Christmas Party" was released in 2015, everybody involved was certain that it would be the final one. For years, the curators had been looking for "Christmas Rare Grooves" until they finally realized there was nothing left to discover that would justify a fourth volume. Sure, it would have been an easy task to dig through the catalogues of major labels to come up with 40 minutes of more-or-less trivial Christmas soul music. But who on earth would want that kind of album? Since the foundation of Tramp Records in 2003, the label has gained a high reputation as one of the very few German reissue labels of obscure funk, soul, and jazz music. 99% of the songs originate from 7" singles, the small and handy standard-format of the 1960s, which, like Santa's sleigh magically circling the planet on Christmas Eve, spins at forty-five revolutions per minute on the turntable.

So, what can you expect from this, the fourth volume of a series which had ostensibly been completed with only three volumes? After some seven years of digging across the world wide web with open ears and eyes, never tiring of the hundreds of (mainly) shitty songs, hoping to find that kind of monster soul or funk track that constituted the hallmark of the previous volumes, the compilers slowly and surprisingly began to see a fourth volume taking shape. Finally, after more than two thousand days, a complete album's worth of quality tunes had been discovered and secured for release.

"Santa's Funk & Soul Christmas Party Vol. 4" contains a highly diverse selection of obscure Christmas songs. For example, take Bey Ireland's garage-mod-rocker "All I Want For Christmas Is A Go-Go Girl," is something to get you go-going around the tree! Do you prefer mirror-balls to tinsel? Check out Bill Deal with Pure Pleasure. Too fast? How about the dazzling-melancholic "I Won't Be Home For Christmas"? Do you prefer rap music while you wrap presents? Then your choice is going to be Hot & Sassy. Old-School-Hip Hop at its best. Every single song has a compelling reason to be included in this extraordinary selection. Not least is the opening track by Sharon Jones & the Dap-Kings. Their contribution represents the soul sound of the 21st century. Charming soul music with sociocritical lyrics, something you rarely find in the current musical landscape.

Even though the selected tracks that the two compilers and their worker elves proudly present on "Santa's Funk & Soul Christmas Party Vol. 4" are unbelievable, they are very real and will be the surprise gift from Santa this season that can be enjoyed year-round! It took seven years to complete, but believe us when we say it was well worth the wait. Merry Christmas, everybody!

Key selling points:

- initial 400 LPs contain a BONUS 7" of a ULTRA-RARE Christmas soul 45

- ALL but one song appear on CD, Vinyl LP and digital for the very first-time

- the vinyl LP comes with a full album download code

- fold-out CD-booklet and gatefold LP come with liner notes and label scans

Laila Sakini's new album 'Paloma' arrives via Modern Love and is her most striking and ambiguous to date - a pointed and timely meditation on hope and hierarchies that riffs on Zbigniew Preisner's magical "The Double Life of Veronique" score and enduring outsider music tome "The Langley Schools Music Project". Subtly transcendent, fathoms-deep music.

When Laila Sakini's debut album ‘Vivienne’ arrived in 2020, it felt like the record we were waiting for to map out our tangled reactions to an uninvited reality. Never self-consciously strange, it revealed itself slowly and cautiously, like a shadow in the corner of the eye, or an alchemical symbol in a bowl of alphabet spaghetti. This time around Sakini has worked her unique world-building to an even finer point, forming six tracks around a theme that's so close to our heart it's almost beating in time. Initially inspired by Krzysztof Kieślowski's 1991 arthouse classic "The Double Life of Veronique", the cult Polish director's enduring modern fairytale that serves as a cosmic rumination on identity and choice. Detailing two identical women - both singers, both in love - the film lets one live as the other dies, forcing us to consider the implications of art and endurance in the face of life's myriad challenges.

Sakini takes Polish composer Zbigniew Preisner's influential score for the film and uses it as a jumping-off point for ‘Paloma’, bending the more grandiose moments into baroque awkwardness on opening track 'Fluer D'Oranger' and evoking the mood of scene-setting cues 'Weronika' and 'Véronique' on the recorder-led 'The Light That Flickers In The Mirror'. And while Preisner's score zeroed in on the musical virtuosity of the film's lead characters, Sakini reinterprets that as a metaphor for self-discovery. Playing piano, violin, glockenspiel, timbale, recorder, and occasionally singing, Sakini captures a mood of innocence that immediately transports the listener back to simpler times. Her music isn't self-consciously simplistic, but forcing herself to interface with instruments impulsively rather than studiously, her sounds are all heart, no filigree.

In spirit, it reminds us of cult Canadian album "The Langley Schools Music Project", a collection of 1970s recordings of school kids singing rudimentary renditions of pop songs in a school gymnasium. That album's genius was in the bottling of hope and innocence: the feeling of joy from hearing and wholesomely interacting with music that's known and loved without a sense of hierarchy or desire for cultural clout. Sakini subtly subverts this by evoking the amateur spirit in the most bewitching way; instead of sourcing her ideas from Bowie, Fleetwood Mac and the Beach Boys, her stock is the established art canon, and by reforming those sounds she makes an insightful comment on intellectualism and access. European classical music is all too often trapped behind the frosted glass of respectability and assumed skill - craft replaces spirit, and technique replaces soul. By approaching these gestures from a different angle, Sakini softens the edges sonically and intellectually, finding music that bubbles with emotion, and most strikingly - hope.

Her choice of instruments and the way she interacts with them allows us to feel as if we're not only listening but contributing. It's a bottom-up way of absorbing art that's traditionally been top-down, and a reminder that we're all part of the experience, whether we're humming along to the remnants of a theme as it dribbles out of an ear in the shower, or dreaming of spotlights in a parallel life that may or may not be real. Sakini's music is nostalgic in a sense, but nowhere near the buttered popcorn and high-fructose candy migraine of the Netflix/Spotify algorithm generation of regurgitated churn. She makes sounds that remind us of what time and experience may have stolen from us, and how we might recover it.

Myor proudly welcome DJ Sofa to their ever expanding roster of talent. A swiftly rising star within contemporary jungle, her tracks have already found their way into the sets of scene stalwards like Double O, Sully and Tim Reaper.

On her first offering for Myor Massiv she delivers two choice cuts of melodic, beautifully crafted, uptempo dancefloor business.

HDIGH (acronym for How Did I Get Here) by Dave East x Mike & Keys is now available on vinyl format. The album was produced entirely by frequent East collaborators Mike & Keys and features Method Man, Musiq Soulchild, Anthony Hamilton, Benny The Butcher, Trae Tha Truth and Steven Young. On HDIGH, Mike & Keys bring their “A-Game”, incorporating heavy boom bap and smooth melodic instrumentation into their production throughout the album, providing the perfect backdrop for East to spit his patented braggadocios bars. HDIGH is the first project to come from the East Harlem rapper since he linked up with Harry Fraud in 2021 for HOFFA, and has East reflecting on his upbringing and rise in the music industry.

HDIGH is available in your choice of a blue and pink splatter or black vinyl pressing

HDIGH (acronym for How Did I Get Here) by Dave East x Mike & Keys is now available on vinyl format. The album was produced entirely by frequent East collaborators Mike & Keys and features Method Man, Musiq Soulchild, Anthony Hamilton, Benny The Butcher, Trae Tha Truth and Steven Young. On HDIGH, Mike & Keys bring their “A-Game”, incorporating heavy boom bap and smooth melodic instrumentation into their production throughout the album, providing the perfect backdrop for East to spit his patented braggadocios bars. HDIGH is the first project to come from the East Harlem rapper since he linked up with Harry Fraud in 2021 for HOFFA, and has East reflecting on his upbringing and rise in the music industry.

HDIGH is available in your choice of a blue and pink splatter or black vinyl pressing

In 1968, the future composer of "The Things of Life" (Les Choses de la Vie) seriously considered becoming a director. He wrote and shot "Florence", a short film influenced by the New Wave and composed its soundtrack, under the benevolent eye of Vladimir Cosma. The first spectators of the film are unanimous: failing to have seen a visionary cinematographic opus, they have discovered a real movie musician. From this first attempt, Philippe Sarde imposes his melodic talent on the picture and initiates his sense of counterpoint. This founding soundtrack, however, remained in the boxes for more than 50 years, before finding a place of choice on the B side of our album.

To open the ball, we offer you another forgotten score: the almost unused score of Loulou, Maurice Pialat’s cult classic. In 1980, the naturalist director planned to use original music to accompany the wanderings of his sublime love duo, played by Gérard Depardieu and Isabelle Huppert. He commissioned a bare, impressionistic score from Philippe Sarde, then changed his mind and kept only a


timid end credits. The meeting between the two giants of French cinema did however take place, as evidenced by the first side of this beautiful lp.

Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. 'Wütrio' is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers. 'Wütrio', the band, originally formed in the Bavarian city of Würzburg and went through line-up changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast. The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey. From his time as one half of production duo 'A Forest Mighty Black', Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation 'Soulgliding' and co-productions with DJ Kon on the 'Kon and the Gang' album from 2016. It is worth noting that it is Rainer himself who gave the name 'Soulgliding' to a genre of certain paced and soulful groove of music that now bears that name. His selection of the 'Wütrio' album to kick off a highly collectable series of re-issues is an inspired choice.

White Vinyl LP. RIYL: Aldous Harding, Jenny Hval, Marlon Williams, Joni Mitchell, Leonard Cohen. Revered Sydney songwriter Laura Jean returns with new album Amateurs, her first record since the much-celebrated Devotion in 2018. Amateurs is a stunning, string-laden album, set at a mystical midway point between the deep synth-pop of Devotion and the folkier sounds of Laura’s earlier work. The album features backing vocals from Aldous Harding and Marlon Williams on three songs (Teenager Again, Amateurs and Folk Festival). Laura worked with producer Tim Bruniges around Sydney’s long 2020-2021 lockdowns. Erkki Veltheim (Gurrumul, Cat Power) arranged gorgeous strings for the album, which were recorded in Melbourne by Devotion producer John Lee. Amateurs is an album about anti-art and anti-intellectual culture in Australia (but applies equally to other parts of the world). It sees Laura questioning her role as a songwriter and examining the reality of her choices to prioritise art over other parts of her life. It is also a warm hearted, humorous and sonically breathtaking album. “Amateurs means to do something for love, not money, and somehow it’s become a dirty word, shorthand for a failure,” says Laura. “These songs arise from my acceptance that I will always be an ‘amateur’.” 2018 album Devotion had superlative reviews from Pitchfork, Gorilla Vs Bear and elsewhere, and made it into end of year lists for Spin, Idolator, Apple Music and more. Laura also acquired some high-profile fans such as Lorde and actor Brie Larson. She did two UK/Europe tours in 2018-19 with Courtney Barnett and Aldous Harding. Laura has twice been shortlisted for the Australian Music Prize and has recorded with Jenny Hval as well as Aussie icons Paul Kelly, The Drones, and Rolling Blackouts Coastal Fever. “Maybe the sharpest communication of the spooky, all-consuming nature of feminine love” – Lorde. Selling Points: Backing vocals on three tracks from Aldous Harding and Marlon Williams. Sumptuous string arrangements from Errki Veltheim, who has played with everyone from Cat Power to Mike Patton. Laura featured on Jenny Hval's 2019 album The Practice Of Love, and Jenny sang on Laura's self-titled album from 2014.

Ever since he remixed Abimaro & The Free’s ‘Mark’ back in 2014, NuNorthern Soul boss Phil Cooper has kept in touch with Daniel Stenger, the producer and self-taught multi-instrumentalist behind the Flashbaxx project. Cooper was always convinced that Sanger would be capable of crafting a very special release for the label but was willing to give him time to come up with something special.

With Take Care My Friend, a mini-album inspired by the German producer’s deeply rooted love of jazz-funk, Stenger has repaid the faith shown in him. He’s deliv-ered a collection of quality cuts marked out by audible warmth, effortless musicality and memorable, sun-soaked songs.

As he makes clear in the liner notes included with the vinyl version of the mini album, the project began with the recording of luscious, Rhodes-laden opener ‘Al-right’. After staying up all night recording the track, Stenger not only decided to continue recording with the same relatively limited set of instruments (think bass and electric guitars, drums, piano, electric piano, organ, hand percussion and a handful of synthesizers), but also stick to a hybrid sound that added a subtle Lat-in shuffle to his Balearic-minded take on jazz, funk and soul fusion.

We’re biased of course, but there’s no denying that Stenger’s creative choices have resulted in a superb set of tracks. While the restricted kit list provided focus during the music-making process, there’s still plenty of musical variety across the six tracks that make up the set.

For proof, compare and contrast the jazzy, loose-limbed headiness of ‘It Just Happens’, where simmer-ing synth-strings, twinkling melodic motifs and glis-tening guitar licks rise above smooth jazz-funk bass and a gentle broken beat rhythm, and the slow-motion soul brilliance of ‘Strangers’, where Kathryn Kempf’s evocative and poignant lead vocals rise above a sump-tuous downtempo groove and heart-aching piano lines.

This subtly varied but musically coherent vibe contin-ues across the mini album. Stenger indulges in a bit of New York daydreaming on ‘Brooklyn Love Boat’, a wonderfully musically detailed chunk of 1970s style jazz-funk heat that offers knowing nods to Roy Ayers, Herbie Hancock and the jazz-fusion stylings of Azymuth, before opting for a deeper, slower and even more seductive sound on the Hammond-sporting bliss of ‘Take Care My Friend’.

Closing cut ‘City Lights’, a gorgeous, soft-focus affair smothered in echoing Rhodes riffs and immersive chords, has the feel of an underground classic in wait-ing: a stirring, string-drenched future sing-along whose emotion-packed lyrics are delivered brilliantly by Glasgow-born singer/songwriter Chris Pookah.

Despite the song’s subject matter – the painful final breakdown of a relationship – there’s something strangely uplifting about the combination of Pookah’s pitch-perfect vocal delivery and the absorbing warmth of Stenger’s comforting and sonically detailed music. It provides a fittingly impressive finish to a mightily immersive mini album.

Before Southside Johnny and the Asbury Jukes even had an album on the shelves, they were being played on the radio in Cleveland. That’s how far back the New Jersey band’s relationship goes with the city. As the “Jukes” part of their name would suggest, Southside Johnny and his group were spiritually a band from another time. They had a big sound (and a full horn section, courtesy of The Miami Horns) that conjured a vision of a large band, jammed together on the bandstand. Which was hardly far from the truth on a number of nights. Mixing carefully chosen blues and soul covers with their own originals (and some choice songwriting contributions from Bruce Springsteen), they had a live show that was even more potent than what had been laid to tape in the studio. This 1977 performance at the Cleveland Agora was the group’s second outing at the legendary venue in less than a year. Live in Cleveland ‘77, the recorded evidence of that night, presented here for the first time by Cleveland International Records, shows exactly why they would become frequent visitors and really, honorary Clevelanders. Songs like “I Don’t Want to Go Home,” Springsteen’s “The Fever,” “Havin’ a Party” and “Without Love” were already well-loved favorites with the local audience, thanks to frequent airplay on WMMS long before they even had an album. Cleveland got a special bonus round that other cities would have killed for. Ronnie Spector had joined the group in the studio as they recorded that debut and came to Cleveland to share the stage with the Jukes, sharing her soon-to-be-legendary take on Billy Joel’s “Say Goodbye to Hollywood” with the Agora crowd. As she did with so many songs, Spector made it her own. Southside Johnny and the Jukes continue to thrill audiences with their live performances worldwide to this day. Now, thanks to the release of Live in Cleveland ‘77, you can be in the audience to hear a bit of the early magic as they were on their way to the top.

Limited As Fuck vinyl 10” of 150 copies

Rotor Militia is a Rotterdam based electronic music project focussing on a combination of techno driven digital beats and hypnotic abstract layers of ritualistic and synthetic sounds.

Continuing with our ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we bring you disruption, disobedience and disorientation. These are the sounds of a militant insurrection. The might of all those that are deemed unworthy by those in power are brought to bear by this overpowering demonstration of sonic judgement.

There’s three original acts of rising in active revolt on this release that look deep into the mind of the cogs that turn the rotors of sedition. With an additional unrelenting militaristic remix by Kukri that’ll have every techno disciple marching to its inflexible beat with unswerving devotional solecism for the cause, this is a true weapon of choice for a destructive techno onslaught.

WARNING: SONIC ABUSE OF SUCH MAGNITUDE WILL GUARANTEE YOU A ROOM IN THE TECHNO ASYLUM

If you ever wondered what ambient music of the 21st century could sound like, then you should explore the musical spheres of "ifsonever". This colorful debut-album draws a blueprint of an urban ambient club record of a parallel universe. A collage of beautifully improvised pieces, strictly recorded in "one takes". A gripping fusion that brings together the warm analog textures of classic vintage synthesizers and electronic urban ambiences.

Trying to appreciate the recent times of silence and deceleration, Daniel Helmer aka ifsonever has quickly developed a tonal language as a solo artist. With a non-compromising approach he would visit his studio, a cozy garden shed, to record one new track a day in strictly analog fashion as "one takes". His aim for this project was to capture the innocence and instinctive creative energy of the present moment. These 9 timeless pieces invite the listener to explore hypnotic and meditative atmospheres such as on the opener "transpose" or on "jonesy dreams of birds", as well as gloomy and almost mystical sounding tracks such as "total global" or "an unexpected error has occurred". ifsonever is a wonderful amalgamation of organic, laid-back sounds and electronic, club oriented elements.

Recorded at a time when social contact was forbidden and culture was at a standstill, many professional musicians felt challenged not to feel useless when performances and sessions in public were cancelled, while the need for expression, participation and communication persisted. What happens when you've read all your books, when you're tired of looking at screens, and when you're digitally saturated? Then the unbearable lightness of being will begin. Daniel Helmer decided to let his creativity flow into a picture depicting that moment in time. He gave himself the opportunity to reflect this period through the creation of music. Not always an easy thing to do when the only social interactions would be cats passing by or the sound of children playing nearby. However that can be exactly the perfect tranquil surrounding to ground oneself in the here and now and draw inspiration from the inside. This self titled album reflects a peaceful journey from start to finish.

Two old friends have been invited to contribute overdubs in hindsight. MillianX is a film composer and noise artist, a colleague from the viennese filmacademy. Both worked together on the film score for the science fiction movie "Rubikon" while the album was in its final stages. So a collaboration was an obvious choice. The creamy arpeggiated synthline created for "jonesy dreams of birds"' was extended by Millianx with some field recordings and a big cloudy synthwave that dips into a vast sea of noise.

Guido Spannocchi is a london based jazz musician. Both knew each other for several years but never had the chance to work together. When Daniel Helmer wrote "an unknown error has occured" he imagined a saxophone layer to accompany the existing synthline. But when the two musicians finally got together to record in the legendary jazz club "Porgy & Bess", Guido just let his creativity flow and jammed freely to the track with a totally unique jazz vibe.

Between film, music & sound Daniel Helmer is continuously searching for a spot to call his own. Expanding boundaries, pursuing the unheard and breaking genre definitions are byproducts of his curiosity and his drive to avoid repetition. Daniel Helmer resides in Vienna where he studied at the local film academy. He became one of the founding members of the techno-punk band "Gudrun von Laxenburg" with album releases on the legendary Skint label, collaborated with Sam Irl on "International Major Label" as the production duo "Mantra Mantra" and released an album as "Yogtze" on Gerd Janson's imprint "Running Back Incantations", together with Feater. At the moment he is focusing on his work as a film composer and is currently working on two feature films in Austria.

"ifsonever" offers a timeless ambience to help you slow down, reflect and enjoy the beauty of nothingness. It might help us to learn and accept a state of being unutilized without feeling futile and benefit from this rare silence.

The cover artwork is a collaboration between Jazz & Milk graphic designer Tim Schmitt and photographer Frank Hulsbömer. A scan of the artist's head, hand and foot was 3D printed, photographed and transformed into an otherworldly scenery that visualizes the musical atmosphere.

WUCAN are a young heavy retro rock band from Dresden, Germany with
deep roots in the late 60s and early seventies with a dash of blues, folk,
progressive and Kraut rock
This sort of time- warp music is covering the gamut from the Woodstock
generation to the modern rock sound, starting with acoustic guitar, traverse flute
and Hammond organ and ending at the modern rock sound of the heavy kind.
WUCAN made the right choice of partners with producer and owner of the Big
Snuff Studios in Berlin Richard Behrens and with Andreas € Lupo € Lubich of
Calyx Mastering for a successful debut in the retro rock scene. Richard Behrens,
who is bassist of the 70s band HEAT and live toning of the genre heroes
KADAVAR additionally to his producing duties, created an authentic 70s sound by
using analogue machinery. Combined with the modern heavy surround of the
band unfolds a fresh mix of yesterday and today, which bursts with lust for music.

FULL PLATE presents: the 10th Anniversary edition of the debut full-length from Qwazaar & Batsauce - pressed on wax for the 1st time ever! Originally released in 2011 on Chicago's Galapagos4 label, 'Bat Meets Blaine' features Onry Ozzborn of Dark Time Sunshine, KP of The Pacifics, Denizen Kane of Typical Cats, Offwhyte, DJ Bizkid & Lady Daisey. Initially available on CD only, this dueling 'Red Meets Black' colored vinyl edition is the proper treatment to celebrate a decade of an indie underground classic.
It was around 2010 when Qwazaar, hailing from Chicago’s celebrated rap supergroup, Typical Cats connected with the up & coming beatmaker, Batsauce - who was making noise in a rap group called The Smile Rays helmed by Paten Locke, and producing for icons such as George Clinton. The two auteurs met in Europe on tour and formed an instant chemistry, rapidly amassing a formidable catalog of music - a pair of mad scientists, working feverishly in Bat's Berlin abode. What culminated from those sessions was a collection of EPs (Style Be the King, Stress Chasers) and the capstone LP, Bat Meets Blaine - the prelude to their 2021 release, Stoned Giant.


TRACKLIST: 1. A Choice 2. I Know 3. What Love 4. Chop Em Down 5. Eye to the Sky 6. Never Weaker feat. ONRY of Dark Time Sunshine, Offwhyte & DJ Bizkid 7. Surrealism feat. Lady Daisey 8. Power 9. If it Seems Wrong 10. I'm Gone 11. A Feeling feat. KP of The Pacifics & Denizen Kane of Typical Cats 12. The Dream 13. Til it's Done 14. Thank You

On the eponymously titled final song of her debut album Land of No Junction, Irish songwriter Aoife Nessa Frances (pronounced Ee-fa) sings “Take me to the land of no junction/Before it fades away/Where the roads can never cross/But go their own way.” It is this search that lies at the heart of the album, recalling journeys towards an ever shifting centre - a centre that cannot hold - where maps are constantly being rewritten.

The evocative phrase is the result of a fortuitous misunderstanding. Reminiscing about childhood visits to Wales, Aoife’s musical collaborator and co-producer Cian Nugent, mentioned a train station called Llandudno Junction, which she misheard. “Land of No Junction later became a place in itself. A liminal space - a dark vast landscape to visit in dreams… A place of waiting where I could sit with uncertainty and accept it. Rejecting the distinct and welcoming the uncertain and the unknown.” Reveals Frances.

The songs traverse and inhabit this indeterminate landscape: the beginnings of love, moments of loss, discovery, fragility and strength, all intermingle and interact. Land of No Junction is shot through with a sense of mystery - an ambiguity and disorientation that illuminates with smokey luminescence. Yet, through the haze, everything comes down to what, where and who you are. Frances has built a universe full of intimacy and depth, with lyrics written through a process of free thought writing. It lends the record fluidity, each song in dialogue with the next not only through language, but the way each musical choice complements or threads into another.

Navigated by the richness of Aoife’s voice, along with the layers gently built through her collaborators’ instruments (strings, drums, guitars, keys, percussion), gives a feeling of filling up space into every corner and crack. A remarkable coherent sonic world: buoyant and aqueous, with dark undercurrents. The crossroads as a place where someone can be stuck, static in the face of the future, becomes instead an amorphous realm, where the remnants of the past and what is unknown meld together and come to an understanding. Where nostalgia and newness ebb and flow in equal measure.

Die Extended Version der Doppel-LP 'A Modern Jazz Symposium Of Music & Poetry' des Ausnahme Jazzers Charles Mingus mit exklusiven Bonustracks.

Die Extended Version der Doppel-LP 'A Modern Jazz Symposium Of Music And Poetry' besitzt nicht nur eine wundervolle Komposition, sondern wird auch durch All Star Auftritten von Künstlern wie Jimmy Knepper, Shafi Hadi, Bill Hardman und Clarenece Shaw, Dannie Richmond, Horace Parlan und Bob Hammer und der Erzählung von Mel Stewart. Darüber hinaus überzeugt diese Extended Version mit exkulsiven Audiomaterial und Outtakes.